Review by Sean Boelman
Skateboarding company Illegal Civ is known for the things that they do with their skateboarding videos, and so it is only natural that they would evolve into feature filmmaking. And even though North Hollywood is a lot more conventional than one would hope, it’s still an entertaining entry into the coming-of-age genre.
The film follows a teenager who, having recently graduated high school, is torn between going to college or pursuing his dream of becoming a professional skater. It’s a film that desperately wants to be hip and cool, yet lacks the bite to pull it off, borrowing a lot of beats from other, more interesting skate films. Turning in it a nice, lean ninety-three minutes, the film is consistently pretty entertaining. Granted, since the overall arc is so familiar, it’s never the most involving film, but there are enough cool skate scenes and light humor to keep the pace sailing along. It’s basically exactly what one would expect from this team and cast. Ultimately, the thing that is perhaps the biggest letdown about this film is that it doesn’t have anything original to say. The messages about growing up and living up to unfair expectations set by one’s family aren’t especially deep, and they certainly aren’t unique, as this is the same ground covered by nearly every coming-of-age arc.
The protagonist is a compelling character, but the thing that this film lacks are interesting supporting players. The protagonist’s sidekicks are both stock characters, preventing his relationship with them from serving as the emotional crux of the story. There isn’t even a gnarly antagonist to differentiate this film from others.
Without a doubt, the most impressive thing about this film is the cast. Ryder McLaughlin does a good job in his leading role, bringing a lot of charisma to the character. It is nice to see Miranda Cosgrove working again, even if it is as a love interest. And Vince Vaughn is a highlight in a role that allows him to showcase his dramatic abilities he has recently been focusing on along with his comedic chops. As a whole, the film looks fine, even if it does play it safer than expected. Mikey Alfred is undeniably a competent filmmaker, but given his background in other mediums, one would think that his style would be a lot more dynamic. Instead, what we get is a film that is shot in a straightforward way, with the skating doing most of the heavy lifting. North Hollywood is a film that fans of Illegal Civ will likely want to see, but there are much better skating coming-of-age films (Skate Kitchen immediately comes to mind). Still, it’s fun enough to be worth a watch, even if it will soon be forgotten. North Hollywood is now available on VOD. Rating: 3.5/5
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Review by Sean Boelman
There is something alluring about watching cinema that has been banned in their home country, especially when the reasons that led it to being censored are political. The Iranian film There Is No Evil would be pretty magnificent anyway, but the fact that its creation was an act of protest in and of itself makes it all the more impressive.
The movie is an anthology featuring four stories of people who are faced ethical dilemmas all centered around the death penalty. Yet even though the film deals with this subject matter that is extremely difficult, it isn’t the type of movie that is unbearably bleak to watch. Instead, filmmaker Mohammad Rasoulof takes a more somber and meditative approach. In terms of exploring its themes, the film is mostly very effective. Admittedly, there are a few portions of the movie that would definitely benefit from a more intimate understanding of Iranian politics, but a majority of the film appeals to the audience on a much more universal and humanistic scale. Of the four segments, the first two are absolutely riveting and the back half is just strong. Ultimately, a lot of the movie’s hardest-hitting moments, both emotionally and politically, come early on and Rasoulof’s script struggles to keep up with the high standard that these beats are able to set.
One of the significant limitations of the anthology film style is that character development is made more difficult by the shorter amount of time the audience spends following each individual story. And while all of the players are compelling to some extent, it is lacking that intimacy to make it feel fully urgent.
The ensemble that Rasoulof assembled for his movie is excellent. There is not one weak link in the cast whatsoever. Mohammad Seddighimehr is probably the biggest highlight of all of the actors, giving a performance that is entirely nuanced and empathetic and having great chemistry with his co-stars. The making of this film is an absolute miracle, much less the fact that it turned out so well. Art made in secret rarely has such an overwhelming beauty to it, and yet Rasoulof’s film is consistently gorgeous. His style is very quiet and unpretentious, which feels perfect for this type of production. There Is No Evil is both a spectacular work of art and a daring political statement. Even though it does lose some of its momentum heading into its final two stories, it is strong enough as a whole to be unmissable. There Is No Evil is now playing in theaters and virtual cinemas. A list of participating locations can be found here. Rating: 4.5/5
Review by Camden Ferrell
While the opening of Georgetown doesn’t claim the story about to be seen is true, it is inspired by actual shocking events. Based on the article The Worst Marriage in Georgetown by Franklin Foer, this film premiered at the 2019 Tribeca Film Festival. It also serves as the feature directorial debut of acclaimed actor Christoph Waltz, who elects the be credited as C. Waltz as a director. Despite an interesting true story, the movie doesn’t seem to care enough about its narrative to make an engaging film even with the great actors at its disposal.
Ulrich Mott is an overly ambitious social climber who marries a significantly older widow in D.C. Using his new marriage and her connections, he starts operating in higher circles and becoming more acquainted with the political players in the city. However, after his wife’s death, he becomes the main suspect as they believe there was foul play. Again, it’s base on a true story that is quite interesting, and it had all the makings of a great movie. Unfortunately, despite the great story, the screenplay doesn’t do it justice. David Auburn’s script lacks any kind of engaging dialogue or meaningful exchanges. It’s sluggish and meanders, and it doesn’t every really explore the most interesting aspects of the story. It’s not a great foundation on which the film must be built, and it toes the line between forgettable and misguided. Even though the script isn’t promising, the actors do what they can with the material. Christoph Waltz leads the film as Ulrich, and he gives a somewhat decent pathological performance as he lies his way to the top. Annette Bening co-stars as the suspicious daughter of Ulrich’s wife, and she also does decently, considering how little her character had to work with.
Waltz’s direction seems uninspired more than anything. His scenes and execution lack motivation and personality, and it is a bland product as a result. He doesn’t seem particularly interested in the story or its characters, and it plays off like a television movie.
The movie is told non-linearly. Usually, that’s a welcome change of pace for movies like this, but this movie misuses it. It’s not confusing, but like most things in the movie, it’s plain and doesn’t click. Some of the context and backstory for the character’s is unnecessary, and it fails to do the most important thing in a movie like this: make us feel sympathetic for an unlikeable character. The movie isn’t aggressively bad, it just lacks an artistic voice that is passionate about this story. There are a few good musical cues, but other than that, the movie seems to lose interesting in itself far too early. It’s a waste of great acting potential, and it is a forgettable debut for Waltz as a director. Georgetown is a film that lacks the excitement of its source material. Great actors and a solid premise are wasted on bland execution and a final product that is quite forgettable. Georgetown is in select theaters May 14 and on VOD May 18. Rating: 2.5/5
Review by Camden Ferrell
The Killing of Two Lovers premiered at the 2020 Sundance Film Festival. The film comes from writer/director Robert Machoian. Calculated in its slow pace and occasionally brutal in its realism, this is a quaint story of a man trying to hold his life and family together.
David is currently living back home with his dad while on a trial separation from his wife, Nikki. They both agree to see other people, but David struggles with this as he tries to maintain his family, including four children. This is a simple story of a marriage falling apart. It’s nothing new, but this is a relatable story that has the potential for a lot of emotional exploration. Machoian’s script is minimal, and it works more times than not. There are some moments that don’t make too much narrative sense and disrupt the flow of the movie. However, he revels in the film’s silence and lets his actors breathe a lot as a result. It leads to some great moments, and even though it’s flawed, the script feels like it fits his vision very well. While the entire cast gives good performances, it’s hard to deny how talented of a leading man Clayne Crawford is. He gives a wide range of emotions in his performance, and his acting reveals how well he understands the emotional difficulties and conflict of separation. It’s awfully resonant throughout, and there are a handful of gut-wrenching moments that highlight his talent. Avery Pizzuto, despite her minimal screen time, also gives a promising performance as David’s daughter.
As mentioned before, its premise doesn’t break new ground, and it does sometimes feel limited in that regard. Machoian tries his best to give it a rural and more grounded spin, but it doesn’t do much to feel refreshing. Even though the quietness often works in the movie’s favor, it can feel too meditative for its own good at certain points throughout.
One of the most surprising aspects of this movie is its cinematography. It’s shot in a unique aspect ratio, and cinematographer Oscar Ignacio Jiménez has a keen eye for gorgeous shot composition. The camerawork is minimal, but it fits the nature of the movie perfectly, and it’s one of the most commendable parts of the movie. Despite its pacing problems, the movie does succeed in capturing the challenges of separation and marriage. It’s a near-universal experience that will speak to countless people, and that kind of connection is priceless. It doesn’t say anything particularly new, but it does have passion in its creative voice. The Killing of Two Lovers is a showcase for Crawford as a leading man and Machoian as a director. It may feel a little too familiar and slow, but it is an emotional story about one man trying to keep it together. The Killing of Two Lovers is in select theaters and VOD May 14. Rating: 3.5/5
Review by Camden Ferrell
From Danish writer/director and Oscar winner Anders Thomas Jensen, Riders of Justice is his newest film that tells a uniquely and darkly comical story of revenge. Carried by a strong cast and a well-developed narrative, this is an exciting and occasionally violent film that confirms the talents of those on and off screen.
Markus is a man who returns home to his teenage daughter, Mathilde, after his wife tragically dies. Mathilde and her mother were on a train when it had an accident where her mother died. Markus and Mathilde cope with this loss when Otto, a statistics specialist, comes to tell them the crash wasn’t an accident. Now, Markus joins his new accomplice and his colleagues on a journey of revenge. The movie has all the makings of a great revenge thriller, and it does have some unique elements to keep it fresh. The screenplay is fairly strong from start to finish. It’s not an especially profound examination of grief, but it does subtly show the healing process for everyone involved. Aside from it being a revenge film, it’s also a film about rebuilding after tragedy and coping with immense loss. It serves as a great foundation for the actors to build on in their own unique ways. Mads Mikkelsen leads the film as Markus, and he adds yet another great performance to his résumé. He plays the character stoically, and he is able to lose his temper and composure as needed for maximum effect. The supporting cast featuring Nikolaj Lie Kaas, Lars Brygmann, and Nicolas Bro is strong, and even if they aren’t as memorable as Mikkelsen, they elevate the scenes in which they participate.
The movie can feel a little long at nearly two hours, but it’s mostly justified. There are a few scenes that don’t feel completely necessary and bloat the run time, but it’s a forgivable flaw in the film. The pacing is pretty consistent throughout, and there is a fair amount of wonderfully executed scenes.
As someone studying statistics, I really enjoyed how they incorporated that field of study into the film. It gave certain parts of the movie the same feeling as a mystery movie as they try and figure out who may have caused the train accident. It’s one of the aspects that make this revenge film stand out from others. In addition to being engaging, the film also finds time to be quite hilarious. It balances it really well with the emotionally intense and violent moments. The style of humor is often quite dark, but it fits perfectly with the tone of the rest of the movie. The film also features some great action sequences that truly make this an enjoyable viewing experience. Riders of Justice, the newest collaboration between Jensen and Mikkelsen, is witty, darkly funny, and well-developed. It simultaneously tells a story of revenge and grief with a new perspective that is quite refreshing. Riders of Justice is in select theaters May 14 and in theaters and on VOD everywhere May 21. Rating: 4/5 THE WOMAN IN THE WINDOW -- A Complex Thriller Handled Deftly by the Writer, Director, and Actors5/13/2021
Review by Dan Skip Allen
The Woman in the Window is based on a worldwide bestseller by A.J. Finn adapted for the screen by playwright and character actor Tracy Letts. Letts is primarily known by American audiences as an actor in such films as Ford v. Ferrari, Lady Bird, and Little Women, but he has made a career of writing plays such as August: Osage County, The Minutes, and Killer Joe. He is an acclaimed writer as well as an actor. This might be the most complicated script he has written of his career. This story has layers on top of layers. It takes a deft hand to adapt this dense material. Letts is the right man for the job. He balances all the complexities of this story perfectly. It could have gone off the rails, but it doesn't. It is masterfully handled. The dialogue is incredible from everybody involved.
The film is directed by an absolute professional in Joe Wright. He has directed some great films in the past including his breakout hit Atonement as well as the 2005 Pride and Prejudice and Darkest Hour, the latter of which he worked with Gary Oldman who won his first Academy Award for Best Actor for playing Winston Churchill. Wright has made a career of directing complex stories such as this and balancing many actors while doing so. This film is no different than the others. This film has layers on top of layers he has to make sure are handled very delicately. Amy Adams plays a woman who is agoraphobic. She witnesses a murder across the street through her window. The family across the street just moved in and they seemingly have an idyllic life. She's enamored by them, especially the wife played by Julianne Moore. She also befriends the son played by newcomer Fred Hechinger. The husband played by Gary Oldman is not so fond of Adams' character. He believes she's crazy and making this whole story up. Who's right and who's wrong? That is the million-dollar question. Is the agoraphobic psychiatrist imaging this to make up for her own mistakes of her past? Who knows? Besides Adams, this cast is incredible all the way around. They play their roles perfectly to lead the viewers down certain paths the filmmakers need and want them to go down. All of these actors, Wyatt Russell, Anthony Mackie, and Brian Tyree Henry, in addition to those I mentioned, play their parts like seasoned pros. Adams though gives the performance of her career. She takes these words and she makes them entirely believable coming from her mouth. Her phobia and neurotic nature play perfectly in the hands of this woman with this compulsive disease. She was perfectly cast in this role. I couldn't see another actress in this role. Also in a career-making performance is Fred Hechinger as the son who has much more going on than anyone could have imagined. He is beyond what I could have expected. This film has an almost exact resemblance to a few films in the past such as Disturbia and, the obvious one, Rear Window from master filmmaker Alfred Hitchcock. The agoraphobia angle is a great way to create this feeling for Adams' character that she doesn't have anyone who will believe or help her. We are put in her shoes the same as the characters in the other two films I mentioned. It's that inability for us to get away from this situation. That makes the character so engaging. We want her to be correct despite everything pointing to her being wrong. It's a classic trope, but works.
Wright enlists the help of some great people behind the camera as well as in front of it. Danny Elfman has done numerous scores since his days of the 1989 Batman. He has frequently collaborated with Tim Burton. He has also worked with other great directors as Ang Lee, Zach Snyder, Sam Raimi, and Gus Van Zant. The score for this film is haunting and suspenseful. It helps keep the viewer on edge throughout the film. All the nuances of it are felt from the beginning to the thrilling end. Elfman knows his way around this type of material by now.
The cinematography plays right into the hands of the story and the score as well. Shots of staircases and through windows are impeccable. They play right into the dark nature of the film, keeping the viewer guessing what's around each corner at times. While also vividly showing the apartments and locations, some scenes of sunlight as well as bad weather such as rainy nights. Red light through an umbrella is a unique shot, to say the least. Bruno Delbonnel has already worked on some amazing films in the past such as Amélie, A Very Long Engagement, and Inside Llewyn Davis. He has shown he knows how to get some beautiful shots from various angles. Using different lenses. The only flaw this film has was its length. I could have watched a three-hour version of this film. The hour-and-forty-four-minute runtime seemed like it went by so fast. A film with such a complex story and so many layers should have been longer. All of these amazing actors needed more time to breathe. That means a longer runtime. Cutting this film down to such a short runtime seemed like a travesty to me. Usually, people want shorter films, but not in this case. The Woman in the Window is a master class of filmmaking by all involved starting with Letts and Wright. They crafted a film that anybody can get behind. It's a first-class thriller with amazing performances from Adams and newcomer Hechinger. The score and cinematography play right into the hands of the writer and director as well. I could have watched a much longer version of this film and have been right at home sitting there. This film might have been better set in a theater, but Netflix is where it landed. Fox settled on this after the pandemic year we've just had. Who knows where this film could have landed otherwise. The fact remains it's a masterclass in filmmaking all the way around. The Woman in the Window hits Netflix on May 14. Rating: 4.5/5
Review by Camden Ferrell
Spiral is the newest film in the popular Saw franchise. The ninth installment, whose release was delayed a year, is directed by Darren Lynn Bousman, director of three previous films in the series. Despite a weak script and the series’ continuing narrative problems, this is an enjoyable film that breathes new life into the franchise.
Zeke, a detective, joins his rookie partner into investigating gruesome murders around the city. What’s interesting about these murders is that they are reminiscent of the murder scenes of the infamous Jigsaw killer. Zeke must dive deeper into this mystery to uncover who is behind the grisly murders. Like the other movies in the series, the premise is based on a series of intricate traps that are horrifyingly brutal. However, this movie is much more of a detective film than the others, and it’s a welcome change. The writing has never been the strong suit of these movies, and this is no exception. The dialogue is forced, cheesy, and unmotivated, which is a shame considering the on-screen talent of the film. Luckily, the script is really only needed for the purposes of exposition in a movie like this, but it would have been nice to see a more developed script in what seems to be a reboot for the franchise. The film is led by Chris Rock in an uncharacteristic role for him. As Zeke, he grapples with the character’s troubled history with the police department, and he has a much more cynical and stern performance than expected. He has a lot of charisma, but it’s never used to the film’s advantage as it fails to capitalize on how entertaining Rock is as an actor. Samuel L. Jackson and Max Minghella give decent supporting performances, but the movie doesn’t provide them with nearly enough material with which to work.
The movie reduces the focus on the blood and gore in order to tell a more traditional detective mystery, and it works more times than not. It benefits from not being an endless gorefest with only shock value to carry it, and it still is extremely gruesome throughout. It was more grounded in its storytelling even if it was fairly shallow as a whole.
It wouldn’t be a Saw film if it weren’t full of twists, and while this film has better twists than most entries in the series, they are still a little too predictable for my tastes. I was surprised to see the movie try and implement timely themes in its story although it felt forced to say the least. It’s a step in the right direction for sure, but the narrative could definitely be more polished. Despite its flaws, this is still a messily fun and exciting movie. There are plenty of moments to make you squirm in disgust, and it leaves you feeling optimistic about the future of the series. It will satisfy longtime fans, and it may actually succeed in gaining some new converts. Spiral is probably the best film since the original even if it suffers from many of the franchise’s characteristic flaws. It’s graphic, bloody, and it’s a mindlessly fun film that adults and older teenagers will absolutely enjoy watching with a group. Spiral is in theaters May 14. Rating: 3/5
Review by Sean Boelman
The Screenlife method of filmmaking started out with horror film Unfriended, but Timur Bekmambetov has since expanded its reach beyond the genre. The new thriller Profile utilizes this medium brilliantly, delivering constant edge-of-your-seat tension that allows this to be one of the scariest movies to come out in quite a while.
The film follows a British journalist investigating ISIS recruitment practices who begins to get drawn in by her recruiter. Given the fundamentally virtual nature of the narrative, Bekmambetov’s format is well-suited for this film, and it feels like a natural way of telling this story rather than a gimmick. Perhaps the thing that keeps the Screenlife approach from being as distracting here as it has been in past instances is that Bekmambetov does an excellent job of building tension. Every single thing the audience sees on screen adds to the anxiety that they feel as the stakes are raised every step of the way. Bekmambetov’s film has a lot of moving pieces, compensating for the fact that the shooting style itself is somewhat static. He finds the right balance of what to show, with enough going on to keep the frame interesting but not too much for it to feel busy. The soundtrack is also used well in creating atmosphere.
Admittedly, the film could have done a bit better in addressing its themes of journalistic ethics. Although the film (rightfully) takes a stance against terrorism, it doesn’t fully explore the journalistic issues that arise with a reporter putting herself in this situation. Still, even if it doesn’t have the most substance, it is undeniably entertaining.
The character development is also lacking. Although we immediately sympathize with the protagonist because of her situation, the backstory she is given is minimalistic. Eviction notices and messages from a worried boyfriend add subplots that are straightforward and cliched, adding little to the character’s arc. That said, the two lead actors are both excellent. The success of a Screenlife film is significantly dependent on the quality of its performances, and Valene Kane and Shazad Latif do a great job of carrying the film. Latif, in particular, is impressive as the deceptively charming and horrifying recruiter. Profile works extremely well as a thriller despite (or maybe thanks to) the use of the Screenlife format. This film will undoubtedly grip viewers from beginning to end with its suspenseful script and strong performances. Profile hits theaters on May 14. Rating: 4.5/5
Review by Sean Boelman
Cult-favorite filmmaker Zack Snyder has finally left the realm of comic book movies to return to his horror roots, albeit with a much bigger budget. Army of the Dead benefits from a much lighter tone than a majority of Snyder’s work, but it’s also a lot dumber than anything else in his filmography.
The movie follows a group of mercenaries who venture into zombie-infested Las Vegas with the goal of pulling off a massive heist before a nuclear bomb is dropped to wipe out the remainder of the undead. And for what it is — a zombie heist movie — it’s pretty damn enjoyable, even if it doesn’t consistently deliver the goods. As is the case with almost all of Snyder’s film, the runtime of this stretches near the two-and-a-half mark. However, in atypical fashion, the length doesn’t really add anything, with a first hour that feels overly long. Once the team gets into Vegas, it becomes legitimately fun, but the first act is all over the place. Perhaps the most frustrating thing about the movie is that its emotional beats feel unearned. The story is predictable, with a croaking order defined clearly by the genre’s tropes. That said, it is unlikely viewers are going to be here for the story — they are here to see people shoot up some zombies, and there is plenty of that.
The band of misfits that makes up the crew are charming, even if they are all archetypes. After all, there’s no time for deep character development through all of the action and exposition. Still, there are a few memorable players involved, and audiences will undeniably have a favorite by the time the credits roll.
Dave Bautista’s lead performance here is genuinely strong, making one wish that the character hadn’t been so basic. In the supporting cast, highlights include Raúl Castillo, who is the undersung MVP of most films he’s in but will hopefully get his due here, and Tig Notaro, who does well in a turn that was added in post. For better or worse, the movie doesn’t share Snyder’s signature visual palette. The film has some really strong set pieces inspired by the Vegas setting. That said, there are only a few cool action sequences (which show the potential the project could have had), with a majority of the movie being generic firefights. Army of the Dead is a solid time, even if it doesn’t fully live up to the potential that the talent involved give it. It’s the type of mindless blockbuster that one expects to see in the summer months, though not from a name as established as Zack Snyder. Army of the Dead hits theaters on May 14 and Netflix on May 21. Rating: 3/5 Reviewed by Adam Donato Horror director Alexandre Aja returns to direct a feature for Netflix called Oxygen. Melanie Laurent stars as a woman who is stuck in a health pod and has to discover why she’s there. The film is spoken in French but dubbed in English for American audiences. Oxygen provides an at-home alternative this weekend with three wide release films coming to theaters but may find some competition on Netflix as The Mitchells Vs. The Machines came out recently and Army of the Dead releases next week. Does Oxygen stand out in its own genre enough to stand out on streaming this week? Many films show the main character trapped in a small space trying to use their smarts to make their way out. The thing that makes Oxygen feel fresh is the futuristic setting. Liz, played by Laurent, is encased in some kind of futuristic chamber. She is “accompanied” by an OS system, M.I.L.O. voiced by Mathieu Amalric, who Liz talks to so she can try to contact the outside world. Without the memory of how she got there, Liz struggles with reality as the oxygen levels continue to decrease. This struggle puts a necessary clock on the conflict. As her oxygen gets lower, the tension rises. Simultaneously, Liz experiences all the stages of grief as she is haunted by her past life and the people that she seems to have lost. A movie like this is only as good as its lead and Laurent does a terrific job. Her terror and sadness are both authentic. It’s hard to not feel for this seemingly innocent woman. Watching her use her cleverness to put the pieces of the puzzle together and her resilience to make it through is endearing. It’s already known that she can lead a movie, but it will be nice moving forward for her to get more widespread notoriety as the average film fan may only recognize her from Inglorious Basterds. She certainly carries the entire movie in Oxygen.
The science-fiction aspect of the movie is compelling. It’s funny to hear the excuses the story comes up with to keep her in the box. Apparently, breaking open the box is a federal offense, which is funny because who cares at that point. There are definitely a few good twists and turns in the movie as the science fiction aspect of the movie starts out extremely vague. Anybody who is not good with rats should certainly avoid the movie as they are a prominent feature as Liz has flashbacks of doing testing on lab rats and is haunted by them. Certainly an entertaining new addition to Netflix’s now extensive film catalog. Oxygen does a great job of making a familiar concept feel new. The movie is headlined by a great lead performance from Laurent. Make sure to fit this one into your streaming schedule for an interesting science fiction movie. Oxygen hits Netflix on May 12. Rating: 4/5 |
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