Review by Sean Boelman
A nonlinear storyline can be either a great assistance or a significant burden to a script, and in the case of Atom Egoyan’s new drama Guest of Honour, it is mostly the latter. Weighing down a solid script with a difficult-to-follow structure, this is a frustrating watch, if only because its potential is so strongly evident.
The film follows a woman who believes she deserves to stay in jail despite having not committed the sexual assault for which she was convicted, causing her father, a health inspector, to take his vengeance out on local restaurant owners. If this sounds like a potentially problematic premise, that’s because it is, as Egoyan treads a thin line of insightful and out-of-touch. There is certainly the possibility that the film could be seen as offensive, its story being somewhat disrespectful to victims of sexual assault. To imply that someone would lie about sexual assault for personal gain is dangerous, as it is one step away from saying that victims should not be believed. Structurally, the film is a near total mess. There are three storylines: one following the protagonist in the time leading up to the alleged assault, one following her father in the aftermath of her conviction, and the final one showing her as she speaks with a priest in preparation for her father’s funeral.
There are some interesting things happening in the film’s style, particularly in the father’s storyline, but the way in which Egoyan weaves between the three stories is unsatisfying. The narrative arguably would have been much more effective had it been presented in a segmented linear format, preserving continuity of emotion.
Another issue with the film is that the characters aren’t particularly likable or sympathetic. Ultimately, all of the characters except for the priest (who serves as the audience’s lens to the story) are doing terrible things. The viewer is meant to feel bad for them, but their sometimes despicable actions make that difficult. Regardless, the cast does a very good job in their roles. David Thewlis is at his career best as the protagonist’s father, perfectly capturing the broken emotion which the character is experiencing. Laysla De Oliveira is fittingly stoic as the protagonist. Luke Wilson feels underused as the priest but is fine nevertheless. Guest of Honour is a film that is much more confusing than it needs to be. It seems that, with a few more revisions, Egoyan could have delivered an interesting case study, but as is, it falls a bit flat. Guest of Honour is now streaming in partnership with indie theaters. A list of participating locations can be found here. Rating: 2.5/5
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Review by Sean Boelman
There are plenty of historical fiction films set during WWII that mix a dramatic story with real-life characters. Unfortunately for Nikolaus Leytner’s The Tobacconist, this script features too little of its inspiration and a bit too much of his theories, resulting in a movie that is passable but leaves something to be consciously desired.
The film follows a young man who is sent to be an apprentice in a cigar shop in Nazi-occupied Vienna, where he meets and befriends the father of psychoanalysis, Sigmund Freud. Despite the tremendous potential that this premise holds, the movie too often falls back on tropes of the wise old man instilling his knowledge to the youth, not taking advantage of the intriguing presence of Freud. That isn’t to say that the film doesn’t explore Fruedian psychology — in fact, it does so almost a bit too aggressively. The movie grinds to a screeching halt multiple times to allow the protagonist to have a dream sequence. Although Freud’s theories heavily involve the subconscious, the repetitive and overlong nature of these scenes simply won’t be interesting to the audience. The better moments in the film are those which allow the protagonist and Freud to converse freely. The dialogue in these portions is excellent, which makes it all the more frustrating that the movie didn’t feature more of this insightful commentary. Instead, audiences get a mostly generic wartime romance.
Arguably the most disappointing thing about the film is that it lacks any real political bite. Although viewers will probably be used to toothless WWII dramas by now, this one feels particularly shallow. For a movie that apparently wants to be frank in its depictions of sexuality and violence, it pulls far too many punches in regards to what could actually be meaningful.
That said, the excellent ensemble is able to keep the movie alive. Bruno Ganz gives a phenomenal performance as Freud. It is exactly the type of big and flashy turn that a historical drama like this demands. Simon Morzé also shows a lot of potential here, but suffers in comparison to the much more commanding Ganz. Additionally, Leytner does a very good job of periodizing the film. His visual style isn’t anything too excessively creative, but there are plenty of pretty shots and the movie as a whole is very competent. It consistently feels like significant effort was put into making the atmosphere feel as believable as possible. The Tobacconist isn’t particularly obtrusive in any way, but that is also its primary shortcoming. There was so much potential for a World War II movie about Sigmund Freud to be interesting, but this just felt average. The Tobacconist is now streaming in partnership with indie theaters. A list of participating locations can be found here. Rating: 2.5/5
Review by Sean Boelman
Despite sounding extremely interesting on paper, Mark Lamprell’s Never Too Late is one of the most inconsistent genre mishmashes in recent memory. However, despite a script that too often can’t find its place, a talented ensemble is able to keep this film afloat, making it a mostly buoyant watch.
At its most basic level, the movie is about a group of seniors who plan to break out of their retirement home. Yet Luke Preston’s script (with story by himself and Grant Cater) adds so many layers of convolution to this basic premise that it eventually becomes utterly ridiculous, even if it has good intentions. The film blends elements of old folks comedies, “one last hurrah” action flicks, and end-of-life dramas in a way that isn’t always satisfying. While it is cute at first to watch the protagonist as he tries to rekindle his relationship with his long lost love, this is soon buried beneath layers of jingoism and xenophobia tied to an overzealous story about veterans trying to recapture the “good ol’ days”. Because the movie is so tonally uneven, the pacing also suffers. Even though it isn’t much over an hour and a half long, it becomes exhausting after a point to keep up with what the film is trying to be at any given moment. Perhaps with one or two subplots being trimmed, it would have worked much better.
The protagonist and his old flame are both extremely compelling characters, and his gang of former military buddies serve as fun, if archetypal, sidekicks. It is the story of a vindictive nursing home administrator and her curious son that falls the most flat, as this aspect of the story feels the most reliant on conveniences.
Visually, the movie is definitely somewhat weak. Much like many comedies aimed at older generations, the film is shot in a soft and oversaturated way. The result is a product that often feels excessively bright, even when the subject matter attempts to take a darker turn, and is consistently impersonal. That said, the movie manages to work because of the efforts of its cast. Character actor James Cromwell takes the lead, and he seems comfortable in the role of the grumpy old man with a heart. And as always, Jacki Weaver is an absolute joy to watch, even though her turn is basically a glorified cameo. Never Too Late doesn’t live up to its potential, but it does deliver some memorable performances from its cast. For those in need of a mostly wholesome flick to watch with their grandparents, this may suffice. Never Too Late is now streaming in partnership with indie theaters. A list of participating locations can be found here. Rating: 2.5/5
Review by Sean Boelman
Having become known for her restrained and subtle style of filmmaking, Kelly Reichardt has proven herself to be one of the most compelling directors working in Hollywood today. Her newest film, First Cow, sees her return to the Western genre (after the very good Meek’s Cutoff), though there is a lot that makes this stand out from her other work.
The movie follows a gifted cook who travels west but feels out of place among the other settlers until he befriends a Chinese immigrant with whom he partners to form a very successful business. Based on the novel by Jonathan Raymond (who co-wrote the screenplay with Reichardt), this is certainly a more plot-driven script than her other work, but that doesn’t mean it loses its personal touch. One thing that allows this to stand out from the rest of Reichardt’s filmography is that it is told with a much greater sense of humor. The film almost shares more in common with buddy movie Old Joy than bleak Western Meek’s Cutoff, as it is, above everything else, an uplifting tale of friendship. Of course, the movie still has the expected level of realism about it. The messages about xenophobia and the treatment of immigrants is quite interesting. Admittedly, the film does lose a bit of its authenticity by using a white person as the protagonist, his experiences seemingly used to mirror the immigrant experience in a way more palatable to mainstream audiences. That said, the characters are still very compelling. By emphasizing the friendship that forms between the two leads, the movie has a lot more relatability than it otherwise would have. At times, it almost seems like the immigrant character is going to become a version of either the “Magical Negro” or “noble savage” archetypes, but it does largely avoid that pratfall.
John Magaro gives a phenomenal performance in his leading role, taking this rare chance in the spotlight to show how talented he truly is. Orion Lee gives a very subtle turn as the co-lead, bringing a lot of emotion to the table. Also worthy of note are Toby Jones and Ewen Bremner who have small but effective roles in the supporting cast.
The dialogue has the same realistic feel to it that is characteristic of Reichardt’s work. A majority of the pacing comes from the dialogue, and despite this being her longest film yet, it arguably moves the quickest. Reichardt does a great job of using her words to draw the audience into the story. Another great thing about Reichardt’s work is the way in which she uses her movies as an homage to the genre into which it falls. Westerns are typically big and flashy, but Reichardt uses the tropes in a way as to tell a small-scale, human story. This has the effect of making the emotional aspects of the film work even better. Reichardt shot much of the movie on location in Oregon, and this helps build the authenticity even further. Many of her films take place in the Midwest, so it is no surprise here that she is able to take advantage of the beautiful sights of rustic America. Though with excellent cinematography by Christoper Blauvelt, this may be her most beautiful-looking movie yet. Although those lucky few who got the opportunity to see First Cow in its short theatrical run before the pandemic shut down theaters should be thankful that they could admire Reichardt’s work the way it was meant to be seen, audiences should still check this out in any way that they can. Reichardt clearly is a great example of the modern auteur, and this is among her best work. First Cow hits VOD on July 10. Rating: 4.5/5
Review by Sean Boelman
Produced by the members of The Lonely Island (and starring group member Andy Samberg), Palm Springs is a light new sci-fi comedy with a familiar premise. And while much of the film’s ingenuity does wear out somewhat quickly, the humor of the script and charm of the cast allow it to be a mostly refreshing watch nevertheless.
The movie follows two very different people who have a chance encounter at a wedding but soon find themselves unable to escape each other, sending them into a confusing spiral of emotions. There have been multiple versions of this story before, and even some that are wedding-themed romantic comedies, but Andy Siara’s script is unique enough to make this quite memorable. Undoubtedly the best part of the film is the first thirty minutes, which will likely catch viewers off guard with its unexpectedly insightful take on well-known tropes. Unfortunately, the movie quickly settles into a familiar rhythm, and while this causes it to lose a lot of the element of surprise, there are still plenty of great moments. There is also a lot more depth to the themes of this than there is in most similar sci-fi comedies. While one would expect something supported by The Lonely Island to have a lot of heart despite its goofiness, this film really leans into the more endearing aspects of the narrative. A significant portion of the movie explores the characters’ existential feelings.
Admittedly, the romantic storyline is the weakest part of the equation here. Although the characters are completely believable together, they fall pretty firmly into their respectable archetypes, and as such, the romantic comedy elements feel artificial and conventional. Still, this is only one portion of an otherwise really interesting film.
The actors also do a very good job of elevating the material and making it more involving. Andy Samberg and Cristin Milioti have wonderful chemistry together, especially when it comes to comedic timing. Samberg is admittedly playing to type, but he is still fun to watch. Milioti proves herself to be an exciting new talent in comedy. J.K. Simmons also gives a very funny turn in the supporting cast. The movie does some really interesting things with its California desert location, but the sci-fi aspects of the visuals do leave something to be desired. Of course, the film obviously doesn’t have a massive budget, but the underwhelming nature of the CGI does draw the viewer out of those scenes. Palm Springs starts a lot stronger than it ends, but it’s still a very fun ninety minute comedy. It’s nice to have a charming and thoughtful film to watch in a time when there haven’t been many feel-good movies like this. Palm Springs streams on Hulu beginning July 10. Rating: 4/5
Review by Sean Boelman
The feature debut of writer-director Gavin Rothery, who is previously known for his work in visual effects, Archive is an intriguing new high-concept sci-fi flick. And while the story does lean on tropes a bit too often to be particularly memorable, the effective use of atmosphere makes it worth watching.
The film tells the story of a scientist who is working on an artificial intelligence system in an attempt to reunite with his dead wife in any form. There have been multiple movies that do this same “scientist driven mad by love” premise, and more effectively, but Rothery’s clear understanding of how to build a sci-fi world makes the film very appealing. Visually, the movie will be very reminiscent to viewers of the generally well-liked minimalistic genre picture Moon, which is almost fitting given the fact that Rothery worked on that film. For the most part, the set design and use of props is very immersive, apart from a handful of CGI-heavy scenes that don’t quite work. One of the movie’s biggest weaknesses is that it doesn’t do a great job of developing its main characters. Unfortunately, the supporting characters (namely the prior generations of the protagonist’s prototypes) are far more compelling than the protagonist or his computerized co-lead.
That said, Theo James does a surprisingly solid job in his lead role, bringing a lot of emotion to a character that is otherwise pretty flat. His co-star Stacy Martin is fine in her supporting role, but her performance feels much too similar to other versions of the “AI that grows a soul” archetype.
At an hour and forty-nine minutes, the film runs a bit longer than it needs to, especially with the romantic aspects of the story. The main conflict of the movie doesn’t really kick in until the final act, and while this portion is moderately exciting, it isn’t quite enough to justify the meandering first two-thirds. The movie also fails to cover much new thematic ground in regards to its ideas about artificial intelligence and the computerization of society. There are a few moments that show the promise the film had to be an ethical case study about the ethics of its theoretical processes, but Rothery seems too preoccupied with making a popcorn flick to dive deeply into these issues. Archive is serviceable sci-fi, and while it aims a lot higher than it hits, it manages to be mostly well-done, if unexceptional. Regardless, fans of the genre will likely appreciate the stroll through familiar territory. Archive hits VOD on July 10. Rating: 3/5
Review by Sean Boelman
Despite having what may be among the worst titles in film history, the Adam Copeland starring vehicle Money Plane manages to be a surprisingly entertaining action flick with a slick concept. At a lean eighty-two minutes, there is enough carnage here to satisfy the cravings of adrenaline seekers, if only briefly.
The movie follows a thief who, in order to pay off his debt to a ruthless boss, must rob an airborne casino serving some of the most dangerous criminals in the world with bizarre and dangerous games of skill and chance. It’s a concept so crazy that it works, even if the film doesn’t always cash in on its promise. Many of the best moments of the movie are those which explore the idea of the airborne underground casino. The games that were created by the film’s four writers are sometimes disturbing and consistently intriguing and exciting. It would have been nice had the movie spent more time taking the audience through this world. Of course, this is a B-movie, so the physical world-building isn’t quite as impressive as one would hope. The set design is relatively minimalistic and there is very little sense of spatial geography to the airplane sequences. As such, the claustrophobia that makes the heist so challenging never quite works.
The film also fails to explain the heist in a way that is particularly logical. Of course, there is a lot going on here in a very short period of time, so it would have been difficult for the writers to explain every little detail, but the believability does suffer as a result. Still, in a turn-your-brain-off action movie like this, the plot only serves as an excuse for a few cool scenes, and this movie delivers.
One of the more frustrating things about the film is that the characters aren’t more memorable. A lot of potential is wasted by not giving the patrons of the casino more identifiable characteristics. Only one character, a stereotypical Texan high-roller, is big enough to stick with the viewer after the credits roll. Still, the cast does a solid job of delivering hammy B-movie performances. Copeland is pretty fun to watch in the lead role, and while he does butcher a few of the one-liners, he handles the few action sequences quite well. Character actors Thomas Jane and Kelsey Grammer show up in the supporting cast, and while neither is fully utilized, they both do well in their respective scenes. Money Plane is expectedly a pretty big mess, but it stays in the air. For a B-movie clocking in at under ninety minutes, audiences couldn’t ask for much more than this: a mindless, entertaining watch with a few great moments that show a greater sense of potential. Money Plane hits VOD on July 11. Rating: 3/5
Review by Sean Boelman
Tony Dean Smith’s Volition begins with what may be one of the cheesiest and on-the-nose introductory lines of any film in recent memory. However, thanks to a killer twist that comes at the end of the third act, this manages to be a surprisingly enjoyable blend of crime thriller and sci-fi.
The movie follows a man with clairvoyance who makes a desperate bid to change his future after having a vision of his own death. Ultimately, there is a lot more to this story than it may seem at first glance, especially once the film reveals its true secrets heading into act two. Although the script does rely on a solid amount of tropes, it pulls from several different subgenres of sci-fi to deliver a mostly challenging experience. At times, the movie can be a bit hard to follow, especially because the first act is essentially a giant red herring. However, once the viewer gets acclimated to the new direction in which the film is heading, it is easy to get wrapped up in its rhythm. The action comes in short, intense bursts, which is very effective. Admittedly, the movie doesn’t do much that is groundbreaking or particularly refreshing with its ideas, and the fact that so much of the dialogue is frustratingly direct certainly doesn’t help. Unfortunately, this will probably end up falling victim to the mountain of other films that deal with changing fate.
Still, the movie does a mostly good job of developing its characters. Sadly, the female lead has a lot of archetypal qualities, but the protagonist’s arc is unexpectedly compelling. Even though the growth he shows is rather predictable, it has a solid amount of emotional impact when it comes down to it.
Adrian Glynn McMorran does a solid job in his leading role, having a very charming leading man aura about him. He does struggle with a few of the line deliveries, especially in the first act, but his screen presence is very strong. John Cassini gives an over-the-top performance in his supporting role, but is a ton of fun to watch. Visually, the film is a bit aggravating, mostly due to the fact that it is trying to accommodate for the fact that it is a low-budget B-movie. The most disappointing sequences are those that incorporate the protagonist’s visions, as they are rather poorly-shot and gimmicky. When the movie is more grounded, it works much better. Volition gets off to a very rough start but eventually finds its way to be an enjoyable sci-fi thriller. If audiences go in with modest expectations, they will discover that this is a lot more fun than one would expect. Volition hits VOD on July 10. Rating: 3/5
Review by Sean Boelman
Though its title would almost suggest that it’s a new horror flick, Makoto Nagahisa’s ambitious directorial debut We Are Little Zombies is actually a crazy new dark comedy with a very distinctive voice. And despite the fact that it loses some of its steam heading into its final act, it ultimately sticks the landing to be a surprisingly touching watch.
The film follows four Japanese orphans who, after meeting at the crematorium where their respective parents’ funerals are being held, decide to form a rock band as a way to cope with their grief. This is far from an average indie band underdog story, though, as Nagahisa takes the tropes of the genre and deconstructs them in a way that is almost self-referential. Admittedly, one of the movie’s biggest weaknesses is that it is so hyperactive that it can almost be difficult to follow at times. There is a lot going on in any given moment, making this a film that demands multiple viewings to make sure that one catches everything that it has to offer. This segmented nature can be frustrating at times, but also lends it a great deal of energy. More energy is given to the movie by its vibrant and idiosyncratic visual style. Very obviously inspired by 8-bit video games, Nagahisa’s film is often bright and poppy, creating a stark juxtaposition with the undeniably dark subject matter that the story explores. Still, by creating this fantastic world, Nagahisa immerses the viewer in the emotion of the movie.
The script does a very good job of exploring these ideas in a way that is satisfying and sometimes hard-hitting. Yet even though it deals with issues that are traditionally “easy” targets for the heart strings of audiences, Nagahisa never falls back on the cheaper and more artificial methods of pulling on emotions.
There could have been more time spent with the other three bandmates, but the protagonist (who also narrates the film) is a very compelling character. Nagahisa’s take on youth feels entirely authentic and honest, selling even some of the more ridiculous and fantasy-based moments in the narrative. All four of the leads — Keita Ninomiya, Mondo Okumura, Satoshi Mizuno, and Sena Nakajima — are super charming. Although the songs may not be “good” in a traditional sense, they’re catchy, and the four give a hell of a performance. The stars also have great chemistry together, making the friendship elements of the story work quite well. We Are Little Zombies doesn’t quite hit all of its shots, but it works much more often than it doesn’t. For audiences looking for an uplifting and lively musical, Nagahisha’s movie will almost certainly scratch that itch. We Are Little Zombies hits theaters and virtual cinemas on July 10. A list of participating locations can be found here. Rating: 4/5
Review by Sean Boelman
Arguably one of the most disturbing movies in recent memory, if only because it so effectively channels the anxieties society is facing at the moment, Jeffrey A. Brown’s horror flick The Beach House offers a truly chilling hour-and-a-half. A must-see genre picture for the summer season, horror fans will delight in this weird but compelling watch.
The film follows two college lovers whose impromptu beach getaway gets interrupted by some unexpected guests who begin to exhibit signs of a mysterious ailment. It’s difficult to describe the story’s charm without spoiling the surprises it holds, but it’s an intriguing blend of body horror and cosmic fantasy. Admittedly, the first half of the movie is nowhere near as strong as the second, but it is essential for the overall arc to progress. The introduction is slow, with tension being relatively minimal for the entirety of the first act. However, the middle act crescendos to a final third that is absolutely exhilarating and unexpected. One of the weaker areas of the film is that it is a bit on-the-nose thematically. The dialogue, especially towards the beginning, is heavy in obvious symbolism. And while they are straightforward, Brown’s meditations on questions that involve a greater view of the world are relatively interesting.
The character development in the movie is somewhat lacking. Apart from the protagonist, the characters feel underdeveloped. Granted, given the fact that the film mostly functions as a throwback to old-school sci-fi, in which characters were often paper-thin, it’s almost excusable, but it doesn’t help the shallow messaging.
That said, the actors in the movie give some really solid performances. In the supporting cast, Jake Weber, Noah Le Gros, and Maryann Nagel are all fun, but it is lead actress Liana Liberato who runs the show here. It’s a performance that is very different from what is usual for the genre, and it helps the film stand out. The movie is also pretty amazing on a technical level. Although this is a low-budget indie flick, Brown is able to take advantage of his setting wonderfully (which is understandable given that he started his career as a location manager). This film is more ambitious than a lot of directorial debuts in the genre are, and these swings surprisingly pay off. It takes a lot of guts to release a movie like The Beach House in the middle of a global pandemic, but honestly, it’s the best publicity a filmmaker could hope for. And for audiences, this is a perfect reminder of why to stay the f*ck at home. The Beach House hits Shudder on July 9. Rating: 4/5 |
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