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Review by Sean Boelman
With a cast led by Walton Goggins and Pedro Pascal, there’s no question that Nadia Conners’s directorial debut, The Uninvited, was one of the most hotly-anticipated premieres of this year’s SXSW. Yet despite its star-studded ensemble, The Uninvited is a waste of time due to a script that simply isn’t interesting.
The film follows the hosts and attendees of a party that is crashed by a senile old woman who claims to live there, as tensions spark between the guests and drama forms. Although this seems like the set-up for a great thriller, Conners instead opts to go the comedic route, which would be acceptable if there were anything particularly funny about it. After the first half hour or so of quick-paced dialogue (Conners apparently initially created this as a play before deciding to make it into a movie), it becomes clear that The Uninvited is spinning its wheels. It puts the characters in one situation after another, but none of them build off of each other in a meaningful or intriguing way. The Uninvited fails to take advantage of the potential geography of its setting. The production design of the Hollywood mansion in which the film is set is mildly impressive, but it’s put to no use. While this could easily have been used to parody the excess of the Hollywood elite she is “skewering,” Conners largely ignores it with her directorial eye. Conners also struggles to juggle the movie’s themes. At many points, the film plays out like a straightforward, old-school morality tale. The characters are presented with a decision and given choices of how to proceed, with the conflict coming from what those decisions reveal about the characters. At other points, the movie seems interested in deeper commentary on topics like ageism in Hollywood. Because of this, everything feels underdeveloped. However, the cardinal sin of The Uninvited is its character development. The first act convinces us that these are shallow, perhaps even horrible people, only for the rest of the film to ask us to pity them. As a result, viewers will feel a massive disconnect from the conflict. Conners gives us very little reason to care about the characters, resulting in an unconvincing mess. The cast of The Uninvited brings a real “favor was called in” energy to it. The lead, Elizabeth Reaser, is fine — but she’s the only one with any meaty material to work with. Goggins (who is married to writer-director Conners) gives it his all, but the character does not serve him well. The other stars, including Rufus Sewell, Lois Smith, and the incredibly buzzy Pascal, make little impact in either direction because they aren’t given anything to do. Many people will be drawn to The Uninvited due to its cast, but they’re all put to waste in a movie that goes nowhere. While it’s nice to see Conners get the chance to make a film, this is the type of directorial debut that attempts to ride on its star power because the voice behind the camera just doesn’t have the juice. The Uninvited screened at the 2024 SXSW Film Festival, which ran March 8-16 in Austin, TX. Rating: 2/5
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Review by Sean Boelman
In the raunchy comedy genre, following storytelling conventions is often okay as long as the jokes always land. This is the case with Doin’ It, a riotous new sex comedy that also has something on its mind, resulting in one of the best entries into the genre since its heyday in the 2000s.
The film follows an ambitious, book-smart Indian-American woman who finds herself in over her head after she is assigned to be the substitute teacher for a high school sex-ed class… despite never having had sex in her life. Although the story is very predictable, the movie is so consistently hilarious that it overcomes its occasionally conventional storytelling. Unlike most raunchy comedies, Doin’ It does not feel crude or cruel. It doesn’t really shame the protagonist for her sexual inexperience, using it instead as a starting point for a discussion of sexual liberation — in more ways than the traditional definition. Yes, there’s a lot of secondhand embarrassment, but it still feels wholesome, like we’re laughing with her, not at her. Still, what is most surprising about Doin’ It is that it is a message movie through and through, yet it doesn't feel overly didactic despite its clear message. At several points, characters go on diatribes about the need for more comprehensive sex education programs. While this message in a raunchy comedy is probably preaching to the sex-positive choir, it makes this feel much more important than the average comedy flick. The film also impresses in how well it balances its different storylines. We have her lesson planning, the protagonist’s romantic subplot, a rivalry with another teacher, and a few other side stories that bring the narrative together nicely. Although none of these breaks the formula, it’s an effective combination of these tropes to make a great comedy. Lead actress Lilly Singh, who also co-wrote the script, is an absolute discovery. She has a commanding screen presence but also a charm that lends itself nicely to the romantic comedy aspects of the story. This is a star-making-level performance from the comedian, and if there’s any justice in the world, she’ll become Hollywood’s go-to for sidekick characters in comedies because she’d absolutely nail that archetype. Some notable faces make cameos in the supporting cast, presumably to boost the movie’s profile. Stephanie Beatriz (Brooklyn Nine-Nine) and Utkarsh Ambudkar (Free Guy) aren’t entirely necessary. On the one hand, they don’t feel fully utilized; however, their relatively low-key roles with only a few funny scenes give Singh the spotlight she deserves. Doin’ It is so funny that you’ll be laughing for every minute of its 90-ish minute runtime, but it also doesn’t have any lack of heart. Sara Zandieh and Lilly Singh have made a raunchy comedy for the ages, and one with a great message at that, making this a must-see entry into the genre. Doin’ It screened at the 2024 SXSW Film Festival, which ran March 8-16 in Austin, TX. Rating: 4/5
Review by Sean Boelman
Credit: David Bukach
Real-life couple Roshan Sethi and Karan Soni worked together as director and actor on the former’s directorial debut, 7 Days, but their second collaboration takes it to a new level. A Nice Indian Boy is a gay rom-com that’s hard not to love, offering a refreshing gay spin on a familiar storyline.
Adapted from a play by Madhuri Shekar, the film follows an Indian young man who wants nothing more than to have a big Indian wedding, to the dismay of his traditional family, who struggles to reconcile with him being gay. Although the story follows many of the typical beats of the rom-com, it’s such a well-told story that it’s very charming. A Nice Indian Boy has tons of laughs, but none of them break the mold. It’s predominantly fish-out-of-water comedy from the gay protagonist being in heteronormative situations and his white love interest being in scenarios in which he seemingly does not belong. Seeing a romantic comedy that’s wholesome and uplifting like this, not falling back on raunchy jokes, is pretty refreshing. It will come as no surprise that the movie has a lovely message about being LGBTQIA+ in a conservative family and community. Although the film doesn’t add anything new to the conversation, it feels thoroughly authentic — no doubt thanks to the director/actor duo of Sethi and Soni — making the movie feel refreshing despite its familiarity. The most impressive thing about A Nice Indian Boy, though, is Karan Soni’s leading performance. The world has long known how funny Soni can be, and he certainly is here, but this film also affords him a rare opportunity to showcase his dramatic chops. His performance, like the movie, manages to be both incredibly specific and broadly relatable at the same time, making him one of the most compelling rom-com leads in recent memory. Jonathan Groff also brings a certain ineffable charm to his role as Soni’s love interest. His character is undoubtedly weird, but Groff plays it off in a way that’s still believably lovable and alluring. Sunita Mani gets a few amusing scenes in her supporting role, and Zarna Garg and Harish Patel are great — if a bit by the book — as Soni’s parents. Although the film isn’t particularly flashy, it does manage to avoid the often confined feeling of movies adapted from plays. Instead, it largely adopts the generic style of the modern rom-com: agreeable but not especially interesting from a visual standpoint. Apart from one sequence at the end that incorporates traditional music and dance, the film lacks much of a distinct visual identity. A Nice Indian Boy rides on the strength of its representation and the charisma and chemistry of its leads to stand out beyond its rom-com tropes. However, there’s something inexplicably satisfying about a rom-com this cute — especially when it’s about a gay couple — so it’s easy to write off how safe it can be at times. A Nice Indian Boy screened at the 2024 SXSW Film Festival, which ran March 8-16 in Austin, TX. Rating: 3.5/5 [SXSW 2024] TIMESTALKER -- Indie Sci-Fi Romance Is Occasionally Derivative, but Usually Fun3/23/2024
Review by Sean Boelman
Credit: Ludo Roberts
Alice Lowe’s directorial debut, Prevenge, was a microbudget horror-comedy that found a cult following thanks to its wacky concept and wicked sense of humor. Her sophomore feature, Timestalker, is much more ambitious, and while it’s not exactly original, it does reaffirm Lowe as an exciting new filmmaker on the genre scene.
The film follows a woman through several eras as she is reincarnated time and time again after falling in love with the wrong man and coming to an untimely end. It’s a mix of sci-fi, horror-comedy, star-crossed lovers romance, and paranoia thriller, and while it’s a lot for one movie, the experience is pretty consistently entertaining. Both narratively and stylistically, Timestalker lives in the shadow of other, more effective movies that have been released recently. Unfortunately, Everything Everywhere All at Once becomes an immediate comparison because of some of the editing and cinematography choices, and the screenplay shares a shade similar to Bertrand Bonello’s The Beast. (Although Timestalker was being ideated before the release of the aforementioned films, it is the unfortunate victim of timing.) Lowe also struggles with the character dynamics. Throughout the movie, the characters’ motivations become more complex as the truth of their realities is revealed. Lowe certainly deserves points for the ambition of her script, even if not all of the film’s big swings pay off satisfyingly. The movie’s themes are intriguing, exploring the spectrum between love and obsession. The commentary doesn’t run particularly deep, and any subtext becomes text in a third-act exposition dump meant to pull the rug out from under the audience and ends up spelling out what the audience should feel about the past hour and a half of conflict. Still, Timestalker is very successful in its production values, especially considering that this is an independent production with a modest budget. The production design and costuming work are impressive, which is quite a feat since the story is set in multiple time periods. And while there’s not a ton of gore, the special effects, when present, are quite good. The strongest aspect of Timestalker, though, is its cast. Lowe plays the lead role and perfectly captures the balance between charm and nuisance. The supporting cast also shines, though, with a funny performance by Nick Frost, an enigmatic turn by Jacob Anderson, and incredibly lovable appearances by Aneurin Barnard and Tanya Reynolds. Timestalker isn’t nearly as innovative or fresh as it seems to think it is, but it is a ton of fun. Strong direction, good gags, and a committed cast elevate this movie — and while it’s unfortunate that it will be overshadowed by similar films that have come out recently, it will likely find a good deal of stalkers fans among a cult audience. Timestalker screened at the 2024 SXSW Film Festival, which ran March 8-16 in Austin, TX. Rating: 3.5/5
Review by Sean Boelman
In the horror genre, a good story is often just as important as being scary. However, there are some times when the atmosphere is so strong that it can carry a weak script. That’s the case with Benjamin Finkel’s Family, a genuinely unsettling film that only works if you overlook its glaring writing issues.
The movie follows a young girl whose well-intentioned prayers for her dying father become something much more sinister. To put it nicely, the plot is utter nonsense. A lot of things happen, and the film moves from point A to point B, but the motivations and arcs are illogical. But despite this, it’s a ton of fun to watch. Trying to make sense of what the movie has to say is even more in vain. The themes are incredibly underdeveloped. In many ways, it feels like it’s trying to explore the concept of familial trauma a la Hereditary, but Wilson’s mother character isn’t developed enough for this to work. At other points, it seems like a more straightforward commentary on grief, and this angle simply isn’t interesting. The character development isn’t much more intriguing. The protagonist has an ailing father, a (questionably) abusive mother, and a rabbi grandfather she turns to for guidance in the face of supernatural happenings — all archetypes that are thoroughly worn. Worse yet, the protagonist lacks much of a personality of her own. Still, for as lackluster as his script can be, Finkel is one hell of a director. He manages to create a consistently engaging and often downright chilling atmosphere here. It’s a loud, in-your-face horror flick with a blaring score, aggressive imagery, and many jump scares. But in many ways, it’s effective at achieving what it sets out to do. Much of the film’s success can also be attributed to supporting actress Ruth Wilson, who hams it up in all the right ways. Wilson takes the movie incredibly sincerely, making the performance all the more intimidating even though some of the things she does are deeply unserious. The rest of the small cast is fine, but this is almost entirely Wilson’s show. The film is impressive visually, if not entirely original. A lot of the visual symbolism can be seen as a carbon copy of other movies that came before it, with Annihilation being the most obvious example. However, Elisha Christian’s cinematography and Olivia Peebles’s production design are very formally accomplished. Family is a jumbled mess of a movie, and trying to figure out what’s happening or — more importantly — why is futile. Still, Benjamin Finkel does such a good job with the atmosphere, and Ruth Wilson’s performance is so incredible that the film works regardless. Family screened at the 2024 SXSW Film Festival, which ran March 8-16 in Austin, TX. Rating: 3/5 |