Review by Sean Boelman
Ephraim Asili’s The Inheritance is the type of film that seems to have been made more as a work of art than anything else. And while Asili’s self-expression is certainly intriguing, the movie eventually falls apart into a series of political and artistic vignettes that don’t make for much of a cohesive experience.
The film follows a group of young Black people who form a collective when one of them inherits a house from their grandmother. It’s an interesting concept that offers the potential for a great exploration of Black art and identity, but Aisili’s mistake is in not crafting a compelling enough narrative around these fascinating ideas. For the first thirty minutes or so, the movie will hook the audience's attention with a somewhat abstract presentation of these Black artists presenting things they have created or learned based on their reflection on themselves and the society in which they live. However, it doesn’t keep up this momentum for the entirety of the runtime. The middle section of the film takes a significant detour and begins to explore some of the history of the Philadelphia-based group MOVE. And while the point of including this in the story is obvious, it is clumsily done in a way that makes that portion of the movie feel like a pamphlet for the organization being read out loud.
It is only in the final third that conflict really comes into play, but by that point, the film will have already lost a majority of viewers’ attention. It feels like much of the movie simply exists as a frame to showcase the many ideas floating around Asili’s head, and while some of them are thought-provoking, others are dead ends.
Thankfully, all of the actors in the film are very good and they manage to keep the movie afloat even when the dialogue is a little too artificial. Like a real-life collective, this cast would only be as strong as its weakest link, and there isn’t one here, as everyone feels like they are contributing to the whole quite well. It is on a technical level that the film is most successful. Its visual style is just as raw and packed with emotion as the art being created by the characters. Asili puts an intense level of detail into his movie, planting homages and references throughout, showing that there are layers upon layers to dissect in his work. The Inheritance is an impressive experiment, but not always the most compelling in terms of filmmaking. Still, there are so many amazing ideas happening here to make it worth a watch, even if it doesn’t ever come together. The Inheritance opens in virtual cinemas on March 12. A list of participating locations can be found here. Rating: 3/5
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Review by Sarah Williams
In The Affair, originally titled "The Glass Room" (a title change that's truly baffling given how much less unique the former sounds), Carice Van Houten is a gem in what is an otherwise messy and distant lesbian love story. Liesel (Hanna Alström) is content in her marriage to Viktor (Claes Bang), when her dynamic with close, free-spirited friend Hana (Van Houten) shifts. Liesel turns away as Hana confesses her love, turning away while things are still easy. Over the years, Hana tries her best to push away male interest as she waits for Liesel to be ready to love her back. What follows is a lengthy saga across Europe, of two women who may be the right person for each other, but don’t meet at the right time, and an eclectic combination of talented actors, some working on autopilot here, it’s surprising all speak the same language.
The architectural setting at the root of the story most easily draws comparisons to Reaching for the Moon, a Brazilian adaptation of poet Elizabeth Bishop's relationship with architect Lota de Macedo Soares, which painted a passionate, conflicted romance and utilized the house alongside their relationship. Though the modernist house in The Affair, by architect Ludwig Mies van der Rohe, may be better known, the structure feels like merely a setting even though it's so tied to Liesel's past. They anticipate the significance, but the many, many scenes shot within never quite let the room breathe as the character it's supposed to be. The film has got an odd bend to how it pursues its leads' everlasting desire to be together no matter what, as it's incredibly pushy even when the chemistry dries. Instead of making the love between Liesel and Hana more present, there's an emphasis on leaving, and specifically a focus on their husbands in that regard. We see Czechoslovakia fall to the Nazis, and we see a push to leave behind this glass room, and the past significance it has to their families. The very Aryan Liesel pushes to leave firmly, and it's so in contest with her husband it makes an awkward message considering his firmly noted Judaism in an era of violent antisemitism.
Even though the chemistry lacks at times, the end result of their relationship is sweet, and feels like a worthy payoff to the very slow road there. Claes Bang is surprisingly the highlight out of the actors, charismatic enough that Viktor is more than just the omnipresent, foreboding husband character that is usually present. Visually, the whole deal is a lovely pastel watercolor, with soft lighting and colorful costuming in contest with some of the darker settings.
It's quite clear that this was a novel before it was a film, and perhaps a lot of these weaknesses lie in being an adaptation. Of course, there's not all faults, as it's got a genuine, happy ending that's more than deserved, which breaks a lot of tragedy porn trends within lesbian film. However, some of the flaws don't lie in the source material, with uneven pacing that drags heavily for two acts, and some choppy and distracting editing that takes away a more lucid flow detracting from the romance. It's a solidly middle lane romance, one with a happy ending and talented actresses working on autopilot, that will have a few cult followers, but mostly viewers giving it a decent shrug and moving on. The Affair is now available on VOD. Rating: 3/5
Review by Sean Boelman
Edson Jean’s feature debut Ludi has the best of intentions, hoping to be a compassionate portrait of multiculturalism in America. Yet despite getting off to an enormously strong start, the film loses much of its steam as it falls back on white apologist tropes that keep it from being as hard-hitting as it could be.
The movie follows a hardworking nurse who takes an unsanctioned side job in private care in an attempt to make ends meet and fulfill her idea of the American Dream. Particularly in this time in which healthcare workers are especially in the spotlight, this story has the potential to resonate with audiences in a unique way. Unfortunately, there is a tonal shift heading into the second half that is extremely jarring. The first half sets up this compelling psychodrama about a woman coming to her breaking point, but then it turns into a sentimental crowd-pleaser. It goes from one extreme to another of feeling entirely authentic to being really melodramatic. It is very frustrating when the film introduces the grumpy old white man character whose arc is to learn to be more open-minded thanks to the assistance of the Black protagonist. And once this becomes the central force in the story, the protagonist’s arc goes out the window, especially since there is a painfully obvious twist that undermines her growth in the movie.
Even though the film is far from bad, it ends up being a bit of a letdown because it seems afraid of taking any risks. There needs to be more stories about women of color, particularly about immigrant women of color, as their voice is one that is not often represented in the media, but to write the character in service of a white man is simply embarrassing.
The movie is largely saved by the efforts of lead actress Shein Mompremier, who gives an extremely nuanced performance. She is the only thing that keeps the film grounded when it threatens to become maudlin in the second half. Alan Myles Heyman’s performance is fine for what it is, but it’s a very one-note and exaggerated turn. It is in a stylistic sense that Jean’s movie shows the most potential. He is clearly a very talented filmmaker with an energetic style, and it will make for a great voice if only he applies it to a script that is less disingenuous. Especially in the first half, the cinematography and soundtrack give the movie a sense of momentum that is infectious. Ludi features a very compelling lead character within a story that drags the film’s potential impact down. There are enough moments of ambition to make it worthwhile, but it’s sad to see another opportunity at great representation be wasted. Ludi is screening as a part of the 2021 Miami Film Festival, which runs in person and online from March 5-14, 2021. Rating: 3/5
Review by Sean Boelman
With his self-referential comedic thriller Next Door, actor Daniel Brühl has made an intriguing directorial debut that earns him the title of multi-talented. And although the film peaks relatively early, strong performances and a mostly sharp script make this an involving and unexpectedly funny watch.
The movie follows an actor who is preparing for the audition of a lifetime when he encounters a man in a pub who has different intentions for how his day will go down. It’s a battle of wits, and Daniel Kehlmann’s script keeps the audience guessing in a way that will keep them hooked on the story as it unfolds. Ultimately, the biggest issue with the film is that Kehlmann reveals his hand too soon. For much of the first hour, things slowly fall into place before they finally click heading into the third act. And while Kehlmann should be applauded for not wrapping everything up overly nicely, the resolution still feels a bit prolonged. On its surface, the movie explores ideas of selling out and maintaining a family life while existing in the spotlight, but there is also something going on that is deeper and much more interesting. These political themes like the division between East and West Berliners might be a bit too culturally-specific to be widely understood, but will have a thought-provoking effect at the least.
Kehlmann also does some very interesting character work here. The film blurs the lines between right and wrong. At first, it seems like this is going to be a celebrity versus stalker situation, but it soon becomes clear that there is more to the situation than that. By playing with our perceptions of fame and fandom, Kehlmann creates a fascinating scenario.
Brühl does double duty in the movie, playing the lead role in addition to his responsibilities behind the camera. His performance is great, although it likely helps that he is playing a seemingly exaggerated version of himself (a respected character actor preparing to play the villain in a superhero movie). Peter Kurth’s turn is also strong as Brühl’s foil. For the most part, the film is set in and around the bar, but there are still some interesting things done in the execution. Brühl seems to have approached this first with an eye for the performances, and then for the tension, with close camerawork and detailed blocking going a long way in keeping the viewer in suspense. Next Door is a strong debut from Daniel Brühl, although the cultural specificity of the script may hold it back from widespread adoration. Still, it’s an entertaining and thought-provoking movie that signals the arrival of a developing talent on the scene. Next Door is now screening as a part of the Berlinale Industry Event, running virtually from March 1-5, 2021. Rating: 4/5
Review by Sean Boelman
Maria Schrader’s romantic comedy I’m Your Man is hardly the first film to explore the idea of falling in love with an artificial intelligence, but its very modern approach to the concept is very refreshing. Offering brilliant world-building and some surprisingly excellent commentary but grounded by two great performances,
Based on a short story by Emma Braslavsky, the film follows a woman who agrees to participate in an experiment testing a robot designed to adapt to her desires and become the perfect partner. It’s a simple rom-com set-up with a sci-fi twist, but what makes the script by Schrader and Jan Schomburg stand out is how insightful it is. There are discussions of the obvious themes, like our flaws making us who we are and how love isn’t finding the perfect partner, but the parts of the film that really resonate are those that discuss the idea of loneliness. Whereas a lot of romantic comedies dismiss loneliness as the female character not being with a man, Schrader’s film explores it for the more complicated situation it is. Schrader and Schomburg should be applauded for deconstructing a lot of romantic comedy archetypes. The protagonist starts out a bit conventionally — a career-focused woman who opens her heart to love — but becomes much more complex over the course of the film. And the love interest isn’t your typical Mr. Perfect eye candy.
As is the case with a lot of films adapted from short stories, the first act or so is setting up the world, filled with a lot of exposition, and the final two-thirds are where the filmmaker is really able to go free. Schrader and Schomburg take this intriguing concept and manage to make something genuinely funny and romantic out of it that will easily keep the viewer’s attention.
Maren Eggert and Dan Stevens have phenomenal chemistry together, and they make for two great leads. Stevens impresses in a German-language role, bringing his typical charm and comedic timing to the character. Eggert’s performance is nuanced and adds a further layer of emotion to the story. There are also some really interesting things going on in the film visually. Although this isn’t in some heavily futuristic utopia, there are enough details in the production design and cinematography to give it a slightly futuristic feel. And the color scheme of the film gives it a lovely quirky tone. I’m Your Man is a great romantic comedy, and even though it may not have been the first out of the gate, it’s authentic perspective is enjoyable. This is the type of intelligent but entertaining foreign film that has the potential to break out on a global scale. I’m Your Man is now screening as a part of the Berlinale Industry Event, running virtually from March 1-5, 2021. Rating: 4/5
Review by Sean Boelman
Shengze Zhu’s A River Runs, Turns, Replaces, Erases is the most experimental of the documentaries that have come out about Wuhan in the face of the coronavirus pandemic. Abstract yet undeniably powerful, Zhu’s film may test the patience of some but is a rewarding experience for those who are able to see the beauty in its images.
The movie is composed mostly of footage taken around a river that flows through Wuhan, China, which is now known for being the initial epicenter of COVID-19. Zhu’s intention with depicting this community prior to the pandemic does not matter anymore, though, as it has changed into an arresting exploration of how our perception of society changes over time. This is a very avant-garde film in that it presents the footage in long takes with no audio narration. It’s runtime is brief, under ninety minutes long, but those who aren’t accustomed to seeing static documentaries like this may struggle to find the meaning to which Zhu is softly guiding them. The footage that is used in the movie is absolutely marvelous. Although some moments are more aesthetic than others — a few sections involving construction vehicles stick out as particularly harsh — there is a clear purpose to everything that Zhu is depicting. And this sense of visual poetry that Zhu creates is impressive.
However, the thing that makes Zhu’s film so beautiful is that it shows optimism for society, both in Wuhan and in the world. The world is constantly moving, even when things slow down as they did in 2020. And like the river, life takes a winding path and it will only be a short time before things are back on track.
Zhu makes the interesting choice of starting the movie with security camera footage on a street in Wuhan as Chinese citizens begin to make their way back out into the world. It places the idea of rebirth in the mind of the viewer, challenging them to approach the situation from a more hopeful angle. That said, the part that is likely to stick with viewers most are the letters which are presented through text superimposed over the footage. These letters from people to their loved ones that were lost to COVID present a moving bookend to the message of the film, a reminder of our ability to continue forward despite the unexpected progression of life. A River Runs, Turns, Erases, Replaces is not going to be everyone’s cup of tea, but there will likely not be another COVID-19 documentary that matches this level of poeticism. It is not only the most nuanced portrait of this shared experience, yet also the most hopeful one. A River Runs, Turns, Erases, Replaces is now screening as a part of the Berlinale Industry Event, running virtually from March 1-5, 2021. Rating: 4.5/5
Review by Sean Boelman
Recent years have seen a lot of nostalgia-based sequels to beloved older films, and for every one that is genuinely funny (Bill and Ted Face the Music), there is one that feels like a cash grab (Zoolander 2). Thankfully, the Eddie Murphy starring vehicle Coming 2 America is more of the former, offering plenty of great moments even if it doesn’t quite capture the magic of the original.
The movie follows Prince Akeem as he discovers that he has an illegitimate son in America who he must train to be the heir to his throne. Although the film largely keeps the same fish-out-of-water comedy format, it doesn’t fall into the trap of re-hashing the first movie, instead flipping the situation by having the street-smart New Yorker learn the (exaggerated) traditions of the African culture. For better or worse, the decision seems to have been to make Akeem a supporting character for this sequel. On one hand, it is nice to see new comedic blood in the form of Jermaine Fowler get the chance to shine, but it also feels like the film isn’t taking full advantage of the talents of Murphy, who seems poised to make a massive comeback. Like the first movie, a lot of the funnier moments come from the extra parts that Murphy and Arsenio Hall play under heavy prosthetics. However, given this film’s greater emotional focus, there aren’t as many of these as one would like. The other supporting players, like Leslie Jones, Tracy Morgan, and especially Wesley Snipes end up being more memorable in this sequel.
Although the central arc about realizing that one must follow their own path is mostly the same, there is an additional subplot about deconstructing the patriarchy that is quite the welcome addition. Unfortunately, this feels like an afterthought and is frequently a slave to the comedy, which includes some disappointingly misogynistic and transphobic moments.
Apart from these few duds that feel like they should have stayed in the ‘80s, the movie is pretty consistently funny. None of it matches the gut-busting heights of the original, but the film manages to take advantage of the comedic talents of its massive cast despite being limited by the tamer PG-13 rating. Other elements of the movie that stand out are its soundtrack, makeup, and costumes. The first film received Academy Award nominations for makeup and costume design, and this one lives up to that legacy, updating a lot of what we have already seen. And the movie features a lot of great music, including one riotous, cameo-filled performance. Coming 2 America proves that Eddie Murphy has held onto his comedic chops despite his soft retirement for much of the last decade, allowing him the opportunity to revisit one of his most famous characters. It’s a funny and crowd-pleasing film that serves as a welcome dose of escapism. Coming 2 America streams on Amazon Prime beginning March 5. Rating: 3.5/5
Review by Dan Skip Allen
A good sports film has to have a hook to get the viewer invested in the characters, story, and concept of the film. Boogie does two of the three. The main character is interesting and his backstory is fascinating. The problem is the film doesn't have a hook that brings it all together in the end.
The title character of "Boogie", Alfred (Taylor Takahashi), is a Chinese-born American citizen. His parents were Chinese nationals who immigrated to America. Young Boogie is a teenager now and he's a basketball player in Queens with dreams of getting a scholarship at a top ten school to play basketball, then go to the NBA, which is easier said than done, of course. Boogie's parents are not hard on him in different ways. When it comes to sports, parents can give their kids tough love because they want them to be the best they can be. As far as his parents go, they have their lineage to throw in his face. The Chinese heritage he is from means a lot to his parents. Quite a few scenes are set at the dinner table where their customs are on display. The food also looks amazing in the film. Along with his parents, Boogie has his teammates, opposing players, and burgeoning love interest, Eleanor (Taylour Paige). Even though she has a bad history with ballplayers, she is still wooed by Boogie. He takes her out to experience his culture via restaurants. Their relationship is a genuine one. The opposition of the rival school has a player named Monk (Pop Smoke) who has a reputation of being the best in the five boroughs. This is just a challenge for Boogie to prove he's better. The drama in the film unfolds in a very familiar way. The main character has his ups and downs. The plot does have some twists and turns, though. Mike Moe (Once Upon a Time in Hollywood) plays a character named Melvin who interjects himself into the family dynamic. Sports films frequently have these types of characters.
Director Eddie Huang, who also has a small role in the film, is obviously versed in this culture, especially the food aspect of the film. He is a writer, restaurateur, and television personality. His restaurant is in the East Village of New York. This culture clearly means a lot to him. He uses a framing sequence to get some of the subtexts of the film across. It just didn't work for me. It just came across as contrived and unnecessary.
Having been involved in high school basketball for many many years, I can say teenagers like the newest most cutting-edge music that represents them and their feelings and their way of thinking. That being said, the overlaying soundtrack in Boogie represents an inner-city lifestyle. This is put in to make the film seem tougher. These characters live a tough life in the inner city and they listen to tough music. This is a falsity. That music didn't have to be over the film to represent the neighborhood to show these characters have grown up tough. The basketball in movies can be a bit cartoonish at times. That said, Huang did his homework on the basketball scenes in the film. It was very authentic from the running of the plays to the ball screens and picking and rolling. This looked like actually basketball games were being played from my perspective. Boogie has a lot going for it: the actual basketball, the interpersonal relationships between the parents, his girlfriend, and the antagonist, and solid direction from a novice filmmaker. The biggest problem I had was the framing sequence didn't work for me. It was supposed to pull at the heartstrings and give credibility to the parents, Boogie, and the overall plight he is in. It just didn't work for me. This film had a lot of potential that was somewhat wasted. It's hard to get all the pieces right in a good sports film. Boogie hit theaters on March 5. Rating: 3/5
Review by Sean Boelman
Anthology films don’t always work — and rarely do outside of the horror genre — but Japanese filmmaker Ryûsuke Hamaguchi seems to have cracked the code with his newest movie Wheel of Fortune and Fantasy. Restrainedly funny and unexpectedly touching despite its distance, this is a lovely little film with plenty of layers to dissect.
The secret that really makes Hamaguchi’s movie tick is that there is a thematic consistency to the three stories. Although each one deals with separate characters, they feel connected in that they are all exploring this idea of the consequences of choices, made in the moment or made long ago, and how those affect our perception of the world. The first chapter is arguably the most conventional, exploring a love triangle that unexpectedly reveals itself. At this point, the film is still trying to find its thematic footing, but the character work in this portion is exceptional, presenting a surprisingly nuanced depiction of romance that works quite well. Perhaps the funniest portion of the movie is the middle one, following a student trying and failing to seduce her awkward but successful professor. This one doesn’t fully explore the implications that it discusses (and probably couldn’t in approximately forty minutes), but succeeds in creating an uncomfortably funny dynamic between the two characters.
It is the final third of the film that brings it all together, and while this may be the least interesting portion of the movie, it’s also the most genuine and nuanced. Built around a case of mistaken identity, this conversation between two women is packed with honest emotion and resonates in a way that one wouldn’t expect.
Each portion of the film only features two or three main actors, so it is the chemistry between the leads that really drives the movie. The pairings of Kotone Furukawa and Ayumu Nakajima, Kiyohiko Shibukawa and Katsuki Mori, and Fusako Urabe and Aoba Kawai are all great, with Shibukawa and Urabe being particular highlights in the cast. Hamaguchi also has a clear eye for harmony in his films. The compositions in his movie are truly exquisite, having an almost unsettling perfectness to them. And his use of orchestral arrangements in the soundtrack is wonderful, giving the film a very formal feel that complements the structured nature of the script quite well. Wheel of Fortune and Fantasy offers three stories that are shockingly consistent, avoiding the most common pratfalls of anthology movies. It’s a quietly reflective film that will surely find its fans in the art house crowd. Wheel of Fortune and Fantasy is now screening as a part of the Berlinale Industry Event, running virtually from March 1-5, 2021. Rating: 4/5
Review by Sean Boelman
If the idea of a “Marxist vampire comedy” does not appeal to you, there are two questions that need to be asked of you: what are you doing with your life, and why are you reading this site in the first place? And despite the fact that Julian Radlmaier’s satire Bloodsuckers may not be as wild as the pitch would imply, it’s still a thought-provoking and very entertaining watch.
The film follows a Soviet refugee who falls in love with a wealthy vampire who is spending the summer at a seaside getaway with her devoted but awkward servant. Radlmaier takes these common tropes and puts a tongue-in-cheek genre spin on them, creating a delightfully quirky movie in the process. There are some significant structural issues with the film’s script. Although splitting the story between the perspectives of the three central characters is an interesting idea at first, the way in which Radlmaier executes it ultimately feels a bit stilted. The movie definitely could have spared to be a bit more concise and to the point. That said, the point that the film makes is very strong. This is an unabashedly political movie, and it’s all the better for it. Although Radlmaier doesn’t leave a whole lot of room for discussion regarding these themes, his voice never fails to come through in his satire, utilizing the medium to its fullest extent to provide cultural criticism.
At times, the characters do feel a bit two-dimensional, but this seems to be by design. Radlmaier uses these exaggerated archetypes to poke fun at the institutions that have endured in society throughout the ages (the film is set in 1928, but was clearly written with modern society firmly in mind).
Aleksandre Koberidze turns in a solid performance as the approachable everyman who serves as the audience’s entry point into this world, as does Lilith Stangenberg as the charmingly parasitic member of the bourgeoisie. However, it is Alexander Herbst who is perhaps most memorable as the endearing servant. Radlmaier brings a very effective style to his movie. It’s a quirky period piece with some really great production design and excellent cinematography by Markus Koob. There are plenty of images in the film that are absolutely hilarious thanks to Radlmaier’s refreshing eye for visual comedy. Bloodsuckers is certainly one of the coolest movies in recent memory in that it is unapologetically itself. It’s a unique blend of art house cinema and cult-classic-to-be that fills a void that we didn’t know existed. Bloodsuckers is now screening as a part of the Berlinale Industry Event, running virtually from March 1-5, 2021. Rating: 4/5 |
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