Review by Sean Boelman

Roy Andersson’s About Endlessness is an art film in the most classical sense of the word — an abstract series of images connected by theme and not a whole lot else. And while there are some effective moments sprinkled throughout, its rambling meditations are unlikely to resonate with a majority of viewers.

The movie is a reflection on life and humanity as told through narrated vignettes depicting mundane happenings and historical events. Ultimately, the thing that the film seems to be most lacking in is structure. These images are often very profound, but there isn’t the connective tissue tying them together to make them into something greater.

Andersson’s film is definitely very erratically paced in that there are long stretches of stillness (even near-nothingness) and others that are total chaos. Viewers can expect to feel some pretty significant cinematic whiplash going from soothing scenes of people sitting down to someone walking through the street being whipped while carrying a crucifix.

It is clear that Andersson is more interested in exploring themes than anything else, and he does so with mixed success here. While he often says what he wants to get across in a way that is subtle and intriguing, he occasionally tries to go a bit more overt with the symbolism and it feels like he is beating the audience over the head.

Part of what makes the movie fail is that there isn’t as much connection with the characters as there needs to be. Of course, with this taking more of a vignette-based structure, it’s understandable that there isn’t as much of a focus on fleshing out each individual person, but the movie fails to connect us with them beyond our common humanity.

The acting of the film is also somewhat awkward. It’s as if Andersson got everyone in front of the camera and told them to try to act natural. It’s not that they are over-acting and going too big, even in the more extreme sequences, but rather, that everything feels artificial and forced in an attempt to make it mean something.

That said, the movie is absolutely gorgeous to look at. The cinematography by Gergely Pálos is stunning, with a few images that are absolutely unforgettable. It’s a work of astounding visual poetry, almost making up for the fact that its attempts at literal poetry through its writing so frequently fall flat.

About Endlessness is the type of film that scholars will be debating years from now, even if it doesn’t quite deserve it. It’s undeniably gorgeous, but struggles to straddle the line between ambiguous and abstract, leaving the viewer mostly unfulfilled.

About Endlessness hits theaters and VOD on April 30.

Rating: 3/5

Reviewed by Adam Donato

Review by Dan Skip Allen

Focus Features has done a nice job lately of bringing different diverse voices to the screen. They focus (pun intended) on giving a voice to the voiceless through their films. Just this year alone they have had some interesting films coming out such as Land and Boogie, last year Emma. and Promising Young Woman. Well, the latest film from the arthouse studio is Limbo, from another new voice in the film industry: Ben Sharrock.

Limbo depicts the story of four refugees who are hold up on an island in Scotland. Amir El-Masry plays a musician, Vikash Bhai plays his buddy. Also, Ola Orebiyi and Kwabena Ansah are two Africans, one will end up cleaning and the other has dreams of being a footballer. They are all biding their time in Scotland hoping to get their freedom.

One of the only ways these people have of contacting friends or loved ones is a payphone. We hear about these people's lives outside of this refugee camp, or house if you will. One of them has family in war-torn Syria who he worried about. His mother keeps him updated on their plight as well. The others are trying to flee from the authorities or are just happy not being in the Middle East. They all have different reasons for being where they are. The fierce weather doesn't help make things easier.

The setting of Scotland is a beautiful one indeed. During the summer, there are some amazing vistas, and in the fall and winter, there is fog, rain, and snow at times. This makes the cinematography in this some of the best you'll see this year. In a sense, it changes with the mood of the film. As things get darker and colder in the story, so does the atmosphere of the film. It's a very good job by Sharrock and the cinematographer, Nick Cooke.

Sharrock had to create a setting that goes with this dark story. The life of a refugee can be pretty hard. They are in strange and different countries where they don't know anybody and don't have any money. The musician has an Oud to entertain people and that could be his way to make some money. He just has to believe in himself and realize this is his lot in life. His friend from the Middle East is on his side as well. They could help each other in the long run. They just need to trust one another that's the key.

The acting in this film is good, not great. The subtitles make for some of the drama to get lost in translation. Despite that, there is some good dialogue, which causes some real drama for the characters. This cast is serviceable in their various roles, especially the musician. The director makes him the lead character in the story so everything revolves around his story, on-screen and off. That was a good decision on his part.

Limbo is a good film about a subject matter rarely seen. It has some gorgeous cinematography in due effect to the changing of the seasons and weather. The acting is okay from most but better than good from the musician. The director Sharrock gets everything he can out of this script and the actors saying the dialogue. The thing is this story can only go so far and it shows at the end of the film. Like the Scottish island it's set on, it is landlocked with nowhere to go.

Limbo hits theaters on April 30.

Rating: 3/5

Review by Camden Ferrell

The County is an Icelandic movie that played at the 2019 Toronto International Film Festival as well as several other festivals. This movie comes from writer/director Grímur Hákonarson. It may be slow at times, but this is an inspiring story that’s full of timely themes today of oppression and corruption.
 
Inga is a recently widowed dairy farmer. Disenchanted with the local Co-Op who practically controls and abuses their local farming industry, she decides to rebel against the system and live life on her own terms. Obviously, this is not met without obstacles, and she must fight for her beliefs. This is a simple yet resonant story that has broad-reaching thematic potential.
 
Hákonarson’s screenplay is well done. It is solemn in its treatment of its protagonist, and it revels in its natural yet inspired dialogue. By the end, it does feel like certain ideas and themes could have been developed and explored more though. Regardless, it’s a solid script that provides a great foundation for the film.
 
One of the most surprising aspects of this film is how accomplished its leading performance is. Arndís Hrönn Egilsdóttir leads the film as Inga, and she does a great job at playing a character so steadfast in her pursuit of liberation yet one so vulnerable due to the loss of her husband. It’s a really unique and impressive blend of emotions that really helps elevate the film in some of its slower moments.

This is a tale as old as time. Raging against an unjust system is far from original in cinema, but this movie reframes it through the context of dairy farming which is a unique perspective. The movie is full of scenes of cows and milk production, and it serves as an interesting backdrop for the story. The diary industry isn’t seen very often, but its struggles are similar to the struggles of many working-class industries in today’s world.
 
While the film has a lot of heart working for it, it can still fall victim to some sluggish moments and meandering scenes. The movie stumbles in its pace at times, and it does undermine the other great things about the film. The cinematography is occasionally quite enriching, and it is a slow burn that pays off fairly well by the end.
 
Despite its flaws, it’s a relatable story about one woman who does not want to be controlled and treated unfairly. It’s empowering to see such a resolute middle-aged woman lead the charge for change in her community. It sends a strong and inspiring message to the people of the world even if the film doesn’t particularly amaze the viewer.
 
The County is a quiet and earnest character study of a woman trying to take control of her life. It has some really great themes and acting, but it can often lose its narrative footing throughout.
 
The County will be in theaters and virtual cinemas April 30.
 
Rating: 3.5/5

Review by Camden Ferrell

​From the Oscar-nominated directing duo of Shari Springer Berman and Robert Pulcini comes a new horror film, Things Heard & Seen. This movie is based on the book All Things Cease to Appear by Elizabeth Brundage. The movie may have a great leading performance and eerie ambiance, but its sluggish pace can make for a very tedious two hours.
 
Catherine is an artist who moves to a small town when her husband, George, gets a new job as a professor. Soon, she realizes their new home and their marriage may not be what they appear to be. The setup is fairly mundane as far as horror movies go, but it does have promise to be ominous and intense.
 
Written by Springer Berman and Pulcini, this movie lacks compelling dialogue to supplement its narrative. It is full of lifeless dialogue more times than not, and it doesn’t follow up on any interesting themes or dynamics when they are introduced. It’s not bad, but it fails to breathe life into the story and the setting.
 
The most commendable aspect of this film is the lead performance from Oscar-nominee Amanda Seyfried. She does a great job of portraying paranoia and passion throughout, and she shines consistently in the film and the genre as well. She is supported by a cast including James Norton, Natalia Dyer, and F. Murray Abraham. The supporting cast does adequately in their respective performances, but pale in comparison to Seyfried’s performance. 

The movie seems to draw a lot of comparisons to two of Seyfried’s previous films, First Reformed and You Should Have Left. Her newest movie lacks the religious fervor and character development of the former, and it succumbs to some of the tired horror tropes of the latter. It treads the water in terms of its religious and thematic subtext, and it doesn’t dive deeper into the messages and symbolism at the heart of its story.
 
However, the ambiance is decent throughout. The lighting, cinematography, and score do a fairly decent job at creating an ominous and eerie environment. Unfortunately, some moments of horror and suspense don’t always land the mark, and this can pull you out of the experience. The movie doesn’t pack nearly enough thrills to keep an audience thoroughly invested in their lives and the ongoings of their new house.
 
The biggest problem with this movie comes from its slow pace. It meanders throughout until it reaches a climax that is admittedly very well done. However, the movie’s lethargy undermines the impact of its final shocking moments, and it will leave viewers feeling underwhelmed more than anything.
 
Things Heard & Seen has all the makings of a great horror movie, but we are instead given a passable movie with some very noticeable flaws. Seyfried does a great job wit her role, and it is very atmospheric as a whole, but the movie doesn’t always exceed at eliciting thrills.
 
Things Heard & Seen will be available on Netflix April 29.
 
Rating: 3/5