Review by Sean Boelman
A treat for any fans of the influential ‘90s hip-hop group, Beastie Boys Story is a new “live documentary” directed by acclaimed filmmaker and frequent Beastie Boys music video collaborator Spike Jonze (Her). An intimate and in-depth account of the group’s rise to fame and success, this is a viewing experience that is equal parts entertaining and emotional.
The movie is a recording of a multimedia performance put on by surviving Beastie Boys members Adam Horovitz and Mike D, in which they recount their story for a live audience and the cameras. As is the case with many performance films, the main appeal of Beastie Boys Story is that it gives viewers a front-row ticket to a live event that they couldn’t experience for one reason or another. The pacing of the movie is largely dictated by the pacing of Horovitz and Mike D’s performance, and thankfully, they have a strong enough stage presence to carry the two-hour runtime. Jonze does add some cinematic flourishes, like a brief introduction that sets the stage for what we are about to see, but for the most part, he allows the Beastie Boys to tell their own story. Horovitz and Mike D simply command the stage from the second they walk on to the moment they bow. Their rags-to-riches story isn’t too dissimilar from ones that have been documented in film before, but Horovitz and Mike D prove with this movie that they are not only great musicians, but also great performers, able to be absolutely captivating as storytellers as well.
But above everything else, this is a beautiful love letter to friendship. Yes, Horovitz and Mike D are telling the story of how they became one of the most iconic hip-hop groups in all of music history, but this is also the story of three friends from New York that got together to do something they loved. The film is a loving tribute to the third member of the group, Adam Yauch, who tragically lost his fight with cancer in 2012.
For a recorded performance, the movie is definitely very cinematic thanks to Spike Jonze’s prowess behind the camera. While the IMAX release that was initially planned for the film before the closure of theaters may not have been entirely necessary, the camera takes a very dynamic approach to the stage and makes the viewer feel as if they were actually watching this show at the Kings Theater in Brooklyn. That said, the thing about the movie that may disappoint fans is that it doesn’t heavily utilize the group’s music. Yes, clips from their songs and music videos do make an appearance, but often only as a bridge between sections of the speech. The only sequences that are reliant on music are the introduction and the credits, both additions for Jonze’s film. Beastie Boys Story may not be the definitive Beastie Boys documentary, but it offers a nostalgia-packed trip down memory lane for both audiences and the performers. It isn’t the most urgent viewing, but it’s a pleasant and immersive watch, particularly for those who grew up listening to the group’s music. Beastie Boys Story debuts on Apple TV+ on April 24. Rating: 4/5
0 Comments
Review by Sean Boelman
Directed by Sergio Mata’u Rapu, Eating Up Easter is a heartfelt exploration of multiculturalism in modern society. Both an interesting self-examination of the filmmaker’s identity and a touching letter from a father to his young son, this film will undoubtedly be very resonant for anyone who comes from a mixed background.
In the film, Rapu explores the culture and community of his homeland, Rapa Nui (also known as Easter Island), from its tribal customs that struggle to stay relevant today to its current status as a destination for tourism and a provider for resources for the neighboring country of Chile. This is undoubtedly a very personal story for Rapu, and this lends the film a great deal of honesty. Perhaps the most intriguing thing about the film is that it is framed as a message from the filmmaker to his young son as an exploration of their roots that he hopes them to embrace. While this device has been done before, and it isn’t used as consistently in this film as one would like, it’s definitely effective at creating an emotional connection to the film. There’s a lot to explore in regards to this culture, and while it seems at times like Rapu may be biting off more than he can chew, he is able to go into sufficient depth to make the film work. The film is arguably at its least effective when it tries to go on an environmentalist tangent which, while noble and important, is undeniably less interesting than the preservation of a dying culture.
The film does a solid job of developing the Rapa Nui people as subjects of the film. There is one subject in particular, Mama Piru, whose story is particularly compelling. As one of the islanders’ main voices, encouraging her people to both embrace traditions and incorporate some of the newer ways of doing things.
Rapu’s main point with the film seems to echo many of the concerns expressed by Mama Piru. Although it is obviously very important for the Rapa Nui people to embrace their past, they are also experiencing new challenges unlike anything they have seen before. The result is a greater need to work together as a community more than ever. On a technical level, Rapu has delivered a gorgeous film by default, thanks to the beautiful scenery of Easter Island. However, Rapu’s talent becomes obvious in his ability to juxtapose these picturesque backdrops with the rougher elements of the island’s current state, like the seas of trash they must process. Eating Up Easter is definitely a very interesting documentary thanks to director Sergio Mata’u Rapu’s unique approach to the story. While it may not be the work of activism that it seems to hope to be, it’s still a worthy and insightful watch. Eating Up Easter screens online in partnership with indie theaters beginning April 22. A list of participating locations can be found here. Rating: 3.5/5 Review by Dan Skip Allen It is widely known that the United States went to Iraq to overthrow Saddam Hussein and take over the country for themselves so they could have a foothold in the Middle East and to have a better negotiating tool for oil. The problem is that the US can't just go into countries and take over — they use words like "elections" to make their take-over make sense in the eyes of the people. They also face the obstacle of getting the blessing of the United Nations, and in this case, the UN sends their own man to evaluate the situation in Iraq: Sergio Vieria de Mello (Wagner Maura). In his career, de Mello has been in this situation before, having faced a similar situation in East Timor. He's definitely the right man for the job. But the US isn't going to let some United Nations diplomat get in their way of taking over and controlling Iraq for their own selfish reasons. George W. Bush was trying to get revenge on Hussein for his father who failed in Iraq back in the early '90s. Yet de Mello isn't going to be pushed around. He decides it's his job to let the UN know what the US is up to. He writes up an entire dossier and is about to send it to the United Nations when an explosion blows up the hotel he is headquartered in. Is this fate or on purpose? In East Timor, he starts up a relationship with a colleague named Carolina (Ana de Armas) who follows him to Iraq as well. Ana de Armas is coming off of her biggest role to date in last year's Knives Out. She's had a few other roles before that as wives or girlfriends in such films as Blade Runner 2049, Hands of Stone, and War Dogs. She plays a similar character in Sergio as well, back to being typecast in these kinds of roles. Though with the success of Knives Out, that will hopefully change for her very soon.
Wrapped in a film about war and diplomatic games is a romance that helps the film flow. I do care about these two people and their love affair. The diplomatic struggles are okay, but not great. The East Timor stuff is essential to develop this budding relationship, but it takes away from the real story of what happened in Iraq, which is where the meat of the story lies. This film had a chance to focus on the real issue of this story, but it lacks vision and a linear narrative. This director, Greg Barker, has done similar political films based on topics that are touched on in this film, including Ghosts of Rwanda, Manhunt: The Search for Bin Laden, and The Final Year. He has a knack for telling these types of stories. The problem is Sergio lacks any vision and focus. He doesn't know if he wants to tell the Iraq story, the East Timor story, or the relationship story. This film is all over the place. Sergio is now streaming on Netflix. Rating: 2.5/5
Review by Sean Boelman
From director Joshua Leonard (star of The Blair Witch Project) and written by and starring himself and Jess Weixler (Teeth), Fully Realized Humans is one of the funniest quarter-life crisis movies ever. Both insightful and riotous, this is a film not to miss when it gets to make its way to audiences.
The movie follows two soon-to-be parents as they set out to discover themselves and try new things in the hopes of becoming “fully realized humans” before their child is born. Although this “bucket list” storyline isn’t anything brand new, Leonard and Weixler’s script is both grounded and edgy enough to feel like a needed and refreshing addition to the genre. Perhaps the most interesting thing about the film is that it was shot while Weixler was eight months pregnant with her first child, and as a result, it seems to reflect some of the anxieties she was facing about becoming a parent. Granted, there is some exaggeration in there for the sake of comedy, but it all comes from a place in the heart. Leonard and Weixler have very good chemistry together and both are completely believable in their roles. Interestingly enough, both actors are arguably best-known for their work in the horror genre, so it is nice (and impressive) to see them doing something less serious. Both have impeccable comedic timing and a strong emotional range.
Part of what makes the movie work so well is that the audience is immediately able to buy into the characters and their relationship. The second act very easily could have felt overdone, but instead is the perfect balance of ridiculousness and heartfelt emotion because the first act does such a good job of dialing the viewer into the characters’ apprehensions.
If the film does make one mistake, it is that it ultimately abandons its earnest wackiness for something a little more somber. What starts as a hilarious journey of a couple going wild in their last days before settling into the potential mundanity of domesticity turns into an exploration of trauma. While this is a natural conclusion to the arc, the short runtime prevents this portion of the story from feeling fully developed. On a technical level, Leonard’s movie is definitely very lo-fi, but it works. Sequences animated crudely with stick figures give the film that extra indie feel that is so necessary for its authenticity. The script and performances are simply so strong that any flaws in the execution are negligible in the greater scheme of things. Fully Realized Humans is a humbly amazing indie comedy that just begs to be discovered. It is Leonard and Weixler’s honest yet hilarious storytelling that makes this one of the best movies to come out of this year’s festival circuit. Fully Realized Humans is set to debut at this year’s Tribeca Film Festival. It is currently seeking distribution. Rating: 4.5/5
Rating by Sean Boelman
A reboot of her narrative debut film Skate Kitchen, Crystal Moselle’s new half-hour HBO series Betty gives audiences another chance to see the real-life all-women skate group that inspires and stars in the series. And while it is entertaining to get to hang with these characters again, the premise arguably worked better in a feature-length format than a serialized one.
Loosely based on the experiences of its stars, the series follows the members of a group of friends as they try to break into the typically male-dominated world of skating. Although this is similar to the plot of Skate Kitchen, there’s a lot more room for subplots in this expanded format, and as a result, viewers will be able to form a greater connection with the characters. However, the biggest mistake made by Moselle and co-writer Lesley Arfin was to make this a reboot rather than a continuation. Although it is understandable why Moselle felt the need to tell this story again (Skate Kitchen is an indie gem that didn’t quite break out into the mainstream — although that will hopefully be remedied soon), one can’t help but feel like this is ground that has already been covered. One of the issues with the series is that the chemistry between the actors is so strong that it almost isn’t believable. Viewers are supposed to believe that these characters are meeting for the first time, yet the relationship that forms between the characters immediately feels lived-in. Of course, by the end of the season, this is no longer as substantial of an issue, but it is distracting for the first couple episodes.
Perhaps the thing that the series does the best is allowing the audience to spend time with each of the characters on an individual level. Whereas the feature followed Camille (Rachelle Vinberg) as the protagonist and Skate Kitchen served as supporting characters, she is more of an equal in this show, all of the other women having their characters explored in more depth.
This show should definitely be praised for being unlike anything else on television right now. (It seems to be trying to recapture the lightning in a bottle that was HBO’s Euphoria, albeit to an even more abstract extent.) Moselle and Arfin have created a nuanced character study, and while the absence of a strong overall series arc may alienate some, the episode and multi-episode mini-arcs are very compelling. On a technical level, Moselle has a definite style about her filmmaking, and while the series isn’t as slick and gorgeous as Skate Kitchen, there’s still a lot to love here. Gorgeous skate sequences abound in the six-episode season and are enough to make sports fans want to watch the series alone. And as expected, the soundtrack is filled with catchy and modern tunes that give the show a lot of character. Betty may not be the win it had the potential to be after the underappreciated masterpiece that is Skate Kitchen, but it’s still worth watching for the film’s dedicated fans. Now that the introductions are out of the way (again), the door is wide-open for season two to be the feminist portrait of counterculture that is so desperately needed. Betty debuts on HBO on May 1 at 11pm ET/PT, with new episodes airing subsequent Fridays at the same time. All six episodes reviewed. Rating: 3.5/5
Review by Sean Boelman
Directed by Danny Wolf, Time Warp: The Greatest Cult Films of All Time is a three-part documentary film series dealing with some of the most famous (and infamous) movies with cult followings. Although there isn’t a whole lot of information to be learned by cinephiles from this trip through obscure film history, the wealth of interesting interviews makes these docs worth watching.
Originally developed as a miniseries, Wolf’s documentary is instead being released as three features because of the abundance of material he had to use, each dealing with a different genre of cult films. From midnight movies, to horror and sci-fi, and comedy and camp films, the target audience will undoubtedly recognize or have seen many (if not all) of the movies being discussed. However, since each of the three documentaries features as many as eighteen films, less than ten minutes is dedicated to exploring each one. Yes, fans will inevitably get caught up in the nostalgia of seeing their favorite movies heralded as one of “the greatest cult films of all time”, the documentary offers little more than a basic explanation of what makes these movies so iconic and how they achieved their unorthodox success. The highlight of these documentaries is certainly the interviews that Wolf was able to score. Interviewees include filmmakers, actors, critics, and celebrity fans who talk about the films. There are definitely some very high-profile people interviewed, so fans will be excited to hear some firsthand behind-the-scenes anecdotes (though don’t expect the biggest of the big names, like Bill Murray or the Coen Brothers, to appear).
More than anything else, though, these documentaries serve as a love letter to the communal moviegoing experience, something of which cinephiles around the world have been deprived of due to recent events. Even if one isn’t a fan of some of the movies being discussed (some of them will definitely have their detractors), the love of the cinema will almost certainly unite them.
One of the more questionable elements of the documentary is its celebrity “hosts” who bridge the gaps between the interviews, providing their expert commentary on the matter, although they feel underused. Directors Joe Dante (Gremlins) and John Waters (the featured Pink Flamingos and Female Trouble) and actors Ileana Douglas (Stir of Echoes) and Kevin Pollak (The Usual Suspects) have a lot to add but aren’t given a chance to do it. Admittedly, the documentaries look and feel somewhat cheap in nature (a majority of the budget seems to have been spent on compensating interviewees and securing rights for clips), but it isn’t too horribly distracting. It’s obvious that Wolf designed this for webseries consumption, and while it likely would have worked better that way, all three features are still interesting watches. The three volumes of Time Warp: The Greatest Cult Films of All Time offer an entertaining, if surface-level look into what makes a cult film. If nothing else, the documentary serves as a great reminder of what movies cinephiles need to revisit as part of their quarantine watchlist. The first volume of Time Warp: The Greatest Cult Films of All Time hits VOD on April 21 with subsequent entries landing on May 19 and June 23. Rating: 3.5/5
Review by Sean Boelman
Russian filmmaker Kirill Sokolov’s dark comedy Why Don’t You Just Die! is one of the most inexplicably good movies in recent memory. Even though the movie sounds like it would be an absolute mess on paper, the overwhelmingly chaotic nature of the film is infectiously fun and not quite like anything else to come out this year.
The movie follows a young man on a mission to kill his girlfriend’s father when things do not go according to plan, revealing that there may be more to the situation than any of the parties involved realize. A combination of tropes and elements of different genres, the film feels thoroughly refreshing because of its unexpectedly bizarre nature. One of the more unorthodox things about the movie is its narrative structure. The film initially presents itself as if it's going to be an episodic film, but instead, it’s just a segmented structure. The use of flashbacks provides important context for characterization and a seeming disregard for the timeline makes the movie feel all the more hectic. The humor of the film is also unabashedly dark and idiosyncratic. There is a certain element of wit in the dialogue, but the more impressively funny parts of the movie are those that are comically dark. The film alternates between quips and over-the-top gore, and quite frankly, it’s hard not to revel in the absurdity of what is happening on screen.
Sokolov’s character development is also very unusual because there isn’t a clear protagonist. The screen time is spread pretty evenly between three leads, and they’re all just players in the story. None of them is the hero, none of them is the villain, and none of them is the lens through which the audience is supposed to approach the story.
The actors all do a very good job in their roles. Vitaliy Khaev gives a wonderful and hilarious turn, having the best comedic timing of anyone of the bunch. Despite the exaggerated nature of the movie, he never feels over-the-top himself, allowing the film to still feel mostly grounded. Aleksandr Kuznetsov’s performance is also solid and well-rounded. On a technical level, Sokolov’s movie is definitely very inventive. There is a lot of gore in concentrated moments of the film, and while it definitely looks very low-budget, it fits given the tongue-in-cheek tone that the movie has. The production design is also impressive, feeling admirably grimey to create the feeling of disorientation and disgust the viewer is supposed to have. Why Don’t You Just Die! is a surprisingly entertaining film, and while it is by no means “high art”, it’s definitely worth a watch. Audiences clamoring for more international dark comedy will undoubtedly find that itch scratched by this bizarre picture. Why Don’t You Just Die! hits VOD on April 20. Rating: 4.5/5
Review by Sean Boelman
Earth, directed by Nikolaus Geyrhalter, is a new environmental documentary arriving just in time for Earth Day. However, it is not your typical nature doc, instead taking a much more poetic and reflective approach to the issues that plague our world, its ecosystem, and the people that call it home.
The film takes a look at different people across the world as they change the shape of the Earth with machinery, whether to mine, build, or for other purposes, and how it affects the world. Although there are plenty of movies about the impact the mining industry has on the environment, none has been quite as meditative as Geyrhalter’s. In the film, Geyrhalter takes a look at the mining practices at various sites around the world. Yet this isn’t an exposé, but instead a visual essay that shows the processes and their immediate visible consequences. The fact that there is no journalistic aspect to this movie allows it to stand out as more thought-provoking than most works of activism. The main method through which Geyrhalter delivers context for the images he presents is interviews with the employees at the mines and worksites he is documenting. Some of these are definitely more insightful than others, a few simply discussing the ins and outs of their daily routine but others discussing the true implications of their work.
What is most interesting about the films, though, is the range of perspectives among the interviewees. Some recognize the potential harm they are causing but continue to do their jobs because it is what has to be done for them to make ends meet, whereas others are more proud of literally “moving mountains”.
Geyrhalter’s main point with this movie does not seem to be to outright condemn these companies that are altering the planet, but rather, to bring a greater sense of collective consciousness and understanding. Some of these things being shown are necessary evils, but society needs to be aware of the impact we are having on the world and take steps to remediate it. Admittedly, the film may not be as readily accessible to audiences as it needs to be to get its message across because of its relatively lengthy runtime. Although all of the interviews are interesting, Geyrhalter could have communicated his point just as easily in ninety minutes as he did in almost two hours, making the movie a bit more palatable. Nikolaus Geyrhalter’s Earth is a beautiful and thoughtful documentary, and while its message doesn’t go much deeper than the surface, it can start a very important conversation. This is certainly a worthy watch for this Earth Day. Earth is now streaming in partnership with indie theaters. A list of participating locations can be found here. Rating: 4/5
Review by Sean Boelman
Written and directed by Hlynur Palmason, A White, White Day is a new revenge movie unlike any to grace the screen to this point. Beautiful and contemplative, this film may be too emotionally exhausting for some viewers, but it is a powerful and rewarding watch nevertheless.
The movie follows a police officer on leave after the tragic death of his wife as he struggles to stay afloat, care for his granddaughter, and find out the truth about his suspicions of his wife having had an affair. It’s a relatively conventional story told in a thoughtful and poetic way, making it a welcome and necessary addition to a genre that has experienced a resurgence in recent years. The thing that is likely to prevent some viewers from getting invested in the film’s story is its meandering pacing. Although there is a lot happening in the narrative, the conflict doesn’t really kick in until the final act. Those haunting first two acts are absolutely breathtaking, though, and arguably even more emotional than the intense finale. With this movie, Palmason offers a compassionate look at the grieving process and how people learn to process their emotions while still trying to function in the world around them. There are a handful of scenes in the film that are absolutely gut-wrenching, the most impactful of which comes around the end of act two when the protagonist cracks.
Part of what makes the movie so emotionally-resonant is that Palmason roots the story strongly in character development. Even though some of the events that happen in the story could come off as a bit over-the-top, the reality with which Palmason has written the protagonist keeps the film very grounded.
Ingvar Sigurdsson gives an amazing performance in his lead roles. He brings so much humanity and empathy to the character and handles the difficult subject matter with ease. His chemistry with young actress Ída Mekkín Hlynsdóttir, who plays his granddaughter, is absolutely phenomenal and gives further layers of emotion to the movie. Undoubtedly the strongest part of the film, though, are its visuals. The chilly and crisp cinematography by Maria von Hausswolff is among the best one will see all year. Every single frame of the film is absolutely beautiful, and while it’s a shame that the movie won’t get a theatrical release stateside, at least viewers have a chance to admire the artistry of the film. A White, White Day is definitely not an easy watch, but it is one of the most gorgeous movies of the year. The sophomore feature from Hlynur Palmason, this shows that he has tremendous talent as a filmmaker and is one of the most exciting voices to come out of European art cinema in recent memory. A White, White Day is now streaming online in partnership with indie theaters. A list of participating locations can be found here. Rating: 4.5/5
Review by Sean Boelman
Taking a look at the life of the now-defunct indie record store of the same name in New York City, Other Music is a must-watch for anyone who is nostalgic for the heyday of vinyl. Offering a surprisingly emotional look into music history, this is one of the most entertaining documentaries that music fans have to watch.
The film follows the employees and patrons of Other Music in the weeks before they shuttered their doors forever, taking a look back at the influence the store had on the community and industry. Although there have been movies documenting the decline of record stores, none has had such a personal and empathetic touch as this. Undoubtedly the best part of this film is that it is able to make the viewer feel connected to the store and its history even if they were never a part of it. Although it is sadly too late for audiences to visit the store themselves, this story can easily be seen as representative of all the record stores that music fans across the globe have perused to discover new tunes in the past. Directors Puloma Basu and Rob Hatch-Miller were able to get access to some of the higher-profile clientele of the store for interviews, including Jason Schwartzman, Benicio Del Toro, Martin Gore (of Depeche Mode fame), and Ezra Koenig (from Vampire Weekend), but the interviews that have the real emotional impact are those of employees.
The main message of the movie is that Other Music, like so many other record stores, is more than just a vendor of physical media. It is an important part of the collective media consumption experience, shaping both what we listen to and how we listen to it. It’s an undeniably important part of the industry that will surely be missed by many.
Of course, the film features a lot of great music, some of which viewers will be familiar with and some of which will be new to their ears. It’s definitely fitting that a movie about a music store iconic for their personalized recommendations would help viewers discover new music to listen to that they never would have expected. On a technical level, Basu and Hatch-Miller’s film is definitely very strong. Perhaps the most effective thing about the movie is that it makes the viewer feel like they are actually there. Because of the wonderful sense of spatial geography that the film builds, which is particularly welcome since it is impossible for anyone to visit in person anymore. Other Music is a documentary specifically designed for musicophiles, but it’s appeal isn’t limited to the area in which the eponymous store conducted business. Rather, it’s a universal tale of how music and the experience of shopping for music draws us together. Other Music is now screening online in partnership with indie theaters. A list of participating locations can be found here. Rating: 4.5/5 |
Archives
April 2024
Authors
All
|