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Review by Sean Boelman
Photo Credit: Alois Maillet.
After hitting a certain age, most action stars reach a pbase in their career where they are predominantly making self-referential action comedies, and Jean-Claude Van Damme has already been there for a while now. His new film, The Last Mercenary, is fun enough when it doesn’t take itself too seriously, although the plot is frustratingly derivative.
The movie tells the story of a retired secret agent who must return to France when a case of mistaken identity results in his son being pursued by the government and dangerous criminals. It’s the type of convoluted espionage plot that only exists to set up some action sequences and comedic situations, and it succeeds in both of those regards. However, with the film clocking in at an hour and fifty minutes after credits, the movie is just too long. Everything that isn’t an action sequence or comedy bit drags by, and for some reason, the writers felt the need to incorporate a lot of exposition, as if a majority of viewers would even care if the plot for a Van Damme action-comedy is remotely sensible. It’s a shame, because a lot of the action sequences here are genuinely enjoyable to watch. A scene early on in the film which introduces us to JCVD’s character and his unique skill set shows the potential this has as a throwback. And a comedic car chase is one of the best of its type in recent memory. 
Photo Credit: Alois Maillet.
Director David Charhon shoots the movie in a way that is somewhat haphazard. Although the action choreography is strong and the stunt performers are solid, the camera is positioned in a way that makes it obviously look fake. And like a majority of modern action films, the editing is extremely aggressive.
Something that would have helped this movie to be a bit more memorable would have been more distinctive characters. Van Damme is playing a role that is poking fun at the characters that put him in the spotlight to begin with, but he’s done that type of thing before. And all of the supporting characters are basically straight archetypes. As expected, Van Damme does a lot of the heavy lifting for the cast here. After all, this is an action movie starring him that is a throwback to the type of films that made him, so it’s only fitting that everyone else in the movie works around him. That said, the chemistry he has with Samir Decazza, who plays his son, is notable. The Last Mercenary is a pretty decent action-comedy, but it would have been a lot better had some of the fluff been cut. Still, for those looking for mindless entertainment, this Jean-Claude Van Damme vehicle delivers. The Last Mercenary is now streaming on Netflix. Rating: 3/5
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Review by Sean Boelman
Jake Johnson as Leif in the comedy, RIDE THE EAGLE, a DECAL release. Photo courtesy of DECAL.
Although Jake Johnson is perhaps primarily known for his goofier roles, he has shown on more than one occasion that he has the talent to pull off more complex characters. Trent O’Donnell’s Ride the Eagle gives him a chance to flex his dramatic muscles in a quaint but effective dramedy.
The film follows a slacker who is accidentally propelled on a mission of self-discovery when his estranged mother leaves him a conditional inheritance, demanding that he complete a series of tasks before getting it. And although this may sound like a high-concept comedy set-up rife with over-the-top hijinks, it’s actually the foundation of a compelling (if not too subtle) character study. Clocking in at a brisk sub-ninety-minute runtime, the movie goes by quite nicely. The narrative is essentially a series of interactions that the protagonist has with a plethora of zany supporting characters. Some of these moments end up being hilarious, and others do a great job of being endearing. What the script, written by O’Donnell and Johnson, has to say about grief is hardly anything new, and there is also an element of forgiveness to the film that is pretty moving, although it too lacks originality. Still, the somewhat insightful observations that the movie offers allow it to connect with viewers. 
Jake Johnson as Leif in the comedy, RIDE THE EAGLE, a DECAL release. Photo courtesy of DECAL.
Admittedly, the protagonist’s arc is somewhat underwhelming in that it is almost entirely predictable and generic. However, like so many great dramedies like this, the film’s supporting characters are great. O’Donnell and Johnson take these archetypes and build upon them in a way that is interesting.
Of course, a lot of this has to do with the talent of the cast. Jake Johnson is definitely good in his role, but it is everyone else who really shines. Susan Sarandon, D’Arcy Carden, and J.K. Simmons are all excellent as the people who the protagonist encounters along his journey to acceptance. O’Donnell could have done more with his movie given the rustic, woodsy setting, but the simple approach here works. A majority of the film is composed of back-and-forth scenes between two actors, and the editing does a good job of accentuating the natural rhythm in these sharply-written dialogues. Ride the Eagle is about as charming as one can expect from an indie dramedy such as this. A strong cast and lean and crisp writing make it a solid watch even though it isn’t the most original movie in the genre. Ride the Eagle is now in theaters and on VOD. Rating: 4/5
Review by Sean Boelman
A woman with her child in Syria’s Al-Hol camp, the most dangerous camp in the Middle East. As seen in Sabaya, directed by Hogir Hirori. Image courtesy of MTV Documentary Films.
Hogir Hirori’s documentary Sabaya is one of those documentaries that deals with such an important issue that its power is inherent, even if its approach is flawed. Perhaps a tad opportunist in its approach to this issue, this is nonetheless required viewing due to the urgency of this discussion.
The film follows a group of men and women who put their lives at risk by traveling into dangerous refugee camps in the Middle East and freeing women being held by ISIS as sex slaves. A lot of stories are told about the military forces involved in the war on terror, but few are seen about everyday people like this doing extraordinary things to fight back, and that makes this movie distinctive. Sex trafficking is obviously a horrifying issue, and Hirori dials into that feeling to create a documentary that is altogether harrowing. The level of anxiety that viewers will have watching this film is through the roof, as the audience is worrying both for the subjects of the movie and the people they are rescuing. However, there is something to be said about taking a thriller approach to this story. Obviously, the stakes are as high as possible here, and the subjects are racing against the clock to save these women’s lives, but presenting it in a way that feels like popcorn entertainment to viewers is at least a little ethically questionable. 
A group of women and girls are rounded up in order to find one of the Sabaya (sex slaves) held by ISIS in Syria’s Al-Hol camp, the most dangerous camp in the Middle East. As seen in Sabaya, directed by Hogir Hirori. Image courtesy of MTV Documentary Films.
That said, the film still does a great job of putting most of its effort where it needs to be. This is a story of heroism and selflessness, of people who risk everything to help those who are unable to help themselves. As a result, even though the movie is undeniably dark, there is a hopeful tinge to it that allows it to stand out from a lot of other anti-terrorism documentaries.
Of course, it is also worth noting that there are a lot of limitations that come with this type of film in order to preserve the safety of these people who are already in extreme danger, and Hirori does his best to get around these. The movie easily gets the viewer to root for these heroes despite the fact that they can’t be developed with many identifying details. Much of the footage in the film is done in a run-and-gun format, which makes sense given the extremely frantic nature of the story. This also helps build suspense in a way that is extremely effective, heightening the tension even more than it already was. It can get to be a bit overwhelming at times, but it’s often for the best. Sabaya will leave the canny viewer asking some questions about what they have just been presented with, but it achieves all of its goals. It’s an all-around affecting documentary, and that’s what will let it connect with audiences. Sabaya is now in theaters. Rating: 3.5/5
Review by Sean Boelman
(L-R) JUAN DE MARCOS GONZÁLEZ as “Andres” and LIN-MANUEL MIRANDA as "Vivo". Credit: ©2021 SPAI. All Rights Reserved.
2021 truly is the year of Lin-Manuel Miranda, as the cinematic adaptation of his Broadway musical In the Heights was released to great acclaim, and that is only his first of four projects coming out this year. Next on the slate is Vivo, an animated musical from Sony Pictures Animation, and while it can be a bit too conventional at times, it’s an altogether charming family film.
The movie follows a musically talented kinkajou (also known as a “honey bear”) who travels from Cuba to Miami to deliver a love song to the love of his owner’s life. First and foremost, this is a love letter to Cuban musicians, and the level of respect that the film has for this culture is absolutely exceptional. Miranda’s eponymous tropical mammal is a surprisingly wonderful protagonist. Feeling like much more than an attempt to sell stuffed toys (although don’t be surprised to see honey bear plushies popping up on store shelves regardless), the movie gives the character a very compelling and emotional arc while, of course, doubling down on the adorable factor. Miranda’s performance in the leading role is just as strong as one would expect given his past body of work. However, it is the supporting cast that steals the spotlight. Newcomer Ynairaly Simo threatens to steal Miranda’s thunder on more than one occasion, and there is an absolutely show-stopping turn from Gloria Estefan. 
The opening musical number is absolutely spectacular, offering some of the most magical moments that any kids’ movie has had in a very long time. Unfortunately, the remaining hour of the film isn’t as breathtaking, as it’s a pretty by-the-numbers (albeit infectiously energetic) animated adventure.
It will not be surprising to viewers that the soundtrack is full of Miranda’s usual Latin and hip-hop-inspired songs, and they’re definitely very catchy. However, there is no denying that a lot of Miranda’s work is starting to sound similar to each other, and especially in a year where he is putting out so much content, he’s going to need to start messing with the formula a bit. There is a lot of visual energy in the animation, and that will help keep audiences — especially younger ones — invested in the story, even during its more generic portions. There are a few musical sequences that are right on the edge of going overboard, but for the most part, it’s all good fun. Vivo is definitely a very good animated movie to check out with the family this Spring. Although the film borrows a lot from stories we already know, strong execution all-around makes this extremely enjoyable. Vivo hits Netflix on August 6. Rating: 4/5
Review by Dan Skip Allen
Recently, there have been more and more reboots, reimaginings, sequels, and rehashes of the classics. It has become an epidemic in the film industry over the last twenty or so years. Filmmakers and studios can't seem to develop new properties, and even when they do actually make something new and interesting, they are quick to pump out another very similar or a sequel. Sadly, Twist is another film in the former category.
Like the Academy Award-winning film from 1968, Oliver Oliver, Twist is based on the classic literary character Oliver Twist from Charles Dickens. In that film, Bill Sykes was played by screen legend Oliver Reed, but in Twist, the character is a woman played by world-renowned actress Lena Headey. This is another twist, pun intended, on the film. Like the '68 film, Oliver, known in this film primarily as Twist, is taken in by a ragtag group of thieves led by Fagan (Academy Award-winner Michael Caine). Twist is a modern retelling of this story. It has all the modern touches to it as well, such as using technology to do the thieving. Caine's Fagan enlists his young pupils into stealing a prized painting from an art dealer he has a history with. The main characters Twist (Rafferty Law), The Artful Dodger (Rita Ora), Red (Sophie Simnett), and Batsey (Fran Drameh) are the crew that is the focus of the film. They embrace the newcomer. The antagonist does not though and uses him as a means to an end to hurt another member of the crew. Twist uses a lot of common tropes from previous heist movies such as the Ocean's franchise and others to get to the crux of this story. At its heart, it's a story of acceptance and companionship between this group of misfits. They even make a point to say they have to eat together to be part of a family. That's the main focus of the dynamic between this group. They really bond together as a unit in the film. That is what makes this film work despite its obvious homage to other films. 
Michael Caine added some gravitas to this film. He is the elder statesman in a cast filled with relative newcomers aside from Headey. He brings his usually fun-loving demeanor to this role. His being here is a cue for the director, Martin Owen. Owen needed someone of Caine's status in this film. Seeing his name in the credits will help get people to see this film. He's a big enough draw, especially in Great Britain, Headey's a good draw as well.
There is a little bit of a romance in the film and that will draw in the female audience. The two leads, Law and Simnett, have good chemistry with one another. I was drawn to their relationship as much as anything else in the film. They were smartly paired together. The two are relative newcomers and they didn't show their youthfulness as far as acting goes. They seemed like sealed pros. They anchored the film very well. It was a very good element in a film with a lot going on in it. Overall this was an entertaining rehash of this classic character and story. The acting was solid from all the relative newcomers and veterans like Caine and Headey. The director and writers seemed like they had a good grasp on the material and it showed in the end product. Even though we as the public are inundated with reboots, rehashes, sequels, and reimaginings it doesn't mean they can't be good. This one proves that. It's a solid film all the way around. Twist hits VOD on July 30. Rating: 3.5/5 |