Review by Sean Boelman
The typical festival midnight movie is not what one would generally associate with the prestigious Festival de Cannes, and so it only makes sense that the Cannes midnight section is a different breed. Like a somehow more demented version of They Shoot Horses, Don’t They?, Jean-Christophe Meurisse’s Bloody Oranges is about as messed up as they come.
The film follows a group of people whose lives intersect around a rock dance competition. There is a lot more to the story than that, but its surprises are best left unspoiled. It’s a movie designed to intentionally shock, and it will undeniably leave some viewers feeling disgusted (for better or worse), but it’s definitely a very challenging film at the least. It does take a lot of time for the movie to get moving as all of the different pieces have to fall into place, but once they do around the one hour mark, the film is absolutely captivating from there. Most viewers will find the more graphic moments in the final act to be hard to swallow, but that’s clearly Meurisse’s point in presenting them. There is definitely some political commentary in the movie about corruption, and this is interesting, but this takes a back seat to the two other more shocking storylines. One, about how the economy exploits the lower class, is surprisingly sorrowful, and the other, about sexual assault, packs a brutal punch.
Perhaps the biggest issue with this film is that it doesn’t juggle all of its characters effectively. There is one storyline that is clearly dominant because it is the one that grabs the viewer’s attention most easily. This comes at the expense of the other, more subtle storylines that make up the plot.
The absolute highlight of the movie’s cast is Lilith Grasmug, who gives a performance that is absolutely energetic and angry. She commands the screen, particularly in the final act, which was undoubtedly the most challenging portion of her role. The rest of the cast, including Olivier Saladin, Lorella Cravotta, and Alexandre Steiger are all good, but this is very much Grasmug’s show. Meurisse very successfully captures the balance that he was trying to find between the grimier aspects of the film and the glossy visual style that the movie utilizes. While it may not seem like it at first, it’s a very deliberately-crafted film that has some really interesting things going on beneath the surface. Bloody Oranges certainly isn’t going to be for everyone, but its very aggressive approach to the midnight movie is going to find its audience. It’s certainly one of the most unique movies to debut on this year’s festival midnight circuit so far. Bloody Oranges screened at the Cannes Film Festival, which ran from July 7-17. Rating: 4/5
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Review by Sean Boelman
Anita Rocha da Silveira’s Medusa is one of those daring festival discoveries that will divide audiences that see it. Benefitting from a strong directorial vision and some exceptional commentary, this is a fascinating genre film that signals da Silveira as someone to keep an eye on in the future.
The movie follows a young woman who, along with her friends, goes out on the streets at night to punish “sinners” who do not hold up their ideal of the perfect woman. It’s a coming-of-age film under the guise of a surreal thriller, but da Silveira does a wonderful job of developing both sides of the story. What makes da Silveira’s movie so effective is the way in which she is able to lull viewers into this world. It’s a film that exists in a reality that feels slightly alternate to the one in which we live, although somehow it still reflects the real world in the scariest of ways. With this, the viewer will feel totally immersed for the entirety of the two hour runtime. There is a very pronounced visual style to the movie that feels very established given that this is only da Silveira’s sophomore feature. The use of color is absolutely brilliant and goes a long way in building the uncanny atmosphere on which the film is so dependent. And the way in which the more violent scenes are shot is absolutely breathtaking.
Obviously, the movie is very heavily topical in the way in which it addresses misogyny and the patriarchy. The film’s commentary on how society holds women to a double standard isn’t something that should have to be said, but it does anyway, and da Silveira does an excellent job of it. The commentary on religion isn’t quite as developed, but it’s still thought-provoking as well.
The character development in the movie is absolutely fascinating. Although the protagonist’s arc of breaking free from the bounds of a society that treats her poorly isn’t the most original, it is still very compelling. And there are plenty of memorable supporting characters, from her friends to the leaders of the community. Mari Oliveira’s performance in the leading role is quite strong. It’s fittingly mysterious in how it presents her, more emotional depth being added to her performance as the character changes over the course of the film. And in the supporting cast, there are some gloriously hammy players that fit right in. There are a lot of things that are impressive about Medusa, but perhaps the best thing about it is how unabashedly confident it is. Some viewers may be off-put even though this is one of the most exciting genre movies so far this year. Medusa screened at the Cannes Film Festival, which ran from July 7-17. Rating: 4/5
Review by Sean Boelman
One wouldn’t normally expect a film about a disillusioned rapper to be among the movies screening at the Festival de Cannes (even in the ACID sidebar), but there’s a lot more to Diego Ongaro’s Down with the King than that. Thanks to strong performances and surprisingly restrained writing, this is a very compelling watch.
The film follows a famous rapper who, tired of the spotlight, decides to take refuge in a small town with the goal of becoming a farmer. On paper, this sounds like it should be a fish-out-of-water comedy, but it’s far from it. This is a meditative and somewhat somber character study, and it’s all the better for it. Ultimately, the overall arc of the movie is somewhat predictable, if only because there are a lot of films with similar plots that end in a similar place. However, it is the approach that Ongaro and co-writer Xabi Molia takes that allows it to stand out as something distinctive. It’s a movie that is less about the destination and more about the spiritual journey that the character takes to get there. The things that the film has to say about fame aren’t anything particularly new, as the movie says many of the same things about how the attention can tend to be toxic. However, there is another level in the film about racism in small-town America, and this is arguably the more interesting aspect of the story.
One of the highlights of the movie is how complex its character development is. The first act of the film introduces us to all of these people, who seem somewhat conventional and archetypal at first glance but show their deeper layers over the course of the movie. This is particularly the case with the protagonist, who seems to have been written with the intention of busting stereotypes.
The lead performance from Freddie Gibbs is absolutely exceptional, especially given the fact that this is his first feature-length performance. Of course, there is probably an element of relatability and honesty to the character given his work as a rapper. The supporting cast is also strong, but largely functions to accent Gibbs’s performance. Ongaro’s directorial style is very subtle but does a lot to immerse us in this portion of small-town America. There are a few scenes that are hard to watch because of the way in which it depicts certain (very real) aspects of farming life, like the butchering of animals for meat, but other parts effectively show the beauty of the landscapes. Down with the King is an effective film, and even though the story does have a few conventional aspects, the patient approach serves it well. A strong combination of writing, directing, and acting allow this to be an affecting drama. Down with the King screened at the Cannes Film Festival, which ran from July 7-17. Rating: 4/5
Review by Sean Boelman
The kidnapping thriller is a particularly prevalent subgenre because the thought of being separated so violently from a loved one is unimaginable. Teodora Mihai’s La Civil, which screened in the Un Certain Regard section of the Festival de Cannes, is an entirely effective, if also straightforward, addition to the genre.
The film follows a mother who takes matters into her own hands after her teenage daughter is kidnapped and the authorities refuse to do anything about it. And while this sounds like a run-of-the-mill revenge thriller on paper, it shares more in common with a subtle drama than a movie like Taken. In the movie’s nearly two-and-a-half hour runtime, there isn’t much in the way of action, the film instead opting to build suspense through anticipation. Much of the movie’s anxiety will come from the way in which the film explores the more bureaucratic parts of dealing with a kidnapping. These may be less exciting than the action, but they are arguably even more frustrating. There is a lot to be read into here about the incompetencies of the Latin American police system, and that is where the movie thrives. Although the main antagonists here are obviously the people who kidnapped the protagonist’s daughter, the police who are so passive are the more insurmountable obstacle.
Audiences will immediately side with the protagonist because of what she is going through, but there isn’t a ton of depth to her beyond that. It’s not a character study, but it would have been nice to have more development to the character other than her (very strong) motivation to protect her family.
That said, actress Arcelia Ramírez makes the most out of her role and delivers a genuinely brilliant performance. The level of emotion she is able to milk out of the character sells everything that the film needs to work, making up for some of the shortcomings that it has in the writing department. Mihai attempts to utilize a visual style that is a mixture of quiet and grittier tendencies, and for the most part, it works. The directorial decisions are made to keep the viewer invested in the story for the entirety of its relatively long runtime, and it succeeds in doing so with only a few exceptions. La Civil does fall victim to a few conventional trappings, but for the most part, it’s a riveting kidnapping thriller. Great acting and solid writing allow this to be a great entry in an overstuffed genre. La Civil screened at the Cannes Film Festival, which ran from July 7-17. Rating: 4/5
Review by Sean Boelman
Winner of the screenplay prize at this year’s Semaine de la Critique at the Festival de Cannes, the gymnastics drama Olga promises to have something more bubbling beneath the surface. And while some of the attempts at political commentary hit really hard, it’s otherwise a pretty conventional (albeit well-done) sports film.
The film follows a young gymnast whose dream of competing at the Olympic level is threatened when the 2014 Ukranian Revolution breaks out. It’s a film that has the potential to be very important, but it gets too weighed down with the usual coming-of-age beats of the genre to make a huge impact. There is no doubt that the Ukranian Revolution was an important moment in history, and there are some moments which show the impact that it had on the citizens of Ukraine. However, the portion of the film following the protagonist’s journalist mother is more of an additional note to the plot than a fundamental part of it. Perhaps the issue with this is that the film tries to pull all of this off in a runtime that is under ninety minutes, and it struggles to do so. It’s clear that the political and sports elements are both supposed to build towards the protagonist’s identity crisis, but the connection between the two isn’t built in a way that is deep enough to be fully effective.
The protagonist is about as compelling of a character as one would expect from an underdog story like this. It is always easy to get behind a young athlete, even if they aren’t written in a way that is particularly original and unique. Her arc is the same type of arc we have seen in so many films before.
Anastasia Budiashikina gives a solid performance in her leading role, with a good deal of subtlety. The fact that this is her first turn in any film is very impressive, as she shows a great deal of talent and potential. The supporting cast doesn’t have any particularly noteworthy players, but this is because their arcs aren’t the most complex in their writing. The way in which director Elie Grappe shot the film is pretty impressive. The gymnastics sequences are well-shot in a way that creates a decent amount of investment in the training. Apart from these scenes, the film isn’t especially flashy, but that’s fitting given that the intention is for this to be more of a character piece. Olga doesn’t quite meet all of its ambitious goals, but it’s effective and enjoyable for what it is. Those looking for a solidly-crafted sports drama will be satisfied by this mostly well-done entry into the drama. Olga screened at the Cannes Film Festival, which ran from July 7-17. Rating: 3.5/5
Review by Sean Boelman
Val Kilmer is without a doubt a versatile and prolific actor, so it is only time that he gets a career retrospective documentary. Ting Poo and Leo Scott’s Val is a personal and touching film that will move both fans and those unfamiliar with his body of work, perhaps one of the most wonderful biographies to come out in recent memory.
The movie takes a look at the life and career of storied actor Val Kilmer, from his early stage work through his filmography and his recent battle with throat cancer. Kilmer’s accomplishments are undeniably impressive, but what makes this documentary so special is that it found a way for it to be told by Kilmer even though his ability to communicate has been so hindered by his health. A majority of the archive footage in the film was shot by Kilmer himself as a sort of video diary. This gives the movie a very candid touch that makes everything we see resonate so much more deeply. It genuinely feels like we are getting a glimpse behind the curtain into the actor’s life, which is something so many documentaries struggle to do. However, this is far from being a puff piece on Kilmer. Although the film clearly (and deservedly) praises his many accomplishments both on and off the screen, it presents Kilmer in a way that is very humbling. Especially when it starts to discuss his recent health issues, the movie hits a lot harder than most.
The other thing about the film’s execution that is really interesting is the narration read by Kilmer’s son Jack. It adds an unexpected layer of emotion to the movie that makes it unique. Viewers will come in expecting to be moved by Val Kilmer’s story, but the way in which the film was made itself is quite touching too.
The movie’s hour and fifty minute runtime goes by rather quickly as there is so much to discuss about Kilmer’s career. Poo and Scott touch upon the biggest moments of Kilmer’s career, from his first screen role in Top Secret! to his big break in Top Gun and of course his (short) stint as the Caped Crusader. Although the film presents itself as a celebration of Kilmer, it’s really a celebration of everyone and everything that made him who he was. It’s an ode to people working hard to achieve their dreams, and a reminder of how people can overcome even the hardest of adversity. This movie is lovingly optimistic in a way that so many people need to see right now. Val is an exceptional biography of its subject. It blends the expected and unexpected in a way that is both fresh and moving, resulting in a film that shouldn’t be missed by anyone who loves the movies. Val is now in theaters and hits Amazon Prime on August 6. Rating: 4.5/5
Review by Sean Boelman
Peter Sattler’s Broken Diamonds seems like a travesty waiting to happen: a dramedy about mental illness starring a hit-or-miss actor. However, if by some stroke of good luck or a perfect storm of the right talents coming together, it’s a surprisingly earnest film that gets enough laughs while warming the viewer’s heart.
The movie follows a writer who is ready to move to Paris when his father suddenly dies and he is stuck taking care of his unpredictable, mentally ill sister. There are a lot of things trying to happen here all at once, and somehow writer Steve Waverly manages to balance all of these storylines in a way that is mostly satisfying. Admittedly, the film does feel like it is a bit rushed. The timeline gets somewhat confusing as the characters run into different obstacles on their respective journeys. Waverly’s strategy seems to have been to focus on each character individually, one’s arc pausing as the other’s begins to ramp up and alternating throughout the movie, and it mostly works. The most effective moments in the film are those which explore the characters’ grief because these are the parts that feel the most honest and true-to-life. It can be hard to like both of them at times as they both exhibit some annoying characteristics, but their emotional experience is what will allow the audience to connect with them.
That said, the idea of using another character’s mental illness as a means of progressing the protagonist’s growth is questionable at best. Although the sister does have an arc of her own, it is not equal in development to that of her brother, and it’s ultimately subordinate in a way that can be problematic.
Ben Platt is doing his usual whiny schtick, and while there are some who are undeniably not going to be fans of this because they find him obnoxious, he does it well. The very talented Lola Kirke manages to give a mostly respectful performance, even if it does go a bit over the top at times. And in a small supporting role, Yvette Nicole Brown is just lovely. On a technical level, this has a lot of the trademarks of a quirky indie dramedy. There’s a quiet, bouncy soundtrack and score and cinematography that is pretty invisible, emphasizing the performances and script. It’s a very standard approach from director Peter Sattler, but it’s pretty charming nevertheless. Broken Diamonds is much more enjoyable and effective than one would ever expect it to be. Although it isn’t without its fair share of problems, a nice balance of humor and heart makes this a strong crowd-pleaser. Broken Diamonds is now in theaters and on VOD. Rating: 3.5/5
Review by Sean Boelman
With perhaps one of the most specific titles in documentary film history, Jeremy Elkin’s All the Streets Are Silent: The Convergence of Hip-Hop and Skateboarding (1987-1997) offers a very detailed look at this era of counterculture. Informative but extremely academic, this is a hard movie to recommend because of its nature, but it accomplishes exactly what it set out to do.
In the film, Elkin sets out to explore how hip-hop and skateboarding culture combined in Manhattan in the late 1980s and early 1990s to shape the time period in ways that we had never seen before or again. It’s interesting to see the intersection between these two related but seemingly different movements, although the level of specificity which it offers will limit the amount of people who see it. Clocking in at under an hour and a half in length, there’s obviously a lot of ground to be covered here in a short period of time. Ultimately, there was probably enough material to make for a muti-episode docuseries, but Elkin opted for a feature format, focusing on specific important moments that really defined this movement. Something interesting that Elkin does is that he makes the movie more about the movement as a whole rather than the people in it. Yes, we hear from and about some of the most important players in hip hop and skateboarding during this time, but this is more of an ode to the community that sprung up around this syncretism of these two worlds.
Ultimately, the film leaves something to be desired in both regards. The movie could have used a lot more skating footage, but instead spends more time on a discussion of skate culture. There’s a lot of talking and not much showing in this regard, but the film does a good job of educating the uninformed viewer about what living in this time was like.
The movie is perhaps more effective as a music documentary, but it is also a lot easier to pull that off, as the film has a soundtrack at its disposal. Viewers get to listen to the influence that this scene had on the evolution of music as it is discussed, and it’s something that is much more easily communicated, even to the untrained individual. Elkin had a wealth of archive footage at his disposal, and he does a great job of utilizing it to transport the audience back in time to the era in which the movie is set. Still, it’s not a nostalgia-heavy documentary, with the footage existing less for longing this time and more to capture this time for future generations. All the Streets Are Silent: The Convergence of Hip-Hop and Skateboarding (1987-1997) is not only a mouthful of a title, but also a brainful of a film. It’s an overwhelming documentary in many regards, and while it would have been nice to see a slightly less academic approach, it’s a good portrait of the generation it set out to capture. All the Streets Are Silent: The Convergence of Hip-Hop and Skateboarding (1987-1997) is now in theaters. Rating: 3.5/5
Review by Sean Boelman
It’s hardly unexpected that a partnership between one of the most reliable producers and one of the most frequent stars in the straight-to-VOD thriller market is trash, but Midnight in the Switchgrass isn’t entirely incompetent. Needlessly convoluted yet entirely predictable, Randall Emmett’s directorial debut is only impressive in how unimpressive it is.
The film follows an FBI agent and a Florida state policeman who team up to do an undercover sting investigating a string of murders, pitting them against a serial killer targeting women. It’s the type of crime thriller that entices viewers with a couple B-list stars and a generic story that is just different enough to hopefully earn the rental fee over the dozens of other options you have. Alan Horsnail’s script seems to think it’s pretty smart, but in reality, it’s a very simple story weighed down by layer upon layer of contrivances. Either the movie doesn’t trust the audience to come to their own conclusions, or it thinks that they are dumb enough to find any of these fundamental genre beats surprising, but either way, it’s nearly insulting. Perhaps the biggest shortcoming of the film is that it says nothing about the very real issue of human trafficking in Florida. To make a movie this shallow that utilizes that as a plot point is borderline offensive, and to add insult to injury, it’s not even particularly entertaining in its attempts to be gritty and edgy.
All of the characters are very blandly-written, with motivations that are about as surface-level as they come. The lead FBI agent owes so much to the scores of other, better crime films with female protagonists. Think Clarice Starling but without anything to make the character memorable, and that’s what you have here.
As is the case with so many movies that are seemingly made to fill the void of content rather than for genuine consumption, the cast feels as if it was assembled by an algorithm to attract as much money as possible with minimal effort. Megan Fox, Emile Hirsch, and especially Bruce Willis are all phoning in their performances, with Lukas Haas being the only character that puts in anything resembling effort. On a technical level, the film doesn’t look as cheap as a lot of its peers. This may be because of Emmett’s profound experience as a producer (he even worked on The Irishman, although he did not receive the Academy Award nomination without the p.g.a mark), but it isn’t atrociously dull to look at, which is certainly something that’s going for it. Midnight in the Switchgrass isn’t unwatchable, but it’s a movie that seems designed to meet the lowest common denominator in nearly every regard. Ultimately, you’ve probably seen plenty of films like this, and will undoubtedly see plenty more. Midnight in the Switchgrass is now in theaters and on VOD. Rating: 2.5/5 Reviewed by Adam Donato Old is an adaptation of a graphic novel called Sandcastle. Once again, M. Night Shyamalan tackles the suspense thriller genre in a way that nobody else can. Despite the mixed critical reception of Glass, it was an overwhelming success at the box office. Now with a prime release date in the heat of the summer, Old premieres against the lowly Snake Eyes spin-off and leftovers from Black Widow and Space Jam. Can M. Night reestablish himself as an event filmmaker? This movie tells the story of a family who goes on vacation to this beautiful beach resort and finds themselves trapped among others on a secluded beach that seems to have strange effects on their bodies. Suspicions arise when a dead body is discovered and the children start to age rapidly. Total chaos ensues as the gang tries to escape. An interesting concept that is ripe with potential. Mix that with some of M. Night’s mastery of suspense juxtaposed with his odd sense of humor, and it makes an edge-of-your-seat blockbuster. A good amount of the suspense comes from body horror as the group finds themselves at odds with their own changing bodies. It’s not gory, but it’s not easy to watch either. What’s scarier is the consequences that come with aging rapidly and the paranoia of the members themselves. The rapid aging adds a level of urgency that keeps the movie going at a fast clip. There’s a good amount of attention to detail as characters grow older and face difficulties that come with that. Not only is the film scary, but it also has a lot to say. The mystery of the movie is wrapped up in a satisfying manner that only strengthens the themes. These concepts are explored through external conflicts brought forth by each of the individual parties in the groups. Everything is deliberately placed and adds to the overall point of the movie.
One of the most important aspects that make this movie work is the performances. Having the aged children still speak like children strengthens the weight of their situation. One line that Shyamalan loves to toe in his movies is having characters that feel natural. He has a way of making characters talk that makes them seem so weird and jokes that border cringe. In a movie based on having characters react to strange things happening, this weirdness only adds to the uneasiness of the events in the story. Certainly, this is a film that is sure to stick with audiences. It's definitely something that takes time to marinate so one can dissect everything it’s trying to say. This is the type of movie that is prime for a rewatch, which won’t be hard because of its entertainment value. There’s laughs, suspense, and genuine heart here that makes Old not only one of the best movies of the summer, but also the year. Old hits theaters on July 23. Rating: 5/5 |
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