Review by Sean Boelman
Indonesia has a very healthy film industry, and every once in a while, the country produces a picture that breaks into more mainstream circles in America. Joko Anwar’s horror movie Impetigore hopes to be the newest border-crossing hit, and thanks to interesting ideas and some creepy imagery, it may have a good chance at doing so.
The movie follows a young woman who, along with her best friend, returns to her ancestral village after learning that she may be inheriting property, soon discovering that the villagers have something much more sinister planned for her. And while the xenophobic trope of villagers with less civilized tribal customs is worn out, Anwar uses them in a way that offers some interesting ideas. Perhaps the most interesting sequence in the film comes at the one-hour mark as a series of flashbacks provides much-needed context to understand what is going on, and more importantly, why it’s happening. As a critique of people in power, particularly those with the power to indoctrinate others, the movie is absolutely fascinating. That’s why, when the film largely abandons this commentary in favor of much more traditional family melodrama, one can’t help but feel like the movie is lacking in bite. While there are some very potent sequences, and a few truly disturbing images, the film tends to focus more on the conventions of the genre rather than the original ideas that Anwar brings to the table.
It also doesn’t help that the single scariest moment in the movie is at the very beginning. For the first ten minutes, viewers won’t quite know what they are watching, but their hearts will be pounding in anticipation. Unfortunately, by hitting the ground running, once Anwar must have to slow down his pace, it starts to feel underwhelming.
That said, Anwar’s use of atmosphere is certainly very interesting. There are a handful of moments that are reliant on gore, and they are certainly impactful, but more focus is put on creating a sense of discomfort out of the sense of anticipation that audiences will be feeling. One of the best tools it has is the music which, while a tad overpowering at times, is quite intense. The actors also help the film work quite well by providing a strong emotional foundation for the narrative. Lead actress Tara Basro does a good job as the scream queen, with enough charisma to drive the movie. Her chemistry with co-star Marissa Anita is good, although Anita could have been better at delivering some of the comedic relief lines. Impetigore may not come together to a cohesive finish, but in many ways, it is a satisfying watch. Short bursts of brutality and a sense of tension radiating through the film allow it to be adequately frightening. Impetigore streams on Shudder beginning July 23. Rating: 3.5/5
0 Comments
Review by Sean Boelman
Though the most incredible subjects often make for great stories, it can be easy for a filmmaker to lose track of what makes the person whose life they are depicting so extraordinary. Marjane Satrapi’s new movie Radioactive has some great moments, but is too often held back by biopic conventions to live up to its inspiration’s image.
The film tells the story Marie Curie, a pioneering scientist whose work in discovering radioactivity would come to change the world. What is perhaps both the movie’s biggest strength and weakness is that it is made in a way to be palatable to most audiences. While the elimination of in-depth scientific material will make the film more accessible, it also causes it to feel rather safe and bland. A significant part of the issue with the script is that it condenses time in an extreme way. Scientific discoveries typically don’t happen overnight, yet the narrative tries to cram all of her work into a biopic under two hours long. Since the events take place over a period of almost half a decade, it feels quite rushed. There is obviously some merit in the movie as an exploration of a groundbreaking woman busting through barriers in a male-dominated field, but this commentary too often comes across as shallow and insignificant. As a result, the film feels like a generic story about fighting the status quo when Curie’s story is anything but typical.
Also problematic is that the movie focuses a bit too heavily on the relationship between Curie and her husband than Curie’s own achievements. While the portion of her life and career that she shared with Pierre is undeniably important, there is no good reason for the film to turn into a romantic drama, which it does at more than one point.
Rosamund Pike is a talented actress, but at this point, she seems to be getting typecast as the lead in supposedly powerful awards bait biopics. While her performance isn’t bad, it’s rather one-note and has some moments that lean too heavily into melodrama. The standout here is Sam Riley, whose performance as Pierre Curie has the only bit of subtlety to be found in the movie. Anya Taylor-Joy also has a small supporting role, but is underused. That said, the film is an interesting watch thanks to the unorthodox visual style that Satrapi brings to the table. Since the visual ideas that Satrapi offers don’t always mesh with the themes of the script, it can feel a bit busy at times, but this also lends it a sense of energy that pushes the movie along. Radioactive is a messy and conventional film, and inarguably not what Marie Curie deserves. Still, the script is competent if average and Marjane Satrapi is a great filmmaker, saving it from the obscurity to which it would otherwise be destined. Radioactive streams on Amazon Prime beginning July 24. Rating: 3/5
Review by Sean Boelman
As if the world is facing a crisis that has forced much of society to stay indoors, this month has seen the release of multiple home-bound horror flicks hoping to capitalize on current anxieties. The latest of these, Romola Garai’s directorial debut Amulet, has some interesting ideas and a great use of atmosphere, but goes too off-the-rails in the final act to work particularly well.
The film follows a homeless former soldier who is offered refuge in a decrepit house by a young woman and her ailing mother, only to discover that something much more sinister may be afoot. The first hour or so is very intriguing, hooking in the audience with the promise of an eerie haunted house tale, but Garai’s attempts at doing something much more ambitious with the finale don’t exactly pay off. Arguably the biggest issues with this movie lie in its pacing and tone. For much of the film, Garai invests in the atmosphere with slow-burn suspense and the occasional jump scare. However, in trying to make the final act feel more “scary”, the movie instead starts to feel ridiculous and schlocky, in stark contrast to the relatively grounded first act. Without a doubt, the strongest part of the film is its character development. The protagonist’s arc is quite compelling, giving the narrative a solid emotional core. Unfortunately, like so many other parts of this movie, the last thirty minutes fumble the resolution, especially in relation to an epilogue that is far too convenient to be believable.
There are some interesting ideas at play within the script, but the film is pretty clearly divided into two halves as to what it is discussing. The first (more interesting) portion focuses on the experiences the protagonist has with his PTSD. The second, which is underdeveloped, explores the idea of servitude.
One of the other things that keeps the movie working is the strong cast. Alec Secareanu is solid in his leading role, but it is the supporting players who stand out here. European indie actresses Carla Juri and Angeliki Papoulia are both great, each adding a different layer to the script. Imelda Staunton is also extremely fun to watch in her small but pivotal part. Garai clearly has an interesting style behind the camera, especially in relation to the way in which she builds suspense. Apart from a few visual effects towards the end that are lackluster, the film looks pretty creepy. The most impressive part of the execution, though, is the score by Sarah Angliss, which is absolutely haunting. Amulet starts strongly, but ultimately, it ends up faltering to a burning halt. The interesting ideas and unsettling visuals on display can’t save the movie from a script that is poorly-paced and severely lacking in nuance. Amulet hits VOD on July 24. Rating: 2.5/5
Review by Sean Boelman
Although World War II and the horror genre haven’t always mixed well, there are plenty of instances in which filmmakers tap into the wackiness of the genre with just enough self-seriousness for it to work. Justin Dix’s new vampire flick Blood Vessel does just that, offering a fun but predictable romp.
The movie follows the survivors of a hospital ship as they come across a seemingly deserted German ship, hoping it to be their refuge but soon discover that it may be occupied by an ancient evil force. And even though the film sticks pretty closely to its established and well-tested tropes, it manages to satisfy as mindless entertainment. At just over ninety minutes long, the pacing is admittedly a bit aggressive. However, this allows it to feel quite like an old-school war picture in nature, each sequence serving the purpose of picking another member out of the group until it gets down to the central characters who bring it all home. Unfortunately, with this, the character development in the movie is largely frustrating. Since it is so easy to predict the order in which the players are going to croak, it’s hard to form a connection to many of them, but the film does benefit from having a truly charming hero as the de facto leader of the batch.
The ensemble is filled with character actors and B-movie stars, and while there aren’t any particular standouts, they all do a good enough job in their roles. Admittedly, many of their performances are silly and over-the-top, but that is just what this movie calls for. It’s a film that’s barely meant to be taken seriously, and the cast seems to know that.
Part of what makes Dix’s movie stand out from similar films is that it is heavily based in mythology as opposed to science fiction. Although the take that Dix and co-writer Jordan Prosser offers is somewhat basic, it is nice to see even a moderately successful attempt at taking a classic monster back to its roots. Perhaps the most impressive thing about the movie, though, is its execution. For a B-movie, the production design and visual effects are shockingly good. There are a few sequences with the Strigoi that are among some of the most fun and creative in a horror movie this year so far, despite not having the suspenseful impact for which it is so obviously aiming. Blood Vessel may not be the most upscale or intelligent genre picture, but it will fulfill fan’s needs for a gory and mindless bloodbath. While this isn’t the best WWII horror flick, there are certainly worse ones to be found. Blood Vessel is now available on VOD. Rating: 3/5
Review by Camden Ferrell
Days of the Whale had its premiere at the 2019 SXSW International Film Festival. It has also played at other festivals such as the Chicago Latino Film Festival. This film is the directorial debut of Colombian writer and director Catalina Arroyave Restrepo. This film uses its simplicity and brevity to its advantage to tell a story about artistic spirit and rebellion through its protagonists.
In this film, Cristina and Simon are two young graffiti artists in Medellín, Colombia. When a local gang paints a threat over a wall, they both set out to defy them by painting over it with a mural of their own. This movie wonderfully captures many universal ideas and themes through its simple premise while also infusing some aspects of modern Colombian social relations and culture. Arroyave’s script is one that revels in its ability to be subtle. It’s not a flashy script full of complex dialogue and excessive banter. It finds beauty in the simple exchanges of its characters, and it creates tension through its limited dialogue as well. In her first movie, she has already proven she knows how much dialogue is sufficient in telling her story. She never explicitly explains anything that she doesn’t have to. It’s well-written, and all of the dialogue helps characterizes its protagonists and progress its plot forward. The acting in this movie is mostly really great. Newcomer Laura Tobón, who plays Cristina, gives a fantastic debut performance. She has a rather captivating screen presence that succeeds mostly due to her natural ability as an actress and the nonchalant nature of her character. She has a special way of conveying emotions in such an authentic way, and it’s one of the film’s best traits. Alongside her, David Escallón plays Simon, and while he is mostly decent, he does often pale in comparison to Tobón’s performance.
The movie also comes off as energetic thanks to Arroyave’s direction as well as the cinematography of David Correa. He knows how to wonderfully capture the scenes in which the protagonists are painting and creating the mural, and he also can capture the manic energy that arises from the gang-related violence and tension in the film.
However, this movie isn’t perfect. While it succeeds in many regards, there are moments that feel less crucial than others in this movie. The home lives of the protagonists are interesting, but it seems like we’re not getting nearly enough context through them, and the film may have benefitted from extending these moments or cutting it down to the minimum. The film’s quick runtime also doesn’t give a lot of room for the plot to grow incrementally, and this leads to the film ending with audiences craving more, which is arguably a good problem to have. Fortunately, the movie makes up for its flaws with how it uniquely captures what it means to grow up, rebel, and love, but it also manages to incorporate aspects of Medellín’s gang culture and social problems. It’s a poignant story that feels relatable mostly due to Tobón’s performance, and it’s one that suggests an incredibly bright future for her as well as Arroyave. Days of the Whale has its flaws, but it succeeds in being a great coming of age film as well as a great exploration of the spirit of youth. Arroyave’s debut film is an impressive one that proves she will soon become a truly great director that’s worth keeping on your radar. Days of the Whale will be having its virtual premiere on July 24, and locations can be found here. Rating: 3.5/5
Review by Sean Boelman
Recently it seems there has been a trend of largely comedic actors making their foray into directing with a horror movie. The latest in that trend is Dave Franco with his debut The Rental, however, unlike his more successful peers, Franco doesn’t seem to have found his voice quite yet, resulting in a film that is disappointingly confused.
The movie follows two couples who rent a vacation home for a weekend getaway, only to discover that something more sinister is afoot. This setup is nothing new for the horror genre, many classics exploring the idea of a voyeur taking advantage of unsuspecting guests at a hotel, and Franco’s attempts at modernizing these tropes for the AirBnB generation are not enough to make it stand out. Unfortunately, Franco doesn’t seem to have been able to grasp how to build suspense effectively. There are a few really strong scenes that show his potential if he ever gets the chance to work with stronger material, but for the most part, the film is extremely uneven. The first half is rather dull, and the rushed second half over-compensates for it and is overwhelming as a result. Also problematic is the fact that much of the script’s commentary comes off as insincere and distant. The first half introduces some themes involving racism and prejudice, but these are largely abandoned heading into a by-the-numbers finale. Everything that is said is just so surface-level that one wonders why they even bothered in the first place.
Perhaps the biggest issue with the film, though, is that the characters aren’t very likable. They have little to no personality, and when they do, their traits are more annoying than charming. Typically, in a movie like this, it doesn’t take much to make the audience sympathize with the characters, but Franco and co-writer Joe Swanberg fail to meet even the bare minimum in that regard.
That said, the film manages to hold together, if only barely, thanks to the efforts of its talented cast. The four main actors — Dan Stevens, Allison Brie, Sheila Vand, and Jeremy Allen White — all have great chemistry together. Stevens and Vand stand out with the more nuanced performances of the batch, but Toby Huss is also a scene-stealer in his supporting part. The movie also has some really interesting ideas aesthetically. Even though there isn’t a whole lot of suspense in the narrative, Franco is able to build a decent atmosphere with the visuals (even if they are a tad generic at times). A few uncannily gorgeous shots are here as well, showing an effort at juxtaposition that doesn’t completely pay off. Dave Franco’s directorial debut The Rental is an interesting display of the actor’s potential behind the camera, but it doesn’t stand alone as a potent chiller in its own regard. Still, it’s enough to make one think twice before making another online booking. The Rental hits theaters and VOD on July 24. Rating: 2.5/5 WE ARE THE RADICAL MONARCHS -- An Insightful and Uplifting Tale of Going Against the Grain7/20/2020
Review by Sean Boelman
Although the Girl Scouts remain the predominant organization for young women in America, there have been plenty of groups offering alternative options to families. Linda Goldstein Knowlton’s documentary We Are the Radical Monarchs tells the story of one such group in a very moving way.
The film follows the founders of the Radical Monarchs, a youth organization for young women of color formed in Oakland, as they set out to educate their community and expand their reach. One of the most interesting things about this movie is the way in which it explores the contrast between the skills that the Girl Scouts impart to its members and those which the Radical Monarchs hope to teach. Too often, the youth of today are placed in a position where they are unable to face the challenges of modern society. The eponymous group argues that, while the traditional values emphasized by the Girl Scouts have their place and may have been useful at one time, there are more pressing issues that girls and women of color have to face today. The film does a very good job of telling the story of the group’s founders. These mothers are doing some extraordinary work for the sake of their children, knowing that the world will become a better place in return. Sadly, the efforts of great parents like these often go unrecognized, so it is nice to see a movie like this fill that gap.
That said, the film doesn’t satisfy the audience’s desire to know more about the Radical Monarchs themselves. Admittedly, with children as young as this, it can be hard to get their attention for long enough to do a thorough interview. However, since they are the ones who are most affected by this story, it would have been nice to see more from their perspective.
Perhaps the single best moment in the movie shows an interview being conducted by some of the parents and their children to determine who should be the next Radical Monarchs troop leader. With this short but powerful sequence, the audience will learn more about what the organization stands for than in any other portion. Knowlton brings a certain energy and vitality to the film, which works extremely well given the vibrant personalities of the subjects. More so than most recent attempts at doing so, Knowlton effectively captures what is important to these kids while still tackling some of the touchier and more controversial issues that the organization addresses. We Are the Radical Monarchs is an interesting documentary that brings light to a wonderful cause. Although it does lose its focus in a few portions, the subjects are so compelling that their story speaks for itself. We Are the Radical Monarchs airs on PBS on July 20 at 10:30pm. Rating: 4/5
Review by Sean Boelman
Adaptations of romantic drama novels make for some of the most notoriously uneven films of all time, but Gregor Jordan’s cinematic version of Tim Winton’s novel Dirt Music is one of the best the genre has had to offer. Benefitting from a strong cast and a sentimental but still emotional story, this is a crowd-pleaser if there ever was one.
The film’s story follows a woman who, to the dismay of her fisherman boyfriend and his two sons, has an affair with an edgy poacher with a troubled past of his own. On one hand, it’s a mildly complicated and sometimes convoluted storyline full of melodrama and theatricalism, but the emotional core of the movie works so well that it can be forgiven for its mistakes. Unlike many other book-to-film adaptations, it doesn’t feel like the subplots here were sacrificed in translating the source material to the screen. The love interest’s backstory, told through flashbacks, is arguably the single most compelling portion of the story. Unlikely to leave any but the most stolid of viewers unaffected, it’s a tragic tale. While the protagonist isn’t quite as well-developed as her male counterpart, she still has an arc that is sympathetic. Part of what makes this stand out from similar movies in the genre is that it is not a traditional love triangle, but rather, an exploration of the different obligations and feelings that go into making a decision regarding love.
When the film becomes a much more traditional star-crossed lovers storyline in the final thirty minutes or so, it does lose a lot of its momentum, but it lands on its feet with an ending that is among the most surprisingly satisfying of the genre. It’s a pretty perfect conclusion to tie the many arcs together.
Of course, a significant portion of the movie’s success comes from the ability of its two leads. Kelly Macdonald and Garrett Hedlund are both extremely talented performers, and they are able to sell the emotion in even the most maudlin of moments in the script. And as is integral for the romance to work, their chemistry is truly wonderful. The film also benefits from having some absolutely gorgeous cinematography from Sam Chiplin. It helps that the movie was shot on location in Australia, some of the country’s scenery serving as a wonderful background. Additionally, the use of music, while not as prevalent as one would expect given the title, is certainly effective. Dirt Music is a charming little romantic drama. Perhaps due to the lighting-in-a-bottle that is a thorough script, excellent performances, and strong visuals, this stands out as a touching and well-made entry in an overstuffed genre. Dirt Music is now available on VOD. Rating: 4/5
Review by Sean Boelman
If Lucy Hale’s recent filmography indicates one thing, it is that she needs a better agent. However, with her starring turn in the new romantic comedy A Nice Girl Like You, Hale proves that she is in fact a very talented actress when she is given the right material as opposed to the subpar horror movies that have comprised a majority of her past leading roles.
The movie follows a woman who, after breaking up with her ex-boyfriend for being too sexually reserved, sets out on a journey to complete a wild to-do list in the hopes that she will become more comfortable with sex. The screenplay, by novice writer Andrea Marcellus, is based on a memoir by Ayn Carrillo Gailey, but loses a lot of touch with reality in trying to stick with romantic-comedy conventions. When the film does confront modern opinions and beliefs regarding sex, it is actually quite insightful. Far too often, this genre is very one-sided about relationships, but that is not the case here. The intent is not to demonize either perspective, but rather, to explore the ways in which embracing one’s sexuality can be a positive experience. Of course, the movie cracks jokes along the way, and even though they can sometimes distract from some of the meatier material, they also provide ample laughs. Admittedly, the film is surprisingly sanitized for a sex comedy (it’s certainly rated R, but doesn’t reach the hard-R level that would have made it stand out), but it’s enjoyable nevertheless.
A big part of what makes the movie work so well is its unique characterization. In addition to the compelling and unorthodox protagonist, there are plenty of memorable and interesting supporting characters. A few, like the protagonist’s promiscuous friend, feel like obligatory attempts at pushing the narrative forward, but most are quite natural.
Hale’s charisma as the lead is also a significant factor in the film’s success. She seems much more comfortable with her comedic delivery than when she is forced to play it straight in a horror flick, so it is nice to see her actually having fun for a change. Additionally, her chemistry with co-star Leonidas Gulaptis is excellent. In terms of execution, the movie is expectedly lacking given the fact that it is a modestly-budgeted romantic comedy. The film has a very industrial and cookie cutter style about it, saved by the cast and screenplay. What is missing here are a few great sight gags to set it out above other raunchy comedies. A Nice Girl Like You is a surprisingly enjoyable and entirely charming rom-com. If Lucy Hale can continue to get funny roles like this, hopefully she won’t be relegated to making crappy teen-oriented movies for the rest of her career. A Nice Girl Like You is now available on VOD. Rating: 3.5/5
Review by Sean Boelman
Inarguably the biggest draw of Will Addison’s crime comedy Easy Does It is the chance to see Terminator star Linda Hamilton give a performance as a ruthless Southern crime boss. And while the film does deliver on its promise of absurdity to a certain extent, it too often takes the easy route to be particularly memorable.
The movie follows two best friends as they set out on a cross-country road trip in the hopes of making a big score and repaying their debt, accidentally picking up a hostage along the way and becoming notorious criminals. In a way, the film plays out like a far less intelligent classic crime tale, almost a “Clyde and Clyde”, but with characters that are stupid. Perhaps the movie’s biggest success is in making the audience connect with the characters as two lovable goofs. Despite the fact that they are unquestionably brainless, this best friend duo is so ridiculous that one can’t help but root for them, even if it’s clear that they will keep getting themselves into more and more trouble. Ben Matheny (who co-wrote the film) and Matthew Martinez have excellent chemistry together as the two leads, able to bounce lines off of each other wonderfully. It will be easy to buy into the friendship that serves as the main driving force of the movie thanks to the believability that their performances lend to the relationship.
That said, the film does get a bit repetitive in nature, and as a result, can drag at times. Even though the movie clocks in at right around ninety-five minutes, a lot of the best moments come either quite early or quite late. The rest of the film feels like filler that tries to recreate what worked earlier, but ends up feeling dull.
Thematically, the movie is a bit all over the place, but the most interesting things that it has to say are about consequences. Seemingly small decisions that the characters make in a scene towards the beginning of the story come back in later portions, showing both how thought-out the narrative is and what Addison and Matheny hope to say with it. On the other hand, the unevenness in regards to the film’s visual style doesn’t often work. There are quite a few unnecessary zooms that attempt to artificially add a sense of energy to the narrative but end up being annoying instead. Other efforts at stylistic flair fall completely flat, like a scene that plays around with the color scheme. Easy Does It has some entertaining moments and interesting ideas, but it doesn’t always come together into a cohesive whole. Still, those great portions make it worth watching as a distraction for an hour and a half. Easy Does It is now available on VOD. Rating: 3/5 |
Archives
April 2024
Authors
All
|