|
Review by Sean Boelman
Delivering what is arguably one of the most thorough discussions of the horror genre to ever hit the screen, David A. Weiner’s In Search of Darkness is a movie made by fans for fans. Perhaps a tad too long, but entirely captivating nevertheless, this is an absolute treat for anyone interested in the history of film’s most divisive genre.
In the documentary, Weiner takes a deep dive into the canon of horror from the 1980s, discussing how some of the most iconic movies from the era were made and why they had such an impact on the horror world and greater film community. While there are plenty of documentaries about this topic, the broad scope of the material and wealth of subjects interviewed make this stand out. Arguably the biggest issue with the documentary is its length. At a daunting nearly four and a half hours in length, the target audience will largely be limited to pre-existing horror cinephiles because of the time commitment it takes for a full watch. That said, the segmented structure, each movie being discussed getting ten minutes or less of time, is conducive to watching it in parts. That said, the documentary does a very good job of entertaining the audience. Some of the material will already be known to aficionados, like an exploration of the special effects involved in filming werewolf transformations, but the authentic and eager perspective from which the information is coming will be fascinating to viewers. 
The main draw of the documentary will likely be the interviews that Weiner was able to conduct with some of the most prolific filmmakers in horror. Some of the best moments feature Joe Dante (Gremlins) giving some juicy tidbits, whether about a film that is his own or a production with which he was familiar.
There is definitely a significant focus here on special effects within the genre, allowing it to serve as an important reminder of the effort that goes into filmmaking from all parties. It’s rare to get a behind-the-scenes look like this that is both so in-depth and amusing, especially in regards to movies whose history is already so well-known. Weiner uses a combination of interviews, footage from the films in question, and archive materials to create his essay, and it’s quite effective. Weiner and editor Samuel Way have a phenomenal command of how to create a sense of rhythm, making the documentary feel much shorter than it is, and the music by Weary Pines adds another level of style to it. In Search of Darkness is very much rooted in niche appeal, but for those who fall within that niche, it’s definitely worth a watch. If nothing else, horror fans can use it as an opportunity to prepare their re-watch list for a Halloween that will otherwise be less exciting than usual. In Search of Darkness streams on Shudder beginning July 30. Rating: 3.5/5
0 Comments
Review by Sean Boelman
Although the Western and mob genres may seem like they are conducive to a syncretism, filmmaker Scott Wiper isn’t able to take advantage of that promise with his new thriller The Big Ugly. Mildly amusing, if a huge mess, the movie benefits from a strong cast, though they are underused by a mediocre script.
The film follows the enforcer of a London mob who is stationed in West Virginia to ensure that an oil deal goes according to plan when his girlfriend goes missing, sending him on a quest for revenge that results in relations between the two sides falling apart. This blend of tropes is initially intriguing, but soon loses much of its charm once it becomes clear that the movie won’t be doing anything particularly edgy. Much of the first hour plays out like a relatively straightforward but still mostly effective crime drama, only for the final act to head into more generic and underwhelming revenge territory. Ultimately, one of the biggest issues with the film is that there are so many moving parts in the first hour, and yet they are mostly abandoned and streamlined heading into the final thirty minutes. Another frustrating thing about the movie is that it doesn’t seem to trust the audience to stay invested in the story without carnage, hence why the final thirty minutes devolves into one big action sequence. Unfortunately, the beginning of the film (which is more character-driven) is far more compelling. 
Perhaps the biggest strength of Wiper’s script is that the audience will connect with the protagonist. Granted, the villains are much more archetypal, but the hero of the story is given a legitimately compelling arc. Vinnie Jones’s lead performance goes a long way in making the character feel likable but not quite approachable.
The supporting cast is stacked with character actors, who range from enjoyable to watch to totally wasted. Arguably the biggest highlight is now-Emmy nominee Nicholas Braun in an integral sidekick role. Malcolm McDowell and Ron Perlman both have some good moments as the bosses of their respective gangs. Additionally, Wiper attempts to infuse the movie with style even if it doesn’t always work. It seems that Wiper had a hard time of settling on how he wanted his film to look in relation to time. Some sequences feel slick and modern, while others feel pulled straight out of a Western. This back-and-forth may incite some mild cinematic whiplash, but shows effort on Wiper’s part. The Big Ugly isn’t a great movie, but it is passable and has some very solid moments. Still, the strong cast assembled for the film can’t quite elevate this to be more than a forgettable genre mash-up. The Big Ugly hits VOD on July 31. Rating: 2.5/5
Review by Sean Boelman
Photo Courtesy of NEON.
Amy Seimetz’s She Dies Tomorrow will go down as one of the buzziest acquisitions out of a festival season that never happened, and it honestly couldn’t be more fitting. A darkly hilarious look at the role of paranoia within modern society, this ambitious and experimental comedy will creep under viewers’ skin and take hold of their attention.
The film tells the story of a young woman who thinks that she is dying the next day, spreading her sense of internal dread to those she encounters in a contagious way. With this, Seimetz has created an intensely funny high-concept thriller, structuring the movie as a series of chain reactions spanning a large ensemble of characters. The cast that Seimetz assembled for the film is absolutely phenomenal. Every actor is required a great deal of range, starting with a very emotive performance and turning into something purposefully monotonous. Higher-profile actors, such as Chris Messina, Josh Lucas, and Michelle Rodriguez are all great, but it is the lead, Kate Lyn Sheil, who steals the show. Admittedly, the characters are all pretty archetypal, but that almost seems to be Seimetz’s goal. Still, despite the fact that every character’s arc is ultimately the same, Seimetz is able to make us care about what is happening in their story. Typical conventions of characterization are largely abandoned here in favor of something more nuanced and effective. 
Photo Courtesy of NEON.
There is a clearly repetitive nature to the movie, but it works well. What differentiates the different vignettes is the dialogue, which offers some brilliant commentary on different issues that plague the world today. Of course, everything eventually turns back into gloom-and-doom, as does so much real conversation.
In a world in which popular opinion is structured and defined by ideas that go “viral”, it is fascinating to see a film like this present the topic in an even more metaphorical light. Of course, the movie is as timely as ever as humanity deals with a literal virus, but the main purpose of the film seems to be to draw attention to the viral trends that are slowly destroying the population. Also impressive is that, even though the movie is mostly centered around conversations, Seimetz brings a brilliant stylistic flair to the project. Flashing multicolored lights are a common motif, and they give the film a very hypnotic quality. It’s frequently gorgeous to look at, which is all the more surprising given the dark subject matter. She Dies Tomorrow is a bizarre movie, but it’s an absolutely mind-blowing one at that. While this is probably best described as a niche title, audiences should still give this brilliant piece of art a shot, because if it connects, it will immediately catch you in its web. She Dies Tomorrow opens in theaters on July 31 and hits VOD on August 7. Rating: 5/5 GORDON LIGHTFOOT: IF YOU COULD READ MY MIND -- An Insightful Portrait of an Underappreciated Artist7/28/2020
Review by Sean Boelman
The work of songwriters often goes unrecognized, those who perform their lyrics often getting a majority of the credit. The new documentary Gordon Lightfoot: If You Could Read My Mind hopes to remedy that, though, bringing light to a brilliant singer-songwriter whose work would later be popularized by other artists.
In the film, Lightfoot reflects back on his own life and career, discussing some of the things that influenced him and his music. Like any biography of a musician, the movie leans heavily on the viewer appreciating the subject’s accomplishments for the story to resonate. However, since Lightfoot has been such a prolific musician, it will be hard not to admire what he has done. Perhaps the most interesting thing about this documentary is that it goes very deep into Lightfoot’s personal life and his experiences that shaped what he had to say through his art. The up-close-and-personal interviews that the filmmakers conducted with Lightfoot do an excellent job of providing insight into who he was as both a creator and a person. More so than most other films that explore art as an extension of oneself, this really captures the interplay between one’s experiences and one’s creations. There are a few sequences in the movie in which critics, peers, and Lightfoot himself are discussing some of his most famous songs and their meaning, providing some context that will undoubtedly be unknown to most viewers. 
At right around an hour and thirty minutes in length, the film still manages to do quite a bit despite its relatively short runtime. The movie packs a surprisingly solid emotional punch thanks to its exploration of some of Lightfoot’s weightier struggles, which also creates a stronger connection between the subject and the audience.
The story is told with a combination of archive materials and modern-day interviews, and while it is a rather simple set-up, it is able to convey its information in a compelling and entertaining way. Much like most music documentaries, this is a crowd-pleaser, especially for those who have a passion for great songs. If the film is missing something, it is performance footage of Lightfoot. Understandably, the focus here is more on his talent as a songwriter rather than a singer, as it is other artists’ performances of his songs that are more well-known. That said, the performances the audience does get to hear from Lightfoot are packed with emotion, leaving one wanting more. Gordon Lightfoot: If You Could Read My Mind is a surprisingly touching documentary thanks to the personal exploration it offers of its subject. Music aficionados certainly won’t want to miss this one. Gordon Lightfoot: If You Could Read My Mind screens online in partnership with indie theaters beginning July 29. A list of participating locations can be found here. Rating: 4/5
Review by Sean Boelman
Gemma Arterton as “Alice” in Jessica Swale’s SUMMERLAND. Courtesy of IFC Films. An IFC Films Release.
Wartime romances are typically a very sentimental genre, and writer-director Jessica Swale’s feature debut Summerland is no exception to that rule. Sweet but disappointingly safe, this has a wonderful cast and the potential to be so much more, but too often settles for crowd-pleasing tropes to be particularly memorable.
The film follows a woman as she opens her home to a young evacuee from London, soon discovering that they have a deeper connection than she had initially thought. It’s a story that is much more simple and predictable than it seems to want to acknowledge, relying on a not-so-unexpected twist to get emotion out of the audience. This evacuee storyline pales in comparison to the much more compelling portion of the movie, a lesbian romance taking place through the protagonist’s flashbacks. Yet by relegating this storyline to the back burner, Swale loses a lot of the earnest sympathy that the character would have earned from the more likable aspects of her personality. Instead, Swale hopes that the character earns the audience’s love through the growth of heart she shows. The issue is that this arc is almost all confined to the third act, leaving two-thirds of the film with the protagonist as an inhospitable hermit. Of course, anyone with experience in the genre knows that she will break out of her misanthropic ways, but it takes a lot of patience to get to that point. 
Gugu Mbatha Raw as “Vera” and Gemma Arterton as “Alice” and Lucas Bond as “Frank” in in Jessica Swale’s SUMMERLAND. Courtesy of IFC Films. An IFC Films Release.
That said, Gemma Arterton’s performance in the lead role is quite solid. Even though it’s disappointing to see her being typecast in this same type of role again and again, she is at least able to pull some of the humanity out of the material. Young actor Lucas Wilson is great in his role, showing a lot of charm and great chemistry with Arterton. Gugu Mbatha-Raw and Tom Courtneay are also excellent (as expected), but are wasted in small roles.
The idea of imagination and hope radiates through the movie, and this is arguably its biggest waste of potential. There are some legitimately interesting things happening in the script, but many of them, including the eponymous idea of “Summerland”, are left disappointingly underdeveloped as good ideas that are never explored. It’s also disappointing that the film didn’t do more with these fantasy aspects in a visual sense. While the beautiful English countryside provides some magnificent background scenery, there’s not a whole lot of inventiveness to Swale’s approach. The movie is certainly competent, and she has a clearly good eye — it just would have been nice to see her take a few more risks. Had Summerland not been afraid to take some risks with its edgier material, it could have been absolutely wonderful. Unfortunately, as it is now, it’s a passable drama with solid performances and a penchant for taking the easy way out. Summerland hits theaters and VOD on July 31. Rating: 2.5/5 |