Review by Cole Groth Every year, we get a handful of terrible thrillers that weaponize an awful script to make an incredibly unsatisfying film viewing experience. So far, The Tutor is one of the worst. With decent production value and good acting, this film is nonetheless embarrassingly bad. If you hate watching movies and love feeling like garbage, you might enjoy watching this. For those who value their time, stay as far away from this film as possible. The plot follows Ethan (Garrett Hedlund), a tutor with a mysterious past who becomes increasingly tangled with a strange student, Jackson (Noah Schnapp). His wife (Victoria Justice) is expecting a child, meaning that Ethan has to balance his work-home life as things get precarious. The story is fairly interesting for the first half. The mystery is palatable, and it helps that the performances are pretty stellar. Unfortunately, a good idea doesn’t always translate to a good script. Ryan King’s script has decent dialogue, but where this film goes off the rails is… everywhere else. As Jackson becomes increasingly aggressive with Ethan, this film feels all too familiar to most other thrillers. Jackson is a total prick, ruining Ethan’s life for seemingly no reason. It’s frustrating to see another film about a creepy person ruining another person’s life, and I, quite frankly, don’t understand the appeal. I won’t go into spoiler territory, but it needs to be prefaced that the ending of this film is one of the worst in years. Instead of developing the mystery that was happening in the first two acts, the script instead decides to derail Ethan’s character completely, making a 180° turn from the rest of the film. There’s no reason why one of these characters should go from utterly unlikable to the hero in the end. It’s so hilariously bad that one can only imagine that Ryan King was dared to ruin his otherwise decent script. If you put yourself through the enormous displeasure of seeing this in a theater, be prepared to roll your eyes while the credits roll.
For what it’s worth, Hedlund, Schnapp, and Justice are all excellent. If you can separate the horrendous story from their performances, they all show fantastic range. Hedlund is great as a mysterious protagonist, Schnapp is creepy as hell as a spoiled brat, and Justice perfectly plays the role of a confused soon-to-be mother. It’s a shame that so much of the cast and crew are locked behind King’s terrible script and director Jordan Ross’s terrible direction because the production as a whole is pretty professional. Is The Tutor the worst film you could see in a theater when it releases? Almost certainly. Films this incredibly frustrating are hard to come by. Viewers will be tricked into thinking they’re watching a competent movie and blindsided by the atrocious series of events that unfolds in the last fifteen minutes. It’s disappointing that so many excellent writers go unnoticed by studios when scripts like this are being turned into films. You’d be better off sitting in a completely dark room for 92 minutes than you would be watching this garbage. Spare yourself the precious minutes you have — the only reason why you should watch this is if you hate yourself. The Tutor releases in theaters starting March 24. Rating: 1/5
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Review by Sean Boelman
Lukas Gage is one of the hottest rising stars in Hollywood right now, and he also serves as co-writer on his newest film, Down Low. The movie is somehow both nothing like what you’d expect and rather predictable, but it’s funny and inspired enough to make it more than worth checking out.
The film follows a repressed man who hires a young masseuse with the intention of finding a happy ending, only for things to go wrong when they attempt to take things to the next level. It’s a wild movie that, even though it’s somewhat obvious where the narrative is heading, its twists and turns still lead to an enjoyable ride. The premise is obviously very conducive to dark humor in a Weekend at Bernie’s type of way, but this film takes it to an even more demented level. Throughout the first two acts, the conflict continues to escalate in ways that get progressively more absurd until it reaches a hilariously deranged climax. That being said, the conclusion attempts to tack on an emotional ending that, while emotionally affecting, doesn’t feel entirely earned. Although it makes total sense why this is the conclusion they chose to go with, it feels oddly sentimental for a movie that otherwise has shown a wryly satirical tone for much of its runtime. The cast is pretty fantastic. Zachary Quinto is playing the same type of repressed, anxious gay man that he has started to get typecast as. Similarly, it feels like Lukas Gage will be typecast as the fruity gay kid. However, the real standout here is Simon Rex, who is downright hilarious in a role whose charm is difficult to explain without spoiling it. Admittedly, the film bites off a bit more than it can chew with regards to its themes. Gage and co-writer Phoebe Fisher want to talk about repressed sexuality, sex work, mortality, and a slew of other hard-hitting topics. In the end, it falls victim to the “jack of all trades, master of none” mistake, saying a little bit about a lot of things, but very little about most things. One normally wouldn’t think of a movie like this to be a candidate for some impressive technical aspects, but Down Low boasts some really phenomenal sequences. One shot, weaving through the house as the characters attempt to hide a body, is kinetic thanks to brilliant production design and great cinematography. Other scenes boast extraordinary sound design and a vibrant soundtrack that envelops viewers into this world. Down Low isn’t quite a slam dunk because some of its themes and emotional beats are somewhat underdeveloped, but it’s still extremely funny and well-crafted. Rightor Doyle has shown extraordinary potential as a director, and it will be exciting to see what he can do with a script that is slightly more polished. Down Low screened at the 2023 SXSW Film Festival, which ran March 10-18 in Austin, TX. Rating: 3.5/5
Review by Sean Boelman
The last Maddie Ziegler film to debut at SXSW — The Fallout — ended up taking home the festival’s big prize and garnered a ton of critical acclaim. Although the teen sex comedy Bloody Hell did not make as big of a splash, it’s a funny, poignant movie that offers uncommon empathy in the face of familiar tropes.
The film follows a young girl whose life is upended when she is diagnosed with a rare reproductive condition called MRKH that sends her on a unique journey to discover her identity and sexuality. Although the movie is structured like a common coming-of-age film, Molly McGlynn’s script thrives with uncommon empathy. The humor in the movie has to tread a very difficult line. On one hand, it clearly strives to be reminiscent of broadly funny teen sex comedies; but at the same time, it also wants to be a heartfelt and earnest depiction of the protagonist’s struggle with her condition. The film — perhaps miraculously — finds a great way to balance silly sex jokes with sharp and insightful commentary. One of the most surprising things about the movie is that Maddie Ziegler gives a genuinely fantastic performance in the leading role. For the most part, she’s giving a standard — albeit funny — teen comedy turn. However, there are more than a few moments in which raw emotion peeks through in an absolutely moving way. The film also boasts some impressive representation, especially when it comes to the Intersex community. In addition to the discussion as to what the protagonist’s MRKH diagnosis means for her identity, the movie contains a prominent Intersex side character. This character is played by an intersex actor — Ki Griffin — and is written in a way that feels authentic and not at all manipulative. The rest of the ensemble is great too, including a strong supporting turn by Emily Hampshire as Ziegler’s character’s mother. The parallelisms that are drawn between the protagonist’s diagnosis and her mother’s breast cancer diagnosis are poignant and effective, even if they often take the backseat to other conflicts. D’Pharaoh Woon-A-Tai (who was also seen at SXSW this year in Only the Good Survive) is thoroughly charming in his role as the love interest. And as the best friend, Djouliet Amara has excellent chemistry with Ziegler. Both of these characters are underdeveloped, but Woon-A-Tai and Amara are so great that they elevate the parts. Bloody Hell is one of the biggest surprises of this year’s SXSW, offering plenty of legitimate laughs and genuine heart. Maddie Ziegler has never been better than she is here, and Molly McGlynn’s script is charming and wonderfully empathetic. Bloody Hell screened at the 2023 SXSW Film Festival, which ran March 10-18 in Austin, TX. Rating: 4/5 [SXSW 2023] IT'S ONLY LIFE AFTER ALL -- An Amazingly Transparent Music Doc About the Indigo Girls3/19/2023
Review by Sean Boelman
It’s Only Life After All debuted at the Sundance Film Festival to a positive but not particularly noisy reception. Leave it to the music capital of the world to give the film the platform it deserves, as its showing at Austin’s SXSW Film Festival is sure to give this extraordinary music documentary its due.
In the movie, the iconic folk rock duo the Indigo Girls tells their story as singer-songwriters and as queer icons in the music industry. Although the film is structured very much like a traditional biographical music documentary, the extraordinary story of Amy Ray and Emily Sailers — which is anything but traditional — makes the movie stand out. If the film does have one shortcoming, it’s that — at just over two hours in length — it can feel a bit overlong. That being said, it’s hard to pinpoint a particular area in which content could have been cut. Between their music, activism, and personal lives, the Indigo Girls have so much story to be told, and for the most part, it’s absolutely captivating. The Indigo Girls have received several accolades, but they still have a fair share of detractors who attempt to detract from their work for reasons that range from political opposition to outright homophobia and misogyny. However, in the movie, Ray and Sailers engage with these naysayers and respond to their criticism in a positive way. However, even though this movie is primarily about the Indigo Girls, Ray and Sailers share the spotlight with others. In their activism, they have frequently partnered with activist Winona LaDuke, and there is an entire section of the film dedicated to how LaDuke has shaped their environmental advocacy. What really makes It’s Only Life After All stand out from other music documentaries is its level of transparency and honesty. Plenty of music documentaries claim to offer “unprecedented” behind-the-scenes access or a “no-holds-barred” look at their subject(s), but Ray and Sailers are unflinching in their willingness to speak with Bombach — and the audience — because they know that sharing their story is what will inspire good in the world. In the movie, Bombach makes extensive use of the archive materials that were given to her by the duo, including home movies and other footage, and that’s part of what gives the film its extremely insightful feeling. And, of course, the movie features plenty of great performance footage showcasing the duo’s many wonderful songs. It’s Only Life After All is one of the best music documentaries in recent years because of the intimate level of access provided to the filmmaker by the subjects. Fans of the Indigo Girls will love this personal portrait, and those who are less familiar with the duo will walk away with a tremendous respect for them. It’s Only Life After All screened at the 2023 SXSW Film Festival, which ran March 10-18 in Austin, TX. Rating: 4.5/5
Review by Sean Boelman
If You Were the Last is likely to draw a high profile thanks to its recognizable stars, but it’s actually an indie romance in disguise. A funny and sentimental movie, If You Were the Last might attempt to go too big on its premise at times, but there’s not been another film at SXSW this year that was this lovable.
The movie follows two astronauts who, fearing that they will spend the rest of their lives adrift in space, debate whether or not they should “do the deed.” It’s a fun, basic rom-com premise in a sci-fi setting, but there is something that feels so charmingly authentic about the story that it’s hard not to admire it. For the first two thirds, it’s an adorable, lighthearted rom-com. There are plenty of moments that will have viewers giggling, and even a few that will have people laughing out loud. Although it’s really just a bunch of conversations — which sometimes even start to feel a bit repetitive — it’s undeniably sharp and delightful. The final third of the film attempts to go into more profound territory, examining the ethics of the characters’ actions. Ultimately, this overt discussion is far less effective at doing the same thing than the “will-they-or-won’t-they” dynamic of the first two acts. The movie is at its best when it’s just a cute little rom-com. Admittedly, the two leads are both very archetypal — and the Earthly spouses of the characters are wholly underdeveloped. However, all four of them are written in a way that is quite compelling. Audiences will likely understand and sympathize with all of them because the decisions they make all feel very natural. The film’s success hinges heavily upon the chemistry of its two leads, and Anthony Mackie and Zoe Chao pull it off extraordinarily well. These characters are written to have subtle compatibility, and the sexual tension is definitely there, but not in a way that is so overt that we believe they would quickly leave their respective partners for each other. Kristian Mercado’s directorial style might be somewhat divisive, but it works pretty well within the context of the movie. For the most part, it feels like an outer space mumblecore movie, and is pretty restrained as a result. However, there are some cutaway shots to diorama-like models of the spaceship’s exterior. It looks silly, but the silliness is perfectly on-tone for what the film is trying to be. If You Were the Last is a charming sci-fi romantic comedy that thrives when it allows itself to be quaint and enjoyable. Kristian Mercado is one of the most charming new voices to debut at this year’s SXSW, and it will be exciting to see what he does next. If You Were the Last screened at the 2023 SXSW Film Festival, which runs March 10-18 in Austin, TX. Rating: 4/5
Review by Sean Boelman
Jimmy Chin and Elizabeth Chai Vasarhelyi are some of the best nature documentarians — and documentarians in general — working today. Although their careers are starting to go into more commercial territory, their newest film Wild Life still benefits from their phenomenal vision and is much better than anyone would expect.
The documentary tells the story of conservationists (and entrepreneurs) Kris and Doug Tompkins, and their journey filled with love, fortune, and generosity. The movie follows a very similar formula to Chin and Vasarhelyi’s other biographical nature documentaries, but the filmmakers effectively emphasize what makes their subjects’ story special. At times, Wild Life can feel a bit unfocused, if only because the Tompkins have done so much amazing stuff that it would have been impossible to focus on just one of their deeds. However, the portions of the film that explore the Tompkins’ conservation efforts to form national parks in Chile and Argentina are outstanding and resonate deeply. Because the movie so strongly centers on the relationship between Kris and Doug Tompkins, it has a strong emotional core. When the final act takes the turn that many people will know is coming, it still feels heartbreaking and tragic. Chin and Vasarhelyi are phenomenal at making films that attach viewers to characters only to rip their hearts out. One of the more surprising things about the movie is how promotional it feels. Although it never feels so crassly commercial as their SpaceX doc Return to Space, Wild Life does at a few points come close to feeling like a promotional video for Patagonia and the Tompkins’ not-for-profit organization. Still, the work that these organizations are doing is so important that the film can be forgiven for falling victim to over-praise. Even though Chin and Vasarhelyi are familiar with the subjects, they still do a great job of making the argument to the audience as to why they should care about these people and their actions. Of course, the movie contains the breathtaking cinematography that has become Chin and Vasarhelyi’s calling card. Although Wild Life uses a lot more archive footage and talking head interviews than their previous movies, the footage in which the filmmakers accompany their subject on expeditions looks astounding. Wild Life might not be among Chin and Vasarhelyi’s best work, but even their lesser films are better than a majority of the documentaries you will see in the year. Packing a legitimate emotional punch and offering some predictably gorgeous cinematography, this is a movie that fans of nonfiction cinema will not want to miss. Wild Life screened at the 2023 SXSW Film Festival, which runs March 10-18 in Austin, TX. Rating: 4/5
Review by Sean Boelman
There is a tricky line to tread for filmmakers who want to make a movie about their own story, but Cecilia Aldarondo has managed to do so wonderfully with her sophomore feature You Were My First Boyfriend. Hilarious and profound, You Were My First Boyfriend keeps developing in a way that challenges the viewer to reflect on their own past and emotions.
In the movie, filmmaker Cecilia Aldarondo’s trip to her high school reunion causes her to go on an internal journey in which she reflects on her adolescence and all of the pain and joy she experienced within it. It’s equal parts funny, sad, and contemplative in a way that feels entirely natural and surprisingly necessary. There are plenty of comparisons that can be made in terms of documentaries in which the filmmaker is reflecting on their childhood, but Aldarondo’s approach is more creative than any of them. In the tradition of so many movies that have experimented with the nonfiction form in the past decade, Aldarondo has created a film that blurs the lines between reality and fiction. Aldarondo explores her trauma in a way that is unflinchingly personal and intimate. It’s the type of movie that is likely to be triggering for many viewers, not because it is offensive, but because it explores things that many of us will have experienced in our own lives. In her own journey, Aldarondo encourages viewers to engage with their pasts in a way that allows us to have a more healthy relationship with who we are. One of the most impressive things about Aldarndo’s approach is how she avoids pointing fingers. Although many films about these themes would normally point fingers at bullies or be overly self-loathing, Aldarondo avoids these pitfalls. Instead, she interrogates the social structure that enabled these toxic personalities to thrive in a setting that should be safe and nurturing. While movies that heavily utilize reenactments can be hit-or-miss, Aldarondo and Sarah Enid Hagey’s approach is so innovative that it avoids feeling gimmicky. Young actors are hired to play Aldarondo’s classmates, but Aldarondo plays herself, creating an interesting dynamic that makes it feel like Aldarondo is not only reflecting upon but genuinely engaging with her past. There are also some stylistic quirks throughout the film that are very ambitious and pay off quite well. For example, there is a sequence in which Aldarondo and her sister recreate the music video for Tori Amos’s song “Crucify.” Although it may not be *necessary* for the narrative, it’s quite well-done and creates a very playful tone. You Were My First Boyfriend tells an extremely personal story, but the universality of its emotion allows the movie to stand out and be extraordinarily compelling. Cecilia Aldarondo’s vision of her past is hilarious and meaningful, making this an early contender for best documentary of the year. You Were My First Boyfriend screened at the 2023 SXSW Film Festival, which runs March 10-18 in Austin, TX. Rating: 5/5
Review by Sean Boelman
Recent discourse has resulted in criticism against “nepo babies” whose famous parents allowed them to get their career in the entertainment industry. That being said, there are some children of nepotism who are strong creatives in their own right, including Louis Garrel (son of classic French filmmaker Louis Garrel), whose newest film, The Innocent, reinforces him as a great comedic voice.
The film follows a man who attempts to foil his mother’s plan to marry a man in prison because he believes the man has ulterior motives. Of course, as one would expect, things do not go according to plan. The message of “don’t judge a book by its cover” is obvious, but this story explores it in a compelling way. Of course, there is a feeling of absurdity to the story, and that lends itself to a mostly comedic tone. The protagonist gets up to various hijinks hoping to foil his mother’s romance — a premise we have seen done in several slapstick comedies before — but Garrel brings a refreshing edge to it that allows the movie to stand out. There are so many twists in the film, particularly during the third act, that it ends up feeling somewhat convoluted. Still, even if it is hard to follow exactly what is happening in the story, viewers will enjoy going along for the wild ride. The story frequently feels frenzied, but it thrives in this chaos.
One of the things that Garrel does best in his movies is give the audience slightly annoying characters and make them charming. This is certainly the case here, as the protagonist’s stubbornness through much of the first two acts is frustrating, but it leads to an enormously compelling redemption arc in the home stretch.
Garrel has also assembled a strong supporting cast for the film. Noémie Merlant gives an unusually comedic performance in her supporting role. She’s usually a lot flashier than she is here, but she’s still quite charming. Roschdy Zem is fantastic as the protagonist’s foil, and Anouk Grinberg has a great role as the protagonist’s mother. From a technical level, the movie leaves a bit to be desired. The cinematography is washed out and feels somewhat uninspired, and the editing is somewhat sluggish — especially considering that this is essentially a heist film. Still, the script does a lot of heavy lifting and has so much narrative momentum that it’s undeniable. The Innocent is an extremely fun romantic comedy with a sharp script and some very strong performances. Although its convoluted narrative makes it a bit hard to follow at times, its tone is so enjoyable that it still works. The Innocent is now playing in theaters. Rating: 4/5
Review by Sean Boelman
Between Tetris and Pinball: The Man Who Saved the Game, the time is nigh for unorthodox biopics about people who played a pivotal role in the preservation of amusements. Pinball: The Man Who Saved the Game is the smaller-scale of the two films, but still offers plenty of enjoyable fun and is buoyed by a strong lead performance.
The movie tells the story of a writer who makes it his personal quest to reverse the ban on pinball in New York City. There are a lot of different ways they could have taken this — counterculture comedy or courtroom thriller — but the filmmakers instead opt to make it an uplifting family drama, and it’s pretty enjoyable. The film incorporates some elements of metafiction through talking head interviews, narration, and self-insertion from the subject. It’s very reminiscent of the style of the movie American Animals, which was quite underrated. However, whereas that film used its metaness to comment on the gray ethicality of the situation, this movie uses it more as a gimmick. The protagonist is certainly a likable hero, but what we get here is a story that feels relatively trite. The Braggs fail to convince us of the significance of “saving” pinball. There is a lot of discussion about why it’s ridiculous that pinball was ever banned in the first place, but regardless of the agreeability of this argument, the film doesn't make a great argument as to why pinball deserves to stick around.
Indeed, it never feels as if there are legitimate stakes to this story. What would have happened if our hero had failed? He would have gone on with the rest of his life, playing pinball with his unlikely family on the machine he owns. Although the story is interesting, very little is done to make it feel important.
Viewers might recognize lead actor Mike Faist as the breakout actor who played Riff in Steven Spielberg’s remake of West Side Story. He’s pretty fantastic in the role, capturing the personality of the real-life subject perfectly — and it’s easy to see this resemblance given that it is often juxtaposed against interviews with the real-life person. In terms of production value, the movie’s lower budget compared to many biopics set in this period is evident, but it manages to have a decent amount of energy nevertheless. What this film was missing to take it to the next level is a killer soundtrack, but of course, music licensing is one of the most expensive things for a filmmaker. Pinball: The Man Who Saved the Game is a fun little movie, but it is pulled down by its feeling of inconsequentiality. Still, Mike Faist’s performance is endlessly enjoyable, making this a worthwhile and breezy watch. Pinball: The Man Who Saved the Game is now available on VOD. Rating: 3.5/5
Review by Sean Boelman
Lola Quivoron’s Rodeo debuted at last year’s Cannes Film Festival to strong reviews, and is just now coming out in the United States. With a strong concept and solid execution, even if it isn’t as substantial or developed as one would hope, Rodeo is still fascinating in its hyper-specific portrait of a unique community.
The movie follows a young woman who discovers an underground subculture of dirt bike riders in suburban Paris, as she hopes to make her ways through the ranks of this male-dominated sect. In terms of story, it’s a pretty standard coming-of-age tale, but it is the way in which Quivoron approaches it that makes it special. There is a good deal of tension throughout the hour-and-forty-five minute runtime. While the film is primarily a character drama, there are undercurrents of the crime thriller genre that allow it to heighten the suspense quite well. The entire story is clearly building up to an explosive final act, and the film delivers in that regard. One of the best things about Rodeo is how deeply it immerses the viewer in this world of Parisian motocross. This is a subculture that many won’t have a familiarity with, but Lola Quivoron seems to be so intimately acquainted with its inner workings that the movie feels entirely lived in.
It helps that Quivoron chooses to use a verité-like style to shoot the film. Rather than filming the motocross sequences in a big and flashy way, Quivoron goes for gritty realism. It works quite well, as it grounds the movie — a pivotal factor in humanizing the characters rather than otherizing them.
Quivoron’s commitment to reality is further accentuated by her choice to use a cast of non-actors. The film’s lead, Julie Ledru, is particularly impressive, giving a performance that is quietly and crushingly emotional. No one else in the cast especially stands out, but they all do a good job of being believable in their roles. That being said, although the characters in the movie all very much feel like real people, the conflict they experience is not as grounded. The script leans heavily into melodrama, and deals with some common tropes, such as the protagonist’s inner conflict between wanting to belong to the group and having a conscience telling her to do the right thing. The success of Rodeo hinges on the viewer’s interest in this unique Parisian motocross subculture. Filmmaker Lola Quivoron’s portrait of this community feels so intimate and is shot so grittily that it’s easy to get immersed in her vision. Rodeo is now playing in theaters. Rating: 3/5 |
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