Review by Sean Boelman
Written and directed by Claire Oakley, Make Up is an atmospheric new thriller set in coastal England. However, even though Oakley does a wonderful job behind the camera at setting up an admirably eerie tone, the script is a bit too conventional for the film to be as profound as it seems to hope to be.
The movie tells the story of a young woman who begins to find her mentality tested when she suspects that her boyfriend has been cheating on her with a mysterious and alluring stranger. Ultimately, the film follows a pattern similar to any other erotic/romantic thriller, albeit with a more refined visual style and some more ambitious themes. This is very much a slow burn, and that pacing does end up feeling slightly trying. There are enough bursts of excitement that the movie will keep the viewer’s interest, but the film doesn’t always build suspense in the most natural way. The atmosphere is definitely good, but Oakley unfortunately falls back on shock value a bit too often. Additionally, Oakley’s film doesn’t have a whole lot of deeper subtext. Oakley obviously has an interesting voice, but it will be better served finding something more unique to say. The movie’s messages about jealousy and identity don’t go particularly deep beyond the surface. Some more subtlety would’ve gone a long way in making the film work a lot better.
The character development in the movie is solid but not exceptional. The film’s protagonist is compelling enough to give the story a necessary foundation, and she has an intriguing arc, but there isn’t much depth to her beyond her general archetype. The supporting characters are even more underdeveloped and flat.
Arguably the movie’s greatest strength is its lead actress, Molly Windsor. Her performance infuses the film with a great deal of empathy that the somewhat generic storyline is lacking. The amount of range she is able to bring to her performance goes a long way in making the character much more relatable than she otherwise would be. Additionally, Oakley has a great deal of talent behind the camera. Even though the script is disappointingly lacking in momentum, Oakley’s obvious visual style allows the movie to stay afloat. The cinematography by Nick Cooke is often dreamy and gorgeous, and the music by Ben Salisbury is haunting, giving the film its rhythm. As her directorial debut, Claire Oakley’s movie Make Up shows a lot of potential. Unfortunately, the script doesn’t have quite enough to say, and doesn’t say it in a compelling enough way, for the film to be riveting, but it proves that we have more to see from Oakley yet. Make Up was set to screen at the cancelled 2020 SXSW Film Festival. It is currently seeking distribution. Rating: 3/5
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Review by Sean Boelman
Winner of the Grand Jury Award for Best Narrative Feature at this year’s SXSW Film Festival, Cooper Raiff’s directorial debut Shithouse exemplifies the best of independent filmmaking. Although it is admittedly a little rough around the edges, that is part of the charm of this exercise in lo-fi filmmaking.
The movie follows a college freshman suffering from a particularly troublesome case of homesickness as he spends the night with a sophomore RA with her own troubles. For much of the first half of the film, it plays out in pretty conventional romantic comedy form, complete with meet cute and a series of alternatingly sweet and honest conversations. However, around the one-hour mark, Raiff takes the movie in a very different direction and it becomes clear that he intends to take a much more honest approach to the idea of college romance. The result is a film that feels surprisingly (and sometimes painfully) real. What starts out almost like a romantic fantasy instead turns into something much deeper. Raiff also has something profound to say about the college experience. Part of what makes Raiff’s movie stand out is that it feels like a personal experience, rather than a universal one. At one point in the film, the characters discuss how every person’s experience of adjusting to adulthood is different, and that is a lot more accurate than many college movies have been in the past.
The character development in the movie is very strong as well. The protagonist of the film is very compelling, and that is because the character is (at least in part) inspired by Raiff’s own experiences. Something unique about this movie, though, is that it also does a phenomenal job of developing the love interest equally, making her a complex character rather than a manic pixie dream girl.
Raiff also stars in the film, and he obviously has a lot of connection to the material, allowing his performance to feel very naturalistic. However, thanks to the help of Jay Duplass, who lent his support to Raiff, the movie has a surprisingly high-profile ensemble with a lot of great performances. Dylan Gelula is the biggest standout as the film’s co-lead, bringing a lot of humanity to the character, but Logan Miller and Amy Landecker are also great in their roles. On a technical level, the movie is a little rough, but thankfully, it doesn’t suffer the common issues of a lot of directorial debuts. Raiff obviously loves what he does, and that passion allows this film to shine. There are some really cool things happening in the movie’s visuals and sound design that prove that Raiff has a lot of talent and potential behind the camera. Shithouse is an interesting take on the college dramedy genre, and it signals the arrival of an exciting new voice onto the indie scene. The likable nature of the film means that it will be available to audiences sooner rather than later. Shithouse was set to debut at the cancelled 2020 SXSW Film Festival. It is currently seeking distribution. Rating: 4.5/5
Review by Sean Boelman
Written and directed by Bulgarian filmmakers Vesela Kazakova and Mina Mileva, Cat in the Wall is a new drama dealing with timely themes for modern British society. However, even though it makes a compelling argument for its political message, the story isn’t rounded enough for the film to have its full impact.
The movie follows a family of Bulgarian immigrants in London whose lives are thrown into disarray when a conflict with their neighbors over a cat escalates. This film is firmly rooted in realism, inspired by the experiences of the British working and migrant classes. As with many slice-of-life movies dealing with the impoverished, Kazakova and Mileva’s script takes a rough and gritty approach to the subject matter. That said, there is an element of dark humor inherent in the film’s premise. Even though the movie is dealing with some urgent and weighty issues that plague modern society, the fact that the conflict is largely centered around a cat adds some absurdity to the film. While the laughs aren’t constant, they are frequent enough to keep the movie moving. Arguably the film’s biggest success is its ability to provoke conversation. In addition to being about the plight of the British working class, the movie has a lot to say about racism and xenophobia. It is the latter that makes this film such an important piece of social commentary, as those are issues being experienced by people all around the world, not just in the country in which the movie is set.
That said, the character development in the film did need some additional work. The movie purports to have an objective lens on the central conflict, but with the way in which the characters are written, it is obvious in which direction the favor tilts. It would have benefitted the film and its message had the writing been a little more well-rounded.
The acting in the movie is very naturalistic, likely because a majority of the actors in the film have little to no experience. The lead actress, Irina Atanasova, does a great job of bringing humanity and emotion to her role. In the supporting cast, Angel Genov and Chinwe Nwokolo bring a lot to the table in terms of both emotion and comedic relief. Kazakova and Mileva shoot the movie with an almost documentary-like approach, which is both a blessing and a burden. For one, the roughness of the visual style helps to immerse the viewer into the world of the film by creating a sense of discomfort. However, this sense of discomfort does become somewhat overwhelming at times, making the movie unpleasant. Cat in the Wall has a lot of interesting ideas in play, but these good ideas didn’t always come to fruition into a satisfying product. Still, Kazakova and Mileva have a lot to say about society, and their message needs to be heard sooner rather than later. Cat in the Wall was set to screen at the cancelled 2020 SXSW Film Festival. It is currently seeking distribution. Rating: 3/5
Review by Camden Ferrell
Based on true events, Tape is the newest movie from director Deborah Kampmeier. Despite a somewhat sluggish and oddly executed first half, the movie utilizes its second half to deliver a chilling and painful story about the horrors woman face in the entertainment industry.
In New York City, two young actresses, Rosa and Pearl cross paths. Using a hidden camera, Rosa is secretly filming Pearl. Slowly, the dark side of the entertainment industry presents itself and we learn about all of the painfully accurate behavior women face every day. This is a timely story that is unfortunately still heavily present in our world. They add a layer of mystery to this tale without losing any of its authenticity. Kampmeier’s script is fairly strong, but it does have its inconsistencies. The movie navigates between Rosa’s intent with her hidden cameras and Pearl’s pursuit of an acting career with her manager Lux. While there is some overlap, each section feels completely different in the quality and style of their writing. With Rosa, the dialogue is minimal, and the film is heavily reliant on visual storytelling at which it doesn’t always excel. However, Pearl’s scenes are written fantastically, and it captures the haunting realism of the subject matter, and it’s very interesting to watch. The acting in this film is decent throughout. Annarosa Mudd, who plays Rosa, does a decent job in her first major acting role, but there are times where her physical acting and expressions could have been better. The real standout of this film is Isabelle Fuhrman (The Hunger Games) who plays Pearl. Her scenes are not easy to watch, and Fuhrman does an amazing job of conveying the fear, discomfort, and embarrassment of her character with stark realism and conviction.
The visual style of the film is unique, but it doesn’t always fit in the film. Since Rosa is using hidden cameras to record Pearl, a lot of the scenes in this movie are told through that lens, and it is just somewhat distracting. It’s constantly adjusting focus, and while that is how those cameras work, it feels like it could have been used in moderation. However, every other scene was shot and blocked very well.
On a thematic level, this movie is phenomenal. It’s a #MeToo story that says a lot about the state of the entertainment industry right now. It’s heartbreaking to know that this movie was based on true events, but it does shine a light on the problem and call out the lack of attention this receives. It’s an essential story about how strong, ambitious women are preyed on and exploited every day. It’s chilling, disturbing, and deeply distressing, and it sends its message clearly. Kampmeier does a great job with executing the second half of the film. It is done in a way that is tasteful, sensitive, but doesn’t ever compromise the power and effectiveness of her message. It is a story that could only have been told by a woman, and Kampmeier understands this and carries out the movie very well. Even though some scenes in the first half weren’t the best, the second half shows that she has the potential to be the next great director. Tape is a difficult watch, but on a thematic level, it’s a must-see. The movie does have its shortcomings, but it is a highly engaging and unsettling story that will stick with you. For those who have dealt with sexual harassment, exploitation, and assault, this may prove to be too much, and I recommend using discretion before watching the film. This is a great movie about the plight and dangers women face every day. Tape will have daily screenings at 7pm EST from March 26 to April 9. Each screening will be followed by a panel conversation, and the movie will be on VOD April 10. For more information, visit www.TAPEVirtualPremiere.com Rating: 3.5/5
Review by Sean Boelman
The directorial debut of Benjamin Kasulke (who previously worked as cinematographer on such indie favorites as Your Sister’s Sister and Safety Not Guaranteed), Banana Split is a quirky new buddy/coming-of-age comedy. Thanks to a funny script and great chemistry between the leads, the film overcomes its traditional plot to be an entertaining watch.
The movie follows two teenagers who form an unexpected friendship over the course of a summer but must keep their friendship secret because one is dating the other’s ex. This is definitely an intriguing premise that offers a tongue-in-cheek approach to genre tropes. There are movies about an ex and a current significant other feuding, or about exes bonding together over their shared experience, but it’s unique to see a film about an ex and the current significant other becoming friends after the fact. Obviously, a great deal of what makes the movie work is its humor. The script, written by Hannah Marks and Joey Power (After Everything) is very diverse in the types of comedy it uses, ranging from raunchy quips to secondhand embarrassment. There’s something for everyone in the film, but its best scenes are almost certainly the conversations the protagonist has with her family, which offer plenty of laughs. Marks and Power keep the movie moving, but at times, it does feel a bit rushed. The first ten and last fifteen minutes of the film try to cram in nearly the full emotional arc into that short period of time, which is a bit agitating, but the middle hour is so strong that it makes up for it. The ending, in particular, feels like it was written out of obligation to the formula.
That said, the character development in the movie is mostly strong and allows the audience to have an emotional connection to the film regardless. The unorthodox relationship that develops between the movie’s two leads pushes the film forward. Thankfully, the romantic subplot (while necessary) does not play as big of a role in the movie as is usual for the genre, and as a result, the film feels refreshing.
Marks also plays the lead in the movie and she does a wonderful job of making her character even more believable. Her comedic timing is impeccable, and her chemistry with her co-stars is great. Liana Liberato plays the other half of the film’s main duo, and is very funny as well. Supporting actors include Dylan Sprouse and Jacob Batalon, both of whom give memorable turns even though the spotlight belongs to Marks and Liberato. On a technical level, the movie is much stronger than is typical for an indie comedy, and that is likely because Kasulke began his career as a cinematographer. Although the film isn’t too ambitious, Kasulke’s visual style is evident enough in the composition and editing of the movie that it’s clear why he decided to step into the director’s chair. Banana Split is a very funny watch thanks to great acting and a surprisingly refreshing script. With many being shut in right now, this is the perfect type of comedy to take one’s mind off of things, even if just for an hour and a half. Banana Split hits VOD on March 27. Rating: 4/5
Review by Sean Boelman
Vivarium, directed by Lorcan Finnegan, is a new high-concept sci-fi thriller in the tradition of The Twilight Zone. Thanks to an intriguing premise and some committed performances from the two leads, the film is able to be relatively interesting, even when it feels like it isn’t fully exploring its themes.
The movie follows a house-hunting young couple when they are trapped in a suburban labyrinth of identical houses and are forced to raise a child with otherworldly properties. The film is undeniably very weird, but for the most part, it works well because it hooks the viewer in with the promise of bizarre and disturbing situations. However, the movie’s pacing is likely going to be off-putting for all but the most patient of audiences. The film does take a while to get moving, but there is enough happening in the first act to keep the viewer in suspense of what is coming next. It is the following hour of the movie that is often grating (albeit purposefully so) which will be divisive. Finnegan’s commentary on suburbia and its challenges is pretty obvious, and unfortunately, he doesn’t take it far beyond the surface level with this film. The script seems to think that it is a lot deeper than it actually is, and even though there are some interesting ideas on display, they aren’t anything that hasn’t been seen before in the genre.
Another weakness of the movie is that its character development is lackluster. The film would have been much more effective had the relationship between the two leads of the movie been developed with more depth. Granted, the film is about the rift that these challenges cause in their relationship, but a greater emotional connection could have been formed had there been more of a foundation in place.
That said, both lead actors do a very good job in their roles. Imogen Poots, who has mostly done (extremely strong) supporting work in the past, finally gets a chance to shine in a lead role. She is able to infuse the little bit of emotion that is present in an otherwise somewhat cold movie. Jesse Eisenberg is also interesting in his supporting role, though he does not get nearly as much screen time or material. It is on a technical level that Finnegan’s film is most successful. With surreal and nightmarish visuals, this movie is definitely very discomforting, and that goes a long way in making the film more suspenseful. Furthermore, the sound design is very dissonant (another thing which will alienate some viewers), but to strong effect. Vivarium ultimately does exactly what it sets out to do, but whether or not that is a success is questionable. There are some great moments, likable performances, and some solid visuals, but the movie is disappointingly a bit too shallow. Vivarium hits VOD on March 27. Rating: 3/5 KILL CHAIN: THE CYBER WAR ON AMERICA'S ELECTIONS -- An Informative Exposé on Election Interference3/24/2020
Review by Sean Boelman
A follow-up of sorts to their 2006 documentary Hacking Democracy, Simon Ardizzone, Russel Michaels, and Sarah Teale’s new exposé Kill Chain: The Cyber War on America’s Elections comes at a good time as anxiety over the next election is mounting. A necessary and informative look at one of the country’s most prominent issues, this film is important viewing.
The movie follows hacker and cybersecurity expert Harri Hursti as he travels across the country exploring how election systems all over the United States remain open to interference and hacking. While this film admittedly would have been even more timely had it come out four years ago when this was even more prevalent in the news, it is obvious from the movie that this still needs to be a part of the discussion. Although there are a few segments in the film that target specific politicians (including one aimed at Governor of Georgia Brian Kemp), the movie is much more focused on being critical of the electoral process in general. Hursti and the filmmakers purport that a majority of the country’s election security issues result from the fact that the polling process is not standardized. Ardizzone et al. obviously want audiences to finish this film feeling shocked at the state of disarray that the government is facing, and for the most part, the movie is successful. The film is admittedly pretty one-note, but this also allows the filmmakers to focus entirely on the specific thing they want to say.
Of course, there are some portions of the movie that end up feeling more impactful than others. Interviews of people talking about election interference don’t make much of a splash because this type of footage can be seen in the news regularly. However, some of the film’s more unusual discoveries, like a stash of voting machines available for public purchase, get the message across more effectively.
Part of what makes Ardizzone, Michaels, and Teale documentary so effective is that they are able to explain the specifics of the issue in a way that is palatable to the general public. Hursti does an excellent job of simplifying the language he uses when talking about hacking and technology so that it is understandable but still technical enough to lend it a sense of legitimacy. Additionally, the filmmakers edit the movie in a way that is consistently compelling. By giving the audience a single subject (Hursti) to follow as he interacts with different figures, there is a clear through-line that attaches the viewer to the narrative. As a result, rather than feeling like a series of segments about election hacking, it feels like an interconnected narrative. Kill Chain: The Cyber War on America’s Elections exists for one clear purpose, and it achieves that goal with ease. Audiences who see this film will watch it and be more informed about the way in which the government functions. Kill Chain: The Cyber War on America’s Elections debuts on HBO at 9pm ET/PT on March 26. Rating: 4/5
Review by Sean Boelman
While the feature debut of writer-director Jeremy Hersh, The Surrogate, may not be one of the most cinematic films to be featured as a part of this year’s SXSW lineup, it is likely to be one of the most incendiary and divisive. Exploring its core ethical dilemma in a thought-provoking and surprisingly light-handed way, this movie proves that Hersh is a talent to watch.
The film follows a young woman serving as the surrogate for her best friend and his husband when they receive a prenatal test that sends them into a moral debate with each other. Part of what makes this movie so effective is that it is so streamlined and focused. Hersh wastes no time on subplots, instead focusing entirely on the protagonist’s main struggle. Clocking in at a little over an hour and a half, Hersh’s film is absolutely gripping because it is consistently tense. Even though the movie’s stakes aren’t traditionally high, Hersh is able to make the narrative feel important and urgent because of the emotional weight the storyline has. Additionally, Hersh’s dialogue feels very strong and naturalistic, pushing the film along. Of course, the movie takes a very clear stance on the political issue at the core of the film, and while it likely won’t change any opinions in either direction, it is an important way of bringing the discussion into the mainstream. The movie addresses the argument on the opposite end of the spectrum in a way that is surprisingly level-headed and fair.
Arguably Hersh’s biggest success with the film is that he develops the characters very well. Despite the fact that they do some unlikable things as their relationship gets strained, the three main characters are all very compelling. Hersh does a wonderful job of expressing all of their perspectives in a balanced way.
Jasmine Batchelor plays the movie’s lead, and she is phenomenal. It’s hard to believe that this is her first role in a film (all of her prior work having been in television), because she plays the character with so much subtlety. The two main supporting actors are Chris Perfetti and Sullivan Jones, and both do a good job of complementing Batchelor, especially Perfetti, who shines in a couple very powerful scenes. On a technical level, Hersh’s movie is very straightforward but still quite effective. Here the focus is on the script in performances, making the film feel rather play-like. Much of the movie is shot in long takes or sequences with as little movement as possible, from both the camera and the editor. The result is that it is easy to get drawn into the film’s emotion. The Surrogate may be a simple movie in nature, but that doesn’t keep it from being a fascinating watch. Thanks to a brilliant script and some inspired performances, this is a film that deserves to be in the conversation for a long time. The Surrogate was set to debut at the cancelled 2020 SXSW Film Festival. It is currently seeking distribution. Rating: 4.5/5 [SXSW 2020] ONCE UPON A TIME IN UGANDA -- An Entertaining Glimpse into the Filmmaking Process3/23/2020
Review by Sean Boelman
Taking a look at one of the most idiosyncratic filmmakers working today, Cathryne Czubek and Hugo Perez’s documentary Once Upon a Time in Uganda will be an entertaining watch for anyone who admires the craft of filmmaking. Some unusual directorial choices aside, this is an inspiring and funny real-life buddy movie.
The film tells the story of Wakaliwood, a movement led by Ugandan filmmaker Isaac Nabwana that makes low-fi action movies with budgets of a couple hundred dollars, and film programmer Alan Hofmanis, who helps to bring his wacky films to the world. Since Wakaliwood movies have gained a bit of a cult following after playing as midnight movies on the festival circuit, this documentary will be of interest to anyone who has seen these unbelievable films. Czubek and Perez approach this documentary in an extremely narrative way, detailing the friendship and working relationship between the Ugandan director and his American ally in a very interesting way. Although the movie does lose track of its strengths heading into the third act, it is able to recover with a satisfying ending. Of course, viewers will be immediately endeared to the film if they are a fan of its subject, but Czubek and Perez do an excellent job of making the viewer admire the sheer force of creativity that Nabwana exhibits. No viewer will walk away from this movie unimpressed with what Nabwana has been able to do despite his obstacles.
In addition to the film’s inspiring message about creativity, Nabwana’s contributions to his community are emphasized. Nabwana does some really interesting things to inspire the children of his community to be creative, and in the documentary, he treats these things as something that should just come naturally. People can learn from his generosity and benevolence.
A majority of the story is told through fly-on-the-wall footage that accompanies Nabwana and Hofmanis as they make films and promote them, respectively. There’s obviously a substantial sense of humor to the documentary because Wakaliwood movies aren’t meant to be taken seriously, so audiences will almost certainly have fun watching this. That said, it does take the film a bit of time to get moving. The first few minutes of the movie, before Nabwana and Hofmanis cross paths, are told via re-enactments. Although it is understandable why Czubek and Perez chose to use this method for this part of the story, this wasn’t the most integral part of the narrative and could have simply been cut. Once Upon a Time in Uganda is a very entertaining documentary, and while there are uneven portions, it’s a solid crowd-pleaser. It isn’t groundbreaking, but as an exploration of an unorthodox creative process, this is a success. Once Upon a Time in Uganda was set to debut at the cancelled 2020 SXSW Film Festival. It is currently seeking distribution. Rating: 3.5/5
Review by Sarah Williams
Tomboy (no, not the Céline Sciamma film) is a grab-bag of tales of women drummers making their way through a man’s world. Many will be drawn in for the archival footage of Courtney Love and Hole at practice through the eyes of drummer Samantha Maloney, but the other stories are just as compelling. The true breakout is teenager Bo-Pah Sledge, whose pop group formed with her three sisters reveals a charismatic young musician under the radar.
Female masculinity is oft-avoided as a touchy subject, but the film touches upon it well. Aside from the instrument, what these women have in common is a defiance for gender barriers that hold them back. This comes in varying levels, with some women pushing back against femininity in all cases, in the case of Chase Noelle and her band Boytoy, while others are only concerned with the limitations their gender seems to put upon them on getting to play music, and are content with the social roles. One woman talks about using empty toilet paper rolls to pee standing up as a kid, while a young girl has shelves of My Little Pony toys — proof that these women’s experiences and presentations are as varied as the music they made. Industry veteran Bobbye Hall, who has backed up Bob Dylan, as well as many big names in Motown, is less outspoken compared to her younger counterparts, refusing to go in depth as to how hard it had been for her as a black female drummer. This doesn’t make her less of a feminist, just more hardened and weary of the industry. Neon-glazed concert footage mixed with grainy home video gives the film its punk rock aesthetic. Others have criticized amateur camerawork, but the DIY nature puts it further into the throes of the music world. The sound is layered between clips so that it flows wonderfully, avoiding stretches of silence by blending music, voices, and the dull roar of a basement crowd. The beating of sticks on symbols and drumheads is a constant, and it is this sound that moves the film along. The opening narration talks about how the drummer is the one who always must stay on beat, because they are what holds a song together and can cover mistakes of others, and that is the same for the documentary as well as a song. Director Lindsay Lindenbaum assembles a warm portrait of the women’s lives around the music without going biographical. We hear a hint of "Jingle Bell Rock" on a holiday, or see vinyl records of the music they grew up with, and we feel like we know these women a little better.
Generational growth and connection shows these drummers shared experience, how the ways women move through the music world has changed, and how some parts remain deeply rooted. We see older subjects talk about being the only girl in the music scene when they started, while we meet another young subject who talks about a relationship with a bandmate. There is a startlingly good handle on sexuality and gender, portraying the effects of these on the battle to be heard with nuance, as well as touching upon how race changes the entrance to the music world. It isn’t a perfect intersectional discussion, but a variety of voices (notably by having half the subjects being black women) are brought to the table to show the many experiences. Noelle’s story is handled a little more roughly than the others; she’s the most outspoken in her feminism, and often preaches to the camera, making generalizations that not all the women share. Hall refutes a slightly egoist decry from the younger woman that the drummer has the greatest importance by talking about listening to the other instruments to create the ideal sound.
The feminist leanings are firmer at the start, slowly letting up from direct statements to the point the film is then solely about the music. We hear more of the music women love to create, and can fill the original “women’s fight to be heard” narrative in ourselves. The focus is lost a bit halfway through, and a central thesis is never developed, but it’s a solid, well-rounded view of the music industry that’s incredibly engaging, and a rousing success overall. Tomboy was set to debut at the cancelled 2020 SXSW Film Festival. It is currently seeking distribution. Rating: 4/5 |
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