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Review by Daniel Lima  No one knew how to name a movie like Italians in the 1970’s. The Red Queen Kills Seven Times. Hey Amigo! A Toast to Your Death. Watch Me When I Kill. No matter how middling the movie, it was often accompanied by a distinct and evocative title that promised intrigue and danger. In that way, The Shallow Tale of a Writer Who Decided to Write About a Serial Killer is something of a spiritual successor. Unfortunately, it also shares something else with those earlier films: it does not deliver on that promise. John Magaro plays the titular writer, who has been working on his second book for years with no end in sight. His literary agent has become disinterested in him, his marriage is on the rocks, and he can do no more than lamely explain to anyone who will listen how his novel is about the last Neanderthal. It’s at this low point of his life that a stranger approaches him with an offer: write a story based on the stranger’s former life as a serial killer. When Magaro’s wife finds the stranger in her home, the two pretend he is a marriage counselor, setting up an interesting dynamic that does not ever pay off. The premise sounds like ample ground for some black comedy hijinks or the setup to a dark comparison between relationships between romantic partners and those formed by murderers and their victims. While there is a paltry attempt to do this, the film takes so long to set up this state of affairs that there’s little runway to make the most of the conceit. The Shallow Tale is never more fun than in its last third, as characters begin to grow suspicious of one another and flimsy plots begin to spiral out of control, but by that point, it is too little too late. The journey to get there sorely lacked the energy of the finale, and the best part of the movie is over as quickly as it began.  The three leads — Magaro, Britt Lower as his wife, and Steve Buscemi as the retired serial killer — all commit to their performances, and every laugh the film earns is more on their shoulders than on the limp material they are given. The comic rhythm and sensibility of the film never seem quite right, going from droll and dry to absurdist to meta and ironic at the drop of a hat. This lack of consistency gives the film an unevenness that feels less like “anything can happen” and more like “there is no coherent vision for what this story actually is.” Considering the uneven pace of the narrative as a whole, this appears to be the case.
It’s impossible to watch this and not think about the recently released Hit Man. That film is similarly a riff on mystery and crime stories that incorporates romance into genre thrills and vacillates in tone. Those are where the similarities end: that movie has a clear thesis, has a deliberate build in how absurd the comedy is, and knowingly wrings as much as it can from its premise. Of course, that is a film from Richard Linklater, an artist who has been making films for decades, whereas The Shallow Tale of a Writer Who Decided to Write About a Serial Killer is the English-language debut of a comparatively young filmmaker. Hopefully, Tolga Karacelik will learn from the missteps of this shallow tale going forward. The Shallow Tale of a Writer Who Decided to Write About a Serial Killer premiered at the 2024 Tribeca Festival, which ran from June 5-16 in New York City. Rating: 2.5/5
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Review by Adam Donato  Actors don't make movies; they make a living. Recently, Russell Crowe was asked about Dakota Johnson's comments about Sony and her experiences working on a Marvel superhero movie. Crowe, who had a role in the poorly received Thor: Love and Thunder and is going to star opposite Aaron Taylor Johnson in Sony's Kraven the Hunter, said: "If you're expecting this to be some kind of life-changing event, I just think you're here for the wrong reasons." His career has persisted, but he has yet to be the focal point of a hit film since the 2000s. He's had box office success and critical success, but never both at the same time. Even in Les Miserables, he's known to be the weak link of that cast. It's ironic that there's a Gladiator sequel coming out later this year, and it's primed to be a greater success than Crowe's last five films combined. This week sees the release of Crowe's latest leading role, The Exorcism. One might ask, "Didn't the Russell Crowe exorcist movie come out last year?" This is not Deja vu. Just over a year ago, theaters were surprisingly packed for Crowe in The Pope's Exorcist. Just not domestic theaters, as the film only covered its $18 million budget in the states, but worldwide pulled in an extra $56 million. To The Exorcism's credit, the concept of this film is more compelling than that of The Pope's Exorcist. A disgraced actor stars in a horror film, and his estranged daughter notices he's either slipping into his old destructive ways or becoming possessed. With all the conversation about the value of method acting, this story may hit home for some people. Crowe is not very good in the film and fails to generate any scares with his performance.  The supporting cast includes some familiar faces. Sam Worthington, who won his way back into some fans' hearts with his performance in Avatar: The Way of Water, is one of Crowe's co-stars here. He's there, but his character is entirely forgettable. Ryan Simpkins is the older sibling of famous child actor Ty Simpkins, who appeared in Crowe's The Nice Guys. While everyone is begging for a sequel to that gem, we're stuck with multiple Crowe exorcist movies. Simpkins's character forms a relationship on set with an artist played by Chloe Bailey, Halle Bailey's sister. Their relationship is cute and allows Simpkins an outlet as she struggles with her father's problems.
The director is the son of the man who played the priest in The Exorcist. One would hope the experience would rub off on the son, but this film is far from the likes of The Exorcist. None of the scares are really effective in the way the film wants them to be. The narrative is easily predictable, and the character's internal struggle is not compelling. The Exorcism thinks it's really cute sucking up to cinephiles by taking place on a movie set and having references to superior films. It's not worth your time at the theater. The Exorcism completes the dookie of a doubleheader of exorcism films from Crowe in the last two years. With the release of A Quiet Place: Day One on the horizon, it's hard to see this entry finding an audience for itself at the domestic box office. Maybe it will translate overseas like its predecessor, and hopefully, some quality is mistakenly discovered. Save this one for streaming if you're going to watch it at all. These days, Crowe's reason for making a film seems to be the paycheck and more power to him. It's a rough industry, especially for action heroes past their prime, but when it's all said and done, nobody is going to remember The Exorcism. The Exorcism hits theaters on June 21. Rating: 2/5 Review by Tatiana Miranda  The best way to describe Nicholas Colia's Griffin in Summer is Theater Camp meets Rushmore meets Aristotle and Dante Discover the Secrets of the Universe. The movie centers around the titular Griffin, a 14-year-old aspiring playwright who is a bit of a jaded writer. His latest work, Regrets of Autumn, is described by Griffin as Who's Afraid of Virginia Woolf? meets American Beauty and centers around the downfall of a marriage. It's heavy stuff for a 14-year-old, but as the movie progresses and we meet Griffin's miserable mother, portrayed by Melanie Lynskey, and learn about his increasingly absent father, it makes sense why he would choose to base his play on such a subject matter. Although Griffin's plays might be a bit depressing, the film is anything but that. After alienating himself from his peers and long-time collaborators, Griffin meets Brad, an attractive 20-something handyman and former performance artist from New York City. While it isn't instant infatuation, Griffin quickly begins to look up to Brad and his former life in New York and discovers more about his burgeoning sexuality as he develops a crush on Brad. While it's no controversial queer romance like Call Me by Your Name, it is more of a comedic and heartfelt coming-of-age that focuses on growing up as someone a little unordinary through both their sexuality and interests. While Griffin in Summer can be a bit campy at times, it is ultimately a funny and relatable look at discovering yourself as a teenager. Incredible performances bring the story to life, with Everett Blunck portraying a standoffish yet passionate Griffin. His usual creative partner, Kara, is effectively played by Abby Ryder Fortson, best known for her role in Are You There God? It's Me, Margaret. Even Brad's over-the-top girlfriend, portrayed by Kathryn Newton, is a comedic scene-stealer. While each character seems to fall into specific tropes to service Griffin's growth, it doesn't feel inauthentic or one-dimensional. Even though the movie centers on Griffin, each character is unique and well-developed while not taking too much attention away from the titular character and his arc.  Because of Griffin's niche interest, his passion for his art differs greatly from his peers, who would rather spend the summer at parties or, for Kara, with her new boyfriend than spend hours practicing for an amateur play. While these secondary characters might just as easily have been played off as pawns to signal Griffin's loneliness and disconnect, instead, they also have their individual stories of growth and change. Lynskey's performance as Griffin's mom is, although understated, a great insight into what makes Griffin the way he is while also establishing her individuality as a character.
Although Griffin in Summer is not necessarily groundbreaking in terms of coming-of-age films, it is a wholesome and relatable story about growing up and not fitting in. Griffin's solace in his art and dreams about moving to New York is something that most young, queer creatives in suburbia can relate to, and Brad's setbacks as an artist are also familiar to those who have followed their passions into adulthood. Griffin in Summer premiered at the 2024 Tribeca Festival, which ran from June 5-16 in New York City. Rating: 4/5 Review by Tatiana Miranda  Most recognizable from his leading role in Disney's Sky High, Michael Angarano has recently gained more notoriety for his roles in films such as Oppenheimer. Now, he stars in his sophomore film as director and writer, Sacramento. Co-written with Chris Smith, the movie follows Angarano's character, Ricky, as he grapples with his father's death and reminisces on past relationships. Alongside Angarano, the film stars Maya Erskine, Kristen Stewart, and Michael Cera as Ricky's old friend Glenn. While the movie might initially seem like a classic buddy road trip comedy, it attempts to tackle deeper subjects, such as fatherhood and relationships.
Sacramento opens with a meet-cute between Ricky and Erskine's character, Tallie. The film quickly shifts its focus away from them as we see Ricky in a rehab center following the death of his father. A know-it-all who tends to project his issues onto others, he finds himself visiting Glenn, who is hesitant about Ricky's reappearance and incredibly stressed about his impending fatherhood, which he tries to hide from Ricky. After an uncomfortable lunch together, Ricky lies and guilts Glenn into traveling from LA to Sacramento. By the end of the trip, the two have made amends and made strides in their respective romantic relationships. Like Angarano's directorial debut, Avenues, Sacramento is an awkward and understated emotional comedy. But Ricky's unlikable and untrustworthy personality, mixed with Glenn's uncomfortable and extreme behaviors, make the film too awkward for its own good. While the movie tries to show the nuances of the beginnings of fatherhood, it feels a bit cartoonish as we see Glenn have a mental breakdown due to the stress of becoming a first-time dad. Mirrored is the equally neurotic Ricky as he tries to make amends with those he ignored following his dad's death. Kristen Stewart also plays a similarly one-dimensional character as the stoic wife to Glenn. Every character acts a bit too outlandish for the audience to be able to empathize with them or understand their emotional state beyond quick gags. As a rare road trip comedy, Sacramento has the potential to be an interesting story about grieving a parent while also becoming one for the first time, but Ricky's loss is more of a driving force for the plot rather than a way to gain insight into the character's delay in becoming a father. In fact, not much is discussed when it comes to his dad or the relationship they shared, but instead, the act of his death is more what Ricky uses as an excuse for his behavior. With a film with so many different relationships, both on- and off-screen, hardly any of them feel like authentic and wholesome depictions. Glenn and his wife are opposites, and they are so comical that it makes it hard to picture them as a real, functional couple. Meanwhile, Ricky and Glenn's relationship is not given enough depth and chemistry to account for the years that they supposedly spent as close friends. Although Sacramento has its moments, such as the gorgeous cinematography and funny interactions between characters, it feels too distant to leave a lasting emotional impression. With a film as understated as this one, the flaws outweigh any potential merit the movie may have. Sacramento premiered at the 2024 Tribeca Festival, which ran June 5-16 in New York City. Rating: 2/5 Review by Tatiana Miranda  For many, Mars might seem like just another adult animated movie, but for those familiar with the comedy troupe The Whitest Kids U'Know and their sketch comedy series of the same name, it's the latest and last collaboration of the group following the end of the series in 2011 and leader Trevor Moore's death in 2021. The group had been working on Mars since 2012 and shifted it from an originally live-action film to an animated one. Even with all of the changes over the years, Zach Cregger, one of the filmmakers and members of the troupe, ensures that the final film is what Moore had envisioned. Drawn in a crass and simple hand-drawn style, Mars isn't anything revolutionary when it comes to adult animation in terms of visuals. Even the film's humor, while entertaining, does pander to a specific audience, that audience being long-standing fans of the troupe. Inside jokes from the group's crowdfunding campaigns make an appearance, and the film makes understated yet topical commentary on the extremities of wealth and the boredom of billionaires like Elon Musk and Jeff Bezos. Yet, the film doesn't hold a lot of depth beyond being an homage to Moore and The Whitest Kids U'Know. Since most of the group's comedy experience comes from their sketch series, it makes sense that the movie feels more like a series of sketches rather than a full feature-length film. Between the over-the-top characters and the unreal situations they find themselves in, the movie isn't lacking in comedy and is one of the things that the movie excels at. Yet, out of all of the adult animated series and films out these days, Mars doesn't stand out as the plot, and some of the characters, such as the main one, Kyle Capshaw, voiced by Cregger, feel a bit one-dimensional, even when they try not to be.  The film opens as Capshaw decides to abandon his overbearing fiance and father-in-law's dentist practice to start a new life on Mars. Alongside him on Mars are an adult kidnapping survivor, a religious fanatic, and a teacher, along with billionaire Elron Branson, who organized the trip to colonize the planet. With a very caricature-like cast of characters, it would make sense for the film to lean into the absurdity similar to popular adult animations such as Rick and Morty and Smiling Friends. Yet, it attempts to give the characters arcs to mixed results. With Capshaw's crisis that landed him on Mars, a narrative arc would make sense as he attempts to return home, but any growth or personality given to the character is quickly interrupted by one of the film's many gags.
While Mars might not necessarily work as its own entity, it is a testament to the comedic style and fanbase that The Whitest Kids U'Know has spent so many years establishing. Even though it marks the end of the troupe's collaboration, it is a well-earned culmination of the group's humor and the evolution of the film since its inception in 2012. Mars premiered at the 2024 Tribeca Festival, which ran from June 5-16 in New York City. Rating: 2.5/5 |