Review by Sean Boelman
Brendan Fitzgerald’s documentary The Oxy Kingpins is executive produced by Adam McKay, and there is no mistaking that fact. Playing out like one of McKay’s slick explorations of white collar crime, this is the type of ruthlessly entertaining doc that is sure to set the internet ablaze when it releases.
The film explores how a network of drug manufacturers, distributors, and retailers are responsible for creating and perpetuating the opioid crisis in America. Admittedly, the idea of making a true crime doc out of the suffering of millions of people is a bit morally questionable, but Fitzgerald does address what makes this crisis so devastating. Fitzgerald takes a really aggressive stance towards exposing Big Pharma and the movie is all the better for it. Audiences are likely aware of how fundamentally capitalism is tied to the identity of America, but this film really shows just how much the greater good can be sacrificed for the sake of greed and making money. Perhaps the most interesting portion of the movie is an interview with a former drug dealer who made a lucrative living off of the opioid trade before deciding that he wanted to go legit. He offers a no-holds-barred insider perspective on the crisis that shows just how much this issue is being covered up.
If there is one thing missing from the film, it is the perspective of the victims of the opioid epidemic. Although the movie does feature one subject who was an addict, her portion is much smaller than those about the dealers, pharmacies, and drug companies. For better or worse, Fitzgerald aims for the big picture rather than the small and intimate stories.
At an hour and twenty minutes, the film is trying to do a lot in a short period of time, and it can’t do it all. However, the movie is undeniably captivating, and Fitzgerald is able to communicate his message in a way that is impactful nevertheless. It goes down surprisingly easy for a film that deals with a topic so difficult. Fitzgerald brings a very good momentum and energy to his movie, which is particularly impressive given that this is his first feature. While it feels like it was made in a particular style, it still never feels like a carbon copy of anything else. Its sleek production values will allow it to hook audiences easily. The Oxy Kingpins is a very good documentary, and while it could have been a tad more empathetic, it’s still mostly effective with its message. It wouldn’t be surprising to see executive producer Adam McKay making a narrative film about this topic in the future. The Oxy Kingpins is screening as a part of the online edition of the 2021 SXSW Film Festival, which runs March 16-20. Rating: 4/5
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Review by Sean Boelman
Film festivals are great for discovering movies that handle topics and themes that are on the consciousness of the masses but haven’t yet made their way into mainstream filmmaking. And while it does feel a bit sanitized, Mari Walker’s See You Then still serves as a big step towards better representation of LGBTQ issues in cinema.
The film follows a former couple who reunite after ten years, one having started a family of her own and the other having transitioned. It’s a very cathartic movie, featuring the two characters as they discuss and explore their respective lives, but the script by Walker and Kristen Uno could have spared to go a bit deeper into the introspective elements. What is likely to make this film stand out is its representation of transgender issues, but the movie feels as if it was made to explain these ideas to a cis straight audience. Granted, this does make sense, as it is literally a trans character explaining her identity to a cis straight character. However, this doesn’t change the fact that this is a very rudimentary depiction of transness. That said, the film’s exploration of womanhood is a lot more nuanced. The best part of the script is getting to see these two women discuss their experiences and how society has broken them with its misogyny. The dialogue scenes tend to be a lot better than those which are driven by monologues, as it is the back-and-forth between the two that will really invest viewers.
The character development in the movie is somewhat frustrating in that this is largely presented from the perspective of the cis character. Although it is great to see an empathetic depiction of a trans character on screen, the fact is that she exists more in service of the cis character’s arc than her own.
Pooya Mohseni’s performance is absolutely exceptional. She gives a phenomenal turn that is packed with emotion, really selling exactly how hard-hitting this film is to be. Lynn Chen is great as her scene partner too, understanding that she is not the most important factor here and frequently taking a step back to allow Mohseni to shine. On a technical level, the movie is mostly very simple and straightforward, as it is predominantly a dialogue piece, but Walker does a good job of creating the feeling of intimacy that is so necessary for this film’s success. It’s a quiet and meditative movie, and Walker’s subtle hand is able to create that mood. See You Then may not quite be a leap forward, but it is a good step, even if it is likely to be more effective for those who aren’t LGBTQ. Regardless, the great performances and strong dialogue make this an essential watch. See You Then is screening as a part of the online edition of the 2021 SXSW Film Festival, which runs March 16-20. Rating: 3.5/5
Review by Sean Boelman
The Benedict Cumberbatch-starring Cold War thriller The Courier is the type of film that is mostly entertaining, even if it doesn’t pack the political punch that it very obviously could. Safe but well-acted and suspenseful, this is the type of undeniably watchable but also somewhat forgettable movie that audiences will consume and quickly discard.
The film follows a salesman who is recruited by British intelligence to be a spy against the Soviet Union in an attempt to end the Cuban Missile Crisis. It’s a pretty exceptional true story, but writer Tom O’Connor takes this and makes a Hollywood-friendly spy thriller out of it, removing any sense of authenticity or originality. For much of the first half, we follow the protagonist as he struggles to maintain his cover and smuggle Soviet secrets back to his home country. It’s compelling, if a tad repetitive, but director Dominic Cooke does a good job of getting suspense out of these scenes despite them having lower stakes than the typical spy action. However, when the stakes are raised, the movie loses its feeling of intrigue. There is also a subplot about the protagonist’s family life that is really interesting but entirely underdeveloped. In a few scenes, the characters skirt around the themes of loyalty and trust, as O’Connor tries to create a parallelism between patriotism and loyalty to one’s country and faithfulness in a marriage, but it sadly doesn’t amount to much.
This is very much a film driven by the talents of his lead actor. Although he doesn’t do a whole lot to differentiate it from some of his other biographical performances, Cumberbatch gives a strong turn here. He really sells the everyman element of the character, making the audience identify with him as a normal guy who is just extremely brave.
The rest of the cast is also solid, although the roles range from small to entirely insignificant. Rachel Brosnahan is one of the more notable supporting players, proving yet again that she has the chops to hold her own. Jessie Buckley feels a bit out-of-place as the protagonist’s wife, with a role that is too small for her talents. Everything about the movie looks good, with a good amount of detail put into the periodization, but it also isn’t anything particularly spectacular. Cooke has crafted a competent film with all of the visual and aural elements to allow it to function on a basic level, but it is missing that feeling of immersion that could have set this above and beyond. The Courier is a good enough spy thriller that is made into something of legitimate interest thanks to the presence of star Benedict Cumberbatch. Don’t come looking for anything especially high-caliber, and you will be satisfied. The Courier hits theaters on March 19. Rating: 3.5/5
Review by Sean Boelman
Guatemalan filmmaker Jayro Bustamante is on a roll right now, his last film La Llorona being in contention for the Academy Award for Best International Feature. The drama 1991, co-written by Bustamante and written and directed by Sergio Ramírez, is a short but searing social commentary offering a compelling look at Guatemalan society.
The movie follows a lower-class teenage boy who finds his way into a popular group at school thanks to his exceptional soccer skills, only to discover that these people are not as friendly as they seem. The film generally hits a lot of the usual coming-of-age beats, but the angle that Ramírez and co. take is shocking and unexpected. This is definitely a movie that has a lot to say. The script tackles a lot of difficult issues like racism in classism in a way that is consistently thought-provoking. Short bursts of brutality in the film are also effective in showing and exploring the unignorable role that violence plays in Latin American history. That said, the movie does leave some things to be desired. At a mere seventy minutes, it often feels like the film is rushing through a lot of its conflict, especially in the third act. It definitely would have been nice to see the movie go into more depth regarding the class warfare that makes for some of the most horrifying scenes.
The character development in the film also could have used some additional work. The protagonist is a very straightforward conflicted teen character. His inner arc is deciding between the life of crime and his conscience, and this is something we have probably seen hundreds of times before.
There is a really strong cast in the movie that does a good job of bringing this group of boys to life. It’s a shame that the film didn’t put more into developing the dynamic that builds between the four of them, because they work better as a unit at odds with each other than they do on an individual level. Ramírez is also clearly a very strong director despite this only being his second feature. Although the movie is set in 1991, Ramírez gives it a somewhat modern style, emphasizing how these themes are still relevant despite dealing with history. And the more extreme moments in the film are shot in a way that expertly builds tension. 1991 isn’t going to be as high-profile as the other Guatemalan movies that have broken out in recent years, but it’s just as deserving. It’s an effective coming-of-age story with familiar beats but unique ideas. 1991 is screening as a part of the 2021 Miami Film Festival, which runs in person and online from March 5-14, 2021. Rating: 4/5
Review by Sean Boelman
The Colombian drama The City of Wild Beasts proves that a familiar story can be effective as long as the storytelling is strong enough to work. Even though it doesn’t quite take full advantage of its potential, Henry Rincón’s film is a moving watch that comes from a place of genuine emotion.
The movie tells the story of a recently orphaned teenager who is torn between continuing down a dark path towards a life of crime or leaving the city to live with his grandfather whom he doesn’t know. It’s not the most original storyline — in fact, it’s actually quite predictable — but there’s some good stuff going on here. Perhaps the film’s biggest issue is its inconsistent pacing. The first thirty minutes are surprisingly compelling, setting up the world in which we think the movie is going to take place, only for the film to take a drastic turn and become something much more contemplative and melancholy. It would have been nice to see a more concise direction. Additionally, the film is relatively didactic with its messages. There are entire portions of the movie that play heavily like a cautionary tale as opposed to a character study. The indoctrination of youth into the world of crime is undeniably tragic, but at multiple points, it feels like the story is milking it to be heartbreaking.
That said, the film does a good job of making us sympathize with the protagonist, predominantly through his relationship with his friends. There was definitely more room to explore his relationship with his grandfather, although this is definitely the more standard element of the story.
The protagonist’s inner arc is also involving, even if it is mostly safe. The audience will immediately side with the character despite his bad decisions because of the situation that put him there in the first place. And the growth that he experiences over the course of the movie is one with which many people will be able to identify. Rincón shows the most potential in this film as a director. He does some really interesting things with the camera throughout, contrasting beauty and harshness or light and dark. The rap sequences are also excellent, but it would have been nice to see them incorporated a bit more prominently. The City of Wild Beasts isn’t a groundbreaking movie, but compelling character development allows it to be an involving watch. A bit of streamlining could have done the film some good, but there’s more than enough here to make this a necessary watch. The City of Wild Beasts screened as a part of the 2021 Miami Film Festival, which runs in person and online from March 5-14, 2021. Rating: 3.5/5
Review by Camden Ferrell
Cinema has always been fascinated with relationships and the cheaters and plotters who are often in them. The newest film from writer/director Brian DeCubellis is such a film. In his second feature, he is able to get some decent performances from his actors, but the film is ultimately contrived and repetitive.
Brooke is an art gallery owner, and her husband Owen is a news reporter. Their marriage starts to slowly fall apart when Brooke goes to Paris with a promiscuous new artist and Owen meets a seductive woman at a local bar. They both must navigate these situations and see if their marriage can withstand their temptations. This is a decent premise even if it isn’t entirely original. The script by DeCubellis, Kristen Lazarian, and K.S. Bruce isn’t as developed as it could have been. In an effort to be subversive, it’s ultimately messy and convoluted. The dialogue is bland and doesn’t do much to develop its characters or explore its themes. There are a handful of good exchanges, but as a whole it doesn’t do much to elevate the film. The acting is the best part of the movie, but it still finds itself becoming somewhat forgettable. Victoria Justice leads the film as Brooke, and she delivers the best performance in the film. It’s not perfect, but she does handle the dramatic scenes well. She co-leads the film with Matthew Daddario who plays Owen. He is also pretty decent in the dramatic scenes alongside Justice even if as a whole, it’s not a particularly memorable performance.
The film’s execution also doesn’t do it justice. It’s a film that relies entirely on its narrative twists and subversions, but it’s not executed in a manner that makes it most effective. It’s messy, and it can be quite predictable at times. Certain surprises lack the shock and tension that it could have had, and it doesn’t fully lean into the constant twists and turns, and it isn’t very compelling.
For a movie that has tried to come off as a sexy and unpredictable ride, it doesn’t fully work on either of those fronts. The film isn’t as steamy or as erotic in the scenes that were supposed to be, and as a whole, the film is tepid at best. Aside from Justice and Daddario, the cast doesn’t have too much chemistry, and that makes for scenes of intimacy that lack passion. Unfortunately, this movie doesn’t have too many redeeming qualities. Its editing is inconsistent, and its production has superficial flaws that make the film feel somewhat cheap. While it may appeal to certain viewers, most people will find themselves uninvested in the journeys of the protagonists. On top of that, the senseless final moments will most likely frustrate the viewers who were invested in the story. Trust sets out to be a twisty and steamy romance movie, but it fails to succeed despite a fairly decent performance from Victoria Justice. Decubellis’ second feature film isn’t very accomplished, and it lacks the passion and energy that the movie desperately needed. Trust is in select theaters and on VOD March 12. Rating: 2/5
Review by Sean Boelman
Joining the ranks of Serenity and Wild Mountain Thyme in terms of films that are unfathomably bad and ludicrous despite the talent they involve, the rom-com Long Weekend is the type of movie you have to see to believe. With a twist so stupid you can hardly believe it, the movie is at least entertaining in its full-fledged madness.
The film follows a depressed writer struggling to stay afloat in the world as he meets a mysterious woman with whom he forms an unexpected connection. For the first thirty minutes, this is a pretty standard romance, but around the thirty minute drop, a bombshell so big is dropped that the movie is immediately pushed into so-bad-it’s-good territory. It would be unfair to say that the film doesn’t swing for the fences, but its ambition is much less impressive than the astounding level to which the movie flounders in its final two acts. There are some truly insane plot points that simply do not blend together well at all. And as a result of the frequently changing direction, the film frequently struggles to find a consistent tone. The introduction of the movie poses some interesting questions about mental health, but these ideas are largely left unexplored heading into the rest of the film. Instead, the movie seems to suggest that love is the answer to all of the characters’ problems. And while that is a common trope in the romance genre, it feels particularly reductive here.
Part of the film’s issue is that the characters aren’t super likable. While they aren’t characters that one would hate either, their personalities are at least off-putting. The male lead is meant to be very cheeky but instead comes off as somewhat snide. And the ditzy personality of his love interest is such a trope (that even the movie pokes fun at).
It really is a shame that the characters aren’t written better, because there is a talented cast at the center of this film. Finn Wittrock is insanely charming, but the role he has gotten feels too much like a loser for even him to save it. Zoe Chao shows a lot of potential to carry a movie, but the character is too weird to have much of a positive impact. On a technical level, the movie isn’t bad, even if it is mostly conventional. There are a few nice shots, mostly in montages of the couple bonding, that serve as nice romantic imagery. However, it is very disappointing that the film seemingly introduces an element of music at the end of the first act, only to entirely abandon it for the remainder. Long Weekend is an abysmal movie, but it is at least entertaining to watch in its nonsensical glory. The core teenage audience probably won’t care enough to read into its stupidity, and those that do will get a kick out of how bonkers it actually is. Long Weekend opens in theaters on March 12. Rating: 1.5/5
Review by Sean Boelman
Netflix has created for themselves a brand of true crime documentaries that is flashy but entertaining, taking stranger-than-fiction stories and turning them into nail-biting entertainment. Operation Varsity Blues: The College Admissions Scandal is the latest in that tradition, offering a not-too-nuanced look at these events but a great opportunity to revel in the occasional misfortune of the rich.
The film tells the story of the mastermind behind a scam designed to help get rich and famous kids into top universities even though they haven’t earned their way. It’s a story that got lots of headlines a few years ago because of some of the high-profile people it involved (such as Felicity Huffman and Lori Loughlin), but Chris Smith’s documentary does a good job of showing how much more complex this web is than was initially thought. Choosing to tell the story from the perspective of the mastermind was an interesting decision on the part of the filmmakers. Its basis in wire-tapped phone calls creates an intriguing unbelievable but true situation, but this comes at the expense of a genuine emotional connection to any of the victims of this scheme. Occasionally, the movie utilizes footage of enthusiastic students being disappointed when they aren’t accepted into their university of choice, but other than that, the film hardly addresses the perspective of these events’ true victims. And while there is an interesting interview with a rowing coach who was an unwitting pawn in the ordeal, this whole thing leans heavily towards the side of the perpetrator.
Reenactments in documentaries are often used as a crutch, but here, Smith uses them as the bulk of his storytelling. After a certain point, it becomes easier to think of this merely as a work of nonfiction rather than a traditional interview-based documentary. These sequences are quite well-done, driven by a strong performance by Matthew Modine.
Smith’s movie has a very high level of production value to it, with great cinematography, fast editing, and pretty much any gimmick one could dream of at his disposal. It’s easy to see past all of this garishness to find the flaws and leanings in its argumentation, but it is even easier to get wrapped up in its cinematic ways. At an hour and forty minutes, the film manages to cover the scandal in a way that feels mostly comprehensive. Of course, the movie does pull some punches when it comes to some of the more famous perpetrators of these crimes, but viewers will finish the film feeling like they know more about this situation than they did before. Operation Varsity Blues: The College Admissions Scandal is exactly what one expects from the new Netflix true crime doc, but it satisfies that specific itch. This will definitely be the next big thing to light the internet abuzz. Operation Varsity Blues: The College Admissions Scandal hits Netflix on March 17. Rating: 3.5/5 Review by Adam Donato Edward Drake writes and directs Cosmic Sin, a film starring some pretty notable names in the form of Frank Grillo and Bruce Willis. In the far distant future, humans have the first contact with an alien life form and things get hostile. The government known as The Alliance brings in former war hero, James Ford (played by Bruce Willis), to lead a team to commit genocide upon the alien species before they have the chance to do it to mankind. Just look at the poster and see the straight-to-DVD quality movie that this is. One of the best parts of science fiction is being able to tackle heady themes and high concepts in a way that is relatable to the viewer. Cosmic Sin presents the main crew with the philosophical debate of whether they should commit genocide with a world-ending bomb called a Q bomb or do nothing. The latter option is so understated because it really isn’t a debate in the film. Ford had previously used the Q bomb to destroy 17 million people, so obviously that is his first option when faced with the threat of a hostile alien species. The rest of the group consists of non-military members such as engineers and government officials, but that doesn’t stop them from giving much of any resistance to the concept. The aliens don’t do anything to make this conflict more interesting as the one time they choose to have a conversation, they outright say that there is no coexistence possible. Maybe if there was some kind of doubt whether this was a kill or be killed situation, then the plot might be somewhat interesting, but it’s clearly a human good and alien bad kind of movie. When athletes get older, analysts suggest they retire. Now acting isn't always as physically demanding like sports are, but there’s still a point when the professional is clearly showing signs of deteriorating in effectiveness. That being said, Bruce Willis should retire. Of course, he can do whatever he wants and if there’s money to be made, then by all means go secure that bag. If looking like an actor cares about the role in a movie is like getting a hit in baseball, then Willis would be hitting below .100 with many errors in the field. Even in great movies like 2012’s Looper, there are only brief moments when he shows an emotion other than indifference. Watching him in an action scene is just depressing at this point. Everyone remembers how great Die Hard is, and years down the road when his career is all said and done, audiences will remember that and not Cosmic Sin. Surely, the producers needed a name like Willis’s to bring some legitimacy to this sci-fi snoozefest, but he’s absolutely the worst part. As for the rest of the cast, Grillo is barely in the movie so why is he even on the poster? Honestly, the best character with the most personality in the movie was Costas Mandylor, most famous for his role in the bad Saw sequels. Does it go without saying that the special effects are atrocious? As previously stated, look at the poster. The green screen is definitely a green screen. The filmmakers get away with creature design by having the aliens take over the bodies. Oh, how cringey it is hearing the voices of the aliens through the humans. Just drop the bass and make it sound electronic. When the aliens are just aliens on screen, they are hooded figures with giant claws. Nothing can be directly seen and watching them in combat is laughable. The human squad wears armor on their mission and it looks kind of cool. Just trying to find something redeemable.
It goes without saying this movie does not deserve to be seen in a theater. Renting it at home would be almost worse because home popcorn doesn’t compare to movie theater popcorn. Even streaming service movies are usually higher quality than this. Expect to find this movie in the free section of Vudu. It wouldn’t even be right to recommend this to fans of Bruce Willis as this is yet another stain on what was once a great career. There is nothing of value here except for the fact that the sci-fi channel needs movies like this to play at three in the morning. Cosmic Sin hits theaters and VOD on March 12. Rating: 0.5/5
Review by Camden Ferrell
Jonathan McHugh is a seasoned music supervisor who has worked on many big films in his career. In his second directorial endeavor, Long Live Rock: Celebrate the Chaos, McHugh was able to explore hard rock music and its community. This documentary might be a little messy at times, but it’s a relatable tribute to a genre that will speak to and resonate with fans.
This documentary uses footage from concerts and festivals as well as interviews with fans and famous rockers in order to explore the community that is created through hard rock. The film explains the origins and significance of the genre and the many ways in which it brings together unlikely friends. It’s a really great premise especially for those who have been a part of this community at some point. Even though this is a film that is mostly aimed at fans of hard rock, it does a fairly decent job of trying to explain its importance to an audience that may not be familiar with the music. They address the stigma around the genre, and they subsequently refute any misconceptions about the fan base that has been portrayed in the media. More than anything, the film acts as a bridge between this community and those with minimal exposure to it. The interviews are mostly engaging. Some people have more charisma than others, and there are some occasional moments that feel out of place. There are interviews with fans as well as with members of bands like Metallica, The Offspring, Slipknot, Halestorm, and many others. They all provide their own unique perspectives and opinions about hard rock and what it means to them, and their testimonies are all interesting and personal, and it gives the film its emotional core.
While there’s a lot working in the film’s favor, there are some fairly noticeable flaws. The first half of the film is really solid, but there’s a certain turning point in the film’s narrative that doesn’t work out well. It diverts away from talking about the power of music and instead chooses to spend a fair amount of time focusing on the effects of drugs and substance abuse on musicians. Even though this is an important aspect to explore, it seems like it could have been integrated in a more effective manner.
Luckily, the film does maintain a fairly steady pace throughout its brief runtime. It doesn’t feature as much music as one would hope, but it does feature a wide variety of artists throughout. While it does try and educate everyone about the genre, it’s clear that this is a movie that will appeal significantly to those already accustomed to the music. There’s a lot of universal themes that are explored such as how music unites and serves as an outlet for life’s frustrations. Nothing that is being said in this film is groundbreaking, but it is still resonant and relatable for many people. It’s an enjoyable film that serves as a reminder that rock will truly never die. Long Live Rock: Celebrate the Chaos may not be perfect, but it is a fun exploration of a genre that has spanned generations. There are great interviews and some decent footage from various festivals, and it will greatly appeal to fans of these bands. Long Live Rock: Celebrate the Chaos will have its world premiere live screening on March 11 and will be available through virtual cinemas March 12 (Screenings and times can be found here). Rating: 3.5/5 |
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