Review by Sean Boelman

There are a lot of coming-of-age films that prominently feature music as a significant force, as it is easy to find oneself through the power of great lyrics. A love letter to the great rock band The Smiths, Stephen Kijak’s film Shoplifters of the World is a bit of a slog to get through, an overwhelmingly mediocre film that fails to do anything interesting with its characters.

The film follows a group of teenagers whose lives are about to fundamentally change as they get together and party on the night that The Smiths break up. We have seen plenty of movies that tell a fictional story against the backdrop of true events, but few have been as frustrating as this bland mix of tropes and shallow philosophical ramblings.

That said, there is a subplot in the film that is really interesting, about a young man who kidnaps a radio station DJ and forces him to play the music of The Smiths, but this is really underdeveloped. It has the most stakes of any of the storylines yet is treated like a cutaway from the main tale of these four friends coming of age.

Additionally, it feels like the film is afraid to say anything particularly challenging about the topics it hopes to address. There are portions of the film which apparently want to explore the sexuality of the young characters, but this discussion is shallow at best and regressive at worst. And while the poetry of the music is often mentioned, the film never really does anything with it.

Perhaps the biggest issue with the film, though, is that the dynamic between the four characters isn’t that interesting. Kijak seems to have been more interested in the characters’ individual arcs, but unfortunately, they are so archetypal that they just don’t work. And that element of friendship definitely would have gone a long way in creating an emotional connection to the story.

It’s definitely a shame that the characters aren’t more well-developed, because the actors are all very talented. Helena Howard (Madeline’s Madeline) plays the lead, and while the character isn’t very deep, she at least brings some personality to the role. Elena Kampouris threatens to steal the show with some of the most memorable scenes in the film. And Joe Manganiello has a fun if overdone supporting turn.

It is on a technical level that the film is most disappointing. Although the soundtrack featuring the music of The Smiths is wonderful, that is one of the few highlights. The production values of the film are otherwise rather cheap (all the money was probably spent on music rights and Manganiello), resulting in some disappointingly bland party scenes.

Shoplifters of the World isn’t a very good film despite the potential in the concept and the cast. It’s ultimately just another coming-of-age movie, and we have seen enough of those that this generic one isn’t necessary.

Shoplifters of the World hits theaters and VOD on March 26.

​Rating: 2/5

Review by Camden Ferrell

Nobody sees the return of director Ilya Naishuller, whose most recent feature film was 2015’s Hardcore Henry. After numerous delays due to COVID-19, Naishuler’s return to cinema, is finally set to be released. While the handful of big action sequences are extremely energetic and well-executed, the rest of the film can feel muddled and somewhat bland.
 
After his home is broken into, Hutch, a husband and father, chooses not to defend himself or his kids, a decision that weakens his relationship with his family. However, in the aftermath of the robbery, his lethal skills are unleashed after a period of dormancy. Hutch finds himself on a brutal and bloody path that uncovers secrets about his past as he aims to protect his family from a Russian crime lord. It’s a simple premise that works really well in setting up some great conflict and fight scenes throughout.
 
The main problem with this film comes from its writing. The script was written by Derek Kolstad who is responsible for the excellent John Wick films. Those films have great action, but they still have great stories and dialogues to propel the non-action scenes. Nobody lacks the compelling narrative and dialogue to make the film interesting when bad guys aren’t being slaughtered, and that’s why the film drags far too often.
 
The acting is mostly enjoyable. Bob Odenkirk steps out of his comfort zone in order to play the lead in this action film. He does really well with the fight scenes and choreography, but he sometimes seems out his element in certain exchanges with other characters. The supporting cast is above average, including Christopher Lloyd and RZA who give energetic performances. 

Arguably, one of the let downs of this film is how it pales in comparison to Naishuller’s previous film. Hardcore Henry was a film with non-stop blood, guns, and gore, and it was a really interesting POV film. His newest film isn’t quite as brutal, but it lacks the momentum that made his previous film so enjoyable.
 
The cinematography is very well-done, and it does a great job of making all the action cohesive. It captures everything clearly, and in the fight scenes, it makes sure to frame all of the brutal injuries properly. The editing in these scenes is also great, and it compliments the cinematography in a way that the action becomes very tangible.
 
While the action is amazing throughout, there aren’t nearly enough action scenes to carry the film. There’s a handful of big sequences, and they’re all super compelling, but the rest of the movie pales in comparison to it. Even if it has to be smaller encounters, the movie could have benefitted from a heavier dose of action to supplement its story.
 
Nobody may not be the next John Wick, but it still boasts some great action and an interesting turn from Odenkirk if nothing else. It shows that Naishuller hasn’t lost his touch for high-octane action, and it should be sufficient viewing for fans of mindless action.
 
Nobody will be in theaters March 26.
 
Rating: 3/5

Review by Sean Boelman

The tragic struggles of Disney child star turned pop icon Demi Lovato got a lot of media coverage when she was having her darkest moments, but there is a lot more to her story. Offering the musician an opportunity to reclaim the narrative, the documentary Demi Lovato: Dancing with the Devil is an intimate and harrowing exploration of addiction.

In the series, Lovato and those close to her discuss the factors that led to her near-fatal overdose and the lessons she learned from her experiences. This is not a music documentary in the classical sense in that it is almost entirely about Lovato’s addiction and recovery and barely about her music.

Split into four episodes, the series clocks in at right around an hour and forty minutes in total runtime. On one hand, it feels like a very comprehensive exploration of Lovato’s experience, both from her perspective and those of others with personal knowledge of her situation, but it’s organized in a way that is uneven and frustrating.

The series really does an excellent job of discussing the catastrophic impact that addiction can have, both on the addict and everyone around them. It helps that Lovato seems to be being very upfront and honest about the things that she went through, making it something really groundbreaking in how it approaches the subject.

Obviously, fans will immediately identify with Lovato, and they are likely to make up a majority of the viewership of the series, but the series also does an excellent job of exploring what makes Lovato’s story so heartbreaking. There are a lot of distressing revelations made in the series that people may not have realized had been a factor in her life.

The series is at its best when it allows Lovato to speak freely and discuss what she has been through and how she has grown. Other portions of the series feature interviews with Lovato’s friends and colleagues, discussing how they were affected by Lovato’s overdose and what they are doing to help her overcome her addiction.

It’s a competent series on a technical level, although there are definitely some things that could have been done better. The use of arrangements of Lovato’s music in the soundtrack is understandable and expected, and while it does achieve the intended emotional effect, it also feels somewhat melodramatic.

Demi Lovato: Dancing with the Devil is a strong documentary series that is worth watching, even for those who may not be fans of the musician. It’s one of the most nuanced and empathetic takes on addiction to grace the screen in quite a while.

Demi Lovato: Dancing with the Devil screened as a part of the online edition of the 2021 SXSW Film Festival, which ran March 16-20.

Rating: 4/5

Review by Sean Boelman

The COVID-19 pandemic has forced artists to re-evaluate and adapt their creative process to accommodate for what is happening in the world. The documentary Alone Together is a fascinating and moving portrait of one such artist, popstar Charli XCX, as she sets out to make art despite the difficult circumstances.

The film follows Charli XCX as she makes a new album in a mere forty days, all the while maintaining an intimate relationship with her global community of fans. It’s interesting to get to see the behind-the-scenes process of how she makes her music, especially since this is one of the first cases in which we get to see music being made in the time of COVID.

Additionally, the movie explores what Charli XCX means to her fans. Although this portion of the film is admittedly a bit underdeveloped, it’s still nice to see documentaries like this that care just as much about the people who make the celebrity successful as the celebrity themself. And there are some surprisingly emotional moments when it comes to this.

There are some interesting fan stories in the movie, but there are clearly more to be told. It seems as if the filmmakers are only using these as a publicity opportunity for Charli XCX. However sweet they may be, the popstar’s contributions are somewhat trite (and perhaps even self-serving) in nature.

That said, what filmmaking duo Bradley & Pablo does best is humanizing their subject. Music documentaries often either glorify the musician or paint them as a tragic figure, but Bradley & Pablo do neither. Instead, they show Charli XCX as just another person who is stuck in the same situation as all of us, lonely and struggling.

At an hour and ten minutes long, the film really rushes through its story. It keeps things to the bare minimum, not presenting a significant amount of performance footage or in-depth interviews, opting for more of a fly-on-the-wall approach watching Charli XCX and co. as they work their magic.

Bradley & Pablo do a great job of incorporating Charli XCX’s music into the movie through the soundtrack, but some of the filmmaking choices are a bit more questionable. For example, there are a few animated sequences that don’t look particularly good and feel out of place since they are so inconsistent.

Alone Together is a very impressive documentary, and one to which a lot of people will likely be able to relate. Although it is far from the most important COVID-19 story to be told, it is nice to see uplifting stories like this about people making the most of the situation.

Alone Together screened as a part of the online edition of the 2021 SXSW Film Festival, which ran March 16-20.

Rating: 4.5/5

Review by Sean Boelman

The sci-fi romantic comedy series Made for Love is weird and ambitious, and the result is entertaining if a bit puzzling. Great performances by Cristin Milioti and Billy Magnussen and lots of uncomfortable laughter make this something to watch even when all of the jokes don’t quite land.
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Based on a novel by Alissa Nutting, the series follows a woman who escapes from a suffocating marriage to a tech mogul only to discover that he has implanted a new tracking and surveillance device in her brain. It’s a crazy, high-concept sci-fi premise that is used effectively to create some interesting satire.

What will likely put some audiences off is the fact that the series struggles to find a balance between its thriller and comedy elements. At times, it’s meant to be taken seriously as it follows this woman on the run from an abusive husband, but then it turns into an absurd comedy with jokes about a middle-aged man in a relationship with a sex doll. These tonal shifts are jarring but mostly even themselves out after the first couple episodes.

There are some interesting themes presented in the series about gaslighting and domestic abuse, but the way in which it is handled isn’t always the most sensitive. One of the biggest problems with the series is that it almost humanizes the abuser, because even though his crazed mentality is evident, his actions are also presented as an act of overzealous love. Perhaps this is resolved in the remainder of the season.

The arcs of the characters are also somewhat disappointing. For much of these first episodes, the protagonist is defined through her experience of being a victim, with little other development coming in until the fourth entry. And her father serves as little more than a butt of repeated (and frequently unfunny) jokes. 

Milioti’s performance is great, leaning on her delivery of darkly comedic quips. Magnussen has found a nice little type as the crazed but oddly charming psycho, having a lot of the funniest moments in the series. Ray Romano also has a supporting role, and while he has played the loser character more than once, he isn’t fully utilized here.

For a sci-fi comedy series, there’s still a lot of room for this to grow. It’s clear that this is meant to be a near future with technology that is exaggerated but not too out there, but the audience probably won’t be fully immersed in this world. Instead, canny viewers will likely be trying to figure out who inspired the (seemingly) composite character antagonist.

Made for Love is an entertaining series, and it will be interesting to see where it goes for the remaining six episodes. Not all of the jokes land, but those that do get some solid laughs thanks to the two talented leads.

Made for Love is screening as a part of the online edition of the 2021 SXSW Film Festival, which runs March 16-20, 2021. Four out of eight episodes reviewed.

Rating: 3.5/5