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Review by Daniel Lima  In the 1990s, high-concept studio family films were all the rage. From expensive productions about dinosaur metropolises (of which there were somehow more than one) to humble tales of fathers putting their kids in blackface to fabricate an undiscovered African tribe, the decade was the golden age of weirdo movies that earnestly committed to their oddball premises, often to mixed but fascinating results. Though it may lack the polish of those films, Invaders from Proxima B feels very much in conversation with them, showing far more vision than the low-budget DTV dreck of today. Ward Roberts is the producer, director, writer, and — of course — the star of the film, playing both a loving family man who spends an unfathomable amount of time away from his wife and daughter and an alien creature on a mission to save the world. As the alien attempts to coerce the man into helping him, more people are drawn into the plot, and the hijinks and shenanigans quickly stack up in a comedy of errors. The first glimpse of life on Earth is a man stepping out of a van in the dead of night and walking quietly into a home, easing himself into place between a woman and child as they sleep under a “Welcome Home Dada!” banner in the living room in a single unbroken shot. There is no score communicating how the audience should feel; the lack of cuts maintains the stillness and serenity a scene like this calls for. There is deliberate attention paid to how the scene is framed and composed., emphasizing the coziness of the home and the closeness of the family. This is hardly the most complex example of visual storytelling, but it shows that this goes beyond a mere vanity project for Roberts. Where so much family fare today cuts corners on basic craft, there is a level of care here that gives time spent with the core trio — and even the alien — an emotional weight that grounds the film, even as it gets progressively sillier. Perhaps it’s more an indictment of contemporary filmmaking standards than an exemplary quality of Invaders, but the fact remains that the film looks as good as anything at this scale can look, and lacks the shagginess that often comes with such a meager production.  Where the film gets particularly ambitious is in its alien, portrayed here as an Oscar the Grouch-esque puppet with big bushy eyebrows and a Brooklyn accent (at least, I think it’s Brooklyn, do not correct me). Any use of puppetry or practical effects today is inherently captivating, providing a tactile feel that no level of CG can adequately replicate. Touches like the glowing residue he leaves behind, his impressively realized spacecraft, and even the crudely animated 2D effects give this a charm and energy that is incredibly compelling.
Of course, this is still obviously intended to be a showcase for Roberts’s skills as an actor, and he doesn’t disappoint. Through certain plot machinations, he is given ample opportunity to embody multiple characters and personalities, and he handles them all with a frankly surprising level of nuance. The rest of the ensemble is every bit as committed, regardless of how outlandish and outsized their roles are. This earnestness goes a long way in making the most cartoonish antics tolerable… which, unfortunately, gets to the heart of the movie’s one great flaw. Unfortunately, this is a family comedy that isn’t very funny. That isn’t too much of a problem at the start when the lowkey drama and the world-building around the alien take up a good amount of screen time. As the film goes on, those elements — the most interesting — begin to recede, and instead, new wacky characters take over the narrative in a most unwelcome way. They are, almost to a one, intensely aggravating, relying on being goofy rather than actually constructing jokes and gags. Add in some off-color jokes that seem at odds with the rest of the film, and by the time the credits roll, these characters have largely outstayed their welcome. Yet it’s hard to be too upset at Invaders from Proxima B. There is a genuine sense of passion and purpose here, which eludes films with budgets that astronomically dwarf it. Even at its worst, it maintains a focus and attention to craft that smooths over its roughest edges. Three decades ago, this could have been a studio project that overcame its most abrasive elements through the impressive production design that that level of funding allows for. As it stands, you could do far worse today. Invaders from Proxima B is now available on VOD. Rating: 3/5
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Review by Joseph Fayed  Nick Stahl and Tamsin Topolski in WHAT YOU WISH FOR, a Magnet release. Photo courtesy of Magnet Releasing. Director Nicholas Tomnay does not have the most extensive filmography, but his latest feature, What You Wish For, I consider to be the second installment of his "shady rich people host dinner parties" universe. This thriller is like a mash-up of previous films with similar twists and turns. This one does it just right by having just the right amount of suspense to not lean into being utterly ridiculous. Ryan (Nick Stahl) is a chef running away from his past. With a rising number of gambling debts and people out to find him, he finds refuge at a remote villa in Colombia occupied by his old friend Jack. As the two catch up, Jack reveals he is now employed by a prestigious catering company as a private chef. In preparation for his next dinner, Jack goes missing. Ryan, unable to face the consequences of what he has fled from and desperate for money, decides to assume Jack's identity and work this high-profile dinner. But when his new employers arrive at the villa, oblivious to who he really is, things take a dark turn for Ryan, and there are depraved consequences for what he has done. Rich people doing evil things with their money just because they can has practically become its own genre these days. Popular approaches in the past have included a level of sarcasm (Triangle of Sadness) or having the main characters experience a moral dilemma that puts their own behavior into perspective (The Menu). This film stands out because there is little compassion to be shown across the table. No one is redeemable, as everyone tries to avoid being caught in the act.  A scene from WHAT YOU WISH FOR, a Magnet release. Photo courtesy of Magnet Releasing. The pacing of the film manages to leave you engaged and never bored. The first act sets up the rest very well by being intentionally vague about what Jack has been up to. The viewer slowly realizes what Ryan has unknowingly signed up for and must go through the motions and neglect his former self in the process of doing so. When the big reveal of what his employers are really there for happens, it is written as part of a casual interaction, and the course of action includes no questions from Ryan. Any moments of panicking, as most people with humanity and less of an income typically would, are few and far between. It helps keep the film more suspenseful because Ryan doesn't feel like he's pulled back to reality yet, as this is supposed to be his new norm.
Nick Stahl plays Ryan realistically without trying too hard to be realistic. He and the rest of the cast deserve credit for their roles. Imogene and Maurice, along with all of the dinner party guests, are very unsettling and do so without going over the top. Nicholas Tomnay's direction is almost sullen at times, but the tone is consistent throughout. Some of the line reads feel so natural to the actors playing truly despicable people that you think they could really do this for a living. What You Wish For is a welcomed addition to the "rich people do awful things" genre of film. This B-movie gets off the ground fast and is quite enthralling. It perfectly captures a concept that seems out of the ordinary but doesn't rely on heavily lampooning the ultra-wealthy. Instead, their actions solely cause any judgment, and there are no innocent bystanders around except for you, the viewer. Terrible people and their enablers make the world a terrible place, but they also make this a not-so-terrible film to watch — very much a catch-22 scenario. What You Wish For hits theaters and VOD on May 31. Rating: 5/5 Review by Camden Ferrell  Tony Goldwyn may be a guy whose face is more known than his name, lending his acting talents in supporting roles in many movies like Oppenheimer and King Richard. However, he is also an accomplished director of film and TV, and his fifth feature film, Ezra, hits theaters soon. His most recent movie had its premiere at the 2023 Toronto International Film Festival. While there’s nothing glaringly wrong with this family drama, it finds itself treading familiar waters to mixed effect. Max is a stand-up comedian who is trying to raise his autistic son Ezra alongside his ex-wife. As Ezra’s behavior incites discussion about his future, Max and Ezra go on a road-trip together. All this happens as Max deals with his own personal demons and family history. It’s an earnest story about love and family that had potential for profound thematic exploration despite its familiar narrative. Written by Tony Spiridakis, this movie hits all the beats you’d expect it to. It has the typical family drama elements you’d expect from this type of movie, and it plays out almost exactly as you’d expect. It has all of the character archetypes that have been done countless times in the past. This familiarity isn’t inherently wrong, but the movie fails to make the most of these familiar parts, and it leaves the movie feeling like a lesser version of something you’ve seen before.  The acting is one of the stronger parts of this movie. Bobby Cannavale is a naturally charismatic actor, and this movie is no different. He plays the hot-headed Max probably better than anyone could. He has a natural charm and energy that keep the movie chugging along when everything else is lacking. This movie also introduces William A. Fitzgerald as Ezra. He plays the character with agency and doesn’t feel like he’s playing second fiddle to his more experienced costars. While he’s not a scene-stealer, he definitely has a notable and independent presence in the movie. The rest of the cast is full of plenty of familiar names like Robert De Niro, Rose Byrne, and Whoopi Goldberg to name a few, and they all exist anywhere on the spectrum of passable to “just doing this for the paycheck”.
This movie deals with the realities of being a parent to a child with autism. When it comes to discussing how realistic and sensitive the movie approaches this topic, I may not be the best person to assess that. However, it’s hard to deny that its heart is in the right place most of the time. It has some good moments of drama and is far less exploitative than other movies about autism, but at the same time, the mileage for this might vary by viewer. Ezra is a predictable yet earnest family drama that some audiences might truly resonate with. What it lacks in originality, it makes up for in good intentions. Cannavale is a great lead, and the movie doesn’t overstay its welcome. It’ll likely be forgotten about in due time, but it doesn’t mean it’s not worth watching at least once. Ezra is in theaters May 31. Rating: 3/5 Review by Adam Donato  Ry Barrett as "Johnny" in Chris Nash's IN A VIOLENT NATURE. Courtesy of Pierce Derks. An IFC Films & Shudder Release. One of the directors featured in ABC's of Death 2, Chris Nash, directs his first feature, In a Violent Nature. The film follows an undead monster, literally! That's the bit. It's a slasher film from the perspective of the killer. Most scenes with unsuspecting human characters are seen from a distance through the bushes. This looks to be yet another high-profile horror release from Shudder, which specializes in horror films. The movie was shot three years ago and is just now receiving a release — but not a wide theatrical release, unfortunately. Will this gimmicky horror film by a first-time writer-director connect with mainstream audiences? The horror slasher genre has been done to death. Finding a new perspective to approach the genre is a breath of fresh air. In a Violent Nature strips the basic story down to only the necessary bits. Audiences already have seen the story of a group of twenty-somethings vacationing at a cabin in the woods so they can do drugs and have sex. So, only getting snippets from afar is narratively satisfying enough. Forget the annoying dialogue between the friends. In A Violent Nature opts to focus on the relentless pursuit of the monster. This keeps the tension high throughout the film. It also lends itself to some striking shots in the movie. There are several close-up shots of the killer's bloody hand that are extremely effective.  Ry Barrett as "Johnny" in IN A VIOLENT NATURE. Courtesy of Pierce Derks. An IFC Films & Shudder Release. What doesn't work about the film's gimmick is the pacing and length. There's more walking around in this movie than the Lord of the Rings trilogy. For the more impatient audiences, this indie horror will be considered way too slow. That being said, when the killer finally arrives near its prey, the kills are so bombastic and over the top that it feels like a satisfying conclusion to the wait. The film runs at just over ninety minutes, and it's clear they had to stretch out the runtime to make it feature-length. Honestly, this film would've worked better with even less dialogue, especially towards the end, as there's a conversation that drags out the ending to the point of losing momentum. The film still ends on a satisfying note, but getting through the bulk of the third act feels like the story is stretching itself. Going forward, it will be interesting to see if Nash can maintain this type of freshness.
The horror genre has seen surprising hits from all sorts of places this year. Shudder has slowly been asserting itself as one of the better studios when it comes to horror output. Hopefully, In A Violent Nature will generate enough buzz to escalate to a wide theatrical release. It takes a familiar setup and brings a fresh visual perspective. It's not unlike the recent indie Sasquatch Sunset in that it's a cooler idea than it is a film to watch. Both include a lot of walking but are impressive for what they're able to accomplish in a feature-length film. Ambition should be recognized and celebrated so In a Violent Nature is certainly worth a watch for horror fans. In a Violent Nature hits theaters on May 31. Rating: 4/5
Review by Sean Boelman
Photograph by Monica Lek/HBO.
Julio Torres quietly made a name for himself as a writer on Saturday Night Live and as the creator of the cult favorite Los Espookys on HBO, but he burst onto the scene with his astounding directorial debut Problemista. His latest project, Fantasmas, is arguably his most ambitious yet. It returns him to his sketch comedy roots while allowing his voice, which he has formed over the years, to flourish. The result is an idiosyncratic, distinctive, and often hilarious comedy show filled to the brim with escapism.
The series is built around the narrative thread of Julio Torres (playing himself) losing his prized golden oyster earring, with his imaginative thoughts and whimsical interactions becoming a series of fantasies. Structurally, it very much feels similar to Problemista, although the sketch comedy sequences are much longer here. The other difference with Fantasmas is that the narrative through-line feels much less compelling. The show's success is much less about getting invested in Torres’s story and more about getting immersed in the world he builds. It’s a world that you will feel like you could spend hours upon hours in—although we sadly only get three hours in it. Visually, Torres’s style is wonderfully whimsical and playful. It’s full of ingenuity and visual symbolism, bridging the gap between reality and fantasy. It feels like we are seeing the world through Torres’s eyes, with the cinematography, production design, and cinematography all bringing an imaginative quality to the show. 
Photograph by Monica Lek/HBO.
Yet, despite the narrative through-line here being somewhat weak, the series still feels cohesive under its themes. Torres explores many of the same ideas he explored in Probelmista, like the absurdity of capitalist society, but getting six episodes allows him to explore these themes with more depth than he did in a feature film.
As is the case with any sketch comedy-based show, the sketches here can be a bit hit or miss, but Torres definitely has more successful ideas than unsuccessful ones. Many of the gags are centered around a single joke, but Torres and the cast remain so committed to the bit that they work nevertheless. Others have layers upon layers to unravel and much more subtle humor. Fantasmas also shows the incredible budget and freedom that HBO gave to Torres through its cast. The sketches feature some incredible big-name actors, including Emma Stone, Steve Buscemi, Julia Fox, Alexa Demie, Bowen Yang, Aidy Bryant, Kim Petras, and more. This is where Torres’s background writing on SNL clearly came in handy because each sketch feels written to each actor’s talents. Fantasmas may not have the roundedness of Problemista, but it has the humor and imagination that made Julio Torres’s directorial debut so special. Although one’s enjoyment of this show depends pretty firmly on whether or not audiences vibe with Torres’s comedic and visual stylings, everyone should be able to appreciate the level of ambition and passion that went into every piece. And I, for one, am incredibly glad that HBO is willing to back voices as unique as Torres. Fantasmas airs on HBO and streams on Max on June 7 at 11pm ET/PT, with new episodes dropping subsequent Fridays. All six episodes reviewed. Rating: 4/5 Review by Adam Donato  Daisy Ridley as Trudy Ederle in Disney’s live-action YOUNG WOMAN AND THE SEA. Photo courtesy of Disney. © 2024 Disney Enterprises Inc. All Rights Reserved. Daisy Ridley's career took off when she was cast as the lead in Disney's Star Wars sequel trilogy. After those movies were met with varying levels of success, Disney would love to keep their young talent in-house. She's had a hard time translating anywhere else. Chaos Walking, Murder on the Orient Express, and the Peter Rabbit movies have failed to build upon her celebrity. With talks of another Ridley-led Star Wars film in the air, it's smart to keep her in audiences' minds with the release of Young Woman and the Sea. Disney loves making these little uplifting family dramas headlined by one notable star. Ridley already has good standing with feminist film fans as she gracefully handled all the negative backlash from sexist nerds about being a Mary Sue. This story has strong female empowerment themes, so it fits her perfectly. Will it translate with audiences or get lost in the depth of Disney+? It wasn't long ago that NYAD was campaigning for awards, and now we have a very similar film. Instead of an old woman trying to swim from Cuba to Florida, it's a young woman trying to swim from France to England. Young Woman and the Sea has the added pressure of taking place a century ago when society wasn't accepting of female empowerment. Besides that, they are, beat for beat, the same movie. This one has fewer swimming scenes than NYAD, but those scenes still drag after a while. These scenes are purposefully laboring to exemplify the hardships the character is going through, but it's not an enjoyable experience sitting through after a while. It still checks the boxes of being a testament to the human spirit, though. Trudy Ederle's story is super inspirational and will resonate in the hearts of audiences everywhere, especially women.  Daisy Ridley as Trudy Ederle in Disney's live-action YOUNG WOMAN AND THE SEA. Photo by Vladisav Lepoev. © 2024 Disney Enterprises, Inc. All Rights Reserved. Ridley's character is so headstrong and confident that it's infectious. Seeing her defy all expectations of the time and relentlessly pursue her dream is admirable. She demands respect in every way. Ridley balances her game face with being charming as ever. She has a bit where she repeatedly sings one line from a song that gets annoying. Besides that, she's a solid lead, and it's sad that her history with Star Wars, while being responsible for her start, is cannibalizing her image. Hopefully, this opportunity will be just the start of more for her as she continues to branch out in her career.
Without a theatrical release with any real marketing behind it, Young Woman and the Sea is destined for a fate similar to her last performance, The Marsh King's Daughter. This is so the type of movie that Disney+ will bury away. Ridley is an exciting young actress with way more to offer than wielding a lightsaber. This film is a good history lesson for anyone who isn't sexist. It's a general story that has been done a million times, but it's uplifting nonetheless. There's nothing to hate, but there's plenty to enjoy. Young Woman and the Sea hits theaters on May 31. Rating: 3/5
Review by Sean Boelman
The Emmy season’s eligibility ends at the end of May, so the early summer period is often full of awards hopefuls wanting to be fresh on voters’ minds. While that may be the intention of Netflix’s crime thriller Eric, starring an A-list cast led by Benedict Cumberbatch, it ends up being a massive turkey because of its irredeemably bad execution.
Eric follows the creator of a popular children’s puppet show as he struggles with the disappearance of his son, only to find an unlikely ally in the monster that lives under his son’s bed. Although you have to admire the show’s creators for trying something so off-the-wall, that admiration will stop quickly once you realize how poorly the ambitious premise was pulled off. The biggest issue with Eric is that it cannot settle on a consistent tone. Ultimately, the only way to describe it is Gone Girl meets Birdman with a splash of IF. The story's core is a very gritty procedural drama, but this is buried beneath fantasy elements that feel clumsily mixed in. The eponymous imaginary character disappears for nearly the length of entire episodes, rendering any attempts at magical realism woefully inept. Creator/writer Abi Morgan also falls victim to the biggest pratfall of so many stories about missing kids: caring too much about the parents. After the first episode, the primary arc becomes the father’s mental illness and struggles with addiction. Although the show does attempt to explore the theme of abuse, it does so with painfully little nuance. 
The show’s attempts at dealing with harder-hitting themes are even more embarrassing. Eric attempts to comment on issues such as gentrification, police brutality, and the homelessness crisis — all topics that are very in the news right now. While it’s not to say there can’t be a satirical approach to these themes, the story of a man talking to a giant puppet/imaginary monster is probably not the way to handle them.
What is most frustrating about this series, though, is that it has a genuinely talented cast, and each of them is giving their all. Benedict Cumberbatch, Gaby Hoffmann, Dan Fogler, and Ivan Morris Howe are all solid in their roles, and McKinley Belcher III gives a bonafide performance that is far better than this material deserves. Yet, when they are working with a script that so often veers into the ridiculous, it’s difficult to approach their performances with anything resembling a straight face. The one redeemable element of Eric is its visual style. Lucy Forbes (The End of the F***ing World) directs all six episodes of the miniseries, and she does a good job of balancing the noir-inspired aspects with the children’s television-inspired elements. The puppet work here is very strong, not that you would expect any less from a show with puppeteering as such a central plot element. However, with its many shortcomings, Eric ends up being one of the most baffling misfires this side of The Book of Henry. And while that film was at least enjoyable in all its inexplicable lunacy, Eric just feels completely misguided at every step. It’s impossible to take it seriously as a crime thriller, but it’s somehow even further from working as a satire. It’s really hard to tell at what point anyone thought this was a good idea, but hey, at least the end product is compulsively watchable in a dumpster fire sort of way. Eric streams on Netflix beginning May 30. All six episodes reviewed. Rating: 0.5/5 Review by Joseph Fayed  Solo is a queer romantic drama that proves how messy gay people can be. Director Sophie Dupuis puts the pieces to this puzzle that many queer or queer-friendly filmmakers haven't yet understood. With its mix of estranged family and a torrid love affair that inflicts harm upon an up-and-coming drag queen who vows to overcome all of it, no one is left unscathed. Simon (Théodore Pellerin) is a young drag queen performing at a Montreal club. There, he warms himself up to the club's newest performer, Olivier (Felix Maritaud). Simon is head over heels for Olivier, who is willing to give him his time initially. Just as quickly as they begin rehearsing a new act together, they begin a relationship. Amidst all this, Simon finds out his mother, a famous Opera singer he hasn't seen in 15 years, has returned to Montreal for a limited time. Reconnecting with his mother becomes Simon's priority, but what about Olivier? They soon begin to wonder if they have what it takes to maintain what they have in the long term. Dupuis's script focuses on the right aspects to make the protagonist, Simon, more interesting while not alienating him too much from his counterpart, Olivier. Their character traits are similar, making them compatible and embraced by Simon's family. Make no mistake, this isn't a film about finding queer acceptance from those you love the most. Simon's family is supportive of him and his relationship, but his troubles with Olivier don't affect them directly. By the time Simon's mother is introduced, any friction Simon may have towards his mom feels secondary to the plot because he has already proven to be unphased by her, and he has become so enamored with Olivier.  While we do see tension between Simon and his sister later on, his family has relatively little influence on Simon and how he sees his mother and Olivier. Despite his general closeness to his family, it is good to see how Simon was written to be independent of them and have them have little interference in his decisions. The outcome of his relationship with Olivier is because of how their own perspectives have changed. Olivier, who gradually lets his nature be known, is seductive and charming and owes nobody anything. There is no mask-off moment revealing another side of him towards the end; Dupuis lets the viewer sink into the open book, which is this character she wrote.
Théodore Pellin and Felix Maritaud are both full of pizzazz on screen. When they lock eyes during more intimate scenes, you are in awe. When they are rehearsing and laughing, you are laughing with them. When either of them is on stage performing, you are feeling vitality. They act alongside each other very well, and because the characters feel very similar, both performances are up to par with each other. In drag, Théodore Pellin is styled almost like Kathie Lee Gifford, which you can't unnotice once you see it, but I consider that makes Pellin's role more camp than it was intended to be by an actor who doesn't typically perform in drag. Solo has all eyes on its captivating leading duo. Romance and family are intertwined by a burning passion for more, and under the direction and writing of Dupuis, both have enough space to not intrude on what the other is trying to say. This is a queer drama that does not feel influenced by heteronormative standards or messaging at all, and as we approach Pride month, I think it's a good start. Solo is now in theaters. Rating: 5/5
Review by Sean Boelman
Thom Zimny is a prolific documentarian in the music space, having long collaborated with Bruce Springsteen, and Frank Marshall is a Hollywood legend. Their music documentary, The Beach Boys, is pretty much what one would expect of a biography backed by a major studio and directed by A-list talent: a bit fluffy but thoroughly well-made and wonderfully charming.
The documentary tells the tumultuous story of the rise to success of the Beach Boys, the legendary band that started making catchy surf music but would later come to be one of the most influential in all of pop music. Although it would have been nice to see something a bit more probing, as opposed to a general survey of their career, there are a few personal tidbits from some of the band’s members that are enjoyable “fun facts.” The Beach Boys’ story is fascinating, and there are several directions that this film could have been taken. The filmmakers decide to give us a bit of all of them. We get a techy behind-the-scenes look into the studio, a glimpse into the family drama, and a cautionary tale about the cost of fame. It’s a lot to stuff into a sub-two-hour runtime, and because of this, the movie doesn’t feel particularly revealing. Directors Frank Marshall and Thom Zimny have infused the documentary with an undeniable energy, largely thanks to the soundtrack. From the band’s most well-known hits to some lesser-known gems, the music brings a vibrant energy to the film. The kinetic editing style, which showcases the archive materials in a dynamic way, also helps the movie stay consistently engaging. 
This is the type of documentary that bends over backward to show its admiration for the subject. While it’s unnecessary for the movie to prove why the Beach Boys are and were relevant, most viewers will have the same level of nostalgia for the band’s heyday. It’s made for fans first and foremost and will succeed in pleasing that audience.
The interviews with the surviving members of the Beach Boys are a definite highlight of the documentary. Al Jardine and Mike Love, along with the rotating crew of other musicians, provide a wealth of content. While Brian Wilson's condition limits his interview time, the film includes some new interviews, along with a few from the archives, to fill in the gaps. The filmmakers also interview other artists, causing the film to fall victim to the modern assumption that for audiences to take past musicians seriously, they have to hear from today’s biggest stars about how great the subjects’ contributions to the music industry were. Although people like Janelle Monáe and OneRepublic’s Ryan Tedder are more than knowledgeable enough to speak on the subject, their inclusion feels like an attempt to pander to younger audiences. While The Beach Boys may not reinvent the music documentary genre like its subjects did the music industry in the 1960s, it’s still a pleasant enough watch for fans of the iconic and groundbreaking group. If you’re just looking for some good vibrations courtesy of one of the most innovative musical forces of all time, this is sure to be fun (fun, fun). The Beach Boys is now streaming on Disney+. Rating: 4/5 Review by Camden Ferrell  Marin Alsop is an icon in the world of conducting, becoming the first woman to be appointed to lead a major American orchestra when she earned the music director job with the Baltimore Symphony in 2005. When Todd Field’s 2022 film Tár was released, it provided representation and attention for women conductors everywhere. However, Alsop (who was name-dropped in the film) found this rare spotlight on women conductors was not conducive to positively promoting women in that position. Maggie Contreras’ debut documentary, Maestra, finally gives Alsop and several other subjects the chance to shine a positive light on woman conductors and the passion they collectively share for their craft. In this documentary, we see the personal and professional journeys of five women as they participate in “La Maestra" the only competition for female orchestra conductors. Through this process, we get a deep dive into the subjects’ home life and professional life, erasing the barrier that would otherwise exist between spectator and artist. There’s little to fault in the structure of the movie as it allows the audience to connect and grow attached to the film’s subjects while also highlighting a contest that should be more well known than it currently is. While the premise provides a strong foundation for the movie, the execution is extremely conventional. The mileage of this execution will vary by viewer. Some people might enjoy the familiar pacing and beats that many similar documentaries have while others might wish such overachieving women get a film treatment that matches their ambition. Regardless, it’s hard to deny that this documentary plays it as safely as possible in the structure of its narrative. This allows things to be cohesive but at the expense of its ingenuity and artistry.  The movie does succeed in finding subjects who are equally interesting and distinct in their own rights. It’s great to avoid showing women conductors as a monolith of personalities, and Contreras’ really selected a variety of women to ensure the movie celebrates people from all walks of life. It never feels like moments are repetitive, and this is due to the charisma and unique characteristics of the film’s subjects.
When it comes to the actual coemption aspect of the documentary, this movie does a good job at showing what’s necessary for its story, but it is one of the aspects that feels like it could have been fleshed out more. I think a more thorough glimpse into the technical aspects of conducting would have tied the film together in a more rewarding and satisfying manner. Regardless, the bits of the competition that are shown are riveting and truly highlight the passion that exudes with every wave of their baton. Maestra is too conventional for its own good at times but does a great job at being a piece of media to positively showcase women conductors and hopefully inspire future generations to follow their dreams. It works more on an informational level than it does artistically. It might feel too safe and familiar to keep audiences thoroughly engaged, but it also is a competently crafted story that will give viewers a much-needed insight into this profession and its subjects. Maestra is in theaters May 24. Rating: 3.5/5 |