Review by Sean Boelman

Tech culture has proven time and time again to be much more entertaining than one would expect (just look at The Social Network or Steve Jobs for examples). Thanks to phenomenal dialogue and some exceptional performances, Matt Johnson’s BlackBerry is one of the best biopics in recent memory — if for nothing else, because of how much fun it is to watch.

The film tells the story of the extraordinary rise and explosive fall of the BlackBerry, the device that introduced the world to the concept of a smartphone. It’s a biopic that’s equal parts funny and intense, but in all of the craziness, the craziest thing is that — even though it’s set in the 2000s — it feels like a period piece.

The cinematography, production design, costuming, and hair and make-up all do an exceptional job of transporting viewers back to the late ‘90s and early ‘00s during the earliest days of the smartphone wars. On top of that, the editing and soundtrack do an excellent job of keeping the viewer feeling engaged throughout the entire runtime.

The script by Johnson along with Matthew Miller is razor-sharp, balancing the tones of comedy and tension quite well. This story that’s so wild it had to have been true was previously turned into a book by Jacquie McNish and Sean Silcoff, and in the hands of Johsnon, the material becomes breeding ground for an often absurd, sometimes stressful race against the clock.

If the movie does have one weakness, it’s that it is somewhat shallow, failing to engage particularly deeply with the legacy of its subjects beyond the expected “don’t fly too close to the sun” message. It’s missing that deeper level of meaning to make it outstanding — but it’s still extraordinary in its ability to entertain as a biopic.

The film boasts an impressive ensemble, led by Jay Baruchel as the quiet brains behind the cell phone and Johnson as his more boisterous friend and engineer. The dynamic between the two of them is pretty fantastic, and a big part of what makes the movie work. There are also some great supporting turns from recognizable actors like Micahel Ironside, Saul Rubinek, and Cary Elwes.

That being said, the movie’s big standout is Glenn Howerton, whose performance as matter-of-fact businessman Jim Balsillie is so commanding that he constantly steals the show. Howerton disappears into the role, not only because of the excellent hair and make-up work, but because he is so intimidating and aggressive in the role that it’s virtually impossible to look away from his performance.

BlackBerry may not be a super insightful biopic, but it more than makes up for that by being one of the most entertaining films the genre has had to offer in quite a long time. It’s nice to finally see a movie in this genre that’s actually willing to be rough-around-the-edges and thrive in its spunky spirit.

BlackBerry screened at the 2023 Gasparilla International Film Festival, which ran March 23-26 in Tampa, FL.

​Rating: 4.5/5

Review by Jonathan Berk

Review by Sean Boelman

Onur Tukel’s slasher comedy Poundcake comes with so many trigger warnings that it’s hard to imagine anyone not being offended, upset, or put off in some way by it. And yet, unlike so many movies that exist to shock the viewer, Tukel has used his shocking premise to create something genuinely thoughtful and meaningful.

The film follows a serial killer who targets straight white men, killing them by raping them to death. It’s a premise that is meant to be provocative and mean-spirited, and it pulls no punches, going so far that it is likely to offend — or at least piss off — a majority of viewers. And yet, this type of rude awakening is exactly what we need to inspire real change and not just performative activism.

However, these horror aspects of the movie only take up a small portion of the runtime (maybe a total of 15 or so minutes). Instead, the film is largely a cringe comedy about the reaction that the community is having to these brutal killings. The more interesting thing about the movie is not that the killings are happening, but the hilariously uncomfortable discussions that people are having about their anxieties.

First and foremost, the film is a takedown of the idea of the “nice guy.” Tukel makes the argument that even the people who put up a nice façade and claim to be progressive have these internal biases. In other words, he’s calling everyone out on their bullshit — and he doesn’t leave himself innocent, poking fun at his own fragile masculinity throughout.

However, that isn’t the only theme that Tukel tackles here. Poundcake is essentially a 90-minute long rant about everything that is wrong with this generation, but it doesn’t feel off-putting. Tukel is legitimately insightful with what he has to say about the shallowness and insecurity of our society, and challenges us to think about how we can defeat our own biases.

Every character in the movie is an unlikable, pretentious asshole, but that’s exactly what it is meant to be. And yet, there is something undeniably entertaining about watching this ragtag bunch of insufferables. The best comparison in recent memory is Bodies Bodies Bodies — another film which brilliantly calls people out for their lack of authenticity.

In terms of execution, the movie clearly shows its low budget. The cinematography, production design, and effects aren’t particularly high-quality. The score also feels like stock music because it’s a bit generic in nature. However, when the script is as intelligent, funny, and engaging as this, the less-than-stellar production values can be forgiven.

Poundcake is one of two movies that have played the festival circuit in recent memory that are virtually unreleasable — and that’s a compliment. Onur Tukel has made a movie that is so incendiary, so disgusting, and (dare I say) so ingenious that the world is not ready to see it. And yet, I can’t wait until they do.

Poundcake screened at the 2023 Make Believe Film Festival, which runs March 23-26 in Seattle, WA.

​Rating: 4/5

Review by Adam Donato

Review by Sean Boelman

Gringa was the winner of the Audience Award at this year’s Gasparilla International Film Festival, and it’s totally understandable why: it’s a sometimes cheesy, always feel-good dramedy boasting a great performance by Steve Zahn. Although the movie doesn’t do much to stand out, it does what it sets out to do pretty well.

Gringa follows a teenager who, after the sudden and untimely death of her mother, runs away to Mexico in an attempt to reconnect with her father that she never knew. Although the film hardly reinvents the wheel, it’s wholesome and generally agreeable in a way that makes it a pretty sure bet to be a crowd-pleaser.

One of the biggest issues with the movie is that it can’t decide on its identity. It's a soccer movie, a fish-out-of-water comedy, a surfing movie, a grief drama, an alcoholic dad movie, and an eating disorder drama — all in one. It throws a bunch of things to the wall, and while many of them are effective, there are so many pivots that it becomes frustrating.

Still, the film manages to consistently find humor and charm in all of these varied situations. Even when the story is hitting the familiar beats — such as the obligatory romance with the suave local boy whose intentions might not be as pure as they seem — it’s hard to deny the movie’s cuteness factor.

Indeed, even though the characters’ arcs are all very conventional, audiences will certainly be rooting for them the entire way. The central relationship dynamic, between father and daughter, is really wonderful and very sweet. Some of the supporting characters, like the protagonist’s teammates, feel underdeveloped and much less authentic.

The best thing about the film is Steve Zahn’s performance. Zahn is one of the most underrated actors working today, and he is able to nail both the comedic and dramatic elements of the role. The rest of the cast struggles to find the right tone, doubling down on the sentimentality and cheesiness.

Visually, the movie makes the most of its Mexico shooting location to provide some absolutely gorgeous scenery for the film to be shot in. That being said, there are some missed opportunities in terms of the execution. For example, the soccer scenes are very plainly shot and could have been done in a more energetic, entertaining way.

Had Gringa been able to focus on one part of its story more specifically, it likely would have been a lot more effective. Still, thanks to a very strong performance by Steve Zahn and a charming aura, it’s the type of movie that is sure to be a crowd-pleaser.

Gringa screened at the 2023 Gasparilla International Film Festival, which runs March 23-26 in Tampa, FL.

Rating: 3/5

Review by Dan Skip Allen

Review by Dan Skip Allen

Review by Sean Boelman

Helen Believe has a higher profile than most independent documentaries thanks to the film receiving support from actor Chris Pratt (Guardians of the Galaxy) as a producer. Although the film is hardly revolutionary — and it does show its budget more than once — the story of Helen Maroulis is so extraordinary that it’s hard to deny the film’s resonance.

The film tells the story of Olympic champion Helen Maroulis, who made history as the first American woman to win a gold medal in Wrestling at the Olympics, as she sets out on a journey to compete in her second games. Maroulis’s story is a high-profile one that received lots of media attention as it happened, but Helen Believe promises to tell a deeper story beyond that.

For the most part, the film is a very conventional underdog story. The filmmakers follow Maroulis through the ups and downs of her career over a period of several years — through success and failure, injury and recovery, and more. If nothing else, the film succeeds at feeling uplifting and inspiring thanks to Maroulis’s unflinching commitment.

There is a second angle to the film involving Maroulis’s struggles with PTSD after injuring herself during competition. This portion of the story is much more unorthodox than her road to the Olympics, and yet it’s largely left underdeveloped. The result almost causes more harm than good because, by failing to adequately explain her struggle, the film almost comes across as insensitive to people with more severe forms of PTSD.

Nevertheless, Maroulis is such a compelling subject that audiences will have no issues connecting with her story. The film even makes some missteps that threaten to undermine the emotional resonance — including half-baked storylines about her reconnecting with her culture or her religion — but Mulick manages to keep his eye on the prize.

That being said, although the film is undeniably powerful in nature, it suffers from notable pacing issues. These become especially apparent in the final act of the film, when Maroulis is competing at the Tokyo Olympics — a portion which feels extraordinarily rushed. It’s as if they ran out of money or couldn’t afford to license more archive footage.

Other than the disappointingly sparse usage of actual footage from Maroulis’s competitions, the film is quite well-made. The cinematography, particularly during the training sequences, is dynamic and energetic, and the ending is slick and kinetic in a way that will keep audiences invested and entertained in the story.

Helen Believe is about as inspiring and charming as one would expect from a sports documentary, but it never manages to ascend beyond the formula. Still, it’s clear that the primary purpose of the film is to lift up the audience, and there’s no denying its success in that regard.

Helen Believe screened at the 2023 Gasparilla International Film Festival, which runs March 23-26 in Tampa, FL.

Rating: 3/5

Review by Sean Boelman

The courtroom drama is a tried-and-true genre, and very few films attempt to reinvent the wheel. Miranda’s Victim is the type of movie where you can tell that it was would-be Oscar bait, its A-list cast and solid production values held back by occasionally Lifetime-quality writing and inconsistent themes.

The film tells the story of teenager Trish Weir, who is brutally kidnapped and assaulted, only to face legal challenges due to a legal loophole that threatens to allow her assailant to go free. The movie’s intentions are noble — bringing attention to the side of this true story that people don’t know — but it isn’t always able to succeed in its lofty goals.

One of the more concerning things that the film fumbles is that its messaging is frustratingly mixed. Although the movie’s heart is in the right place, the execution is uneven, causing the film to occasionally come off as insensitive. It’s obvious that the intention was for the movie to say “although suspects’ rights are important, remember the victims too,” it can sometimes come across as, “although what happened to her is a tragedy, so too is what happened to him.” And that logic seems counterintuitive to what the film is hoping to accomplish.

There are also some moments that feel somewhat excessive. For example, there is a scene in which the protagonist is brutally subjected to a post-assault evaluation. Although the lack of a male gaze is welcome, preventing the scene from ever feeling fully exploitative, it also feels as if there was no real reason to include this scene other than to shock and discuss the audience. Sure, it succeeds in doing so, but at the expense of coming across as cheaply cloying.

Part of the reason why the messaging is ultimately ineffective is that it can’t seem to decide whose story this is to tell. The title — Miranda’s Victim — refers to the protagonist, Trish Weir, who only recently came forward to allow her story to be told. However, so much of the movie is framed through the eyes of Miranda, reducing her to be little more than a victim.

Still, the film is bolstered by strong performances by a mostly A-list cast. Abigail Breslin is quite good in her leading role, with the exception of a few scenes in which she plays it far too big. And the supporting cast includes some small but effective performances from recognizable faces, including Luke Wilson, Andy Garcia, Taryn Manning, Donald Sutherland, and Emily Van Camp.

The movie also boasts above-average production values. Although they are nothing to call home about, the film has decent cinematography, production design, and costume design that do a good job of periodizing the movie. Some aspects — like the score and editing — are a bit heavy-handed, forcing the film to lean into the melodrama a bit too strongly, but are still competently done.

Miranda’s Victim is a very flawed film that skirts by on good performances and the fact that it means extremely well. It’s close to being a great movie, but arguably even closer to being a bad one.

Miranda’s Victim screened at the 2023 Gasparilla International Film Festival, which runs March 23-26 in Tampa, FL.

​Rating: 3/5

Review by Cole Groth

What? Saying I’m lost on what happened in Pursued would be an understatement. This thriller, directed by Jeffrey Obrow, has virtually zero information available online, and it’s probably better that nobody knows about this. While the production quality isn’t terrible, this movie is a total waste of time that’ll leave you scratching your head, rolling your eyes, or both after a thoroughly unpleasant experience.

Pursued follows Lark (Madison Lawlor), a teenager who goes on an online hunt for a man who turns out to be a vicious serial killer. What seems like fun and games to Lark quickly turns into a fight for her life, leading to a trail of blood that follows her. For a horror/thriller, this premise works pretty well. Unfortunately, it’s tied down through a terrible script and a confusing story.

If there is one redeemable aspect, it's that the gore is good. If this were marketed as a slasher and felt more like one, this would receive much praise for being a solidly intense experience. Some of the kills are creative and shocking, which will appeal to horror fans who love shocks above anything else. If anything good can be taken out of this experience, it's that somebody was really passionate about a gross sense of humor.

Back to the criticisms, this story stinks. One of the core elements is the use of social media, and Jeffrey Obrow has absolutely zero idea of how social media works. While some of the interfaces look decent and stray away from cheap knockoffs, it looks silly almost every time a screen is shown. None of the characters seem to understand what they’re doing, making progressively dumber decisions as the body count racks up. It’s no fun to watch idiotic teenagers get other people killed.

​The cast isn’t great, either. Molly Ringwald is advertised as a star but leaves after the first twenty minutes and never appears again. If you’re going to promote her as a bigger character, it would make a lot more sense to at least film more stuff with her. Angus Macfadyen is pretty terrifying as the killer, but his character is so one-note that it’s just not very interesting to see him when he’s on screen.

This feels like a movie that was cobbled together through many different production companies, directors, and writers. The first act leans into the teenager coming-of-age drama stuff but suddenly turns into a thriller after the first few minutes. The only time audiences will be intrigued by what’s happening is when the first tone switch happens because it’s so ridiculous.

Low-brow horror films are a dime a dozen. Every year, slop gets cranked out with low budgets and even worse scripts, making Pursued a forgettable experience because even as a bad film — it’s not notable. It’s hard to believe that people with a passion for moviemaking sat down and wrote this script, filmed these shots, and edited this together. There’s something to be said about putting pride into your work, and unfortunately, this is an embarrassing attempt at filmmaking that will go unseen by many.

Pursued screened at the 2023 Make Believe Film Festival, which runs March 23-26 in Seattle, WA.

Rating: 1/5