Review by Sean Boelman
A new Comedy Central special arriving just in time for Mother’s Day, the documentary Call Your Mother is an endearing film about the influence that mothers have on their high-profile children. Assembling some amusing anecdotes, directors Heidi Ewing and Rachel Grady have made a documentary that is both entertaining and wonderful.
In the movie, some of the most prolific comedians working today pay tribute to their mothers and talk about how their upbringing influenced their comedy. What makes this documentary stand out above others that feature comedians talking about their past is that this has an even more personal feel to it, tied to its subjects’ love for their mothers. Some of the comedians interviewed in the film have lost their mothers, and these sections are heartwarming as the subjects remember the ways in which their moms helped shape who they would become. Louie Anderson’s segment in this regard is particularly impactful, perhaps the single best that the movie has to offer because of its honesty. Other people interviewed in the film still have their mothers around today, and these segments tend to be more entertaining, if less impactful. Some of the most interesting moments of the movie are those interviews with the comedian and their mother at the same time, as they sit around a table sharing stories.
The other thing that makes up a significant portion of the film is performance footage. For those comedians whose mothers are still living, the filmmakers recorded their performances with their mothers in the audience, and many of the jokes being told end up pivoting to be about their mothers. This allows there to be some very funny moments.
All this is done in service to what is a gigantic love letter to moms. Even though the movie deals with some high-profile interviewees, a lot of what is said in the film can be applied to any parent-child relationship. There are highs and lows in any relationship, but a good mother offers unconditional love, whether it can be seen easily or not. Clocking in at just under an hour and fifteen minutes (the documentary will be given an hour-and-a-half long block to air for commercials), it’s a breezy watch. The blend of humor and heart makes the story very compelling, and the recognizable faces it features (David Spade, Awkwafina, Kristen Schaal, and more) mean that audiences will undoubtedly latch on to it. Call Your Mother is a perfect treat to watch with mom on this Mother’s Day mired by unusual levels of separation. Sometimes a reminder of human connection is just what is needed, and that is exactly what is on display here. Call Your Mother was set to debut at the cancelled 2020 Tribeca Film Festival. It airs on Comedy Central on Mother’s Day at 10/9c. Rating: 4/5
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Review by Sean Boelman
Based on the best-selling novel of the same name by Wally Lamb, filmmaker Derek Cianfrance’s new limited series I Know This Much Is True offers a wonderful showcase for its actors and filmmaker. Often an emotionally painful but also rewarding watch, this may be too bleak for some tastes, though it will certainly appeal to fans of Cianfrance’s other work.
The series follows a man who has lived a life filled with tragedy, culminating in troubles with his schizophrenic identical twin brother in the mental health system. And while the film is set in the ‘90s (Lamb’s book was initially published in 1988, and Cianfrance does not transpose it to a modern setting), it still feels very relevant to modern issues. The film does struggle with balancing its subplots in a way that is consistently effective. The core storyline exploring the relationship between the two brothers is very compelling, but when the series tries to develop one of them on an individual level, it’s hit or miss. An episode arc exploring the characters’ past, adding in commentary on the Vietnam War draft, is particularly interesting. On the other end of the spectrum is an arc that runs through the whole series about the protagonist trying to figure out his own identity. This leads to a series of cutaways from the life of his grandfather, and while Cianfrance’s purpose of including these is obvious, they grind the pacing to a halt and are borderline offensive at times.
Mark Ruffalo is as wonderful as expected in his dual role. He brings a lot of compassion to his characters, especially in his portrayal of schizophrenia. It can be easy for actors to go over-the-top when playing characters as difficult as this, but he handles it with a lot of subtlety. He’s truly at his career best here.
Also impressive is the series’s supporting cast. Rosie O’Donnell is a particular standout in her performance as a social worker assigned to the characters’ case. It’s shocking just how good she is and how much emotion she is able to convey with even the smallest of mannerisms. Other highlights include Imogen Poots, Kathryn Hahn, and Rob Huebel. On a technical level, the film has the same dreamlike quality as Cianfrance’s other work. There are a few sequences throughout the film that go a bit more abstract, and Cianfrance’s unique style is a big part of what makes these portions effective. The soundtrack is absolutely brilliant too, setting the mood of the film quite well. There are a few things about I Know This Much Is True that don’t quite work, but it is still a very powerful watch. It’s worth your time if only for the performances alone, which will more than likely result in a couple nominations come the Emmys. I Know This Much Is True debuts on HBO on Sunday, May 10 at 9pm ET/PT. Rating: 4.5/5
Review by Sean Boelman
The newest film from actress-turned-writer-director Brea Grant, 12 Hour Shift is a stylish retro genre picture that desperately wants to be thrilling. However, no matter how much fun it may be at times, the absence of substantial character arcs prevents the movie from being much more than passive entertainment
The film follows a nurse over the course of one all-night shift as she gets involved in a heist tied to the black market organ trade that doesn’t go according to plan. Although there is no shortage of conflict to be found, that is almost part of the problem, as the relentless nature of the movie becomes overwhelming at times, particularly during the second act. There are simply too many storylines happening at the same time for the film to feel cohesive. Eventually, all of the different threads end up tying together, but not in a way that is particularly satisfying. And for the first two thirds of the movie, the audience is often drawn out of the main storyline into a subplot that is nowhere near as interesting. Another issue with the film is that the character development isn’t entirely effective. It’s clear that Grant hopes to blur the lines between hero and villain here, but it doesn’t work. The protagonist isn’t a compelling lens through which the audience can view the story, and a lot of the supporting characters come across as frustrating.
That said, the actors do a solid enough job in their roles, even if their performances are mostly one-note. Angela Bettis plays the lead and she is able to carry the movie despite not having to show a lot of range. In the supporting cast, Chloe Farnworth is pretty amusing and David Arquette gives a memorable cameo, but one will be left wishing for more from his character.
And if almost by luck, Grant’s film is surprisingly timely given the crisis that the world is experiencing at the moment. Beyond all the blood and genre tropes, Grant’s movie has something to say about the exploitation of medical workers, and it’s a message that is more important than ever as nurses around the globe find a greater burden being placed on their shoulders. Grant also does a good job of giving the film a very clear sense of style, and this is a big part of what makes the movie so much fun to watch. Since all but a few scenes take place within a hospital, Grant is able to take advantage of the camera and production design to make the viewer feel like they are legitimately a part of the moment. Ultimately, Brea Grant’s 12 Hour Shift is a bit of a mixed bag. There are some very fun moments, but had a few of the inessential subplots been trimmed, it could have been much more effective as a thriller. 12 Hour Shift was set to debut at the 2020 Tribeca Film Festival. It is currently seeking distribution. Rating: 2.5/5
Review by Sean Boelman
Based on the 1983 film of the same name, Valley Girl is a new jukebox musical set to a soundtrack of some of the most iconic hits of the 1980s. Yet despite the movie being rather messy, the unmistakable charm of the story and nostalgia that it will give viewers makes it infinitely enjoyable.
Taking place in Los Angeles in the 1980s, the film follows two star-crossed lovers from different cliques who fall in love to the dismay of their friends and families. A take on the Romeo and Juliet storyline, Valley Girl was never super original, but it won audiences over with its charming blend of the classic tale with high school tropes. The thing that is missing in this reworking is honesty. A big part of what made the original work is that it captured what teens wanted to be. This movie feels like it’s wrapped up in fantasies of what people think the 80s were like, and while there is a bit of self-awareness in this department (a convenient framing device allows jokes about how this story is wildly unrealistic), that isn’t enough to fill the substantial gap. That said, the characters in the film are just as lovable as they were in 1983. Even though most audiences will almost certainly know every beat of this story, it’s hard not to get invested in this story of young love. The ragtag crew of archetypes that makes up the ensemble is endlessly entertaining as well, over-the-top clichés and all.
And while it may seem impossible to match Deborah Foreman and Nicolas Cage, Jessica Rothe and Josh Whitehouse do a pretty damn good job of holding their own. The chemistry they have together is great, and both of them handle their musical numbers really well. Some of the supporting cast choices are a little more questionable — the since disgraced Logan Paul seems like a stunt casting that went wrong, and Chloe Bennet feels a bit out-of-place — but they aren’t too distracting as a whole.
Of course, the soundtrack plays an even bigger part in this version than it did in the original, and it is absolutely insane. Genre bends of popular 80s tunes abound, and the cast sounds surprisingly great. Even more impressive are the ridiculous mash-ups, including one mixing “Just Can’t Get Enough”, “Material Girl”, “I Can’t Go For That”, and “Tainted Love” that really shouldn’t work but does anyway. Visually, there’s a lot of camp to the movie, but it’s almost acceptable. It’s excessive and even goofy at times, but it’s way cuter than it deserves to be. The oversaturation in the film can be a bit much at times, and easily could have been fixed, but otherwise, everything about the cinematography and production design feels like it could’ve come out of any cheesy 80s collection. On paper, this musical remake of Valley Girl should be a total mess, but somehow, the cast and crew pulled the pieces together in an amusing way. Although it might not have been meant this way, the movie is best enjoyed if it isn’t taken too seriously, because it’s a lot of mindless fun. Valley Girl is now available on VOD. Rating: 3/5
Review by Sarah Williams
Before touching upon the rich text of Kantemir Balagov's debut feature Closeness, let's take a moment to touch upon the spectacular knitwear in this movie. There is truly unparalleled sweater quality here. The rest of the film is much less warm and fuzzy, following a Jewish family in the '80s, when their youngest son and his wife disappear. They are held for ransom, an amount high enough to close their business and force them to seek help from the surrounding community in hopes of return.
Stemming from a funding initiative by legendary Russian filmmaker Aleksandr Sukurov, it's an astonishing beginning for such a young filmmaker. It's the start of the weighty themes of fraught family and human connection in last year's Beanpole, only here the story is set within the confines of a strict Jewish community. Closeness has that same intimacy, veering tightly into the lives of its characters to watch their bonds break apart under stress. Strong performances flood the screen, particularly commendable is Darya Zhovner, who takes her heroine, Ila, and her refusal to marry to pay ransom to a higher level. Ila is denied a voice repeatedly, yet she persists, perhaps to see an end to her world surrounded by senseless violence and power struggle. Iya's tomboyish nature and her realistic consideration of debts owed to family make her an incredibly compelling protagonist, an entry point to an otherwise overbearing world. The film is shot with a warmth despite the coldness of the cruel world depicted, an emotional hotness as the camera lingers upon bodies wrapped in a desperate embrace, or upon the fabric of the characters' clothing as we're given respite from emotionally fraught faces. Color is key, especially in the final moments, though exactly how so would spoil the surprise.
The film has become somewhat notorious for a sequence utilizing real footage of Chechen rebels killing a soldier. This scene is essentially a setup for anti-Semitism of this society to be shown, but it feels irresponsible not to simulate such a small moment. Perhaps the footage is used to create conversation around the film's premiere, but it's distribution overseas has only come a couple years later after the success of Kantemir Balagov's follow-up Beanpole with international audiences. It's a major ethical lapse that detracts from an otherwise strong feature, a head-scratching moment as to why we would need to see a real life ended on-screen, even if the footage had other origins. Kantemir Balagov defends the use of a real hate-killing from an archive, claiming a simulation would not have the same emotional impact (though this impact has resulted in much backlash).
In Russian, the title does not translate directly. It is not a direct "closeness" that this word refers to, but a squeezing, cramped situation, a confinement of sorts. What the film does best is an emotional confinement, never letting the audience leave the headspace. It's a typical arthouse drama that takes the side of emotion over minimalism, something that would later be taken farther with Beanpole. Much of the latter's lingering intimacy, a love broken by the stress of a cold world, and the warmth found in capturing the light that reflects off of these acts is present here in prototype, though more unsure, but certainly no less accomplished. Closeness is now streaming in partnership with indie theaters. Rating: 4/5
Review by Sean Boelman
A brutal little thriller, Abner Pastoll’s newest film A Good Woman is Hard to Find offers a stylish riff on the exploitation genre. Even if not all of its story threads are fully developed, Pastoll’s great sense of style makes this throwback flick with a modern edge worth your time and money.
The movie follows a recently widowed young mother as she tries to protect her children and find out the truth behind her husband’s murder, two goals which become increasingly difficult and intertwined. Part brutal revenge thriller and part mystery, the film tries to do a lot in its short runtime, but is still mostly entertaining nevertheless. Admittedly, the revenge aspect of the storyline does take a bit of time to get moving, but once it does, it kicks into overdrive and is a ton of fun to watch. The last forty-five minutes or so of the movie are brutal and edge-of-your-seat suspenseful, and worth the wait through a rather uneventful first half. The mystery elements of the film are where it starts to fall short. The husband’s murder is a conventional motivation, and the investigation into it simply isn’t very cinematic. While this would have been more acceptable had Ronan Blaney’s script leaned a bit more into the emotional elements of the story, the focus here is on the more entertaining of the storylines.
The protagonist of the movie is certainly compelling, and Sarah Bolger gives a wonderful performance in her lead role. Somehow she is able to feel both vulnerable and extremely intimidating at the same time, delivering a performance that feels perfectly fit to pay homage to the classics of the genre
That said, the supporting characters in the film aren’t as well-written. The antagonists in the movie are shallow, uninteresting, and not particularly threatening. Because of this, the stakes aren’t as high or believable as they should be. There’s also a small aside featuring the protagonist’s mother and it doesn’t have much depth at all. On a technical level, Pastoll’s film is very well-done. There are only a few action sequences in the movie, but they’re wonderful. Pastoll sparingly uses blood and gore, but the brutality is still there from the implications of what is on screen. It’s an effective method of building suspense, and it totally pays off in this case. A Good Woman is Hard to Find starts a bit slowly, but for the most part, it’s a fun and intense ride. Genre enthusiasts will find a lot to love here with great visuals and some brief but truly phenomenal action sequences. A Good Woman is Hard to Find hits VOD and virtual cinema offerings on May 8. Rating: 3/5
Review by Sean Boelman
Lara Gallagher’s feature debut Clementine is the type of movie that sounds a lot more interesting on paper than it is in execution. Although there is some interesting character work on display here, there isn’t a strong enough balance between the mystery and melodrama elements for the story to be particularly interesting.
The film follows a heartbroken woman who breaks into her ex’s lake house hoping to recover from their recent break-up, only to meet a mysterious young woman who complicates her emotions even further. Unfortunately, this story is disappointingly dull, an erotic thriller with little in the way of eroticism or thrills. At just an hour and a half long, one would think there wouldn’t be much time in the movie to be wasted, but the first half still feels dreadfully stagnant. A majority of the conflict and development comes towards the end of the film, and while that later portion is moderately compelling, it takes far too long to get to this meat of the story. Another problem with the movie is that it doesn’t explore its themes in a way that is particularly original. There are some messages about control to be found, but this is a common thread for the genre. Gallagher simply doesn’t approach her ideas with enough personality to justify an uninspired narrative.
The character development is certainly the strongest element of the film, especially in relation to the protagonist. Her arc is sympathetic and certainly the most unique part of the movie. Sadly the supporting characters are not as interesting as the protagonist, even the co-lead, who eventually turns into a conventional femme fatale of sorts.
Otmara Marrero and Sydney Sweeney do a good enough job in their roles, but the script doesn’t give them a whole lot of material to work with. Marrero shows a great deal of potential to be an excellent leading lady if she is given a better vehicle in which to star. She really shines in the more subtle moments in the film. On a technical level, Gallagher clearly has a strong vision, and it allows the movie to be a lot more atmospheric. There’s a very moody and dreamlike look to the film, leaning into the lushly vegetative backgrounds provided in the scenery. The use of color in the movie is also quite strong, especially the use of green as a motif. There are some very interesting things happening in Clementine, but Lara Gallagher’s script isn’t refined enough. Even though audiences may connect with the film’s uniquely-written protagonist, the movie otherwise isn’t very dynamic. Clementine streams in partnership with indie theaters beginning May 8. A list of participating locations can be found here. Rating: 2.5/5
Review by Sean Boelman
A highly-stylized comedy, Emily Cohn’s directorial debut Crshd hopes to use its infectious energy to charm younger viewers. The latest in a string of in-touch teen comedies, there are some fun moments here, but the script is far too weighed down by clichés to be particularly memorable.
The film follows a group of friends as they try to get invited to an exclusive “crush party” in the hopes that one of them can lose their virginity before their freshman year in college ends. The storyline of best friends getting together for one last hurrah is becoming more and more common in the genre, but unfortunately, the stakes just aren’t here for the storyline to work. Perhaps the single biggest weakness the movie has is that it does not adequately build the friendship between the three leads. This arc is very reliant on the viewer having nostalgia for their own days of getting into wacky hijinks with their friends. Unfortunately, since more focus is put on the characters individually, this doesn’t work very well. That isn’t to say the film offers nothing of value — the characters are actually relatively compelling on their own. However, it is worthy of note that the protagonist’s quest to lose her virginity is much less original and interesting than the arcs of her two friends. Yet their development is often cut short in favor of another underbaked scene with the protagonist.
The humor of the film is a bit all over the place, resulting in some moments that are absolutely hilarious and others that verge on the point of being annoying. A few recurring gags in the movie offer a lot of potential, such as one character’s father who is an overzealous campus security officer, but these are largely abandoned in favor of more sentimental moments.
Still, the charming performances of the three leads are able to keep the film afloat, if only barely. Isabelle Barber, who is the lead, nails the comedic moments in a very natural and believable way, and Deeksha Ketkar is a solid sidekick. It is Sadie Scott, though, that is funniest in what is arguably the most complex but underused role in the movie. On a technical level, Cohn’s film is certainly very ambitious, and this is a large part of what makes it enjoyable. The production design and cinematography are very fun and flashy, giving the movie a lovably over-the-top feel. Cohn obviously has a lot of great ideas behind the camera, and some of those allow the script to translate better. The script of Crshd isn’t great, but it has its moments that will allow it to catch on with its target audience. And thanks to its energetic execution, the film has an infectious energy that will help it overcome some of its sections that are light on laughs. Crshd screens in partnership with indie theaters beginning May 8. A list of participating locations can be found here. Rating: 2.5/5
Review by Sean Boelman
A new medieval thriller with Mickey Rourke in the top-billed spot, The Legion plays out like a much less innovative (and ultimately less interesting) version of the similarly-themed 1917. Despite decent production design and performances, the story here is too minimalistic and lacking in emotion to have the same success as its more impactful cousin.
The film follows a half-Roman soldier who is sent to deliver a call for help when half of the Roman army is trapped in the mountains of Armenia and surrounded by enemy patrols. Of course, as one expects, the soldier encounters difficulties along his journey, from inhospitable conditions to hostile combatants, and this provides a majority of the movie’s conflict. This film will almost certainly suffer from being released in such close proximity with another more acclaimed movie with a similar plot. Even though there’s almost always something “action-like” happening, whether it be fighting or simply the protagonist running, none of these scenes are ever exhilarating. The battle sequences in the film are certainly very lackluster. Obviously, the movie isn’t too occupied with having too grand of a scale, but there’s a way to make even battles between two or three people feel cinematic. The hectic editing and annoyingly shaky cinematography simply don’t cut it in terms of exciting action.
Additionally, the characters in the film aren’t particularly well-written. The main theme of the movie involves valor and heroism, the protagonist risking life and limb to save his fellow soldiers even if he doesn’t entirely agree with the cause. It’s a cheesy and safe way to tell this story when the film easily could have had more of a political edge to it.
And even though Mickey Rourke and Bai Ling are the two actors listed on the poster, they are mostly relegated to cutaways, a serious misuse of their talent. Instead, it is the mostly very charming Lee Partridge who plays the lead. It’s a shame he isn’t getting more of the credit, because he’s the one holding this movie together. On a technical level, the film is better than expected for what the filmmakers had at their disposal. Apart from the aforementioned fight sequences, the look of the movie is mostly fine. The costuming and production design do a sufficient job of periodization. For his directorial debut on a B-movie period piece, José Magán’s work isn’t too shabby. The Legion is certainly inferior to a lot of the other action offerings audiences have at their disposal right now, but it’s certainly watchable. It’s just that, with relatively charming stars, this should have at least been a lot more fun than it was. The Legion hits VOD on May 8. Rating: 2.5/5
Review by Sean Boelman
Seemingly intended to be this year’s Apollo 11, Matt Wolf’s new documentary Spaceship Earth takes a look at a scientific endeavor that was almost as ambitious, but nowhere near as successful. And even though it doesn’t quite live up to the image of its supposed cousin, the compelling story and able direction here make this an entertaining and crowd-pleasing watch.
In the film, Wolf takes a look at the Biosphere 2 project in which a group of scientists and thinkers set out in the ‘90s to make a functioning recreation of the Earth’s ecosystem. This alone is an interesting enough story to earn a documentary about it, but the craziness that it inspired is what will stick with audiences. The first half of the movie provides a history of the Biosphere 2 and the people who were involved in the experiment, aptly named Biospherians. Through archive footage and interviews with some of the surviving members of the group, Wolf explores the theoretical foundations of the project and why it became a worldwide obsession for a certain period of time. This is all well and good, and makes for a cinematic watch, but the really juicy stuff starts to happen when the experiment actually begins. What was intended to be a famous endeavor instead turns into an infamous stunt, as new information comes out and the court of public opinion begins to shift. The second half of the film explores this portion of the story, and it’s pretty captivating.
The only thing that holds back Wolf’s movie from greatness is that it is disappointingly unable to make any firm judgement on its subjects. People who remember these events have surprisingly strong opinions about the Biospherians, and yet Wolf seems more interested in providing an amusing portrait of interesting subjects rather than an in-depth analysis of the situation.
That isn’t to say that the film is entirely inconsequential — it’s certainly very interesting to hear about the events from the mouths of the people who participated in the experiment — but the movie tries a bit too hard to rebuff the controversy that came about as a result of the endeavor, and there’s a giant hole in the story as a result. But apart from a need to refine his argument, Wolf does a very good job behind the camera. The blend of archive footage and interviews is an effective way to tell the story, and there is a great sense of momentum despite a moderately lengthy runtime. The archive materials that Wolf uses are particularly fascinating, though, and audiences will likely wish they could have seen more of that. Spaceship Earth is an enjoyable and mostly very well-made documentary. And while it’s a bit saddening that more audiences won’t get to see this on the big screen as it deserves, NEON’s ambitious release strategy with this will guarantee that it gets eyes on it, in one way or another. Spaceship Earth is available on VOD, virtual cinema offerings, and Hulu beginning May 8. Rating: 4/5 |
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