Review by Camden Ferrell

Premiering at the 2019 International Documentary Film Festival Amsterdam, iHuman is the newest film from Norwegian director Tonje Hessen Schei. This film makes an ambitious attempt at consolidating a complex topic for viewers, and even if the results can be mixed at times, this is a timely, informative, and troubling documentary.
 
This film deals with the rise of artificial intelligence, how it is being used presently, and its future capabilities. It includes interviews from some of the leading experts in this field, and it features some examples of the current uses of AI. It’s a timely premise that needs to be explored thoroughly as we enter this unprecedented and uncertain age of technology in the years to come.
 
The direction of this movie was generally solid from start to finish. It’s a fairly well-organized film in terms of its structure, and Hessen Schei has a knack for creating some interconnections between all of the film’s elements. The message and agenda of Hessen Schei is noble and significant, and the way the film was pieced together is able to convey these ideas effectively.
 
The interviews themselves are hit or miss. Some of the interviews, like with the father of modern AI Jürgen Schmidhuber, are really interesting. However, there are some other interviewees that aren’t nearly as interesting and don’t add much to the film qualitatively. Luckily, the topic is far from tired, so all of the perspectives are at least directly concerned with a fascinating topic.

​The main problem with this film is how broad its aim is. It tries to explore a sizeable chunk of the field of AI and modern technology, that it can feel intimidating. The film seems to bite off way more than it can chew in its runtime, and some sections feel superficial as a result. The topic is so interesting that the runtime could have well-exceeded two hours without losing its momentum or insight.
 
With what information it does present, it’s absolutely captivating and relevant. Even if its presentation isn’t as polished as it could have been, the themes and ideas discussed are important for this exact moment. There are a lot of great sections about current facial recognition technology and how this can be used against the public.
 
Even though it’s a documentary, it’s a tense film that will make you feel uneasy. It begs the question of what governments and corporation are capable to do with this revolutionary technology. It makes us question our own safety and security in a world that is becoming increasingly digital. The film allows you to see that AI can either be the greatest invention ever or mankind’s final invention.
 
There are some moments that feel hollow, and the exploration of its subjects are somewhat superficial, but iHuman is an undoubtedly relevant documentary. It’s worrying, but it’s supposed to be. There is much more the learn about AI after watching, but this film should be a decent starting point for viewers.
 
iHuman is premiering as a part of the online edition of the 2020 Hot Docs Film Festival.
 
Rating: 3.5/5

Review by Sean Boelman

Taking a look at one of the most important locations and eras in music history, Alsion Elwood’s two-part documentary Laurel Canyon is a must-watch for any fan of classic rock. An in-depth examination of the lives and music of some of the genre’s most iconic musicians, this info-packed documentary is a treat, even if it is a little overstuffed.

The series explores the music scene that formed in Laurel Canyon in Los Angeles which gave birth to a movement of innovative thinkers who changed the course of music for good. Although the documentary doesn’t offer a whole lot of new information that fans won’t already know, the new interviews that it features are sure to be intriguing for anyone who cares about these musicians’ work.

Part of what stands out about Elwood’s documentary is that she is able to make it feel both comprehensive and personal. The series talks about nearly all of the major musicians and groups that came out of the Laurel Canyon scene, and as such, it will have something for everyone, even if just a small segment.

The two sections, which clock in at a combined total of a little under three hours, feel very complete and do a good job of providing a survey of the topic’s history. While the feature documentary on the topic, Echo in the Canyon, is almost certainly the more entertaining of the two, this series offers the more in-depth interviews.

That said, there was also plenty enough information for Elwood to have made a longer miniseries on the topic. Granted, the brief runtime dedicated to each group allows the documentary to breeze by, but there’s obviously more to these stories than just humorous anecdotes. Fans could likely sit and watch their favorite musicians talk all day, and had the series been just a bit longer.

As one would expect, music plays a substantial role in the documentary, and Elwood does an amazing job of incorporating the soundtrack. All the favorite Laurel Canyon songs, and some that viewers might not expect, make an appearance, either in the form of performance/recording footage or to underscore the interviews.

The greatest strength of Elwood’s documentary is without a doubt the interviews, which provide personal (and sometimes unfiltered) access to the stories of Laurel Canyon, but she nonetheless does a good job of incorporating archive footage into the series in an attempt to make it feel like a more immersive viewing experience.

Laurel Canyon is an informative music history documentary, and while it could have spared to be longer, it’s still in-depth enough to be fascinating. Getting to see these musicians talk is worth the watch alone.

Laurel Canyon airs on Epix in two parts on May 31 and June 7 at 10pm.

​Rating: 4.5/5

Review by Sean Boelman

Given recent events, Zeshawn Ali’s new documentary Two Gods deals with some themes that are absolutely very timely and important. Exploring how love and a sense community can conquer the challenges faced by a group of people, this is a very hard-hitting and emotional watch.

The film follows a Muslim casket maker in New Jersey who takes two troubled young men under his wing, teaching them about the ways of their religion and identity. Although the core of the movie explores a particular culture’s views about death and life, there is so much more here that can be seen as representative of greater society.

Arguably the most effective moments of the film are those which explore the young men as they struggle to find a place in the world. On one hand, they face the expectations set forth to them by their family and religion, but find themselves increasingly drawn by a community that is not too conducive for their religious or personal growth.

This is where the movie’s main subject comes in. A flawed person himself, Hanif serves as the best and most compassionate role model that the young men of this community have. Although they sometimes make bad choices (as all kids do at that age), Hanif is there to turn their mistakes into teachable moments that will help them become a more responsible person.

At times, the film does feel like it is pulling a bit too hard on the emotions, but for the most part, it feels brutally real and honest. The problems that the youth of this community are facing are rampant throughout the country, and unfortunately, not everyone has a guiding force like Hanif to help them learn.

One of the most respectable things about this movie is that it provides representation for a community that so often goes underseen in film. There are a lot of myths and prejudices held against the Muslim community, particularly in modern America, and this movie goes a long way in debunking some of those fallacies that the average viewer may hold.

The film is also extremely impressive on a technical level. The movie is shot in gorgeous black-and-white cinematography that is among the most pristine of any documentary this year so far. Even though the things which the camera depicts are often harsh, there is a beauty to be found in the natural processes of life.

Two Gods is a phenomenal debut from director Zeshawn Ali. Addressing the unknown with a message of compassion that people so desperately need to hear, this documentary stands out as one that demands to be seen.

Two Gods is premiering as a part of the online edition of the 2020 Hot Docs Film Festival.

​Rating: 4.5/5

Review by Sean Boelman

Being re-released with an absolutely gorgeous restoration from the folks at Kino Lorber, The Grey Fox is an understated and thoughtful Western. A nuanced look at the psychology of crime, Phillip Borsos’s 1982 film doesn’t cover much new ground, but it does so in a way that is consistently interesting.

The movie tells the story of a stagecoach robber at the turn of the 20th century who, after recently being released from prison, decides to go to Canada to become a train robber. The film was released after the revisionist Western genre had already peaked, and yet it feels like an essential addition to the genre given its honest perspective.

Much like Bonnie and Clyde and other movies that focus on a criminal as their protagonist, this film doesn’t glorify his actions, but rather, takes an ethically grey stance on the character. Unlike early Westerns, the robber characters aren’t pure evil, but rather, people who are drawn to a life of crime out of desperation or something else.

What makes the gentleman robber here so interesting is that he treats crime almost as if it was a sport. He’s drawn to the thrill of crime because it keeps him from feeling his age. Having wasted away much of his life in prison, the character needs to feel something, and the only way he can do it is by breaking the rules. A lot can be gleaned about the way society treats released convicts through this story.

The late Richard Farnsworth gives an amazing performance in his lead role. When the movie was initially released, he received numerous accolades including a Golden Globe nomination, and it is completely understandable why. He brings an uncanny amount of humanity and empathy to a character that is insanely difficult to make sympathetic.

The pacing of the film will certainly defy the expectations of audiences who are used to the more action-oriented sensibilities of most American Westerns. This movie is more of a pleasant drama, rooted in the character’s emotional experiences rather than gunshots. There are some action sequences, but they cater more to the plot than anything else.

Visually, the film is absolutely phenomenal. The cinematography is beautiful, taking advantage of the picturesque Canadian settings (some of which supposedly have not been otherwise seen in a motion picture). Of course, credit should also be given to the restorationists who did some amazing work as always giving the camera even more life than before.

This restoration of The Grey Fox is a rare treat: a time capsule unearthed after years that still feels as wonderful now as it would have back then. For fans of Westerns, this is an absolute must-watch.

The Grey Fox is now streaming in partnership with indie theaters. A list of participating locations can be found here.

Rating: 4/5

Review by Sean Boelman

Filmmaker Judith Helfand’s new documentary Love & Stuff is an extremely intimate memoir dealing with some hard-hitting themes. And while its approach may not always be the most polished, Helfand does a very good job of making her story into something uplifting in an unexpected way.

The film follows Helfand as she begins to finalize the process of becoming an adoptive single mother at the age of fifty, all the while dealing with the lasting emotions from the recent loss of her own mother. It’s a clearly personal and specific story, but the universal emotions which it addresses are what makes this story resonate.

Perhaps the most intriguing thing about the movie is the way in which Helfand draws comparisons between her experiences of joy and grief. Soon after facing one of the most difficult moments in her life, she is thrown into one of the most joyous, and yet her reflections on the relationship she had with her mother guide her in this new territory.

The title of the film refers to the realizations that Helfand comes to as she sorts through her mother’s belongings in order to prepare her home for the arrival of a new family member. It’s interesting and inspiring to see how, despite the challenges she faces, Helfand finds room in her heart to love a child.

However, even more uplifting are the home videos that Helfand uses. While this is very much about the filmmaker’s experiences, it’s also a love letter to her mother. In telling her story and diving through these materials, she seems to have realized some of the quiet and unexpected ways in which her mother expressed her love to her.

That said, there is a subplot of the movie involving Helfand as she fulfills some of her mother’s last wishes, one of which was for her to lose weight. Although it is related to the matter at hand, Helfand’s other experiences are so much more interesting and compelling. This is about ten minutes of runtime that could have been cut.

The execution of the film is also a bit uneven. Although Helfand’s blend of footage is relatively strong, the movie is largely dependent on a narration by Helfand to tell much of the story. It’s an easy narrative technique that reduces a lot of the emotional impact of the story. It still works, but not quite as well as it could have. 

Love & Stuff is a pretty solid documentary about the filmmaker’s own life. Apart from a few portions that don’t hit in the intended way, it’s a much more insightful and sympathetic watch than one would expect.

Love & Stuff is premiering as a part of the online edition of the 2020 Hot Docs Film Festival.

​Rating: 3.5/5