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Review by Sean Boelman
There have already been a lot of documentaries to come out about the COVID-19 pandemic, but none has taken as unique of an approach as Udi Nir and Sagi Bornstein’s Viral. Exploring the ways that people have remained connected in light of the circumstances, this is maybe the most humanistic film about the topic so far.
The movie follows seven people who cope with the loneliness and struggles of the pandemic through social media. Since almost all of us had to be separated from our friends and loved ones for at least part of last year, this is a story that audiences will connect with, at least to some extent. As is the case with a lot of documentaries that follow multiple subjects, there are some storylines here that are more effective than others. Some portions of the film follow people who are just trying to go about their daily lives with new adjustments, and others deal with some more extraordinary situations. Nir and Bornstein seem to recognize which of these stories are most interesting, and therefore give them a more significant portion of the movie’s focus. One of the more prominent storylines is a love story between a cruise ship worker and her overseas romantic partner, and this is the one that will perhaps most easily invest the audience. 
Part of what makes this film stand out is how hopeful its approach to the pandemic is. Yes, there is a section in which the subjects are voicing their grievances with what they are having to go through, but the emphasis is more on how they were able to make the most of their situation to find some form of happiness.
With this more lighthearted tone comes a sense of humor that one doesn’t expect to see in a movie like this. Although there aren’t the gloom-and-doom scenes of people who are sick and dying, it never feels like Nir and Bornstein aren’t taking the situation seriously. It finds that perfect balance between meaningful and optimistic. The footage is predominantly taken on cell phones and laptops as the subjects’ personal diaries. It may not be the most cinematic thing to watch, but it’s exactly what this type of story calls for, as these devices are what we have lived with as a society for the past year and it is only fitting that we are using them for our storytelling as well. Viral is a very interesting documentary that tells some of the stories of the pandemic that we haven’t seen so many films about yet. It hits close to home, but in a way that makes it a great snapshot of the current moment. Viral is screening as a part of the 2021 Hot Docs Film Festival, which runs April 29 through May 9. Rating: 4/5
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Review by Sean Boelman
With her documentary As I Want, filmmaker Samaher Alqadi sets out to skewer the misogyny that radiates through patriarchal society. Thoroughly affecting, if not entirely organized, Alqadi’s film is at its best when it leans more towards being a personal essay than a mere political statement.
The movie follows the filmmaker as she examines the uprising of women fighting in Egypt against a surge in sexual assaults and reflects upon her role as a woman and mother in the Middle East. It’s an important story, and unfortunately things like this too often don’t see the light of day in the media. Admittedly, Alqadi almost tries to bite off more than she can chew in the film, trying to tackle the ideas of womanhood and motherhood, while at the same time trying to pull apart the patriarchal ideas of Middle Eastern society that have resulted in this situation becoming so dangerous and urgent in the first place. At under an hour and a half, Alqadi is forced to jump between the different issues at a pace that is not always the most fulfilling. A lot of what Alqadi has to say is fascinating, but just as soon as she really starts going somewhere with one aspect of the movie, she has to pivot to one of the other themes. This is clearly a very personal film for Alqadi, and that is a large part of what makes it so powerful. Alqadi gives some very intimate access into aspects of her life, and when she begins to explore her own past, it becomes even more so. It is honest, small-scale stories like this that really hit home the effects that these issues have upon their victims. There are definitely moments in the movie that are hard to watch, like footage of a sexual assault which happens in a large crowd. However, Alqadi is not presenting these in a way that is excessive or insensitive, but rather, to communicate to the audience the horrors that women experience at the hands of men. Stylistically, Alqadi’s film is not consistent, but it is very ambitious. For the most part, the footage is run-and-gun footage taken by Alqadi as she uses the camera as a means of protecting herself. There are also some poetic moments in the movie, and although they are well-done, they are too sporadic to be fully effective. As I Want is an important film because it deals with themes that desperately need to be discussed. Samaher Alqadi shows a lot of talent as a filmmaker, even if it is somewhat unrefined. As I Want is screening as part of CPH:DOX, which runs April 21 through May 2. Rating: 3.5/5
Review by Sean Boelman
Zhang Yimou is undoubtedly one of the finest directors of our time, having directed some of the greatest action movies of the 21st century. It is understandable why fans are excited to see his first foray into the spy thriller genre, but unfortunately his talents are wasted on Cliff Walkers, which amounts to little more than a Chinese propaganda film.
The movie follows four Communist Party special agents who return to China after training in the Soviet Union, only to find themselves at odds with their Japanese oppressors when a traitor is revealed in their ranks. It’s a convoluted film of double crosses and espionage, and while the team’s “secret mission” is only alluded to, we know it’s true purpose due to the nature of the movie. Much of what the film has to say about heroism and martyrdom won’t mean anything to Western audiences. This is a movie made to honor the heroes of the revolution, and it plays out as such. Although it’s not quite as jingoistic as a lot of Chinese blockbusters with patriotic themes, these ideas are still there, and not very subtle. The film’s biggest shortcoming is its lack of character development. The audience isn’t given a whole lot of context as to who these characters are. While this will likely be more forgivable for Chinese viewers who identify with them as countrymen, American audiences will be left questioning who these characters are and why they are important. 
This is largely an ensemble piece, and while the movie does contain some notable Chinese stars, the script never affords them the opportunity to shine on an individual level. Ultimately, everyone involved in this production — even Zhang — is just another cog in the machine to make this nationalist propaganda.
There are a few cool action set pieces in the film, and these keep it interesting despite the script’s deficiencies in intrigue. Ultimately, it really isn’t anything we haven’t seen before — with a few snow-bound shootouts and one low-octane car chase — and it pales in comparison to the creative choreography that Zhang's movies have had in the past. However, the action is one area that benefits heavily from Zhang's presence. The script by Yongxian Quan is very basic and would have been quickly forgotten were it not for Zhang's characteristically beautiful visuals. The cinematography is excellent, and Zhang consistently uses the snowy setting of the film to his advantage. Cliff Walkers is a decent movie, but it’s far from ranking among Zhang's best. Pretty visuals and a few great moments aside, this is a forgettable thriller made primarily for Chinese audiences, and American viewers have no real reason to seek it out unless if they are a hardcore fan of the filmmaker’s work. Cliff Walkers is now in theaters. Rating: 3/5
Review by Sean Boelman
A scene from Berlin Alexanderplatz, courtesy Kino Lorber.
There has already been an iconic screen adaptation of Alfred Döblin’s acclaimed novel Berlin Alexanderplatz, so viewers are left to ask why there was a need to adapt it again. A modernized take on the epic crime saga, Burhan Qurbani’s vision of the source material is interesting, even if it isn’t as unique as he would have hoped.
The film follows a refugee living in Berlin who is drawn into a life of crime after befriending a drug dealer. To give credit where credit is due, Döblin’s novel — which came out in 1929 — set the bar for tragic crime stories such as this. However, this is an arc that has been told this way so many times before. Qurbani and Martin Behnke have changed the protagonist from being a disillusioned ex-con to a disillusioned refugee in order to make the story feel a bit more timely. Although this does provide some interesting commentary on the hostility that Germany has towards immigrants, it also makes this classic story feel like an imitation of itself. At three hours in length, the movie is much shorter than Rainer Werner Fassbinder’s epic television adaptation of the novel, and it moves along pretty nicely. Qurbani has figured out how to build and sustain tension through drama without making it feel overly soapy. The shocking moments don’t quite shock because of their familiarity, but they are entertaining nonetheless. 
A scene from Berlin Alexanderplatz, courtesy Kino Lorber.
The character development in the film is what is lacking. All of these characters feel like stereotypes. Francis is the cliched refugee who wanted to make himself a new, better life, but ends up in even deeper trouble than before. Mieze is the prostitute with a heart of gold, whose only purpose is to push along the character’s arc. For a movie that wants to be socially conscious, it’s frustrating to see such reductive characters.
That said, the performances in the film are absolutely astounding. Welket Bungué is phenomenal as the lead. He does such a great job of commanding the screen and carrying the emotional weight of the movie. On the opposite end of the spectrum, Albrecht Schuch gives a slightly hammy performance as his drug dealing accomplice, and it works. The film is also visually wonderful. The cinematography by Yoshi Heimrath is drenched in neon in a way that creates a dreamlike but not soothing feel. This, contrasted with the harsh reality of the Berlin streets on which much of the movie’s action takes place, is a unique tone that fits the project quite well. Berlin Alexanderplatz impresses in many regards but falls flat in others. Ultimately, it’s another arguably unnecessary attempt at re-adapting classic source material, even if it does have its own merits. Berlin Alexanderplatz is now in theaters and virtual cinemas. A list of participating locations can be found here. Rating: 4/5
Review by Sean Boelman
Director William Brent Bell isn’t exactly known for making the best quality horror movies, but they are generally at least pretty entertaining, and that fills a void left at multiplexes by the pandemic. Unfortunately for cinemagoers, his latest film Separation isn’t particularly scary, but it’s perhaps a bit more perceptive than it initially lets on.
The movie follows a comic book artist and his daughter whose lives begin to unravel after they experience a terrible tragedy. The marketing would have you think that this is a supernatural horror flick, and while there are definitely elements of that there, it’s more a divorce drama than anything. That said, it’s highly unlikely that anyone is coming to a mainstream horror movie with the intention of seeing stirring family drama. There are a few cool and mildly creepy images spread throughout the film, but nothing is ever startling, much less dread-inducing. As a horror movie, this is entirely lacking in originality in its approach. Additionally, the film is either far too much or far too little in terms of its themes. Portions of the movie that explore the protagonist’s struggle to be a better father are really conventional and on the nose, but there is an entire storyline about grief that is underdeveloped to the point of feeling like an afterthought. If a horror film is going to go for a cross-genre approach, it at least needs to be fully developed. 
All of the characters are also very generic. The protagonist is a slacker father who means the best and wants to be there for his kid, but always seems to come up short. There is the rich father-in-law trying to take away his grandchild because he thinks he knows what is best. And the twist can be seen a mile away because of shoddy character development.
Still, the actors are able to take these thinly-written roles and make them somewhat compelling. Rupert Friend plays the lead, and while his turn isn’t a show-stopper, it makes one intrigued to see what he could do with a full-fledged horror flick. Celebrated actor Brian Cox also shows up in the supporting cast, and surprisingly isn’t wasted, giving a decent turn to elevate a mediocre film. Bell tries to do some ambitious things with his movie stylistically, but perhaps due to low budget or more likely indecisiveness, his vision is never expounded upon. There are some interesting things in the supernatural aspect of the film, but it never goes all-in on world-building, and as such, these scenes feel out-of-place. Separation is watchable, even if it works slightly better as a drama than a horror flick. Regardless, theaters are in desperate need of content right now regardless of quality, and this is worthy enough to sell a few tickets. Separation opens in theaters on April 30. Rating: 2.5/5 |