Review by Sean Boelman

Cypher won the Grand Jury Prize in the US Narrative Competition at this year’s Tribeca Film Festival despite its mixed reception. It definitely seems as if the jury at the festival valued creative vision over anything else as, despite being undeniably flawed, Chris Mourkabel’s film is on a completely different wavelength, for better or worse.

The movie follows the meteoric rise of musician Tierra Whack, who first gained recognition by posting videos on YouTube but soon gained recognition from some of the biggest names in the music industry. However, the interesting part of the story is how Whack begins to discover some of the mysterious and dark undercurrents of the music industry.

For someone who isn’t particularly familiar with Whack’s work — with only a passing awareness of her music — Cypher is nonetheless an interesting portrait of the artist. At its core, the film is an underdog story — a rags-to-riches tale. Yet, there are levels of moral complexity and ambiguity here that, while not always effective, are consistently intriguing.

If there is one big issue with the film, it’s that it doesn’t seem to know what it wants to say. The movie’s explorations of the cost of fame are interesting, but nothing that other films haven’t said more effectively. And when it comes to the conspiracy theory aspects of the story, it’s unclear whether the movie is condemning the music industry or the people who have proposed these strange ideas.

At under an hour and twenty minutes in length, the film breezes by rather quickly. However, the story does begin to lose its focus heading into the second half. As the line between fiction and reality becomes even more blurred than it was before, so too does its approach to genre and tone — creating a pretty severe case of tonal whiplash.

The movie’s approach to character is certainly interesting. Viral musician Tierra Whack is playing a fictionalized version of herself, and like many cases in which celebrities take this approach, the portrayal is complicated. Of course, it can’t be too exaggerated or else she risks people thinking this is the “real” her, but there are certain liberties that are taken.

The film boasts some impressive technical aspects, particularly when it comes to its mockumentary approach. The footage that was created to replicate the types of guerilla and fly-on-the-wall footage one would see in a behind-the-scenes music doc is thoroughly convincing — some of the best this side of I’m Still Here.

Cypher might not be one of the best movies of the festival, but it is certainly one of the most unique. Chris Moukarbel’s vision is certainly idiosyncratic, and while some might be put off by the somewhat scattered nature of the narrative, it’s hard not to admire the movie for what it was trying to do.

Cypher screened at the 2023 Tribeca Festival, which ran June 7-18 in NYC and June 19 through July 2 online.

Rating: 4/5

Review by Sean Boelman

Documentarian Alex Holmes’s (Maiden) newest documentary The Last Rider debuted at last year’s Telluride Film Festival, where it didn’t make much of a splash — and it’s understandable why. The story of The Last Rider is undeniably fascinating, but the filmmaking does it no favors.

The movie tells the story of professional cyclist Greg LeMond, who was the first and only American to win the Tour de France. A particular focus is put on LeMond’s second bid for the title — the 1989 race — in which he had to mount a massive comeback, overcoming challenges such as trauma, injury, and betrayal in his attempt to reclaim the most prestigious title in the sport.

There are some very weighty themes in this film, particularly as it relates to LeMond’s experiences as the survivor of childhood sexual abuse. Although it is understandably difficult for LeMond to talk about this, the level to which this storyline is effectively relegated to being a subplot feels somewhat reductive.

Perhaps Holmes’s biggest mistake was presenting LeMond’s story like any other underdog tale. The challenges that LeMond faced in his life were devastating, and it feels like Holmes takes them far too lightly here. All too often, the movie feels like it exploits LeMond’s trauma to inspire — and it’s frustrating.

Other aspects of the story also feel rather underdeveloped. Although LeMond’s underdog story is certainly inspiring and uplifting, the film also attempts to discuss his complex relationship with his fellow cyclists, such as teammate-turned-rival Laurent Fignon. Their inclusion in the story seems more out of necessity for conflict rather than natural storytelling.

The pacing of the movie also really leaves something to be desired. Holmes’s presentation manages to feel both enormously dry and unfocused at the same time. Although we are moving between tragic events in LeMond’s life at an almost startling rate, the film fails to really justify him reliving this trauma.

That said, Holmes has exceptional access to those involved in the story — including LeMond and his wife, along with his fellow racers Fignon and Perico Delgado. Still, it’s presented in a relatively straightforward combination of archive footage and talking head interviews, failing to keep viewers engaged in the story.

The Last Rider tells a story that is undeniably powerful, but the presentation simply isn’t all that interesting. Alex Holmes clearly has a propensity for finding extraordinary, inspiring stories — if only he had a propensity for telling them in a way that is as compelling as they deserve, he could make for a great documentarian.

The Last Rider is now playing in theaters.

​Rating: 3/5

Review by Cole Groth

Politics have taken a nauseating turn in the last few years from an easy point of discussion to a minefield of controversy. With American society so divided in recent years, political satires have become both a necessity and an increasingly frustrating genre of film. Despite his best efforts, co-writer and director David Stassen has created a political mockumentary that takes the easy way out. It’s too safe to be impactful and too often unbearable to look at, making this a frequently regrettable watch.

In Maximum Truth, co-writer and star Ike Barinholtz leads as a political grifter, Rick, who teams up with a douchey friend (Dylan O’Brien) to take down a highly popular candidate in a local race. As Rick desperately searches for dirt, he finds himself digging his own political grave, the results of which are revealed as soon as the movie begins. Then, we sit through 90 minutes of chaos as the most pathetic politician alive fails at everything he does.

While the premise seems interesting at first glance, it doesn’t go in many interesting directions beyond a tagline. Stassen and Barinholtz thinly veil their political critiques of the GOP without mentioning the party by name. If their goal was to not offend one side, it wouldn’t work, and without naming any specifics, it feels like they’re trying too hard to win over both sides. In the cutthroat world of politics, you can’t expect to win them all, a lesson sorely missed by the screenplay.

While the script is disappointing, the large cast is a well-assembled group. Barinholtz is a great lead, exuding patheticness in every scene. Joined by a chaotically scummy Dylan O’Brien, the two play a fun, if mostly grating, duo. A fantastic group of actors, including Beth Grant, Andrew Friedman, Kiernan Shipka, and Max Minghella, fill out more minor roles. For the most part, their characters stand out as fun notes.

It’s unfortunate that, given a talented group behind the scenes, the final product is so frustrating. Maximum Truth operates in an annoying subgenre of cringe comedy. Nearly every scene pushes the boundaries of how pathetic Rick can get, and by the end, the embarrassment of his actions is downright depressing. Cringe comedies need an extra amount of laughs to make up for the uncomfortable feeling, but the balance is off here, so it’s an all-around muddled experience.

For those who don’t mind feeling uncomfortable for prolonged periods of time, there are enough good jokes to keep Maximum Truth from being a total waste of time. With a few more revisions on the screenplay, there’s probably a solid satire to be found. Unfortunately, this is the finished product, and it’s a bit of a mess.

Maximum Truth is now in theaters and on VOD.

Rating: 2/5

Review by Joseph Fayed

I'll Show You Mine is a unique take on rehashing familial trauma and our relationships with family. Under the helm of Director Megan Griffiths and produced by the Duplass Brothers, is a film that, while worthy of praise for its honesty for discussing these topics openly, makes some confusing creative decisions that tamper with the film's integrity. 

The plot follows Nic, a former male model and current "porn cartoonist," as he meets with his Aunt Priya to discuss her latest novel about Nic's former modeling career. The conversation takes unexpected turns, and the two discover secrets about each other in their conversation, which range from sex to infidelity and the boundaries surrounding them. 

We see the brightest red flag immediately upon learning these two characters are aunt and nephew. While their relationship is written to lay the groundwork for their years-long appreciation for each other, in spite of how the rest of the family treats them. Nic and Priya are supposed to have a deep admiration considering the abuse both have suffered, but that curtails into kink fantasies real fast. Their relationship, even if it is by marriage, makes these cringeworthy remarks uncomfortable to hear. 

Review by Camden Ferrell

​Utkarsh Ambudkar has made a name for himself as a character actor in a wide variety of projects, but at his core, he is an accomplished rapper. He’s been able to flex his lyrical and rap abilities in his movies, shows, and even on Broadway, and his new movie is aiming to introduce a new generation of viewers to the wonderful world of hip-hop. World’s Best is a new family film from Disney+ that might suffer from being too conventional and cliched but still has an honest and valuable message for young viewers.
 
Prem is a young mathematics genius. As he undergoes changes in his life and the burgeoning self-reflection of adolescence, he finds himself focused on his deceased father. He discovers that his dad was a famous underground rapper and immediately finds himself enthralled in the world of hip-hop. He has vivid rap fantasies involving his late father as he tries to go through life and figure out who he is while still accomplishing the many ambitious goals he has. It’s a cute premise that many viewers might be able to relate to in one way or another.
 
Written by Ambudkar, Jamie King, and Timothy Visentin, it is very safe in the way it tells its story. Even if its premise is imaginative, the writing is predictable and conventional in a way that makes it quite palatable even if it’s not great. The movie hits all the narrative beats you’d expect from a Disney+ movie, and while there are a handful of interesting moments, it doesn’t do much to set itself apart as a unique coming of age story. 

The acting in this movie is quite good for a Disney+ original. Led by relative newcomer Manny Magnus, his performance is relatable and quite charismatic despite playing a nerdy, more-reserved character. The real star of the show is undeniably Ambudkar. He always brings a lively energy to his roles, and this is no different. Since this movie deals with rap music, he’s a perfect fit, and he plays a great father figure to Magnus’ character that is quite wholesome to watch.
 
Even though it is far too conventional and sometimes bland, it has an honest message for young viewers. There is a lot that could be done better with this movie, but it has the purest of intentions. Although it may not have been a movie for me, I won’t fault it for teaching kids to follow their passions and stay true to their dreams and themselves along the way. It’s a noble sophomore attempt from director Roshan Sethi, but I still wish it took more chances with its story and execution to make it more memorable.
 
World’s Best is a harmless coming of age story that families and young viewers may enjoy. It’s a familiar story that is bolstered by fun performances and a few good hip-hop numbers. It has a great message, but it also falls victim to its adherence to standard storytelling practices. It doesn’t take risks to find a unique voice like its protagonist, and it will likely fade into the ever-growing catalog on Disney+. Until then, this is cute enough to pass the time and entertain young ones if need be.
 
World’s Best is streaming on Disney+ June 23.
 
Rating: 3/5

Review by Dan Skip Allen

Review by Dan Skip Allen

Review by Cole Groth

There’s a moment in No Hard Feelings where a man sticks his penis into a Chinese finger trap, tricking Jennifer Lawrence’s character, Maddie, into putting her finger on the other side. It’s a funny moment, playing off of an earlier moment shared between Maddie and Andrew Barth Feldman’s Percy. Beyond being a funny moment of shock humor, it becomes one of many scenes that are equally funny and sentimental. Dozens of rom-coms release every year, but few demand your attention as well as this one does. No Hard Feelings stands out as not only one of the best rom-coms of the year but one of the best comedies of the 2020s.

Set in New York, this film follows Maddie, a struggling 32-year-old Uber driver facing bankruptcy after having her car repossessed. In a desperate attempt to get a Buick, Maddie accepts an offer on Craigslist to “date” the 19-year-old son of two wealthy parents (Matthew Broderick and Laura Benanti). Over the course of several days, Maddie does everything she can to court Percy, taking herself along some embarrassing lows and surprising emotional highs.

Maddie has lived in her New York home for her entire life. With the rising taxes brought upon by rich neighbors moving to her neighborhood, she’s no longer able to afford the life she’s always lived. She drowns out the pain through constant drinking, hookups, and short-lived relationships that end in her ghosting her partner. Percy is an awkward teenager looking to get out of his shell before he ships away from his helicopter parents off to Princeton. He’s been unable to make friends throughout his high school experience and spends his days playing video games and keeping to himself. The two live quietly tragic lives, giving a solid emotional core for audiences to connect to.

While the premise itself is funny enough, what truly sells this movie is the script. Written by John Phillips and director Gene Stupnitsky, this screenplay is an exercise in nuance, hardly seen in R-rated comedies like it. It would be very easy to write Percy as an obnoxious nerd who has no social skills at all, but we’re instead presented with a kid who’s a little shy. He’s about as awkward as most teenage boys are, breaking from the Hollywood formula of his type of character. This script stands out as both one of the funniest screenplays in years and also the most realistic.

It’s hard to state just how perfect Jennifer Lawrence and Andrew Barth Feldman are in their respective roles. Lawrence is such a terrific movie star in that she can have an enormous presence in every shot she’s in while also feeling like a regular person. Feldman makes his leading debut here, and if his performance is indicative of the rest of his career, he’ll be a star in no time. He perfectly delivers each joke and has endless chemistry with Lawrence. The two bring small mannerisms to their characters that keep them from feeling like movie characters. There are plenty of awkward situations the two get put in, and their grounded performances play up the awkwardness perfectly.

One of the things that screenplays often miss is having memorable minor characters. Stupnisky utilizes the talents of Broderick, Benanti, Natalie Morales, Scott MacArthur, and Ebon Moss-Bachrach, among other great actors, to great effect. Other directors might throw in a cast of kooky characters for comedic effect without connecting them to the larger story, but here we’re treated to memorable characters that serve more of a purpose than a single-scene gag.

Raunchy comedies are hard to get right. American Pie and National Lampoon have created a genre of comedy that feels needlessly erotic and tacky. No Hard Feelings takes the idea of the sex comedy and elevates it. It’s sexy but not uncomfortable to watch. It’s laugh-out-loud funny and never cheesy. It’s dramatic but not too sappy. This is a perfect blend of many different comedic approaches that sets itself aside as the best in all the genres it hits.

The theatrical scene hasn’t been pretty for original movies recently, and romantic comedies have been hit especially hard. No Hard Feelings is a movie that deserves all the attention it can get on its opening weekend. Jennifer Lawrence brings her A-game and somehow gives one of her career-best performances in a role that can revitalize this genre. This is a movie that will undoubtedly find itself in a long line of classic comedies. While it’ll play very well in the comfort of your own home in a few months, there’s absolutely no better way to watch this than on a big screen with a large audience. One can only hope that Hollywood will produce more movies like this, and that more movie stars will take the daring leap of appearing in a goofy comedy. Who knows? Maybe they'll be the stars of the next No Hard Feelings.

No Hard Feelings releases in theaters on June 23.
​
Rating: 5/5

Review by Sean Boelman

Christian Petzold has gained recognition in the cinephile community for making some of the most human dramas there are. Afire is unfussy as usual for Petzold, taking some of the common tropes of the seaside romance genre and providing a refreshing riff on them, with the thematic richness and brilliant direction characteristic of Petzold’s work.

The film follows a writer and an artist who take refuge in a cabin by the sea looking for inspiration to complete their latest work, where they meet a transfixing young woman as the forest surrounding them is engulfed in wildfire. Critics at Tribeca saw this movie as the smoke from the Canadian wildfires still lingered in the city, giving the film an almost uncanny additional level of honesty from what it may have otherwise had. 

For the first half of the movie, it’s a relatively straightforward, if entirely unfussy melodrama. There are some elements of a love triangle forming, but Petzold doesn’t allow the film to lean too heavily into tropes and histrionics. In the final third, the movie becomes a bit more exaggerated, but the symbolism is so strong and poetic that it works quite well.

As is the case with many literary dramas, the focus of Petzold’s criticism is the ego, as the novelist with a successful debut struggles to follow it up. However, Petzold brings a distinctively modern approach to this familiar formula, using the premise to explore the male gaze in a refreshingly honest and skewering way. 

Petzold’s character work in the film is fascinating, because he gives us a protagonist who is not exactly likable. The character is conceited and often behaves selfishly, yet Petzold’s approach to the character is surprisingly compelling. By the time the movie reaches its riveting final act, viewers will be emotionally invested in their arc.

The film is grounded by three exceptional performances by Thomas Schubert, Paula Beer, and Langston Uibel. Schubert and Beer, in particular, have excellent — and complicated — chemistry together. Their dynamic is unique in that it’s not romantic in a straightforward sense, although there is that tension there, and Schubert and Beer pull off that balance quite well. Matthias Brant is also noteworthy in a supporting role.

The cinematography in the movie is predictably stunning, provided by frequent Petzold collaborator Hans Fromm. In its native German, the film’s title is “Roter Himmel” — which translates directly to “Red Sky” — and the movie brilliantly uses the backdrop of the forest fires, along with the seaside setting, to create some truly stunning visuals.

Afire has one of the most simple stories in Petzold’s recent work, but that doesn’t mean the storytelling is simplistic. Transfixing visuals, nuanced performances, and excellent use of symbolism make this another restrainedly poetic work from the brilliant German filmmaker.

Afire screens at the 2023 Tribeca Festival, which runs June 7-18 in NYC and June 19 through July 2 online.

​Rating: 4/5

Review by Tatiana Miranda

Wes Anderson's Asteroid City is one of the most anticipated films of this summer. The successor to his divisive film The French Dispatch, Anderson returns with a movie that is even more star-studded and surreal than the last, almost as a rebuttal to his critics. 

Starring Wes Anderson staples like Jason Schwartzman, Adrien Brody, and Edward Norton, Asteroid City also features Scarlett Johansson, Maya Hawke, and Tom Hanks. Alongside Anderson's usual crew, newcomers like Hanks and Hawke fit perfectly into this film's fantastical world. 

Meanwhile, characters like Johansson's and Steve Carell's seem a bit out of place. This is likely due to just how many well-known actors and actresses there are in this film, that even more major roles feel underdeveloped. With so many recognizable faces, some characters feel more like cameos rather than developed parts of the story.

While deliberate colorways and stylized aesthetics have become a staple for his films, Asteroid City takes it one step further, with a majority of the scenes color graded to emphasize how otherwordly the story is. Without knowing the context of the plot, this intense colorway might come across as ridiculous and unneeded, but it plays a crucial part in separating storylines. 

Similar to the different filters in Greta Gerwig's Little Women that specified different timelines, Asteroid City's filters help clue the audience in on which storyline the movie is focusing on. While some of Anderson's other films, like The Grand Budapest Hotel and The French Dispatch, tell a story within a story, neither quite compare to how elaborate Asteroid City's storylines are. ​