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Review by Sean Boelman
Although the spotlight in discussions of Hamilton generally belongs to its creator, Lin-Manuel Miranda, several others are responsible for its success, including the acclaimed actress Renée Elise Goldsberry. Filmmakers Chris Bolan (A Secret Love) and Melissa Haizlip (Mr. SOUL!) team up to tell Goldsberry’s story in Satisfied, a showbiz documentary that, while safe in its presentation, connects more than most thanks to its emotional vulnerability.
Satisfied follows Goldsberry as she sets out to earn her stratospheric role as Angelica Schuyler in Hamilton while balancing a tumultuous journey to motherhood. Although the story of Hamilton’s journey to the stage is well-documented, Satisfied goes into more depth into Goldsberry’s personal experience. Regarding the Broadway side of Goldsberry’s story, the documentary plays out in a very traditional rags-to-riches type of way. It’s almost a little disingenuous to present the story this way. While Satisfied acknowledges her pre-Hamilton work like Rent and One Life to Live, it almost makes her seem like a nobody before her Tony Award-winning turn. It’s understandable why they did this — it’s easier to root for someone when you create stakes like this — but the stakes in Goldsberry’s personal life were convincing enough on their own. Yet, while much of the documentary focuses on Goldsberry’s journey to starring in Hamilton, the much more compelling aspect of the story is her struggle to start and raise a family while balancing her blossoming Broadway career. Goldsberry shows an incredible amount of vulnerability and bravery in telling this portion of her story, discussing topics like fertility and being a woman in musical theatre with unexpected honesty and intimacy. 
Yet, while much of the documentary focuses on Goldsberry’s journey to starring in Hamilton, the much more compelling aspect of the story is her struggle to start and raise a family while balancing her blossoming Broadway career. Goldsberry shows an incredible amount of vulnerability and bravery in telling this portion of her story, discussing topics like fertility and being a woman in musical theatre with unexpected honesty and intimacy.
With a runtime of less than 90 minutes, Satisfied does not overstay its welcome. It condenses quite a few years into a brief length of time, but it never feels rushed or truncated. Bolan and Haizlip are hyper-focused on the story they want to tell, and the result is a film that feels refreshingly free of fluff and pandering. The highlight of Satisfied is the level of access the filmmakers had to Goldsberry and her family. Of course, the movie does feature some behind-the-scenes footage and interviews with her co-stars in Hamilton, including Lin-Manuel Miranda, but the focus here is very much on Goldsberry. Bolan and Haizlip know how special of a talent Goldsberry is, and they allow her and her story to speak for themselves. As far as visual presentation goes, Satisfied is pretty standard. Considering Hamilton’s popularity, the amount of rehearsal and performance footage the filmmakers could secure is surprising, even if it is mostly from the workshop and off-Broadway days. Otherwise, the film offers a pretty standard mix of fly-on-the-wall footage and archival materials. That said, Satisfied is still a very special movie in many ways. Yes, its presentation is often by the book, and its positioning of Renée Elise Goldsberry’s career is a tad contrived to create artificial stakes, but the portions of the documentary where Goldsberry is allowed to get incredibly raw about her personal life pack such an emotional wallop that this ends up being a thoroughly moving film. Satisfied is screening at the 2024 Tribeca Festival, which runs June 5-16 in New York City. Rating: 4.5/5
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Review by Cole Groth  Jane Campion’s daughter, Alice Englert, is throwing her hat into the ring with her directorial debut, Bad Behaviour. Starring Jennifer Connelly as a former child actress unraveling under the pressure of her past life and strained relationship with her daughter while on a spiritual retreat, this film is a tonally confusing mess. With spots of humor and drama that feel too sharp around the edges, this might be a worthwhile watch for the ridiculousness alone, but not one that’s ultimately worth your time. Decades ago, Lucy (Connelly) found success as an actress in a kids’ show. She grew up with immense pressure from her demanding mother, and as the years progressed, she had a daughter and formed a turbulent relationship with her. Now seeking some sort of enlightenment, she goes on a retreat with a cast of other emotionally stunted individuals. Half of this film is about the retreat, and half of it is about the results. The two halves of the film play out very differently, with the first being an overbearing fever dream of a dark comedy and the second a more understated drama. Both halves work on their own but clash as a whole. Englert’s direction and script leave a lot to be desired. I found myself questioning every scene in what should’ve been a more straightforward film simply because none of these characters act like human beings. They’re dealing with intense issues such as parental abuse, suicidal thoughts, and intense anger, which get comically played up to a middling effect. Even if you can accept that these are the behaviors of people in real life, this is still a weird watch because almost every character is unlikable in their own special way.  Even if the script isn’t great, the actors do their absolute best. Jennifer Connelly offers a stellar performance as the lead character, paired nicely alongside Englert, who also stars in this as the daughter, Dylan. Their relationship is crucial to the film and something that doesn’t come together until the second half. Ben Whishaw plays a bizarre cult-leader-type character, and one of the biggest crimes this movie has is not leaning into his character enough. When the film suddenly rips us from the first half and tosses us into the second, it instantly becomes a weaker film overall. In search of an emotional core, the film loses the bite that makes it worthwhile to begin.
There’s a particular type of charm in the emotional moments of this, even if they cut into some of the comedic elements. Connelly perfectly demonstrates a woman who seems horrible to the world around her, harboring deep trauma. As she quickly falls apart, her transformation is difficult to watch and fascinating. It makes me wonder if this should’ve been more of a straightforward drama or not because if it drops the bizarre freakouts and comedy, it loses what makes it unique, but it would’ve been a damn solid exploration of a former child actress. Bad Behaviour is a big swing and a miss from Australia’s latest nepo-director, but it’s at least charming in its moments of silliness. If you think that Connelly loudly shouting, “I did not poop!” while swaddling herself like a baby sounds like something interesting, then you might enjoy this. The insufferability of these characters will make or break the film for most people. By the film’s conclusion, however, the film has lost so much steam that you might only remember the stupidity or the cruelty of each individual in this. There’s merit to be found in this, but it’s buried under so much nonsense that discovering it will only be fun to a few. Bad Behaviour is now in theaters and on VOD. Rating: 2.5/5
Review by Sean Boelman
Valérie Donzanelli’s domestic abuse melodrama Just the Two of Us is the type of movie where it’s easy to admire what it’s trying to do, even if the pieces don’t all come together. Despite a positive message and compelling lead performances, including from French starlet Virginie Efira, it’s not quite the moving work it needed to be.
The film follows a woman who meets a charming man, falls quickly in love, and believes that he is the one. However, this idyllic facade soon fades, and she realizes that she may be caught in a toxic relationship with a dangerous, possessive partner. The script, written by Donzelli and Audrey Diwan (Happening) from Éric Reinhardt’s novel, hits a lot of conventional and histrionic beats, but it’s compelling nonetheless. Donzelli and Diwan don’t explore the nuances of abusive relationships as well as one might hope. Although the writers’ intentions are certainly noble, the execution is mixed at best. The movie fails to effectively address some of the nuances of the situation, such as the aftermath of the situation — especially when it comes to the characters’ children. With a runtime of an hour and 45 minutes, Just the Two of Us also struggles with its pacing. The first act moves along at a very relaxed pace, taking the audience through the honeymoon stage of the characters’ relationship. By the time the conflict really begins to kick into overdrive, the final act feels rushed, and it feels like we don’t get a satisfying ending. Perhaps the lack of resolution is intentional, but it is frustrating nevertheless. Considering the sudden stop, it almost feels like everything is ending well, which is not necessarily the case. 
However, what Donzelli and Diwan’s script does well is get the audience invested in the relationship in the first act so that the “twist” can have a visceral emotional impact. Although any audience member with a soul should immediately sympathize with the domestic violence survivor, it makes it all the more devastating to see this abuse committed against a character you’ve genuinely grown to care about.
Virginie Efira has become one of the most prolific actresses in French cinema recently. Even though this is arguably one of her weaker recent outings, she still has a compelling screen presence. She obviously knocks the romantic scenes out of the park in the first act, but she also shows tremendous vulnerability in the later acts that allows the film to shine. One of the more surprising things about Just the Two of Us is that Efira is not the biggest standout in the cast — that title belongs to Melvil Poupaud. Poupaud’s performance is full of the sinister charm needed to make the movie and its conflict believable. It’s not the explosive, exaggerated caricature one might expect from a melodrama like this. Just the Two of Us is passable, but it probably had the potential to be something better, considering that it’s co-written by such a talented writer and it has such a gifted cast. However, strong performances from Virginie Efira and Melvil Poupaud make this worth watching, even if it doesn’t really surprise you in any way. Just the Two of Us hits theaters on June 14. Rating: 3/5 Review by Adam Donato  Things with Disney are not at an all-time high at the moment. In the last five years for Pixar, all their films have been commercial failures, critically middling, or dumped on Disney+. Soul won Best Animated Feature, making it the eleventh time Pixar has taken home the award. One of those times was Inside Out, which was released almost exactly nine years ago. Since then, Pixar has done three sequels, which are by far the most successful films at the box office. So, who could blame them for going back to the well for something they know will have mass appeal? Inside Out 2 marks Pixar’s tenth sequel/prequel/spinoff, and most of them have been viewed as disappointments aside from the Toy Story trilogy. Can this sequel buck the trend, justify its existence, and live up to the first installment? The biggest compliment one could give the Inside Out movies is to say a way they’re better than the Toy Story movies. Andy works as a character because he’s such a blank slate audience insert. Riley is a much more fleshed-out character, and the goings on in her life are directly tied to the adventures of the gang of fantasy characters. She’s relatable enough to garner mass appeal but distinct enough in her specific interests from similar characters. Maybe that’s what helps the case for an Inside Out sequel. The concept of the franchise is obnoxiously universal. Who doesn’t have emotions? It would be nice to round out this character’s journey with a third film about her experience in high school, like a family-friendly version of Big Mouth.  The new emotions do make revisiting this world worthwhile. In fact, Anxiety is one of the more fleshed-out antagonists in recent Pixar memory. She’s a formidable threat who believes she’s doing what’s best for Riley. The whole new gang’s personality is fun, yet doubtful to become a household name that is quoted like Anger is. Ennui has nothing to do, which is on brand because her character seems to want nothing to do with what’s happening. Ayo Edebiri is one of the most exciting young talents in Hollywood and does a good job making Envy stand out. New voice actors for characters like Fear and Disgust, while under unfortunate circumstances, give solid performances that don’t feel like a significant step down from the original.
The concept for the film has a lot of potential avenues to explore but stays very focused. The majority of the film takes place within a weekend and at one location. The film has very positive messages and is accessible to all ages. It doesn’t pack as big of a punch as the original film, but that may just be due to original bias. This isn’t our first time experiencing this world with these characters. There’s nothing offensive with the direction of the characters or any major missed opportunities with the story. One sequel pitfall Pixar seems to have learned from is avoiding repeating an arc for a character. Joy may not be great at sharing control of the console, but she has definitely retained the lesson that all emotions have their own value and purpose. Inside Out 2 will probably garner a nomination for Best Animated Feature, but it would be the worst film to win the award in over a decade. It will probably be one of the more successful films at the box office this year as the film can be enjoyed by anyone. The characters provide many laughs, and Riley’s struggles are compelling. Most Pixar sequels wish they were this good. Inside Out 2 hits theaters on June 14. Rating: 4/5
Review by Sean Boelman
Jude Law and Alicia Vikander in Firebrand. Photo Credit: Larry Horricks.
Brazilian filmmaker Karim Aïnouz’s historical drama Firebrand debuted at the 2023 Cannes Film Festival to a mostly muted reception despite its A-list cast. Unfortunately, it feels like all of the talent involved in the film, both in front of and behind the camera, is wasted in a film that simply is not entertaining or as provocative as it seems to think it is.
Based on the novel Queen’s Gambit (not to be confused with The Queen’s Gambit, which inspired the Netflix chess miniseries), this historical drama is set in the court of King Henry VIII, where his last and only surviving wife finds herself caught amid an unexpected conflict for power. Audiences will be relieved to learn that Firebrand clocks in right at two hours — even less if you subtract the credits. However, despite this runtime that by all accounts is mercifully brief, especially by the genre’s standard, Aïnouz’s film fails to engage the audience. The conflict feels like the same type of period drama we’ve seen dozens of times before. Where Aïnouz does bring a lot to the table is its opulent visuals, which are excellent for a period drama. Everything from the costumes to the production design and cinematography works nicely to periodize the film and convince viewers of the regality of the affairs. The film has a slightly dark aesthetic, creating an uncanny, unsettling juxtaposition. It’s disappointing to see the potentially atmospheric effects of this choice go largely squandered. 
Jude Law and Alicia Vikander in Firebrand. Photo Credit: Larry Horricks.
As is too often the case with historical dramas like this, Firebrand is too interested in subverting expectations to give us a character to genuinely care about. Henrietta and Jessica Ashworth’s script wants us to see Kateryn Parr differently than we’ve typically seen Henry VIII’s wives in the past. However, the script doesn’t truly engage viewers in the cunning of this court drama.
Alicia Vikander gives what might be one of her more impressive outings here, not just because of the quality of her performance but also because of how much she elevates the material. She adds a lot of allure and emotional complexity to a character that the film desperately wants to be ambiguous but absolutely is not. Jude Law’s performance in the supporting role is much less subtle. Credit where it’s due, Law does give a pretty transformative turn. It’s not chameleonic in a visual sense, but he feels like he’s giving a very different performance than he typically does. That being said, even though Law transforms into Henry VIII, he doesn’t really transform *as* Henry VIII. The one note he offers is savagery, and while he does it well, it’s not especially captivating. Firebrand had a lot of potential, from a compelling story to a strong cast and a talented director. While some of these elements do deliver — mainly Alicia Vikander and the crafts of the film — others fall flat. The result is an experience that feels far more boring than any film about Henry VIII (or, more accurately, his wife) should be. Firebrand is screening at the 2024 Tribeca Festival, which runs June 5-16 in New York City. Rating: 2/5
Review by Sean Boelman
Photograph Courtesy of HBO
Jeremy O. Harris’s Slave Play was one of the most buzzed-about works in the theatre community upon its off-Broadway debut in 2018, so it’s shocking that it’s taken more than five years for a behind-the-scenes documentary to be made about it. That documentary -- Slave Play. Not a Movie. A Play. — reminds audiences of the play’s explosive moment, but will work best for audiences already in the loop about this incredible work.
The documentary, directed by Harris himself, follows him as he workshops and produces Slave Play, the record-breaking, Tony Award-nominated play that served as his big break. Those unfamiliar with Slave Play are in for a surprise with the incendiary, experimental work of metafiction. Long stretches of the documentary are made up of rehearsals of Slave Play, with Harris occasionally interjecting to guide his actors. It’s clear that this aims to allow the work to speak for itself, which is refreshing in many ways. The audience shouldn’t need critics or Harris’s peers to ramble on about how impressive and vital his work is — the accomplishments of the play and the quality of its words should be more than enough to convince us of its merit. Because of this approach, it’s also incredibly easy to admire Jeremy O. Harris for his tremendous artistry — both as a playwright and a director. The recordings of rehearsals make it clear that Harris sees theatre as a collaborative process. The freedom he gives to his actors allows the work to feel all the more powerful and authentic. 
Photograph Courtesy of HBO
However, the documentary largely lacks the perspective of these actors. Although we do get introduced to the performers in brief sections where they talk about their origins and backgrounds, these only serve to humanize them. They don’t quite go so far as to provide a deeper connection to their characters on stage.
There is also something to be said about watching so many portions of a work out of context. Those familiar with the source material will be able to fill in some of the narrative and thematic gaps. Since Harris is so anti-exposition, it is up to the audience to make sense of a lot of what they see. Granted, Slave Play isn’t exactly subtle in its messaging, but to trust audiences with this — especially today, when media literacy isn’t at its best — is more than a little bit bold. This approach also doesn’t make for the most cinematic presentation. Harris tries to use some gimmicks, like split screen, to make the documentary a bit more engaging, but it’s not too visually ambitious. How invested the viewer stays in this experience will hinge entirely on their interest in the source material. Ultimately, this is perhaps the biggest problem with Slave Play. Not a Movie. A Play. It’s a documentary for people who already know and admire Slave Play. You don’t necessarily have to have seen Jeremy O. Harris’s opus to appreciate this documentary, but you need a pretty solid familiarity with it. But for those who already admire it, this documentary will give you deeper insight into and appreciation for Harris’s process. Slave Play. Not a Movie. A Play. is screening at the 2024 Tribeca Festival, which runs June 5-16 in New York City. Rating: 3.5/5
Review by Sean Boelman
Filmmaker Tommy Wirkola is no stranger to boundary-pushing films, with the Nazi zombie comedy Dead Snow putting him on the map. His latest effort, in collaboration with animation director Ramsus A. Silvertsen, is probably his edgiest yet. Feeling like the evil twin of Inside Out, Spermageddon is an edgy, often hilarious, and surprisingly heartfelt adult animated flick. Although it isn’t without flaws, this is an enjoyable and provocative movie (mainly in the right ways), which is more than can be said about many entries in the genre.
The film tells two stories: one of a duo of awkward teens who decide to have sex for the first time and the other of the sperm cells on the journey to (potentially) create life. It’s an animated blend of a sex comedy and an inner-body adventure (like a raunchier Fantastic Voyage), and the result is a lot better than many adult animated movies as of late. As far as characters go, Spermageddon is pretty rudimentary. On the human front, we have the nerdy virgin and his crush; on the cell side, we have the slacker and the overachiever. These are conventional dichotomies, but because the movie uses these coming-of-age beats in such a satirical way, it is easy to forgive it for its conventionality. Furthermore, with a runtime of around 80 minutes, the film moves along at a nice pace. The writers do a good job of balancing the two parallel storylines, and it never feels like we’re merely waiting to get back to the other. Viewers will be pretty invested in all of the characters’ arcs, even if their eventual end is incredibly obvious. 
It will come as no surprise that Spermageddon constantly seeks to push the envelope. While many of the edgy moments are funny — some even hilarious — there are some points at which it feels like it goes too far. It can be hard to get past some of the graphic sex scenes. Even if they are animated and by no means intended to titillate, it can still be difficult to get past the fact that we are watching two teenagers have sex. These are far from the funniest moments in the movie, so it could have spared to be a bit less gratuitous in this department.
Still, for all of the moments in the film that feel raunchy for the sake of it, some parts feel incredibly sincere. The movie even gets highly political in its final act in a way that will undoubtedly alienate some conservative audience members — but in true adult animated fashion, it’s a satirical message that really makes the well-meaning, progressive political point hit much harder. The animation style is done in a way that is clearly meant to mimic the aesthetics of mainstream animation — namely Pixar — and it mostly works well. Admittedly, the human sequences are lacking, both in terms of character design and environments, but there is so much fun detail in the microscopic world that it’s easy to forgive the shortcomings of the other storyline. Beyond that, the amount of emotion that the animators achieve out of mere gametes is impressive. Spermageddon isn’t perfect, but it is pretty consistently funny and mostly impresses with its sense of heart. It does go too far at times, but there’s so much authenticity and genuinely excellent satirical humor that it compensates for some of the moments that fall flat. Spermageddon screened at the 2024 Annecy Animation Film Festival. Rating: 4/5 Review by Jonathan Berk  The parasitic relationship people have with their favorite sports teams is easily observable. When the team is winning, the fans tend to reflect the positive emotions we associate with victory and success. If their team is losing, they tend to take out their frustrations wherever and whenever they see fit. That only gets worse if your team is “cursed.” David Duchovny set out to knock his new film, Reverse the Curse, over the Green Monster as writer, director, and one of the main stars. Ted (Logan Marshall-Green) is at a loss for what to do with his life until he finds out his estranged father, Marty (Duchovny), has been diagnosed with a fatal illness. Ted observes that his dad’s illness elevates every time his beloved Boston Red Sox lose, so he develops a plan to make him happy and keep him alive. He reaches out to Marty's grief counselor (Stephanie Beatriz) and his neighborhood friends to fake a Red Sox winning streak. There are often allegations of emotional manipulation for movies that want to make you cry. Duchovny's film has a few moments where that may feel like a valid complaint, but ultimately, the story is attempting to tug at the audience's heartstrings. If it succeeds, as it did with me, you'll probably walk away with a bit of love for the film — even if a bit begrudgingly. However, as more time passes since the credits rolled, the more I feel the film has earned its major emotional beats.  It's hard to pinpoint which character is the heart of the film. Logan Marshall-Green is at the center and does a terrific job playing Ted, a pothead writer with daddy issues. Ted’s emotional journey serves as the hub for which the other characters are connected to. Still, there is something very special about Duchovny's performance and character that makes it hard not to argue in favor of it as the true heart of the film. Of course, Stephanie Beatriz truly makes the most of every scene she is in, and her character's arc is the one that made me shed real tears. The three make an emotional trinity of the father, son, and silly jokes.
The theme that resonates the most in the film is regret. All three characters have something from their past that is haunting them in the present. Some of those moments are on the surface, but a lot is bubbling underneath. This is mirrored in the well-known mythology of the Boston Red Sox's curse and how it loomed over the team for almost a century. It's hard to say if the team or the fans were impacted the most by the lack of a winning season for so long. Duchovny’s decision to wrap these characters' personal curses with the teams was effective. The period elements in the film add an interesting aesthetic to the story being told. The '70s clothes and cars add that sense of nostalgic longing that is easily associated with regret. Each character is clinging to their past struggles and trying to make sense of the present. These elements mesh well together to establish the vibe. Reverse the Curse is an emotional drama full of heart and humor. Duchovny manages to bring some heavy emotional content with enough levity to keep it palatable. Ultimately, the reliability of the characters and the dynamics between them really make it work. Reverse the Curse will be in theaters and on VOD on June 14. Rating: 3.5/5 [Tribeca 2024] SHE LOVED BLOSSOMS MORE -- Arresting Visuals Compensate for Limp Characters6/10/2024 Review by Daniel Lima  The more films one sees, the more appreciative one gets when something comes along that displays a unique and singular vision, even if it doesn’t all neatly come together. She Loved Blossoms More, the second feature from Yannis Veslemes, toys with a lot of ideas, both narrative and visual, not all of which feel adequately explored. However, the commitment to trying out these ideas goes a long way in making this a strangely compelling experience.
Three brothers live secluded in an old mansion, their family home. Funded by a mysterious benefactor, they perform experiments with a device that allows for travel between dimensions in an effort to bring their mother back from the dead. That description implies a more straightforward story than what is actually offered; for the most part, the three brothers hang out and get on each other’s nerves, and interlopers and their own attempts to alleviate their misery stymie their scientific progress. Though the low-budget film is entirely set in and around one house, the space is filled and shot in an utterly captivating fashion. The production design is impeccable, not only because of the many impressive and gnarly practical effects but also because of how it brings to life an ancestral home turned into a workspace for three unsupervised young men. The grounds have been overtaken by unkempt foliage, the rooms and hallways cluttered with stray bits of technology and books, the furniture old relics of their own childhood, the walls chipped and dirtied. The neglect and lack of care reflect the goals and personalities of the characters and give the setting a truly lived-in feel. Tight compositions and fisheye lenses constrain the image, creating a sense of claustrophobia and anxiety that grows suffocating as the mental strain on the brothers increases. There is a textured look that, if not the result of actual film stock, adds a certain weight to the image, and the neon lighting that reflects the characters’ casual use of psychotropics gives the most surreal sequences a certain flair. All of this cleverly makes the most of the production’s meager means. The characters themselves, however, are not nearly as interesting as how they are captured. While the twisted nature of this family begins with an Oedipal edge and slowly reveals darker layers, the brothers are simply not particularly fun to be around, lacking discernible personalities beyond laconic, also laconic, and deadbeat. As twisty as their interpersonal drama becomes, it ultimately relies on the audience being invested in their goals and well-being. That context required comes far too late to engender any sympathy for them. The principal leads do what they can with what they are given, but it is Sandra Sarafanova who steals the show. The girlfriend of one of the brothers, she arrives in the house and takes full command of every scene she is in — playful, charming, and sensual at all times. She is a breath of life in a setting purposefully designed to be stodgy, and it would be wonderful if this were the start of a fruitful career. She Loved Blossoms More is a film that is technically impressive and occasionally even enchanting. Though the thematic exploration of grief falters without anything to ground it, the visual language is engaging enough to make it a worthwhile watch. She Loved Blossoms More is screening at the 2024 Tribeca Festival, which runs June 5-16 Rating: 3/5 Review by Tatiana Miranda  Bad Actor: A Hollywood Ponzi Scheme sets out to tell the story of Zach Horwitz, a D-list actor under the name of Zach Avery, who was arrested in 2021 for creating a Ponzi scheme that garnered around $650 million. After being sentenced to 20 years in prison, Horwitz's story was well publicized, although the details of his life and lies hadn't been explored in as much depth as this film showcases. While Bad Actor might appear to be your average true crime documentary at first glance, just like Horwitz, there is more that lies beneath the surface. The film starts from the beginning, with the filmmakers traveling to Horwitz's hometown in Indiana, where they trace his high school football career to his time in college studying psychology and then his brief stint as a health food restaurateur. As they follow his history, they unravel discrepancies in what he's told the press, friends, and investors. As is shown in the documentary, Horwitz claims that he tore his ACL while training for college football during an interview, which is almost word-for-word from a scene in Point Break. Produced by NEON, the documentary utilizes talking head interviews with friends and former classmates of Horwitz, FBI agents, psychologists, and even investors who were victims of the scheme. Although Horwitz himself doesn't appear in the film (besides the clips of past interviews and his mediocre acting career that are interspersed throughout), actors portray him and his former wife to — almost satirically — showcase the absurdity of Horwitz's life and actions. In some ways, the documentary feels more like a mockumentary reminiscent of Nathan Fielder's The Rehearsal. That's not to say that the film doesn't capture the emotional depth of the aftereffects of Horwitz's actions, but the hilarity of his acting chops, as well as the juxtaposition of his lies versus reality, can't help but add to the tone of the film.  Even though the documentary and its participants aren't necessarily forgiving of his actions, those familiar with Hollywood's cutthroat nature and "foot-in-the-door" mentality can understand what may have led Horwitz to do what he did. After all, he spent a good portion of the money he earned from the scam to star in movies featuring well-known celebrities such as Olivia Munn and Brian Cox. The rest of the money he spent on things to make himself appear more successful, such as private jet rides to set and a $6 million house in LA.
Ultimately, the main theme of A Hollywood Ponzi Scheme is understanding how and why people find themselves caught up in these schemes. As interviewees in the film discuss, most don't understand how easy it is to fall for scams like the one Horwitz conducted, especially since he was seen as a successful and charismatic person who had insider knowledge of the industry. Through clever twists and emotional beats, Bad Actor: A Hollywood Ponzi Scheme excels in making the audience understand just how easy it is to be duped. Bad Actor: A Hollywood Ponzi Scheme is screening at the 2024 Tribeca Festival, which runs June 5-16 in New York City. Rating: 4/5 |