Review by Sean Boelman
Joe Penna’s feature debut Arctic was an ambitious genre picture made on a small scale, and he continues that trend with his space-bound thriller Stowaway. Thanks to strong performances, tense dialogue, and a few excellent set pieces, this is an entertaining nail-biter of a popcorn flick.
The film follows the three-person crew of a space mission as they find an accidental stowaway on their ship, causing a series of unexpected consequences that threaten to derail the mission. It’s a moral study placed within a race-against-the-clock thriller structure, and that makes for a really gripping combination. A majority of the first hour of the movie is spent getting the audience invested in this mission and watching the dynamic between the four characters form. That said, the tension in the later half is absolutely relentless, creeping under the viewer’s skin and keeping one on the edge of their seat without any break until the credits roll. There are some really interesting ethical discussions that the film proposes throughout, and this is part of what makes the movie effective. The characters are thrown headfirst into this situation that fundamentally challenges their humanity, and the audience is right along with them, debating as to what the solution is.
That said, the film does suffer from some weaknesses in character development. All four of the characters are relatively archetypal, even to the point of feeling outright shallow. This seems to be for the purpose of making the central conflict more simple, but it still prevents a deeper emotional connection than appealing to the audience’s core humanity.
Still, the four actors are able to make the most out of their roles. Anna Kendrick shines in her dramatic turn, bringing the same charming naivete to the character that has made her other turns stand out. Daniel Dae Kim’s performance is much quieter, but just as powerful in a few very resonant moments. And Toni Collette and Shamier Anderson round out the small cast well. Much of the movie is set within the confines of the ship, so there is a lot of detail put into the production design. That said, there are about twenty minutes total that involve some more substantial visual effects, and those are really strong and likely to catch the viewer off-guard in an otherwise dialogue-heavy project. Stowaway is a relatively simple thriller, but all of the elements that are needed for it to succeed are there. Joe Penna is establishing himself as the filmmaker to create humanistic and claustrophobic movies about survival, and it will be exciting to see what he does next. Stowaway is now streaming on Netflix. Rating: 4/5
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Review by Sean Boelman
One of the best things about art documentaries is that they offer a behind-the-scenes glimpse into their subjects’ artistic process, and Chuck Connelly Into the Light pulls back the curtain even more than most. Entertaining and fascinatingly raw, filmmaker Benjamin Schwartz has made something truly special here.
The film follows painter Chuck Connelly as he attempts to recover his career years after his struggles with alcoholism derailed his trajectory forever. There’s nothing new about telling the story of a reclusive artist, but this movie emphasizes the elements that make it stand out, namely his fall from grace and quest to rise back. At under an hour and fifteen minutes in length, the film doesn’t waste any time. Schwartz explores both Connelly’s career and personal life, and the movie does a great job of balancing these threads. Yet despite the short runtime, it never feels like the film is pulling punches or failing to go into adequate depth. There is a really powerful and inspiring message about redemption to be found in Connelly’s story, and this is likely what is going to resonate the most with viewers. Connelly has hit some very low lows in his lifetime, but this proves that people are able to come back from even the most seemingly insurmountable of odds with passion and dedication.
Connelly certainly isn’t a traditionally approachable subject, and as such, Schwartz has to represent him in a unique way. The first interview that opens the movie establishes Connelly’s anger in a way that is oddly endearing and charming. There is something inexplicably appealing about watching a disillusioned old man complain about the world.
Another part of what makes the film work so well is that it is genuinely funny. Obviously, Connelly’s personality is definitely a big contributor to this, but there are also some great anecdotes. In one of the best moments in the movie, Connelly recalls an interaction he had with filmmaker Martin Scorsese that ended quite humorously. Like most art documentaries, this is a joy to look at because of how gorgeous Connelly’s artwork is. There is a sequence that follows Connelly and one of his pupils as they construct a painting from the bottom up, and the audience gets to see how the techniques and colors build on top of each other. It’s truly mesmerizing to watch in a way that few filmmakers are able to pull it off. Chuck Connelly Into the Light is an impressive art documentary that presents its subject in a unique and humble way. It’s a fascinating story, and quite frankly, it’s a miracle that this story was even able to be captured in a film. Chuck Connelly Into the Light is now streaming online as a part of the 2021 Florida Film Festival, which runs April 8-22 in Orlando, FL. Rating: 4/5
Review by Sean Boelman
The 2010s saw a tremendous surge in popularity of the drag scene with RuPaul’s Drag Race, but it has existed much longer than that. Angela Washko’s documentary Workhorse Queen explores that scene before and after the television show, and it’s an unexpectedly deep and emotional watch.
The film tells the story of Ed Popil, better known as Mrs. Kasha Davis, a drag queen who was one of the older contestants to compete on RuPaul’s Drag Race, as he attempts to make a name for his alter ego after his appearance on the show. For those who are fans of drag, it’s sure to be an interesting backstage documentary, but it will also appeal beyond that core niche. Popil/Mrs. Kasha Davis makes for a very compelling documentary subject. A majority of the viewers of this film will likely be fans of RuPaul’s Drag Race, but Popil is more than a reality show contestant. The audience goes along for the ride, experiencing all of the ups and downs that Popil goes through in his life. Much of the first of the film follows Mrs. Kasha Davis as she tries to make it as a drag queen, but the second half is more about Ed Popil and how he tries to balance his work and personal lives. This involves a really empathetic discussion of addiction that viewers probably won’t see coming when they tune in to a documentary about drag. Admittedly, the pacing of the film isn’t the most effective, as it peaks really early. Although the stuff that comes in the final third of the film is somewhat moving, it’s almost anticlimactic to watch someone working so hard for something only for their dream to fall apart. There are some good moments in this portion, especially the alcoholism arc, but Washko loses track of the emotional core of the film. It also feels as if the film is missing a lot of performance footage. Whether due to rights issues or a presumption of familiarity, the film features very little material of Mrs. Kasha Davis on stage. Granted, this allows the audience to identify more with Popil’s off-stage persona, but it doesn’t give an appreciation for his skills as a performer. Otherwise, the film is mostly well-made. Washko follows her subject in a mostly fly-on-the-wall manner, with a few interviews to supplement the storytelling. There is a buoyant energy to much of the film, which fits well with the uplifting first half but not as much with the comparatively darker back half. Workhorse Queen is the type of documentary that is sure to delight a particular audience, but has the potential to resonate with others as well. It’s deeper than one would expect, although not to a groundbreaking extent. Workhorse Queen is now streaming online as a part of the 2021 Florida Film Festival, which runs April 8-22 in Orlando, FL. Rating: 3/5
Review by Camden Ferrell
The Mitchells vs. the Machines is a new and original film that seems tailor made for today’s technological climate. This is the feature debut of director Michael Rianda and co-director Jeff Rowe. The movie is silly enough to satisfy younger viewers while also being full of surprisingly heartfelt moments to entertain viewers of all ages.
The Mitchells are an eccentric and dysfunctional family. The family embarks on a cross-country road trip when Katie, the daughter of the family, is about to leave home for film school. However, their plans change when they find themselves to be humanity’s last hope during a robot apocalypse. This is a road trip movie with a unique angle that gives the film a lot of personality and relatability in a smartphone era. From the start, the film has a whimsical and child-like personality that is frantic and fast-paced. Even though the opening moments don’t stick the landing, the movie finds its footing quickly. It strikes a surprising balance between its frequent photoshop-style effects, physical humor, and family dynamics. It’s a brand of comedy that will mostly appeal to younger audiences but still has a handful of moments that are sure to elicit laughs from all ages. The film is comprised of a rather talented cast. Abbi Jacobson leads the film as Katie, and she gives a quirky performance that is adequately zany. However, the real stand outs of the film are Danny McBride and Maya Rudolph who play the patriarch and matriarch of the family, respectively. They both deliver some great over the top performances that give the film an infectiously enjoyable personality.
One of the most notable things about this movie is how Rianda and Rowe’s script handles the family dynamics of the Mitchells. It does a great job of analyzing strained parental relationships, internalized resentment, and a longing for connection. None of it is deep, but its messages are packaged in a way that will make it accessible to children who are watching the film. The movie is silly and doesn’t take itself seriously most of the time, but it does manage to pack a fair emotional punch throughout.
Another enjoyable aspect of the movie is how it doubles down on the absurdity of its premise. It’s obvious that the writers, cast, and animators all had a lot of fun making the movie, and that’s evident in the enthusiasm in their work. The movie may be predictable and hit too many familiar beats, but it’s hard to deny that it’s enjoyable due to all the love that went into crafting it. Even though there are a lot of things working in the film’s favor, it does suffer from a relatively long runtime and a final half that doesn’t quite match the quality of the first half. It doesn’t break new ground for the genre, but it’s a fun and unobjectionable animated film that has a big heart. The Mitchells vs. the Machines could be the perfect excuse to put down your phones and spend time with your family. Kids will love it and adults might find themselves surprised with how mature it can be at times. It’s not perfect, but it serves as an escape to a quirky family road trip. The Mitchells vs. the Machines is available on Netflix April 30. Rating: 3.5/5
Review by Sean Boelman
Based on the Grishaverse books by Leigh Bardugo, Shadow and Bone is Netflix’s latest attempt to launch a massive IP, and it is largely successful. Packed with great action, compelling characters, and immersive world-building, this seems destined to be the next binge-worthy series to earn a rabid fanbase.
The series is set in a world where people with extraordinary abilities are exploited as weapons, as an orphan girl discovers that she may have the power to change the world. At first, it seems like this is going to be a standard prophetic savior storyline, but what makes this special is how it blends fantasy with heist and Western tropes. There is a lot of exposition in the first episode in order to set up the world in which the show exists, but then the other seven episodes move along at a very steady pace. And while there are a lot of moving parts in the series, with multiple parallel storylines happening, they are all developed equally. Perhaps the most intriguing thing about the series is the world. It may take a bit of time to fully understand what is happening and why, but once things fall into place, it’s easy to get invested in the greater conflict that comprises the main series arc. And of course, the final episode leaves more room for these details to be further explored.
The protagonist of the series isn’t the most compelling character. The final few episodes make her into the strong heroine that we want, but for the most part, it’s the supporting players that are more interesting. Every viewer will likely have their pick as to who their favorite character is, and every character will have their fans.
Most of the cast is made up of fresh faces, but they do an excellent job in their roles. Jessie Mei Li gives a strong leading turn, bringing a grounded take to an archetype that is usually a bit more bright-eyed. Freddy Carter is probably the best of the other performers in the cast, but Ben Barnes and Amita Suman are also memorable. The visual style of the series is also very effective. There is frequent juxtaposition between light and darkness throughout, and it’s really beautiful. But most impressive are the action sequences, which are an inspired combination of CGI effects and exciting choreography shot in a way that is entirely cinematic. Shadow and Bone is a very promising series that will set the internet ablaze when it’s released. It’s the type of fun escapism that viewers want to see in their Netflix content, and it’s much better-made than most series that fit that bill. Shadow and Bone streams on Netflix beginning April 23. All eight episodes reviewed. Rating: 4.5/5
Review by Dan Skip Allen
Films about getting pregnant are an interesting genre. There aren't a lot of them but they seem to have a comedic feel to them more often than not. For some reason, filmmakers think giving birth is a funny experience. Together Together doesn't challenge this notion at all.
Ed Helms plays a middle-aged man who wants to have a child. He enlists the help of Patti Harrison's character to be the surrogate mother. This business agreement is not easy for them. It stretches the boundaries of connection and love. Can a man have this arrangement with a woman without all the preconceived notions of what a relationship should be between a man and a woman? Despite the comedic moments between these two people, the film has a lot of touching moments as well. The differences between them cause a little drama but make sense because this is a difficult situation for everyone involved. He wants to share everything with everybody and she wants to remain neutral and not know anything about the child so she doesn't get attached to it. Nikole Beckwith wrote and directed this film. It seems like the topic is personal to her. She asks all the questions within the film. The answers aren't always straightforward or easy to take. She doesn't make this complicated subject matter easy to interpret. It's very difficult to translate on-screen. That feels more like real life to me.
Helms and Harrison are serviceable in their roles. They have a nice banter between them in between tense moments about the pregnancy and boundaries. They are a nice pair to tell this little story with. Bigger actors may have gotten the message lost in the fact that they are stars. The focus should be on the child not who plays the parents of said child.
Beckwith makes this story awkward at times and sweet at times. Bringing up Woody Allen was almost cringe-worthy, but it got the point across about the age difference between the main characters. Age is just a number, but it can be perceived badly when an older man is with a younger woman. Even though these two don't look much different in an age in this film. Together Together does a nice job of asking and answering the questions about giving birth and parenthood. The dialogue is effective in bringing these topics to life once again. The acting is solid, but not over the top. The message in the film doesn't hit you over the head either, but it's not subtle either. Giving birth isn't easy and parenting isn't going to be easy. That's a pretty simple concept. This film does what it's intending to do which is fine. Together Together hits theaters on April 23 and VOD on May 11. Rating: 3/5
Review by Sean Boelman
The coming-of-age genre is one of the most frequently attempted in independent filmmaking, likely because everyone can empathize with the experience of growing up, but it is also tricky to pull off for the same reason. Tony Ahedo’s Icon is compelling, but perhaps a bit too weighed down by cliches to be fully effective.
The movie follows a teenager who must come to terms with fatherhood after his girlfriend reveals to him that she is pregnant and might want to keep the kid. It’s a pretty typical story of the protagonist’s world falling apart and then coming back together, and while there is some honest emotion it. Teen pregnancy has been an increasingly prevalent theme in recent cinema, but rarely have films been able to discuss it in a way that is both respectful and hard-hitting. While it’s nice to see movies that explore this topic once considered to be taboo, it is frustrating to see it be forced into a melodramatic arc like this. One of the things that is really disappointing about this film is that the character development is stilted. The movie is almost entirely done from the guy’s perspective, with little care put into exploring his girlfriend’s side of things. Although the fatherhood aspect of the film is quite interesting, the fact that this is the only real focus of the movie makes it feel like something is missing. For the most part, the acting is quite strong. There are a few scenes in which Parker Padgett’s turn feels a bit contrived, particularly in the final act, but he brings a lot of humanity to a character that isn’t written with the most nuance. Devon Hales is charming, albeit underused, as his love interest. On the other hand, the pacing of the film is pretty inconsistent. The first half is largely a hang out movie with the pregnancy looming in the background, but the second half switches into something more akin to a crime drama. It’s entertaining, even if it doesn’t do much to add to the central emotional arc. In a stylistic sense, the movie features a lot of the issues characteristic of teen-focused cinema. It’s an overly flashy, hyper-cool approach that saturates the film with color and a modern soundtrack in an attempt to make it feel like it is in touch with today’s youth. However, it is lacking that emotional intimacy that would have justified this. There are definitely some strengths in Icon, but it’s a pretty conventional watch as a whole. It will come and go with the many coming-of-age indies that come out every year, but may find an audience that connects with it. Icon screens at the Enzian Theater as part of the Florida Film Festival on April 22 at 6:30pm and is also available virtually for the duration of the festival. The 2021 Florida Film Festival runs April 8-22 in Orlando, FL. Rating: 3/5
Review by Sean Boelman
With his years-in-the-making documentary Holy Frit, filmmaker Justin S. Monroe has made what is possibly one of the most unexpectedly entertaining works of nonfiction cinema in recent memory. Thanks to a fascinating story and extremely dynamic direction, this is the crowd-pleaser of this year’s festival circuit.
The film tells the story of a talented and optimistic artist working for a small stained glass workshop who manages to score a massive commission despite being woefully unprepared to pull it off. At its core, it’s a pretty basic underdog arc, but the very unusual nature of these events makes it stand out. At nearly two hours in length, the movie is a bit on the longer side for festival documentaries, but it has no trouble in keeping the audience’s interest. Thanks to the personalities of some of the subjects, the film is really funny, and this keeps the viewer invested on top of the way in which Monroe is able to build suspense. While the movie is primarily about this artistic endeavor and explores how the artist went about completing this monumental task, it also has some deeper implications. There are several portions of the film which explore environmental, religious, and ethical themes, and Monroe effectively incorporates these into the overall arc. Monroe makes the wise choice of presenting stained glass artist Tim Carey as a brilliant creator whose main flaw is his ambition that causes him to bite off much more than he is able to chew. We’re definitely rooting for Carey to succeed, but we also can’t help but enjoy the absurdity of the circumstances into which he put himself. However, even more interesting are the other quirky players involved in this story. From a maestro with the name Narcissus Quagliata to a host of charming and endearing workers who assist Carey on his quest to build this gigantic piece of artwork, these additional stories all add extra layers of emotion or humor to the movie. The film is also very well-done on a technical level. It is edited in a way that maintains a momentum that is consistently entertaining. And of course, since stained glass is an entirely visual medium, the movie looks gorgeous and colorful, especially when it is highlighting Carey’s creation. Holy Frit is an absolutely wonderful documentary even though the story may not sound the most exciting on paper. It’s a lot better than anyone would expect it to be, and hopefully the acclaim that it has been picking up will allow it to reach the audience it deserves. Holy Frit is now streaming online as a part of the 2021 Florida Film Festival, which runs April 8-22 in Orlando, FL. Rating: 4.5/5
Review by Sean Boelman
Some of the most intriguing and powerful stories that we have seen on screen come from the most unexpected places, and the documentary Me to Play tells one such tale. An empathetic tale of perseverance, this is a riveting film that defies the audience’s expectations of what a movie about the theatre should be.
The film follows two actors with Parkinson’s disease who put on Samuel Beckett’s play Endgame, overcoming the physical and emotional challenges of performing. It’s an extraordinary and inspiring tale, though it never really proves its urgency beyond that of a human interest story. At an hour and twelve minutes in length, the movie moves pretty nicely, culminating in a sequence of footage taken from the performance. The rights issues that prevented the filmmakers from using too much material from the play actually work in the film’s favor, as it really emphasizes a respect for the performers over the material they are performing. The movie does a great job of exploring the themes of both coming to terms with one’s own mortality and creating a legacy through artistic expression. The film allows an opportunity for these two celebrated actors to reflect upon their careers and lives in a way that is poetic and moving. This is, in essence, a two-part character study. The movie has one portion following each of their struggles before having them come together for their common goal of producing the play. Although one of the two actors has a more cinematic story than the other, there are compelling aspects to both. One of the riskier choices that filmmaker Jim Bernfield makes in his documentary is not focusing on the audience’s familiarity with the subjects. There is a brief introduction to their background as character actors, but Bernfield is much more interested in how these actors continue to develop their craft despite their debilitating condition. There is a good balance between fly-on-the-wall footage and interviews used to tell the story. Bernfield’s approach may be straightforward, but it’s effective nonetheless. He manages to make a surprisingly riveting movie out of theater, the magic of which is notoriously difficult to capture in cinema. Jim Bernfield’s documentary Me to Play manages to expand beyond its core niche audience to be an inspirational story of two people who beat the odds. It’s a bit too short for its own good, but the great things it does are worth watching. Me to Play is now streaming online as a part of the 2021 Florida Film Festival, which runs April 8-22 in Orlando, FL. Rating: 4/5
Review by Dan Skip Allen
The werewolf subgenre offers some of the greatest horror movies ever. I grew up on the classic Universal Monsters, like The Wolf Man starring Lon Chaney Jr., who brought a lot of emotion and gravitas to the role. Ever since studios and filmmakers have been trying to copy this classic film. Bloodthirsty isn't quite on that level.
The film is about a young singer named Grey who goes off with her friend, Charlie, to produce a new record with her producer, Vaughn, at a remote studio in the woods. While there, she starts to transform into a werewolf. This is quite the transformation for her. She's very surprised at this turn of events in her life. Werewolf movies have to have a level of suspension of disbelief to them. We all know they are not real, so the trick is to try and make them as real as possible. This film doesn't accomplish that at all. This story doesn't have any reality to it. This girl is supposed to be a singer and she's not even that good at singing. Her producer is even frustrated with her. That aspect of the film doesn't work whatsoever. The film uses dream sequences to try to get across that something is happening to the lead actress. They are just random scenes that complicate the story. There isn't an actual scene that shows her getting bitten by a werewolf so her future transformations start to make sense. Also what the motivations of the producer are can be very confusing at points in the film.
The visuals aren't very good either. The makeup of the werewolf is fine, but not groundbreaking. Other films have done it better. Scenes of growing fingernails and forgetting what she has done in recent memory are all tropes of werewolf films. They don't do anything new or original. I think the budget has to do with it. It hindered the ability to do more.
Greg Bryk plays a good antagonist. The thing is his character doesn't go to the level he should have gone to make him more sinister. Katherine King So also had the potential to be entertaining as a friend/lover. She just ends up being bland. This character should have had more emotion to her. These characters weren't written very well so that's on the screenwriters, Wendy Hill-Tout and Lowell. In the end, Bloodthirsty is just another afterthought in the werewolf genre. It's not very original even though that was the idea going in. The acting could have been better, the special effects are not very good, and the makeup is just okay. This script needed some rewrites and the film needed a bigger budget so they could do what needed to be done to make this film good. Bloodthirsty hits theaters and VOD on April 23. Rating: 1/5 |
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