Review by Sean Boelman
A surprisingly star-studded animated flick from across the pond, StarDog and TurboCat is exactly what it sounds like: a mediocre superhero rip-off. Destined to bore adults, the film does have just enough goofy humor and sanitized action that it may please the youngest of kid viewers, but may even leave their older siblings looking for something more fun to watch.
The movie follows an astronaut dog who, decades after being shot into space returns to Earth to find a changed world and must partner with a feline superhero to restore the order between humans and animals. It’s a ridiculous story, but even with something as silly as this for the story, the film will have trouble holding the interest of viewers. As is the case with nearly every movie aimed at children, there’s a clear moral here about the value of teamwork. The idea of cats and dogs working together is simple and easily processable even for the youngest of minds. That said, the film’s half-baked racial commentary is problematic. (The once subservient animals are “liberated” and then must prove themselves worthy of being loved by their former masters again. That’s not exactly a message that needs to be sent right now.) The movie also has the breakneck pacing characteristic of most low-rent animated family adventures, albeit to an even more frustrating extent here. There are almost two separate movies within this hour and a half: one about the protagonists teaming up to fight an evil human, and another a superhero action flick.
Not particularly surprising is the fact that the two heroes are not the most compelling characters here. Instead, it is the lovable side characters who will leave a lasting memory for viewers, whether a so-called “Tactical Operations Goldfish” that has the funniest moments in the film, or an Alfred-like butler robot voiced for some reason by Bill Nighy.
For some reason, the filmmakers set the movie in America and as a result, Nick Frost has to do an inconsistent American accent. Why they didn’t just write him off as a dog adopted from a British owner and let him speak in his normal accent will stump any adult viewer. That said, the best thing to come out of this film is proof that a buddy comedy starring Frost and Luke Evans should be made immediately. In regards to its animation, the movie is surprisingly pretty solid. The world-building is particularly impressive in a way that will be particularly enchanting for elementary-age kids who watch the film. Plus, a few of the tongue-in-cheek comic book references that are made may give their adult companions a brief chuckle. StarDog and TurboCat is disappointingly bland, especially given the level of talent in its voice cast. Still, as entertainment for kids in a Summer that is more restrictive than usual, it could be diverting enough to occupy the youngsters for an hour and a half. StarDog and TurboCat hits VOD on June 19. Rating: 2.5/5
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Review by Sean Boelman
An unabashedly spirited feature debut from director Shannon Murphy, the new dramedy Babyteeth infuses a much-needed sense of energy into a genre that is too frequently devoid of life. Unexpectedly lovable, this indie gem is one that will hopefully be more than just a blip on the radar.
The film follows a young girl battling a serious illness as she falls in love with a charming but manipulative drug dealer to the dismay of her parents, rekindling a lust for life within all of them. On paper, it seems like it’s going to be a run-of-the-mill sick kid drama, but it becomes clear from the first scene that Murphy and writer Rita Kalnejais have something much more interesting in mind. What makes this stand out among coming-of-age movies is that, instead of the character not having to grow up because of a limited life expectancy, she has already matured with the realization that she is in the later years of her life. It’s an interesting perspective on tragedy, and it comes from a very sincere place. The relationship that forms between the protagonist in her love interest is always compelling but also often heartbreaking. Still, Kalnejais doesn’t resort to many of the manipulative emotional tactics that have come to define films like this. It earns every bit of emotion it gets thanks to the audience’s investment in the characters.
Eliza Scanlen is absolutely amazing here. Those who thought she gave a good performance in Gerwig’s Little Women will be blown away by her talents on display in this movie. She’s hilarious when the script calls for it, but more often than not, she brings a ton of heart and emotion to the role.
Admittedly, there could have been a bit more depth in relation to the protagonist’s parents — there are some subplots there that have the potential to be extremely interesting — but regardless, Ben Mendelsohn and Essie Davis both give phenomenal performances. Mendelsohn is particularly impressive, cementing him as one of the best character actors of this generation. Visually, Murphy’s film is definitely very stylistic. There’s a bit of a bright glow to it that, while never aggressive or overwhelming, shows that Murphy is an exciting talent behind the camera. The soundtrack is perhaps the single best part of the execution, setting a great emotional backdrop for the story. Although one may not initially expect a movie about an ill teenager to be thoroughly enjoyable, Shannon Murphy’s Babyteeth fulfills that unexpected niche. It’s a nuanced and human look at a weighty topic that manages to be entertaining in the process. Babyteeth hits theaters and VOD on June 19. Rating: 4.5/5
Review by Sean Boelman
The newest film from acclaimed French filmmaker Olivier Assayas (Personal Shopper), the spy thriller Wasp Network is far more conventional than most of the rest of his recent work, but it still isn’t super accessible for mainstream audiences. Hard-to-follow at times, but entertaining and well-acted, the movie doesn’t live up to the standard that fans will have for the director’s work, but is still worth a watch nonetheless.
The film follows a group of five Cuban spies in the United States who pose as defectors in an attempt to infiltrate anti-Castro terrorist groups and foil their plans to overthrow the Cuban regime. It’s an interesting story, and it makes for a pretty exciting thriller, but unfortunately, Assayas’s script is too unfocused for the movie to have its full impact. In the first half of the film, the audience is introduced to two leads (played by Edgar Ramírez and Wagner Moura), and their stories are pretty compelling. At this point, the movie is still a pretty buoyant and energetic thriller, moving through brief action sequences and intelligent dialogue at a brisk pace. Then, right around the halfway mark, the third protagonist (Gael García Bernal) is added into the equation, and everything that happened in the first hour is rendered moot. At least it seems to be that way at first. A brief glimpse at the synopsis will explain the confusion of the situation and catch everyone back up, but unfortunately, few viewers will have the luxury of referencing press notes to reference.
The film also largely wastes the female characters, which have the promise to be even more compelling than their male counterparts. Playing the wife of a traitor-turned-hero, Penélope Cruz is awesome in the few meaty scenes she actually gets. Ana de Armas is also impressive in her role but is given even less material.
All three of the male leads do a fine job in the movie, but since their segments run concurrently to each other, they don’t get much of a chance to work off of each other’s strengths. Moura turns in what is perhaps the most impressive performance of the group, but his storyline is largely abandoned in the second act. The film is also a bit of a mess on a technical level. The editing is choppy, dividing the movie into what is effectively a series of scenes that aren’t quite stitched together. There are way too many fades to black for no good reason, and as a result, audiences will end up feeling desensitized to the passage of time within the narrative. Wasp Network is a frustrating film to figure out, and will likely be even more so to the average Netflix viewer. Still, if one can abandon their sense of logic and watch the movie for its other merits, it can be a mostly enjoyable experience. Wasp Network streams on Netflix beginning June 18. Rating: 3/5
Review by Sean Boelman
Critics and scholars would be hard-pressed to find a better description of the depiction of the transgender community in film and television than the word “problematic”. Sam Feder’s new documentary Disclosure hopes to challenge that status quo to create better conditions for both trans people working in the industry and those who look to the media for representations of themselves.
In the movie, Feder explores the representation of transgender people in the media, taking a look at the historical depictions of trans characters and the working conditions of trans actors and actresses on and off set. It’s an interesting and important discussion that sadly hasn’t been held before, at least not in a way that is as logical and open as this. Even for people who consider themselves aware of LBGTQ+ issues in film, there are some things discussed in this movie that will be absolutely shocking. One of the most eye-opening moments of the film addresses the bias that continues to permeate the media of accepting and representing trans women on a larger level than trans men. This isn’t the only issue that Feder presents as desperately and urgently needing a fix, though. Even though it may seem like there have been huge strides in representation (and there have been), there’s still a lot of room for growth. Although the solutions might not be comfortable for those in power right now, Feder purports that it is truly the viewers who have the power in this industry.
More than anything else, this movie should show viewers that it is time to increase the amount of compassion we show to the LGBTQ+ community. It is not enough to idly sit by, as these issues aren’t just going to sort themselves out. It will take an active approach, not only from people within the industry, but also audiences who can demand change with the vote that is their media consumption.
The film features interviews with prominent transgender actors and actresses who voice their opinions about the state of the industry and discuss their own experiences as trans people in a field that was actively bias against them. Some of the best moments of the movie feature someone who has become a role model for trans youth discussing how the insufficient representation when they were young led them to want to make change. Feder incorporates a lot of clips as examples of both positive and negative representations of trans people in films throughout the ages. By incorporating commentary on these examples from knowledgeable sources who are passionate about the issue, the movie allows audiences to see a different perspective on how some of these depictions are more harmful than they may have seemed at first glance. Disclosure is an educational documentary about an issue that some people may have not realized is still an issue today. Essential viewing for anyone who cares about representation in the media, and still important for everyone else, this is definitely one not to skip. Disclosure streams on Netflix beginning June 19. Rating: 4.5/5
Although the plane hijacking genre already reached its peak in the mid-2000s, every once in a while a film comes along that attempts to capitalize on audiences’ decidedly post-9/11 xenophobic fears. This year, that is the German thriller 7500, and while the story may not be a good look for 2020, a strong performance by Joseph Gordon-Levitt makes it entirely watchable.
The movie follows the American pilot of a German airliner as his plane is hijacked by a group of terrorists on a religiously-inspired suicide mission. It’s a simple premise that lends itself to a lean thriller clocking in at just a bit over ninety minutes, but the thoughtful twist that could have allowed this to stand out among a problematic genre is largely missing. There’s a lot of obvious potential here for the film to say something more important, such as commentary on the indoctrination of youth into extremist religious sects, but the script almost always goes for the lowest common denominator. As a result, it ends up feeling mostly outdated and misguided. The character development also could have benefitted from some more depth. The movie pretty much throws the audience straight into the action with only a brief introduction. While the protagonist is sympathetic, his backstory is disappointingly generic. On the other hand, the antagonists are all cartoonishly archetypal.
That isn’t to say that the film doesn’t work — in his feature debut, director Patrick Vollrath proves that he is a very talented filmmaker, milking every ounce of tension out of the script and premise. It’s just that a majority of audiences will find the story a tad too familiar for their tastes, all of the twists and turns being not too unexpected.
Vollrath does have complete control over the camera and use of space in his movie, lending itself well to the race-against-the-clock nature of the narrative. Particularly impressive is that the film relies more on reactions than legitimate action, a majority of the first half taking place over a video monitor through which the pilot protagonist communicates with the hijackers. The cast also brings a lot of emotion to the movie. Joseph Gordon-Levitt, in a much-welcome leading role after spending a few years off the radar, is at his best ever, especially in the enormously stressful first half. Omid Memar also gives a memorable turn as the least caricature-like of the antagonists. Patrick Vollrath’s 7500 is a well-crafted film, but one can’t help but wonder why movies like this are still being made given our greater cultural sensitivity. Still, as a free streaming option for Prime members, it’s worth a watch. 7500 streams on Amazon Prime beginning June 18. Rating: 3/5
Review by Sean Boelman
Envisioned by Aaron B. Koontz and Cameron Burns (Camera Obscura), the new anthology horror-comedy Scare Package is the ultimate send-up to midnight movies. Like any anthology film, it has its ups and downs, but thanks to an earnest passion for the genre, these filmmakers come together to make a mostly enjoyable final product.
The movie features seven segments united by the frame of a horror-obsessed video store owner. As the film’s resident Joe Bob Briggs rip-off (or homage, depending on how you look at it), Jeremy King is a ton of fun to watch, especially when he gets a segment of his own in the blood-soaked and meta humor-filled finale. Weirdly enough, this anthology starts and ends strongly, with its weaker segments coming in the middle. The first short parodies horror movie cold opens, and while unsuspecting viewers may be caught off-guard by this ridiculously self-aware introduction, it will hook genre aficionados (who are clearly the prime target audience of this movie anyway). Unfortunately, the center segments are largely one-note, many of them based on a single gag. For example, a Halloween parody starts off in a way that is a lot of fun to watch, but eventually becomes tiresome after its repetitive humor continues to drag on and on. There are a lot of these good ideas that just don’t quite work on paper.
Other segments show a lot of potential, but don’t have enough time to explore their ideas fully. In what is probably the funniest short, a bunch of different horror tropes and archetypes come together in the woods, and mayhem ensues. But sadly, there’s too much going on in too short of a period of time for it too have much of an impact.
There are three shorts that feel legitimately intelligent, almost too self-serious to find themselves in a goofy horror anthology like this, but as a result, they also stick out as the least entertaining of the batch. It’s a shame because, given a better home, those filmmakers show an insane amount of talent. On a technical level, the filmmakers lean pretty hard into the retro video store look, and it’s pretty effective. Although each of the directors brings their own stylistic flair (Courtney and Hillary Andujar’s hypnotic segment is particularly gorgeous), the movie as a whole has that throwback feel that fans want. Scare Package isn’t an entirely consistent anthology film — there’s certainly a few duds — but it’s destined for cult status as a wacky homage to the horror genre. Shudder truly was the perfect home for this, as it’s a movie made by horror fans for horror fans. Scare Package streams on Shudder beginning June 18. Rating: 3/5
Review by Camden Ferrell
Mope is the feature directorial debut of Lucas Heyne. The film had its premiere at the 2019 Sundance Film Festival. This movie adapts an absurd but true story with a B-movie aesthetic that doesn’t always work, but it does boast some decent performances and shocking imagery.
In this film, we see the expansive and intimidating world of pornography through the perspective of two mopes. A mope is conveniently defined as someone who is a bottom-tier porn actor who typically has to do the dirtiest most undesirable work available. These two mopes, Steve Driver and Tom Dong, are seeking fame and glory, but they quickly realize they are in over their heads. This film has a fascinating premise. The world of porn is seedy in multi-faceted ways, and it’s a captivating and not often seen backdrop to many movies. Since this movie is based on real life, it makes the depravity of its characters and the shock value of its imagery all more effective. Heyne’s first feature has plenty of faults, but his fearlessness in venturing into this world is highly commendable. It’s daring nature is one of the film’s most admirable attributes. The acting in this film is fairly decent throughout. Nathan Stewart-Jarrett plays Steve, and he is definitely the film’s most prominent character. There’s a lot of pressure put on his character to carry the movie, and while Stewart-Jarrett doesn’t always hit the mark, he continuously delivers some raw and ferocious energy that elevate the film. Kelly Sry’s performance as Tom isn’t nearly as energetic, but it does have its moments. The film also features some great supporting performances from Brian Huskey and a brief but derogatory David Arquette.
The script, written by Heyne and Zack Newkirk, isn’t especially strong. It tries its best to emulate the bland and exaggerated dialogue in the porn industry, but it’s a style of writing that is still present in some of the non-pornographic scenes. A movie like Boogie Nights is able to feature purposefully bad porn dialogue with some well-written scenes, but Mope usually fails to do the same. The dialogue doesn’t do too much to develop its characters, and some situations don’t work within the context of the narrative.
It is undeniable that Heyne had a particular vision when crafting this film. It’s brave, and it’s unfiltered pornographic insanity. It’s one of the most graphic films that I have seen in many years, and there are definitely some intense scenes throughout. It’s a provocative film that will put off a large number of viewers, but for those who are willing to stick with it, there may be some joy to find in this director’s creative choices. While the film is riddled with flaws, this is still a promising debut from Heyne. The film doesn’t always make the most effective use of its time, but it does convey a clear message. It’s a typical story about the dangers of ambition, greed, and its ensuing moral corruption. Its easy to forget that this movie is based on real events especially during its crazy final act. There are a lot of aspects that this film doesn’t execute well, but it’s still made up mostly by its themes, energy, and vision. Mope is intense, shocking, and not for the weak of heart or stomach. It’s a movie that doesn’t let the audience rest for more than a few minutes before subjecting them to more aggressive visuals. The script may be lacking, and the execution isn’t all there, but this movie may be worth checking out for its sheer ability to take risks. Mope is available on VOD June 16. Rating: 3/5
Review by Sean Boelman
Perhaps in an attempt to capture what filmmaker Debra Granik has done so well, there has been a recent uptick in the amount of films in the “youth fending for themselves in adulthood” genre. Ani Simon-Kennedy’s The Short History of the Long Road is the latest in that trend, and while it has some great moments, they don’t quite come together into a satisfying whole.
The movie follows a teenager who, after living a life with her father on the road, finds herself on her own, looking for a mother she has never known and encountering a benevolent mechanic and a well-meaning churchgoer along the way. It’s rather predictable as a whole, and unfortunately, it doesn’t have the tension to make up for it. What keeps this film from working as well as other movies in the genre is that it is less character-driven and more focused on external conflict. The more compelling moments come from when the protagonist is given the chance to meditate on her situation, especially in relation to her grief, but these scenes are disappointingly few in number. The pacing is also extremely uneven. At a little over an hour and a half long, there’s a whole lot happening here and not enough time for it all, so everything feels extremely rushed. The protagonist’s bout with a foster family is particularly underwhelming. Its purpose in the story is understandable but is later achieved better by other storylines.
Furthermore, Simon-Kennedy can’t seem to figure out exactly what she wants to say with her film. She obviously has a lot to say, and it will be exciting to see what she does with her future work, but again, it boils down to trying to do too much. Messages about grief, parenthood, finding oneself on the road, and the true meaning of family are all here but aren’t all fully-developed.
That said, the cast is phenomenal. Sabrina Carpenter does a good job in her leading role, with only a few scenes that feel forced (although most of the blame there can be placed on the dialogue). In the supporting cast, Danny Trejo is the biggest standout with a career-best performance, although Steven Ogg and Maggie Siff give memorable turns as well. As is the case with any good road movie, the movie is also very impressive on a visual level thanks to great cinematography by Cailin Yatsko. The film’s Western settings (coupled with the old-school van that serves as much of the character’s transportation) give it a much-welcome rustic feel that is quite lovable. The Short History of the Long Road has a lot of charm but it admittedly pales in comparison to some of the other recent hits of the genre. Still, the performances alone make this movie more than worth the journey. The Short History of the Long Road hits VOD on June 16. Rating: 3/5
Review by Sean Boelman
As a starring vehicle for the always magnificent Brian Cox (who is experiencing a career resurgence as of late thanks to his fan-favorite role in HBO’s Succession), the drama The Etruscan Smile is a welcome sight. Slight on every other level, this isn’t a film that will stick with viewers for long, but it’s definitely pleasant enough to be worth a watch.
The movie follows a rugged and aging Scotsman who moves to San Francisco in an attempt to seek better medical treatment and reconnect with his estranged son who recently became a father himself. It’s a pretty run-of-the-mill geriatric drama, leaning on the talents and charm of its lead to have much of an effect at all. Cox’s performance is clearly going to be the biggest draw of this film, and he is a great fit for the role. Although there are a few moments that are on the edge of feeling silly or maudlin, Cox is able to ground them with his ability to play off earnest emotion. His chemistry with JJ Feild — who plays his son — is fantastic as well. Perhaps the biggest issue with the movie is that it can’t really decide what it wants to be. There are elements of a fish-out-of-water comedy, a dysfunctional family dramedy, a terminal illness drama, and even a late-life romantic comedy, and many of these threads feel underdeveloped because there is simply too much happening in the film.
Arguably the most rewarding and complete arc in the movie explores the protagonist’s relationship with his son. A lot of emotion can be derived from seeing the protagonist trying to pass on his culture and heritage to his son that obviously wants to connect but doesn’t know how. Admittedly, it would have been nice to see more from the son’s perspective, but there’s plenty here regardless.
The protagonist’s relationship with his grandson is less developed, but still mostly compelling. This portion of the film lends itself to a majority of the protagonist’s growth and will likely be the most sympathetic portion of the story for its target audience. Plus, it also provides some of the cutest moments. That said, there are a few portions of the movie that aren’t as cohesive. The protagonist’s romance with a museum curator (played by a wasted Rosanna Arquette) is a non-starter, taking up runtime that could have been used by one of the other storylines. Troubles between the protagonist’s son and daughter-in-law are also hinted at but never explored. The Etruscan Smile is a sweet little film with a great performance from Brian Cox. With theaters shut down at the moment, there has been a shortage of upscale adult-oriented fare, and this will fill the gap until something a bit more substantial makes its way to viewers. The Etruscan Smile hits VOD on June 16. Rating: 3/5
Exploring what any baseball fan would consider to be one of the most exciting seasons in the history of the sport, AJ Schnack’s new 30 for 30 documentary Long Gone Summer will certainly make viewers yearn for an excuse to eat peanuts and Cracker Jack. However, in getting too caught up in rooting for the home team, the film doesn’t go into enough depth about its potential implications.
The movie takes a look at the rivalry between the Chicago Cubs’ Sammy Sosa and the St. Louis Cardinals’ Mark McGwire as they competed in the MLB season of 1998 for the record of having the most regular season home runs in one year. Although any fan will already know how this chase turned out, Schnack does a very good job of making viewers feel like they are back in the action. Even though nothing quite replicates the feeling of being in the stands at a baseball game, especially in relation to events as climactic as this, Schnack comes close thanks to his extensive use of archive footage. First and foremost, this is an entertaining documentary, a welcome treat for anyone experiencing withdrawals from live sporting events. That said, one of the things that the film could have done better would have been leaning into the friendly rivalry that formed between the two players. For the most part, the movie explores their careers and seasons on an individual level. Only towards the end of the film, when viewers get to see shared press conferences, is there a true glimpse into the relationship.
Perhaps the biggest draw that this movie will have will be getting to see interviews with McGwire and Sosa in the present day as they look back on what was undeniably the highlight of their careers. Even more impressive is the fact that they don’t dance around the more controversial elements of their situation either.
While it admittedly doesn’t get a whole lot of screen time, the film does briefly explore the performance-enhancing drugs scandal that started to become a big deal in the league during and immediately following these events. While there’s enough material there to inspire an entire documentary of its own, Schnack does a good job of making sure that the topic is addressed. There is also a portion of the movie that explores the very intense relationship that the fans had to the players and their quest for superiority. In a time in which teams were struggling to maintain attendance and viewership even before they were forced to delay their season, this serves as an important reminder of the magic of America’s favorite pastime. Long Gone Summer is a very entertaining watch, and while it does pull a few punches, the fact that it tackles these sometimes taboo issues is certainly admirable. This is definitely a must-watch for sports fans of all ages. Long Gone Summer airs on ESPN on June 14 at 9pm ET and will be available on ESPN+ following its debut. Rating: 3.5/5 |
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