Review by Sean Boelman
A brutally funny Belgian horror comedy, Lars Damoiseaux’s Yummy is a very hyper genre flick, but that energy translates into a viewing experience that is mostly very fulfilling. And while the film can be a bit too heavy-handed at times, Damoiseaux’s style goes a long way in making this a genre flick not to miss.
The movie follows a group of people that are stuck in a hospital for plastic surgery as they discover an outbreak of a virus that will turn its host into a bloodthirsty zombie. The film hardly alters the tropes of this particular type of horror flick, much less reinvent them, but it manages to feel rather inspired nevertheless. One of the biggest issues with the movie is that there are simply too many characters in the story. Although the frequent perspective shifts admittedly do a very good job of keeping the viewer on their toes, they become exhausting after a while, causing the film to run out of tricks sooner than Damoiseaux would like. Because of this, the movie also lacks substantial arcs. The main storyline, involving a young couple who is hoping to soon be engaged, is moderately compelling but extremely simple. Other characters, like a selfish junkie, an arrogant doctor, and his assistant that knows more than she lets on, all stick to their designated archetypes.
Still, at just over an hour and a half in length, the film is pretty action-packed, and as such, it’s hard to get bored by what’s happening. Horror fans will undoubtedly pick up on the numerous dead ends in the storyline that exist for little reason other than to kill off another character and push along the narrative a little bit further.
Of course, as is the case with most zombie movies from the beginning of the genre, this movie is a parable about the dangers of playing god. Damoiseaux’s fresh perspective on the matter is certainly welcome, but everything that the film has to say is painfully obvious. The phrase “interfering with God’s creation” is uttered multiple times by many characters. Visually, the movie is very energetic, with a bunch of gore. Arguably the strongest aspect of the film is its production design, Damoiseaux using the mostly confined setting of the hospital to his advantage. There are also some memorable sight gags which are the points of the movie that most effectively dial in to its comedic potential. Yummy doesn’t quite break down the genre as its filmmakers seem to hope, but it’s still an entertaining zombie flick. This is something that the midnight movie crowd will definitely be talking about, and it deserves the buzz. Yummy streams on Shudder beginning June 25. Rating: 3.5/5
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NO SMALL MATTER -- A Cute Documentary That Shows the Importance of Quality Child Education6/24/2020 By Adam Donato The most important type of people to educate in this world are those in early childhood. No Small Matter explores the benefits of children receiving quality learning and the consequences of ignoring their most crucial hour of development. This documentary is narrated by Alfre Woodard (of Star Trek fame) and features interviews with childcare professionals, real-life children and parents, and most notably, Sesame Street's Cookie Monster. Does this documentary inspire action to enhance schooling for early year children, or is it just an exercise in the cuteness of toddlers? The documentary begins and ends with this simple, yet effective, metaphor for how important it is to lay down a solid foundation. This translates to the importance of everyone having access to quality child education. It builds a very compelling case, even going to the extent that saying all political parties have the majority opinion that childhood education is a priority. It becomes so much of an obvious thing that needs to be implemented into all schools in America, that it’s hard not to ask the question “why not?”. There are four personal stories that show the consequences of the government not investing in child education: a family with two parents who have good jobs can barely pay for quality education for their only child, a divorced mother who has to work two jobs round the clock just to get her children into childcare, a struggling couple stuck with a million dollar receipt for hospital bills for their child, and lastly, an all-star preschool teacher who doesn’t come close to earning a livable wage at her school and must take a second job and live with her parents. This country punishes the people who do one of the most important jobs and hearing this woman’s story breaks your heart. These personal stories allow you to see how the system is directly affecting real-life people and putting them at a disadvantage as they stare down the barrel of a stacked deck. It’s a very effective way to draw sympathy for the overarching cause of the documentary.
This documentary is important for new parents to watch as the most critical time for a child to develop is during the first three years of life. It’s informative as well as adorable since the movie is mostly one big montage of babies having fun. The cause of the documentary is presented in an inarguable way and explains why society is so dysfunctional. For teachers, this documentary is like the gospel, preaching how their job is so important to the development of the most impressionable type of people. No Small Matter hits VOD on June 26. Rating: 3/5
Review by Sean Boelman
Both a love letter to the eponymous talent show and a parody of the excessive theatricalism that goes into their production, Eurovision Song Contest: The Story of Fire Saga is the very definition of over-the-top, but it’s a total joy to watch nevertheless. Featuring Will Ferrell at his best in years, this is dumb and hilarious fun with a surprisingly effective emotional core.
The film follows an Icelandic singing duo prone to failure as they are chosen to represent their country in the Eurovision Song Contest, the biggest music competition in all of Europe. Although the particulars of Eurovision will be unfamiliar to most American viewers (apart from the fact that it birthed the fame of a few popular groups, such as ABBA), audiences will feel comfortable with the underdog tropes. One can’t accuse The Story of Fire Saga of being particularly original — numerous underdog stories use a talent show as their central event — but there is still something extremely charming here. Even at just over two hours, the movie never outstays its welcome, keeping the laughs going and the music flowing. Similarly, although the arcs of the characters are pretty telegraphed, they manage to have a strong emotional impact. Viewers will buy into the protagonists’ ambitions, and even when the beats start to feel a bit more forced, the phenomenal chemistry between Ferrell and his co-star Rachel McAdams keeps the film afloat.
Ferrell and McAdams are great here, but it is the supporting cast that really shines here. In a scene-stealing role as a flamboyant Russian playboy popstar, Dan Stevens is the highlight of the movie. He seems to be the cast member most dialed into the absurdity of the whole situation, giving a performance that is thoroughly enjoyable. Others, such as Pierce Brosnan, Demi Lovato, and Mikael Persbrandt give memorable turns as well.
And of course, there are some memorable original songs written for the film. The two catchiest — “Double Trouble” and “Jaja Ding Dong” — come from the Ferrell-McAdams duo (with McAdams’s vocals supplemented by Swedish pop singer Molly Sandén), but the more objectively strong is their emotional “Húsavík (Homeland)”, which will give viewers chills. Also excellent are “Lion of Love” (Dan Stevens’s song performed by Erik Mjönes) and “In the Mirror” (for Demi Lovato). Visually, the movie is at its best when it goes all-in on the musical numbers. The production design in the Eurovision performances offers exactly the type of spectacle one would hope for, especially in the “Double Trouble” scene. That said, the single best scene in the film features a group performance from all the contestants in a mansion, reminiscent of one of the most fun scenes in the Pitch Perfect movies. Eurovision Song Contest: The Story of Fire Saga isn’t going to make waves, but it’s legitimately funny and offers the distraction that we need so desperately right now (fitting, given that this is why the Eurovision Song Contest was created in the first place). It’s nice to see Will Ferrell back in his element again with a goofy and exaggerated character after trying to be more grounded in recent efforts. Eurovision Song Contest: The Story of Fire Saga hits Netflix on June 26. Rating: 3.5/5 Review by Dan Skip Allen Jason Blum has perfected a formula of low-budget horror films that entertain the masses but don't have much substance to them. He is a producer who has helped resuscitate this dying horror genre. He uses different writers, filmmakers, and actors in his films, but the result is the same: most of them aren't very good, with a few exceptions. You Should Have Left isn't one of those. In the film, Kevin Bacon plays a stay at home dad. He is financially set so he doesn't have to work. His wife, Susanna (Amanda Seyfried), is an actress and they have a young daughter (Avery Essex) together. Susanna has an acting job in England so they move to Wales while she is working. They rented a beautiful house on a hill in a sleepy town in Wales. Little did they know they rented the infamous Stettler house. It's full of surprises of its own and threatens to tear this family apart. Bacon has come a long way from his early Footloose days. He has been in some good roles over the past thirty-five or so years, including Jack Swigert in Apollo 13, Sean Devine in Mystic River, and Capt. Jack Ross in A Few Good Men. His career has run the gambit of all kinds of films. He has even had a good TV career as well. You Should Have Left is not one of the best roles in his career, but in the right hands, it could have been. The reunion between him and Koepp goes disappointingly wrong. It's very sad — this role and film had potential, but it's wasted in the end. Amanda Seyfried has had a lot of potential in her career ever since Mean Girls. She's done some good work in Les Misérables as Cosette, Sylvia Weis in In Time, and Mary in First Reformed. Similar to Bacon, she's squandered a lot of good opportunities. She's settled on these one notes characters such as Susanna in You Should Have Left. A few romantic comedies here and there have helped her develop some range in her career. Sadly, she hadn't branched out for more substantial dramatic roles. Or maybe she hasn't been offered them and settled on these lesser roles instead. Who knows? The fact of the matter is she needs to pick better roles.
David Koepp has been a prolific screenwriter over the past twenty-eight or so years. He broke onto the scene with big hits including Death Becomes Her, Jurassic Park, Carlito's Way, and Mission: Impossible. He even worked with Kevin Bacon on Stir of Echoes back in 1999. This partnership is probably very familiar to both men involved. Koepp's directing credits haven't been so good though. I think he should just focus on writing rather than directing. For our sake and his. He has cranked out some very good scripts in his day. It doesn't mean he should direct everything he writes. This film is a dud. Based on the not-so tried-and-true formula of haunted house films, You Should Have Left left me wanting more. This film had so much potential. It started great — I was very interested in these characters and their lives, and when they got to the house in Wales it even got better. Then all of a sudden, it just went off the rails. For such an acclaimed screenwriter as David Koepp, this film and script were a big letdown for me. Maybe it was the budget. Who knows? Something went wrong with the end product. It just didn't deliver on its promises from the entertaining trailer or screenwriter Koepp. You Should Have Left is now available on VOD. Rating: 2/5 THE GHOST OF PETER SELLERS -- An Entertaining Glimpse Into the Fate of a Doomed Production6/22/2020
Review by Sean Boelman
For some reason, stories of films that didn’t go as planned are almost (if not more) interesting than those of productions that went off without a hitch. Peter Medak’s The Ghost of Peter Sellers is a fascinating exploration of one of the director’s own films that never came to fruition, and it’s a must-watch for any cinephile.
In the documentary, Medak reflects back on his experiences on the set of Ghost in the Noonday Sun, a pirate action-comedy that was set to star Peter Sellers, one of the hottest comedians at the time, that was never completed for a myriad of reasons. Some of those are the expected ones — the production went over budget, it was a taxing shoot, et cetera — but it is the more nefarious ones that are most intriguing. Perhaps the most interesting thing about the documentary is that it is told from Medak’s own perspective. Although there have been other documentaries about doomed films, they are more often than not directed by a third-party. Since this one was directed by Medak, who has an intensely personal stake in the matter, it feels a lot more earnest. As a result, the documentary’s commentary on the filmmaking process is all the more compelling. At this point in his career, Medak was a buzzy up-and-comer receiving his first chance at a big studio project. Medak’s experience serves as both a cautionary tale of the dangers of moving too quickly, and an ode to the creative process and how memorable the experience can be even if its results are disappointing.
The other thing about the documentary that is very interesting is that it presents Sellers in a very unique light. Very few people would say that he was anything but a comedic genius. But in a way, Medak presents him almost as if he was a criminal mastermind of sorts, hoping to sabotage an already sinking ship by any means possible.
There is certainly an element of humor to the story, especially as we get to see and hear about Sellers’s various attempts to throw a kink in Medak’s plan. Some of Sellers’s on-set antics even sound cartoonish and unbelievable at times, although they are so unexpected that they have to be true. To tell his story, Medak uses a combination of archive and behind-the-scenes footage, with some discussions between himself and other people involved with the production to fill in the details. It’s an effective way to tell this story, and it’s sad that Sellers is not here to shine light on his perspective of the events. The Ghost of Peter Sellers is a thoroughly entertaining documentary, especially for anyone who is a fan of bizarre cinema stories. It will be an extremely relatable watch for those who have experiences with problematic sets. The Ghost of Peter Sellers hits VOD on June 23. Rating: 4/5
Review by Sean Boelman
If pulled off well, the horror-comedy can be one of the most immensely satisfying genres there is, and yet filmmakers so often fail to capture the perfect balance between the two tones and instead deliver something underbaked and inconsistent. Jesse O’Brien’s Two Heads Creek has an obvious love for horror, but unfortunately, it isn’t quite able to strike that chord.
The film follows two twin siblings who, after discovering that they may have been adopted, travel to Australia in the hopes of finding their biological mother, sensing that something may be astray with the small town in which she lives. There are a lot of things happening here, and not all of them are effective, but some hit the nail perfectly on the head. One of the biggest problems with the movie is that it takes a long time for it to figure itself out. Jordan Waller’s script has a lot of interesting ideas, but the main storyline initially presents itself as a subplot for much of the film’s first half, and this is much more interesting than anything it tries to do before that. It’s disappointing that the movie didn’t lean into these elements more heavily. There is some interesting commentary in the script about immigration, and while the satire here is obviously very extreme, the jump scares aren't the scariest thing about this film — it’s that the events don’t seem too far off from something that could happen in real life. And despite the fact that this is a U.K.-Australian production, its themes are pretty significant globally.
On the other hand, the sibling relationship between the two leads isn’t particularly affecting. Sadly, this relationship feels more like an excuse to get these characters to their destination rather than a legitimate storyline. Had the film leaned a bit more into this dynamic, it would have been a lot more compelling and almost certainly funnier.
Jordan Waller and Kathryn Wilder are still able to pull their roles off in a very charming and charismatic way, though. Both have a very inspired screen presence, showing a lot of potential to take the genre by storm. Additionally, the ensemble is filled with actors who give zany and over-the-top performances perfect for this type of movie. On a technical level, the movie is much more appealing in the second half than the first. Around the midway point, there is a musical number set to the song “Horror Movie” by Skyhooks, and it has an undeniable energy about it that is extremely infectious. One almost wishes that the film had been a bit more consistent in this regard. Two Heads Creek isn’t a great horror-comedy, but it has a handful of really good moments. Director Jesse O’Brien is obviously very talented, and given a more complete script, he could bring something much more entertaining. Two Heads Creek hits VOD on June 23. Rating: 2.5/5
Review by Sean Boelman
Taking its name from a holiday that few people truly understand, the new drama Miss Juneteenth offers a personal and compelling look at the experience of people of color. With an emotional story that touches upon some important ideas, Channing Godfrey Peoples’s wonderful directorial debut will hopefully open the eyes of those who are more privileged.
The film tells the story of a single mother who enters her rebellious teenage daughter into the beauty pageant that she won herself when she was younger. While this underdog story following this disadvantaged mother and daughter duo trying to beat the odds to prove their worth to others is compelling, it is the relationship between the characters that makes the movie stand out. Most people will empathize with the characters’ arcs. Parents will understand the mother’s desire for her daughter to be better than herself, and many will identify with the pressure the daughter faces from these increased expectations. As a result, the film has a pretty significant emotional impact. Unfortunately, it is the sad case that today in America, there is a greater pressure on members of minority communities to succeed. Although in recent years there have been networks designed specifically to empower and support people of color youth, there still aren’t as many opportunities afforded to minorities as there are for white people, and as such, it can be much more challenging to improve oneself as a person of color despite having the desire to do so.
This is why the movie works so well — although it is about a beauty pageant, it’s really about two African-American women who are fighting not to succeed, but for a chance to succeed. Theoretically, everyone has to work for their spot at the table. These women, like so many people of color, not only have to work harder for that spot, they also have to work harder to get into the room and even the building.
Lead actresses Nicole Beharie and Alexis Chikaeze are both absolutely wonderful in their roles. Beharie is so subtle and nuanced with her turn that her compassion for the character and what she stands for oozes throughout the film as a whole. And in her first-ever performance, Chikaeze tackles a role that has many layers, all of which she pulls off. With a quiet but powerful camera helmed by cinematographer Daniel Patterson, the style of director Peoples is obviously still in its formative stages, but she has a very exciting voice. This is never more obvious than it is in the pageant scenes which take something that is normally flashy and reduces it down to its basic elements, allowing the viewer to understand a bit better what the characters are experiencing. Miss Juneteenth puts up the guise of being a rather simple movie when in reality, it’s something much more complex and emotional. Some may enjoy it as a cutesy story, but its real impact will be as a snapshot of the minority experience in modern-day America. Miss Juneteenth hits VOD and virtual cinema offerings on June 19. Rating: 4/5
Review by Sean Boelman
Screen-based horror movies have established themselves as the new modern equivalent of found footage, and they’ve worn out their welcome even quicker. However, Antoine Le’s new movie Followed is surprisingly both a ton of fun and quite scary, showing that there is still potential in the gimmick if used correctly.
The film follows a popular social media influencer and his crew as they stay at a haunted hotel in the hopes that they can gain enough subscribers to earn a large sponsorship. Similarly to other movies like this, it starts out with idyllic young people making bad decisions and paying the price for it, but eventually, it becomes clear that writer Todd Klick has something more interesting in mind. For the first half of the movie, Klick is still trying to set up the world, giving the audience a handful of exposition dumps that set up the mythology with the occasional jump scare thrown in for good measure. But once the rules are set, Klick makes the film stand out by giving the audience a strong reason to care about the story. Around the halfway mark, there’s a significant change in the arc that takes the characters from being annoying caricatures of the social media generation to legitimately interesting and well-rounded individuals. With this, it becomes much easier to buy into their story, and the desire for them to succeed (and survive) starts to feel even more urgent.
To this point, the movie is pretty spooky, but once viewers become fully invested, Le is able to turn up the intensity and it becomes much more exhilarating. Klick does a good job of making sure that all the dramatic, character-driven moments feel complete before he scares the crap out of viewers, and it works super well.
Matthew Solomon plays the lead role in the film, and he’s super charming. Even when he’s supposed to be playing an overzealous maniac, he brings a lot of humanity to the character in a way that grounds the movie. The supporting cast, particularly Tim Drier and Sam Valentine, also add their own touches of emotion to their roles. Admittedly, the film may have worked a bit better had the social media element been cut out and there was less simulated breaking of the fourth wall, but there are still some really impressive things done with the movie. The set dressing of the film is especially strong, lending it a very immersive atmosphere. Followed is a pleasant surprise: a horror movie that is actually scary and intense for a change. It may not be perfect, but it’s a lot more enjoyable than most other supernatural horror flicks that try to use a found-footage or screen-based format. Followed opens in theaters beginning June 19. Rating: 3.5/5
Review by Sean Boelman
In an era of increasing mistrust in the media, it is important to have a reminder of how journalists can be heroes when they use their talents and voices in support of the greater good. Agnieszka Holland’s thriller Mr. Jones does a great job of delivering its political message, though not quite in a way that is consistently entertaining.
The film tells the story of a Welsh journalist in the early 1930s who discovers the famine in the U.S.S.R. while on an assignment, making the risky decision of breaking the news to the Western media much to the dismay of Soviet leadership. It’s an interesting ethical case study if only the script had been more focused on this discussion. Perhaps the biggest issue with the movie is that it takes too long to get moving. It takes about an hour before the eponymous journalist even witnesses the famine, leaving too little time for the film to explore the issues that it promises to address. That first hour is instead spent depicting the deceptive practices of the Soviet regime which, while necessary for context, aren’t as pressing of a matter given the collapse of the Soviet Union. Rather, what is most of interest here is the way in which it tackles the topic of government censorship of information. Direct government censorship still happens in countries around the world today, but even in countries with a supposedly free press, there is still a lot of manipulation. Just because there is no state-owned media doesn’t mean that there is no state influence.
The character development in the movie is somewhat weak. The film seems a bit too preoccupied with depicting the protagonist as a saint-like hero to give him more of a substantial backstory, but he’s sympathetic nevertheless. The supporting characters, on the other hand, are extremely underwritten, often serving as nothing more than guides for the protagonist in his quest.
James Norton gives an excellent performance in his leading role as the rough but compelling everyman rather than the handsome charmer than he usually plays. The supporting cast is also solid, with good turns from Peter Sarsgaard and Vanessa Kirby, but unfortunately, they are woefully underused. The movie also looks quite good, doing an excellent job of periodizing the story, but it does pull some of its punches, particularly in relation to the depiction of the famine. The film misses a giant opportunity by not showing the horrors of the experiences of the Soviet people in more disturbing detail. Mr. Jones is an all-around solid movie, even if it doesn’t quite live up to its full potential. More than anything else, it’s an effective statement, showing that the public still has reason to have faith in the press despite the fact that it’s not always evident. Mr. Jones hits VOD on June 19. Rating: 3/5
Review by Sean Boelman
One wouldn’t normally expect a nature documentary and an art documentary to go together particularly well, apart from the fact that they revel in the beauty of their subjects. Regardless, filmmakers Yonatan Nir and Dani Menkin’s new film Picture of His Life attempts to merge those genres and does so in a compelling way.
The movie tells the story of wildlife photographer Amos Nachoum, considered one of the leading artists of the medium, as he sets out on a journey to capture an elusive underwater image of one of the world’s most impressive predators: the polar bear. Offering a journey into the unknown, the film is obviously very cinematic. Admittedly, though, the stakes aren’t quite there. Even though members of Nachoum’s crew repeatedly state the danger that he is putting himself in to swim alongside these predators, it often feels like this is an attempt to artificially raise our expectations for something bad to happen rather than letting us get wrapped up in the story naturally. The movie would have been much more impressive had it leaned more into the excitement of exploration rather than the fear of danger. Most people already respect the power of the polar bear as the top of its food chain. More tension could have been created by leaving the audience whether or not Nachoum was going to fulfill his dreams.
Perhaps the most impressive part of Nachoum’s story is his unflinching dedication to his craft. Interviews with some of the other leading wildlife photographers (including names that may be more familiar to viewers) will explain why his art should be respected. The film’s footage shows why his work ethic should be respected as well.
Often, the primary goal of a documentary like this is to leave the audience in awe of the natural brilliance of nature. Since Nachoum’s photography expresses such an obvious admiration for the Earth, audiences will almost certainly leave having the same respect for the world that surrounds them. Of course, the movie features quite a bit of Nachoum’s work, and as a result, it looks gorgeous. It is certainly understandable why Nachoum is so renowned for his contributions to the field of underwater photography because the images he produces are extraordinary. Additionally, the footage shot by Yonatan Nir and Adam Ravetch of Nachoum at work is quite impressive in its own right. Picture of His Life is a gorgeous documentary, and while it may be a bit too unfocused at times, it does a lot of interesting things. Nature lovers will certainly want to check this one out, if only for some of the images it features. Picture of His Life screens online in partnership with indie theaters beginning June 19. A list of participating locations can be found here. Rating: 3/5 |
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