Review by Sean Boelman
Teaming up two of the most exciting comedic talents of the moment, director Michael Showalter’s The Lovebirds was set for a theatrical release this spring, but ended up selling to Netflix instead after the closure of theaters. While it’s admittedly disappointing that audiences won’t get to see this surprisingly idiosyncratic comedy on the big screen, it’s the type of escapist relief that audiences need right now.
The film follows a young couple as they find themselves on the run after witnessing a murder and becoming suspects themselves, throwing them into a web of criminals. Even though the premise is something that has been done time and time again in action comedies such as this, the script by Aaron Abrams and Brendan Gall offers some unexpected twists and turns along the way that will throw viewers off the scent. Perhaps what is most impressive about the movie is how thoroughly suspenseful it is. Even though it’s pretty clear where the film will ultimately end up, audiences will be kept on the edge of their seats as the characters make the wrong moves over and over again. The stakes are raised admirably high in the beginning of the movie with an action sequence that sets a great pace for what is to come. Of course, as one would expect, there’s plenty of humor in the film, and at under an hour and a half in length, the movie never stops entertaining. Granted, many of the very funniest bits were revealed in the trailers, but there’s still a lot of laughs here. The film is definitely at its funniest when it isn’t afraid to go all-in on the edgier elements of the story, embracing its raunchiness.
A significant part of what makes the movie so effective is the chemistry between its two leads, Kumail Nanjiani and Issa Rae. Both are more popular than ever right now with no sign of slowing down. Even though they have very different senses of humor, their two personalities clash very well, creating a hilarious dynamic at the core of the film.
If there is one thing missing from the movie, it is substantial world-building. Admittedly, this would have been difficult given the film’s extremely short runtime, but there are some interesting ideas introduced in the third act that are left undeveloped, likely for the purpose of subverting the audience’s expectations. On a technical level, the movie is mostly solid. There’s a lot more ambition in play here than the typical studio comedy, especially in the third act that is much more stylized. The soundtrack here is also great, often used in a way that is contrapuntal to what is happening on screen to comedic effect. The Lovebirds isn’t exactly what audiences would expect from the trailers. Instead, it’s something much edgier and more ambitious, and even though it doesn’t always pay off, it’s an entertaining watch regardless. The Lovebirds streams on Netflix beginning May 22. Rating: 3.5/5
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Review by Sean Boelman
Directed by Steven E. Mallorca and John Bernardo, the new documentary A Peloton of One may have one of the most inspirational stories to hit the screen in recent memory. And even though Mallorca and Bernardo’s approach threatens to undermine the narrative, the power of its subject’s story really shines through.
The film follows a survivor of childhood sexual abuse as he sets out to ride his bicycle from Chicago to New York in an attempt to raise awareness of the issue. This is an undeniably interesting and uplifting story, but there is a lot more going on here than just a man setting out on an extraordinary trek. Arguably the more fascinating portion of the movie deals with the subject, Dave Ohlmuller, struggling to come to terms with his abuse. The film’s title refers to not only his literal solo bicycle ride, but also his personal journey to understand his emotions and feelings. It’s rare that documentaries get this close and personal to their subject’s struggle as it happens. That said, a big part of the emotional arc is the subject realizing that he is not alone in his quest and that he needs a support system to back him up, even if he doesn’t recognize that at first. This central metaphor of the bicycle trip may be a bit obvious, but it’s a wonderful and effective way of mirroring his internal discovery.
One of the more obvious issues with the movie is that it feels a bit uneven in terms of pacing. The bicycle footage is used more as a connector than anything else, filling the gaps between the more emotionally substantial portions of the film. However, this does result in the athletic aspects of the movie feeling rather rushed.
The film also features interviews with other survivors of sexual assault that Ohlmuller encounters over the course of his endeavor. These personal stories will have a strong emotional effect on the viewer and supplement Ohlmuller’s story in an impactful way. Some of the best scenes in the movie show Ohlmuller interacting with some of these other survivors, learning from each other. On a technical level, the film is quite strong. Although these sequences are often underplayed in favor or the more topical portions, the biking shots here are absolutely gorgeous. As one would expect of a documentary following someone traveling the country on bicycle, there’s an obvious admiration for the natural world. A Peloton of One is an important and interesting documentary in ways that one wouldn’t expect. While the story is a bit misleading, it’s a touching exploration of perseverance and dedication in the face of adversity. A Peloton of One debuted at the online edition of the 2020 Greenwich International Film Festival. It is currently seeking distribution. Rating: 4/5
Review by Sean Boelman
Written and directed by Melora Walters and executive produced by Paul Thomas Anderson, Waterlily Jaguar comes from an undeniably singular vision, and it should be praised as such. However, despite Walters’s unique voice, the film largely lacks the structure to be particularly satisfying.
The movie follows an author setting out to write a work different from anything he has done before, sending him into a spiral of obsession to the point that he starts affecting the lives of those around him. And while there are plenty of films about writers losing their minds, the script’s unique structure and approach make it feel fresh regardless. That said, there are moments throughout the movie that feel a bit too over-the-top and melodramatic. One of the big issues with the film is that the dialogue frequently switches between feeling realistic and discomforting, and while this was almost certainly done on purpose, it doesn’t have the intended effect. Additionally, the movie isn’t really clear as to what it wants viewers to gain from its narrative. Walters clearly has a lot on her mind, but much like the way in which a human mind moves, the script frequently jumps from idea to idea. Again, even though this seems fully intentional, it will likely be off-putting to most viewers.
Likely the most interesting thing about the film is its character development. Although the protagonist himself has an arc that is a bit conventional at times, what Walters really excels at is building her supporting characters. The various relationships the protagonist has that are explored over the course of the movie are pretty fascinating.
James Le Gros’s lead performance is very strong, and he is essentially the glue holding this ship together. Even when the film is at its most unnatural, Le Gros brings a lot of emotion to the table in a way that is very compelling. In the supporting cast, Dominic Monaghan and Mira Sorvino are the strongest contributors, but this is largely Le Gros’s show. On a technical level, the movie is pretty weird, but this again plays into Walters’s vision. A lot of the film feels very rough around the edges, but then there are other sequences that are more polished. It’s clear that in both the writing and the execution, Walters has built a very clear duality in the movie, even if it doesn’t entirely pay off. Waterlily Jaguar is the type of film that demands to be seen more than once, even if it isn’t the most pleasant, to pick up what one has missed. Perhaps artificially so, this is a complex and thought-provoking movie. Waterlily Jaguar is now available on VOD. Rating: 3/5
Review by Sean Boelman
Co-written and directed by Justin Foia, Point Defiance is a new psychological thriller with a very intriguing premise. However, despite having a lot of potential on paper, the film takes a much more generic turn heading into the final act, making the experience frustrating and anticlimactic as a whole.
The movie follows a stockbroker who has acclimated to his new life under house arrest, only for his brother to return from a tour in Afghanistan, upending his routine and causing dark secrets to become unburied. The first thirty or so minutes are actually very good, introducing a decent mystery and some interesting character arcs. That said, it soon becomes obvious that Foia and his brother Timothy put more thought into the concept than the way in which they would expand it. The dialogue in the film is often painfully obvious. The chief example of this can be seen in the protagonist’s repeated refusal to discuss his past. This clearly implies that there’s something bigger going on, and when it is eventually revealed, it is hardly surprising. There are some very interesting messages here about entitlement and privilege, but those end up taking a backseat to the movie’s more superficial subplot. The introduction of a missing persons case into the film is essential for the narrative momentum but comes at the expense of the early focus on characterization.
For the most part, the protagonist is a well-written character, but this is largely thrown out the window by the end of the movie. Like everything else about the script, the direction in which the arc is heading is extremely predictable, and as a result, the nuances that are established early on lose much of their effect.
Derek Phillips gives a surprisingly strong performance in his leading role, making the film feel grounded even when it takes its more ridiculous turn. On the other hand, Josh Crotty is consistently over-the-top and hammy, albeit occasionally fun to watch. Still, the dynamic between the two works quite well thanks to their chemistry. On a technical level, the movie is a mixed success. Perhaps the most impressive thing about the film is that Foia takes advantage of the relatively confined location to make the viewer feel trapped inside the mind of the character. But when Foia goes for something a little more abstract, playing with the perception of reality, it doesn’t quite pay off. Point Defiance is a mostly entertaining watch even if it almost entirely falls apart by the final act. There are some really good things happening throughout that will keep viewers interested enough for its hour and forty minutes. Point Defiance is now available on VOD. Rating: 2.5/5
Review by Sean Boelman
Colin and James Krisel’s Last Moment of Clarity is a starry new neo-noir thriller like many in the genre that have come before. However, despite the fact that the film is almost entirely predictable, the solid performances and schlocky nature of the movie make it an enjoyable, if not particularly thoughtful, watch.
The film follows a man who, having started his life anew on the run from the Bulgarian mob, begins to suspect that his girlfriend that he thought to be murdered may still be alive. This is a story that we’ve seen already, and the Krisels’ script doesn’t deviate from the formula much at all, but it embraces the tropes just enough to be mindless fun. Clocking in right at an hour and a half long, the Krisels are obviously hoping that viewers won’t have time to stop and think and will be surprised as a result. While that may be true for people who haven’t seen any thrillers since the ‘80s, this will undeniably be familiar territory for more seasoned moviegoers, and so their twists have very little impact. But once the movie abandons the mystery tone heading into the third act, it becomes much more intriguing. Still, there isn’t a whole lot of originality, but the film is no longer treating the audience like idiots that need everything to be spoon-fed to them. In fact, it is the first act of the movie that is in need of a significant re-write.
It does take a bit of getting used to in order to like the protagonist, as his actions in the first half of the film are rather aggravating, but in that all-important second act break, he becomes a super likable hero. The supporting characters come and go, and are for the most part forgettable, with the exception of a charming sidekick the protagonist is given.
Zach Avery plays the lead of the movie and he does a good enough job of commanding the screen. That said, the rest of the cast is running circles around him. Samara Weaving once again proves that she is one of the most exciting rising stars working today as the femme fatale. Udo Kier delivers a wonderful but brief turn as the antagonist. And Brian Cox, while underused, gets a memorable speech. On a technical level, the film is a bit above average. Although a bit more style would have gone a long way in making the movie stand out above the sea of other B-grade thrillers, it definitely doesn’t look bad. The only thing about the execution that is underwhelming is the score, which is alternatingly generic and overbearing. Last Moment of Clarity isn’t a great film, but it’s a lot more fun than any straight-to-VOD thriller has the right to be. As a rental on a night in, it’s certainly not a bad way to spend an hour and a half. Last Moment of Clarity hits VOD on May 19. Rating: 3/5
Review by Sean Boelman
Roee Messinger’s new documentary American Trial: The Eric Garner Story should be praised for taking a mostly unprecedented approach to its material. However, despite the best of intentions, the narrative structure of the film may be just a little too abnormal for it to have the anticipated impact.
The movie tells the story of Eric Garner, an African-American man who died during a police confrontation in which the NYPD officer arresting him held him in a way as to restrict his breathing. This incident spurred a nationwide controversy over whether or not the officer had committed manslaughter, and resulted in protests when said officer was not indicted. What is so unique about Messinger’s film is that it discusses the issues in a theoretical mock trial that could have happened had Officer Daniel Pantaleo been charged in a criminal court. It’s an interesting concept, but also a potentially very dangerous one, especially if uninformed viewers come in with different expectations. Thankfully, Messinger does a lot to remediate the issue, with an extensive sequence at the end revealing the truth of the situation and clarifying the liberties that were taken for dramatic purposes, but that may not be enough. With the movie being released for home viewing, it is entirely possible that audiences will decide to turn the film off right after the main portion ends, leaving them with a different understanding of what happened.
But even in terms of simulating a real trial, there are some parts of the movie that don’t quite work. Apart from an actor portraying Pantaleo (who didn’t participate for obvious reasons), everyone involved in the film is a real lawyer, field expert, or witness to the events, and this gives the movie a certain level of authenticity.
Yet there are still portions of the film, especially during the first part, that come across as completely fake. For example, there is a lot more explanation happening than would occur in a real courtroom. While this is done for the sake of keeping the audience in the loop on what is happening, it can also draw informed viewers out of the movie. Messinger also doesn’t stick with the theoretical trial structure for the entirety of the runtime. He cuts away after pivotal scenes to other staged behind-closed-door conversations or interviews with other experts to provide additional context. This wrecks the entertaining pacing that is admittedly the film’s main draw. American Trial: The Eric Garner Story is a documentary that tries something new, but unfortunately, it doesn’t quite work. Perhaps with a more seasoned documentarian at the helm, there is something of value in this format. American Trial: The Eric Garner Story is now streaming in partnership with indie theaters. A list of participating locations can be found here. Rating: 2.5/5
Review by Sean Boelman
Written and directed by Brian Levin, the new mystery-thriller Union Bridge may be one of the hollowest films to come out this year. And that isn’t to say that it’s all bad — there is a lot of obvious potential — but unfortunately, there simply isn’t much substance to what Levin has to offer.
The movie follows a man who returns to his hometown, discovering that there are secrets buried in the community related to his powerful family’s dark past. While this is an intriguing premise with the potential for it to be a fascinating neo-Western, too much of the film is spent following the characters as they wander (seemingly aimlessly) through the landscapes. These two storylines are intercut, and the result is a narrative that is somehow both needlessly convoluted and frustratingly obvious. It seems obvious that Levin hopes to enshroud the movie with an air of mystery, yet there is nothing particularly mysterious to be found. And because of this, the film is mostly pretty boring. Another frustrating thing about the movie is that it sends very mixed messages. On one hand, the film talks about how one sets their own destiny and shouldn’t be defined by their family, but there is also a warning about history tending to repeat itself, yet Levin doesn’t succeed in creating a conversation between these two themes.
Perhaps the most damning flaw, though, is that audiences are unlikely to care about the characters. In a movie that is largely devoted to the idea of self-discovery, there is a disappointing lack of dynamism to the protagonist’s arc. And even though the protagonist is contemplating his identity for the entirety of the film, the audience is not let into this introspection.
That’s too bad because the lead actor is legitimately charming. Scott Friend has almost enough charisma to make watching an hour and a half of walking entertaining, but it’s at least mostly bearable. His double role shows that he has a lot of talent and potential. The supporting cast isn’t bad either, but they’re forgettable for the most part. The movie is actually pretty strong on a technical level too. Apart from the score being a bit heavy-handed at times, the film has a clear style about it that works rather well. The cinematography is eerie, especially in regards to the use of the backgrounds, lending itself to a solid atmosphere. Union Bridge isn’t a poorly-made movie, but its script just doesn’t go anywhere. It’s a long and tedious journey with no reward at the end of the road, making this a film that one would be better off skipping. Union Bridge hits VOD on May 19. Rating: 2/5
Review by Sean Boelman
Through the Night is a new documentary that has a lot more on its mind than it seems at first glance. With a unique story with some interesting and important implications, director Loira Limbal’s film makes an efficient and impactful statement on these timely topics.
The movie tells the story of a woman who runs an overnight daycare center, providing care for the children of low-income parents who work multiple jobs to provide for their families. And while it seems at first that this is a very specific human interest story, it offers some deeper commentary on the class system in the modern United States. Clocking in at a mere seventy-two minutes long, the film breezes by extremely quickly. Part of what makes the movie work so well is that its story is fascinating; however, unlike most other documentaries that are as brief as this, it feels like it addresses all of its themes in a fully-developed and substantial way. The film digs into the troubles of the working class. Even though the movie is more about the person who runs the daycare, there are some really interesting things in the film about her clients. Admittedly, with such a short runtime, it almost would have been beneficial had the movie taken the time to develop these parents on an individual level.
That said, the film does a very good job of making its subjects extremely compelling and sympathetic. There is understandably a great deal of praise going to the subject for her hard work, and she is deserving of it, but thankfully, the movie doesn’t get entirely caught up in this, not pulling any punches in regards to the tougher material.
There are some moments, particularly in the last half of the film, that lean a bit too heavily into sentimentality. Yet despite these brief portions that feel contrived, there’s a lot here that is affecting and emotional. At times, this is a heartbreaking story about how a broken system presents a significant obstacle for lower-income families. On a technical level, the movie is certainly very accomplished. Limbal brings a safe but effective fly-on-the-wall method to the film, giving it a very honest and heartfelt feel. There are some really great shots throughout, but a majority of the movie is spent making the viewer feel like they are close to this world, and it works very well. Loira Limbal’s Through the Night manages to tell an interesting and meaningful story despite a few issues in its narrative. Thanks to some really strong moments throughout, it’s an emotional watch. Through the Night was set to debut at the cancelled 2020 Tribeca Film Festival. It is currently seeking distribution. Rating: 3.5/5
Review by Camden Ferrell
Scoob! is the newest animated movie featuring the beloved Mystery Inc. This movie comes from veteran animation director Tony Cervone. While this movie earns a few points for its attempt to set itself apart from previous incarnations of these characters, but it ultimately fails at being as funny and charming as one would hope.
In this newest adventure, our characters find themselves faced with their greatest threat yet. With the help of superheroes Blue Falcon and Dynomutt, the gang must stop Dick Dastardly from unleashing a “dogpocalypse” on the world. This story is a departure from the typically more contained adventures of Mystery Inc., but it still had the potential to explore our characters while amping up their stakes. The overall execution of most of the scenes feels mostly uninspired. The timing feels out of place in a lot of its scenes, and the physical comedy doesn’t land with its intended impact. The scenes of action aren’t particularly enthralling either, and they don’t properly take advantage of its grandiose potential. It’s not bad in any way, but these scenes could have been carried out in a more engaging and lively manner. Luckily, this is somewhat made up with its occasionally astounding animation and color pallete. The acting in this film is a heavily mixed bag. This movie unfortunately mostly opts for onscreen talent in place of traditional voice actors. Zac Efron gives a forgettable and pretty underwhelming performance as Fred. Amanda Seyfried and Gina Rodriguez are equally forgettable in their roles as Daphne and Velma respectively. Thankfully, Frank Welker returns to give a fairly decent performance as Scooby-Doo even if it pales in comparison to some of his other work. One of the more interesting performances comes from Will Forte who plays Shaggy. This is a hard character to nail, and it’s one of the most iconic characters in animation. While Forte is a talented voice actor and his performance is solid, it feels slightly out of place as Shaggy.
The movie does have some fun additions as well. It includes Blue Falcon and Dynomutt from their 1976 series, and they are played by Mark Wahlberg and Ken Jeong. Wahlberg gives a surprisingly great performance as Blue Falcon, and he’s a funny and charming addition to the cast. Unlike the rest of the actors, Wahlberg has great comedic timing and vocal inflection that makes the role more memorable than the others.
There are a lot of creative departures, but the movie seems to always make attempts at capturing the charm and spirit of the series. These attempts are rather unsuccessful, and it deviates to levels that make the characters feel significantly distant from the ones with which we grew up. Despite being able to speak in full sentences since the 2010 series, Scooby-Doo’s dialogue in this movie feels misplaced and gimmicky. The film is also overfilled with pop culture references from Tinder to a brief rendition of “Shallow” from A Star is Born. It feels like the writers lazily throwing adult viewers a bone to satiate them as they watch with their children. It gets tired, and it doesn’t do much to enhance the film’s already week script. Scoob! is not a movie that will make you feel nostalgic or greatly entertained. While it has its occasional virtues, it is a mostly lifeless and derogatory animated adventure that will probably appeal mostly to young viewers. Scoob! is now available on VOD. Rating: 2/5
Review by Sean Boelman
The directorial debut of Ruthy Pribar, Asia is a new Israeli character drama that addresses some unexpected topics. And even though the film’s syncretism of different genres doesn’t always pay off, there are some really interesting things happening here that make it a very involving and compelling watch.
The movie follows a young mother and her teenage daughter as they are drawn closer together when the daughter experiences medical issues that send her on a journey of self-discovery. A blend of coming-of-age tropes and tear-jerking “sick kid” clichés, the film barely treads the line between touching and overly sentimental. Without a doubt, the first half act of the movie is far more interesting than the second and third. Pribar’s script becomes a lot more conventional as it progresses, and while it still has some emotional impact towards the end, the middle section falls flat more often than not. A few of the character arcs that are set up in the beginning of the film don’t pay off by the end. Perhaps the most disappointing thing about the movie is that it doesn’t fully develop its protagonist. Her daughter has the much more interesting arc in the film, but there was even more potential in regards to her story as a young mother experiencing these issues with her daughter at the age she was when she had her.
That said, the relationship between the two characters is very interesting, although there could have been more development in this department as well. Unfortunately, the direction that this arc takes in the final third is one of the more frustrating things about the movie, as it counteracts a lot of the emotional substance from earlier.
Alena Yiv and Shira Haas both give excellent performances and have superb chemistry together. Yiv is perhaps the more impressive of the two, bringing a lot to the table in terms of empathy. Haas’s performance is also surprisingly grounded given the tricky material she was given. Stylistically, the film has a very down-to-earth feel to it and that helps it counteract some of the melodrama of the script. The cinematography and production design are both very muted, giving the movie an understated but admirably realistic feel that makes it hit all the more on an emotional level. Asia does feel a tad bit underbaked at times, but thanks to strong performances and interesting ideas, it’s consistently very interesting. It’s a very effective and crowd-pleasing film that may struggle to find eyes in the changing cinema landscape. Asia was set to debut at the 2020 Tribeca Film Festival. It is currently seeking distribution. Rating: 3.5/5 |
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