Review by Sean Boelman
While bad genre movies are more often than not simply excruciating, Eric Bress’s horror-tinged war picture Ghosts of War is so utterly ridiculous that one can’t help but revel in the absurdity. A woefully misguided misfire, but one that is nearly impossible to look away from, this will almost certainly go down as one of the year’s best terrible movies.
The film tells the story of a group of soldiers during WWII who are assigned to make camp at an abandoned château, only to discover that their post may be haunted. For the first hour or so, the movie plays out like a mediocre rip-off of other better World War II horror flicks, but an inexplicable and bizarre twist that comes heading into the third act is what makes the film so entertainingly stupid. As is the case with so many high-concept horror movies like this, much of the script relies on the characters doing stupid things. The dialogue isn’t particularly well thought-out, the plot is full of contrivances, and events make very little sense as a whole. This is particularly the case in what has to be one of the dumbest endings of all time. The visuals for the movie are also extremely disappointing. Even though a strong atmosphere hardly could have saved such a mediocre script, the lackluster production design and cheesy CGI effects do it no favors. As a whole, the film looks quite fake and it is almost impossible to be immersed in its world.
Admittedly, the character development is one of the movie’s most effective surprises, as it leans into the idea of brotherhood that serves as a central theme of the script. By spending more time on the dynamic between the characters rather than their separate personalities, the audience cares more about their holistic success as opposed to individual survival.
The cast pulls together character actors from a few other high-profile films, and they do a mostly solid job in their roles. Brenton Thwaites isn’t entirely convincing as the leader of the squad, though he has a compelling screen presence nonetheless. Skylar Astin is likely the biggest standout, though, as the sole actor we can take seriously in his role. Billy Zane makes an appearance that is confusing at best. And while one can’t fault the movie for lack of trying, the commentary about atoning for one’s own sins is too little too late, causing it to tread territory that has mostly already been covered before. The idea of saving lost souls by correcting the wrongs committed against them is a worn cliche at this point, and it’s time for the genre to find a new method of driving narrative momentum. Ghosts of War takes itself so seriously despite a premise that is silly beyond belief. Still, thanks to the filmmaker’s commitment to telling the story with a straight face, it manages to be an enjoyable mess. Ghosts of War is now available on VOD. Rating: 1.5/5
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Review by Sean Boelman
An adaptation of the illustrated novel by Tom Wheeler and Frank Miller, the new Netflix original series Cursed is the latest attempt to fill the void in big-budget fantasy action. However, not even benefitting from Miller’s signature style, this is a dull and messy take on a common tale that would have benefitted from being a few episodes shorter.
The series reinvents the Arthurian legend through the eyes of a young sorceress as she is tasked with delivering a powerful and ancient sword to the wizard Merlin. While the idea of an origin story for the Lady of the Lake sounds very compelling on paper, in execution, it turns into something much less satisfying: a mediocre coming-of-age tale with a few strong action sequences. For the most part, the series feels like it was made predominantly for viewers who do not already have a firm understanding of the underlying folklore. Revisionism does have its charms, and while there are some moments that this feels like it is going to do something truly edgy and unique, a majority of the plot points revolve around the “surprise” of discovering these characters’ folkloric identities, and that is hardly enough to sustain a ten-episode arc. Furthermore, the series suffers from having too many antagonists. The main storyline, involving an extremist religious group setting out on a sort-of “crusade” against the influence of witchcraft on their society, is compelling. However, when there is on top of that a secondary (a deadly assassin who is cool but underdeveloped), a tertiary (a tyrannical King), and even a quaternary (a warring faction vying for power) antagonist, there is simply too much happening.
Had the series stuck to the main storyline involving Nimue’s quest to deliver the sword to Merlin, with the secondary threat of the Red Paladin crusaders persecuting her people and the romantic subplot between Nimue and Arthur, everything would have been much more streamlined and far more entertaining.
That said, perhaps the single biggest disappointment of the series is that it feels artistically uninspired. Apart from the animated transitions and a few of the early action sequences, this barely feels stylistic in any way. A majority of the footage feels generic, as if it could have come out of any medieval action series, which is a shame given the talent involved. If the series does do one thing extremely well, it is the casting. Despite often mediocre dialogue, the stars are able to pull a solid amount out of this material. Katherine Langford is extremely likable and does a great job of leading her own series. Hopefully this will earn her some more opportunities with a lead role. Also a standout is Devon Terrell, who is wonderfully charming with his different take on Arthur. The concept of Cursed sounds like it would be a lot of fun, but alas, perhaps rushed in an attempt to capitalize on recent trends in popularity, this ended up being rather disappointing. For a hormonal teenager just discovering folklore, this may hit the right balance between sex and mayhem, but it’s too dark for the kiddos and too tame and pedestrian for most adults. Cursed is now streaming on Netflix. Rating: 2/5
Review by Sean Boelman
After making a big splash on the scene with his unabashed and incendiary comedies, German filmmaker David Wnendt seems to have entered the much more comfortable portion of his career with travelogue The Sunlit Night. Charming thanks to the efforts of its cast, the movie shows a lot of potential but falters under the pressure of convention.
The film follows an American painter who, struggling to find her own voice, takes an apprenticeship with an artist in Norway, along the way discovering another American on a quest to discover his roots. Adapted by Rebecca Dinerstein from her own novel, there are some interesting ideas going on here, but the movie seems to suffer from condensing a nearly 300-page novel into under two hours. The first half of the film, which primarily focuses on the protagonist’s artistic endeavors, is actually extremely compelling. However, once the protagonist makes the trip to Norway, it becomes a far more conventional romantic comedy, but even more aggravating is that it is underdeveloped in this regard. Perhaps the most confusing part of the movie is a subplot involving a Viking reenactment village, and while the quirkiness of the idea is appealing at first, it wears off quickly and becomes something unusual. Out of all of the storylines, this is the one that feels most like it could have been more interesting on the page than on the screen.
Additionally, the character development in the film is somewhat lacking. The portions of the character’s arc involving her art are largely abandoned in the second half, leaving her motivation for much of the movie to be a generic quest for enlightenment. A storyline about the protagonist’s parents is also a nonstarter.
That said, thanks to the wonderful screen presence of star Jenny Slate, the film works better than it otherwise would. Although it doesn’t match up to the quality of her past indie performances, she’s still very likable nevertheless. Zach Galifianakis is the other notable name in the supporting cast, and while he is cast to type, he’s one of the least impressive parts of the movie. And while the film does benefit from having the beautiful sights of Norway as its background, this unfortunately only goes so far. As a travelogue, it is mostly successful, but for a movie that is built around the art world, there is a disappointingly low amount of inspiration to the style and execution. The Sunlit Night is a mostly amusing dramedy, but it doesn’t quite hit all of its intended beats with ease. Still, as a breezy, charming, and occasionally funny watch, it may be worth checking out. The Sunlit Night hits VOD on July 17. Rating: 3.5/5
Review by Sean Boelman
It wouldn’t be an understatement to call Václav Marhoul’s World War II drama The Painted Bird one of the most emotionally painful things ever committed to the screen. And yet, despite the fact that viewers will be wanting to look away from many of the atrocities being depicted, it’s a quite brilliant film in many ways.
Based on the novel by Jerzy Kosinski, the movie follows a young boy seeking refuge from the horrors of WWII, traveling across Eastern Europe and encountering many different people along the way. It’s a segmented narrative, and as is the case with almost any film with such a structure, there are certain portions that are more effective than others, but there is no portion here that is entirely a miss. For its nearly three-hour runtime, the audience is subjected to pure misery from the perspective of a young child. The movie gained some notoriety on the festival circuit for its depictions of such horrific things as pedophilia and sexual violence, and admittedly, it’s very discomforting. Still, Marhoul manages to not cross the line into tastefulness. Instead, Marhoul uses his film in a way as to provide commentary on how, despite humanity’s frequent depravity, there is a sense of hope to be found in the darkest moments we experience. Although the movie isn’t particularly subtle with its messaging, everything about the movie is pretty overt in general.
Part of what makes the film hit so hard is that the protagonist is so young and idyllic at the beginning of the story. And as all of these terrible things continue to happen to him, the audience is left helpless as they watch him being exploited and manipulated. On the other hand, the supporting characters are mostly deplorable and easy to hate.
One of the most impressive things about the movie is that, despite casting well-known actors such as Harvey Keitel and Barry Pepper, Marhoul required them to speak in a non-native tongue, giving it an extra level of authenticity. Of course, young actor Petr Kotlár is the absolute highlight, though, giving a performance that is enormously emotional. The film is shot with some gorgeous black-and-white cinematography from Vladimír Smutný, accentuating the themes of light and darkness. The most brutal portions of the movie are often contrasted with some wonderful exteriors. These shots also provide some much-needed relief in an otherwise oppressively bleak narrative. The Painted Bird is perhaps best described as auteur shock cinema, but it works. Even though it is often horribly disturbing, that is exactly what it is meant to do, and as a result, it’s one of the most riveting war movies in recent memory. The Painted Bird hits VOD on July 17. Rating: 4.5/5
Review by Sean Boelman
Although there have been a number of films to explore the human impact of war, Leslye Davis and Catrin Einhorn take a unique approach with their new documentary Father Soldier Son. Both paying respect to those who served and calling attention to the issues of the military system, this is a compelling and emotional watch in many ways.
The movie tells the story of a soldier who, after being wounded in Afghanistan, returns home where he must struggle to adjust to his new life with the help of his family. Although the subject’s story of recovery is certainly very compelling and emotional, the film makes the interesting point that it is not only the person who served, but also their loved ones, who are affected by this type of crisis. One of the strongest aspects of the movie is its characterization. As the title implies, this is not just a movie about a soldier’s military endeavors — it’s about his life in general. Davis and Einhorn choose to immerse the viewer in the lives of this family by showing the mundanities of their life in addition to their struggles, making their story all the more relatable. That said, once the film does go for an emotional punch, it hits hard. And unlike most other military-centric movies, this doesn’t feel overwhelmingly jingoistic or artificial in its attempts to milk the audience’s tears. This isn’t an average uplifting tale about someone overcoming the odds — it’s a stark look at the reality of military life.
Even more interesting is what the film has to say about self-fulfilling prophecies. There is an extremely compelling subplot following the protagonist’s son as he faces the dilemma of continuing his education or enlisting in the military. It’s one of the most frustrating yet insightful moments in a movie that is full of thought-provoking discussion.
To tell this story, Davis and Einhorn take a fly-on-the-wall approach, following the family as they go about their lives. At times, it can feel like they are taking advantage of the misfortune of these individuals, but more often it feels like an earnest attempt to depict their plight so that others can learn from the struggle they face. Since the film does such a good job of immersing the viewer within the story, it flies by, yet feels entirely satisfying. Davis and Einhorn keep it simple, and as a result, they are able to effectively communicate everything they need to say with a runtime of just under an hour and forty minutes. Father Soldier Son is a riveting documentary with a lot of potential to resonate with audiences. Although it isn’t always an easy movie to watch, it may be surprising just how affecting this story really is. Father Soldier Son streams on Netflix beginning July 17. Rating: 4/5
Review by Sean Boelman
Old-school horror adaptations are notoriously difficult to crack (see this year’s The Turning for an example of one gone terribly wrong), Norwegian filmmaker Nini Bull Robsahm has brought a surprisingly solid offering to the table with Lake of Death. Creepy and atmospheric, if never scary, Robsahm’s film is a fun and nostalgic forest-bound horror flick.
Inspired by the 1950s horror novel De dødes tjern by Bernhard Borge, the film follows a group of friends that travel to a remote cabin where one of them had experienced a traumatic event one year prior, only for strange occurrences to plague their vacation. It’s a classic set-up that has been done over-and-over again, but the nostalgia that fans will feel for the genre will be the main driving force here. Part of what makes this film so effective is that it builds tension in a very natural way to an over-the-top but undeniably entertaining climax. While there are some portions of the movie that are frankly ridiculous, it’s easy to forgive some of the mistakes because Robashm’s love for the genre and source material is so earnest. Unlike most recent entries in the genre, the film doesn’t make cheap attempts at jump scares. Instead, Borge is interested in building an immersive atmosphere to draw the viewer into this world. The use of folklore as a story element proves particularly helpful in this regard, complementing the mystery of the narrative quite well.
Robsahm’s visual style also goes a long way in making the movie more effective. The use of light stands out in particular, especially in one scene that uses a matchbox to provide one of the single best scares. And even though it basically screams “generic creepy cabin”, the production design is used well within the context of the film.
Admittedly, one of the weaker aspects of the movie is its character development. Unfortunately, the characters largely fail to defy their traditional archetypes, making it hard to care much about them. Even the relationship dynamics that are meant to provide additional characterization feel insufficient. Regardless, the cast is able to bring a great deal of charm to their roles, and this keeps the film from drowning. As the lead, Iben Akerlie captures a lot of the qualities characteristic of the classic performances of the genre, feeling approachable but compelling. Elias Munk is also a standout as the comedic relief of the bunch. Lake of Death is an entertaining little horror movie that will surely delight fans. Even though it doesn’t do much (or anything, really) in terms of innovating a well-worn genre, it delivers satisfying, old-school chills. Lake of Death streams on Shudder beginning July 16. Rating: 3/5
Review by Sean Boelman
Although the advent of television brought along with it some of the most legendary and iconic comedic talents of the 20th century, there are still some that didn’t quite make that leap to public notoriety. Dan Wingate’s documentary Kaye Ballard - The Show Goes On! offers an account of the life and career of one such star that deserves more attention than she got.
Having started her career as a musical comedy performer, Kaye Ballard made a name for herself as a vaudeville performer before eventually getting opportunities on Broadway and in television. Perhaps the most interesting part of Ballard’s story is not her own accomplishments, but what she witnessed from her peers, many of whom are more famous themselves. That said, the film does make an excellent argument as to why Ballard was one of the most underappreciated talents in comedy. Although it is true that few viewers may be familiar with Ballard’s work (apart from her leading role on the short-lived NBC sitcom The Mothers-In-Law), Wingate’s documentary will make viewers want to seek her performances out. Apart from that, the movie doesn’t offer a whole lot, especially since a majority of the film’s audience won’t have that nostalgia. Ultimately, this is a love letter to a star who didn’t receive her due, but that leaves the question of whether or not anyone is going to care enough to watch this documentary in the first place.
Admittedly, this movie is much more extensive than most biographies, but what is the purpose of thoroughness when a superficial survey of her achievements would have been much more compelling or interesting. Granted, it’s nice to hear Ballard’s story in her own words (she passed away in 2019, about two years after this was filmed), but this just isn’t enough.
The use of interviews with Ballard’s contemporaries is rather questionable as well. More often than not, they are simply showering praise on Ballard as opposed to providing legitimate insight into her work or artistry. And some of the people selected to speak in the film, including a particular disgraced comedian-turned-filmmaker, should and could have been cut. Without a doubt, the best part of this documentary is getting to see rare archive footage of Ballard’s performances, but Wingate uses this as more of a supplement than a means of storytelling in and of itself. As a result, the movie ends up feeling like a bunch of filler in between some interesting segments. Kaye Ballard - The Show Goes On! is a fittingly schmaltzy documentary, but even those who are obsessed with old-school showbusiness may find themselves uninterested. Still, even if it only reminds the public of Ballard’s name, it accomplishes its goal. Kaye Ballard - The Show Goes On! screens online in partnership with indie theaters beginning July 17. A list of participating locations can be found here. Rating: 2.5/5 NOTHING STAYS THE SAME: THE STORY OF THE SAXON PUB -- A Compelling Case for the Impact of Live Music7/13/2020
Review by Sean Boelman
Almost anyone who has ever visited Austin, Texas has been entranced by the unique culture that defines the city, and there is no one piece more integral to its identity than its music. Jeff Sandmann’s new documentary Nothing Stays the Same: The Story of the Saxon Pub examines this aspect of Austin culture in a way that is brief but entertaining.
The Austin music scene is largely built around smaller venues that give local up-and-coming talents a chance to be discovered, and this documentary is about one of the most famous yet intimate: the Saxon Pub. This film is both a celebration of the accomplishments of the Saxon Pub, its owners, and it’s patrons and an ode to creativity in general and the people who work to foster it. At a mere hour and ten minutes in length, the movie doesn’t have a whole lot of depth to its argument, so it is admittedly more for Austinites, particularly those who frequent the eponymous venue or have nostalgia for its glory. Still, it has an almost tourist-like appeal for the general audience in that it will make one want to take a trip to the live music capital of the world. In another sense, the film functions as a cautionary tale about the dangers of American capitalism. Even though the city of Austin is very much reliant on the arts as an essential component of its tourism, the way in which the economy and changes in cost-of-living have affected musicians pose a great threat to an entire city’s livelihood.
As such, the portions of the movie that explore the Saxon Pub as it tries to stay afloat despite increasing financial challenges are the most compelling. Interviews with employees, like the venue’s sound technician, shine a light on the personal impact that this place has on the people for whom it is a part of their lives.
That said, the main draw of the film will be the performances that it features. As one would expect, the movie focuses on indie musicians with whom many viewers will likely be unaware. The styles of music showcased vary greatly, but the one thing that unites them all is that they radiate a feeling of authenticity and individuality. Sandmann shot the documentary in a very traditional way, blending fly-on-the-wall footage with interviews and the available archive materials, but it is an effective way of telling this story. Thanks to his methods, viewers will feel completely immersed in the world of the Saxon Pub, as if they are taking part in the Austin music scene themselves. Nothing Stays the Same: The Story of the Saxon Pub is an interesting film about one of the most iconic gems of a culturally-rich city. In a time when so many are stuck in their homes, this is a great reminder of what to look forward to once this is over. Nothing Stays the Same: The Story of the Saxon Pub hits VOD on July 14. Rating: 4/5 Review by Dan Skip Allen Image Comics is known as the company the "big five" — Todd McFarlane, Rob Liefeld, Jim Lee, Mark Sylvestri, and Eric Larson — formed back when they all left Marvel back in the '90s. They all started their own brands within Image but the company has transcended that initial launch. They have expanded in fun, interesting and groundbreaking ways. Robert Kirkman's The Walking Dead was the first breakout hit from the new Image, turning into a hugely successful show on AMC that is still on the air after 10 seasons and spawned a second show. The Old Guard is another live-action adaptation of an Image comic from creators Greg Rucka and Leandro Fernandez. The Old Guard is an elite group of mercenaries who are immortal. Andy (Charlize Theron), Booker (Matthias Schoenaerts), Nicky (Luca Marinelli), and Joe (Marwan Kenzawi) work for whoever can afford their services. One century they can be bad and another they can be good. After being set up by an employer, Copley (Chiwetel Ejiofor) they get word of a new immortal. Nile Freeman (Kiki Layne) is a marine that discovers her new ability to not die the hard way. On the run from Merrick (Harry Melling, best known for his role as Dudley Dursley in the Harry Potter franchise), The Old Guard tries to do what they do best, to survive. He wants these gifted individuals for himself. And will stop at nothing to get them. Andy has to help her group survive and stop Merrick from his maniacal scheme. As comic book adaptations go, The Old Guard is quite different than anything I've seen before. As far as movies and TV shows go, it's just a different take on the Highlander movies. Gina Prince-Bythewood is a writer/director of some renown. She had directed a few movies before this one, Love & Basketball among them. Her movies have a depth of character and emotion to them. The Old Guard tries to add the same kind of depth to it. It creates a backstory for the main characters of Andy and Nile. This way the viewer will care about these characters. Although I applaud her for the good try, I wasn't really invested in these characters or their backstories to care that much about them. Even though the concept of the movie was intriguing to me. I just wasn't drawn in enough to be that taken by it.
The Old Guard is an old concept with a relatively new twist on it. It has a good cast that makes the movie more interesting to watch, but in the end, they are wasted. Gina Prince-Bythewood is hamstrung by the source material. The source material had a bunch of comics to tell this story not a two-hour movie. I'm sure these actors were fascinated by that source material and the prospect of working with Prince-Bythewood. In the end, they were let down and so was I. The film had a lot of bloody scenes and some action. I wish there were a lot more of both in the film. That might have made it more entertaining all the way around. Melling was just a mustache-twirling villain I've seen a thousand times before. This film is all over the place! In better hands, it may be more focused and cohesive. The Old Guard is now streaming on Netflix. Rating: 2/5
Review by Sean Boelman
The most exciting thing about biographical documentaries is arguably their potential to provide unique and unprecedented personal access to their subject. While there are plenty of films that disappoint in this regard, Harry Mavromichalis’s new movie Olympia provides some great insight into the life and career of a storied actress.
The film tells the story of Academy Award-winning actress Olympia Dukakis as she reflects on her immense body of work and the struggles she faced in her personal life over the years. Admittedly, Mavromichalis doesn’t do anything particularly revolutionary with his structure, but the intimacy with which he tells Dukakis’s story is certainly welcome. Clocking in at right around an hour and forty minutes, the movie is somewhat reliant on the viewer already having a familiarity with its subject to appreciate it. Those who are unacquainted with Dukakis’s contributions to the field of acting may find themselves wondering why her story is relevant. There is a lot that viewers can gain from Dukakis’s story, particularly from her experiences dealing with personal troubles. So often, films that depict celebrities glorify the people they are depicting, but Mavromichalis takes great effort to humanize Dukakis and make her story feel both essential and powerful.
Unfortunately, it is likely that younger generations may not have seen some of Dukakis’s finest work. Her performances in Moonstruck and Steel Magnolias, among other movies, are undoubtedly iconic, but many of these titles aren’t as popular with the age group of viewers who are most likely to come across this release.
Of course, it is the interviews with Dukakis that do most of the heavy lifting here (both narratively and emotionally), but Mavromichalis also interviews some of the filmmakers and co-stars with which Dukakis has worked in the past. These provide additional insight into her on-set persona and how she achieved such success in her work. Much like his narrative, Mavromichalis’s visual style is a tad safe and traditional, but in adopting this approach, he allows Dukakis’s natural charisma to hold the spotlight. This is very much a movie about how Dukakis has used her talent to work her way into the lives of audiences across the world, and the fact that this documentary is so compelling only serves as greater proof of that. Olympia is an interesting documentary for those who are fellow cinephiles, but it may not appeal too far beyond that core audience. Still, thanks to some great material, it’s an all-around solid biography. Olympia is now streaming in partnership with indie theaters. A list of participating locations can be found here. Rating: 3.5/5 |
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