Review by Sean Boelman
A television show based on a character created for a series of commercial spots shouldn’t have been good, but the Jason Sudekis-starring comedy Ted Lasso captured the world by storm. This second season doubles down on both the humor and the endearing moments to deliver a very consistent continuation of the beloved series.
The new episodes follow football coach Ted Lasso as he coaches AFC Richmond after they were relegated after the end of their last season. However, the focus here is much less on Lasso becoming a better coach, as it had been initially, and more on the dynamic between the players, coaching staff, and other people in their lives. This series has always felt very stuffed for a half-hour comedy, and that becomes even more the case in this second season which increases the amount of investment we have in the side characters. However, the series manages to juggle all of these different moving parts with ease, creating an even greater emotional impact. One of the best things about this new season is that it really explores some of the players on the team with a bit more depth. A lot of the fan-favorite characters from the series get much more to do here than they did before, and the result is something that is definitely more complex, and somehow also even more crowd-pleasing.
Of course, the ensemble is one of the best in any comedy series on air right now. Jason Sudekis is just as funny as he was before as the eponymous coach, but he doubles down on the endearing moments this time around. Brett Goldstein also gets even more of a chance to shine in these new episodes.
Part of what made the first season so successful is that it dealt with some deeper themes in a way that feels both earnest and heartfelt. Although this season doesn’t seem to be as hard-hitting, it is far from trite, especially when it comes to Roy Kent’s storyline, which explores how he copes with retirement. The series is also as impressive as before on a technical level. The football scenes are impressively-shot, creating a good amount of excitement. Like a lot of comedy series, this isn’t the most stylish in its presentation, but it’s competent all-around and has a strong grasp of comedic timing. This new season of Ted Lasso offers more of the same great blend of comedy and drama that fans loved about the series. It’s a perfect expansion of all the great seeds planted in the first ten episodes. Ted Lasso streams on Apple TV+ beginning July 23, with subsequent episodes streaming Fridays. Eight out of twelve episodes reviewed. Rating: 4.5/5
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Review by Camden Ferrell
Alvin Ailey was a choreographer who was a titan in his time. Aside from his work as a dance and activist, he founded the world-class Alvin Ailey American Dance Theater. Director Jamila Wignot’s new documentary, appropriately titled Ailey, examines his life and career. This film premiered at the 2021 Sundance Film Festival. The documentary has an interesting visual style and execution, but it can often lack substance especially for those who aren’t knowledgeable about Ailey’s career.
Ailey was born in Texas in 1931, and this documentary briefly details his upbringing. Wignot’s storytelling abilities start off very strong. She utilizes archive footage to capture the essence of his rearing despite the absence of actual primary sources from his childhood. What proves to be a skillful and promising start soon diminishes as we explore his career. One of my main qualms with the film is how its meditative nature often substitutes style for substance. We don’t get a coherent progression of his career, and it seems to skip over integral parts of his story. This isn’t inherently a problem, but it’s a problem for viewers like me who are not familiar with Ailey’s work. As much as the slower and more visually driven footage is interesting, it doesn’t have nearly the same effect without a strong narrative underlying the film.
The talking heads from members of the dance company and those who knew Ailey are decent. They supplement the narrative as well as they can, but it still feels like there’s blanks in the story that could have been fleshed out more. Ailey’s death in 1989 means that he wasn’t able to give any modern interviews for the film, but the archival footage does a sufficient job of conveying his spirit and personality.
Despite the odd pacing and narrative shortcomings, the film does occasionally make up for it with strong execution. The archival footage is great, and Wignot has a great eye. There are one or two powerfully edited sequences accompanied by gorgeous music that flourish and elevate the film. Unfortunately, this level of artistry is far from consistent. The documentary has a fascinating and multi-faceted subject and some proven talent executing it, but as a whole, it doesn’t feel as comprehensive or insightful as it could have been. Fans of Ailey’s work may be pleased with Ailey and its meditative artistry, but for those unfamiliar with him, this isn’t the most helpful introduction to his career. The film has all the ingredients for a great documentary, but aside from a select few moments, the potential is left mostly untapped. Ailey will be in theaters in NY on July 23, in LA on July 30, and more theaters nationwide on August 6. Rating: 3/5
Review by Camden Ferrell
Fear Street Part Three: 1666 completes the trilogy of horror films that have been released on Netflix each Friday this month. Leigh Janiak once again writes and directs this final installment. By a small margin, this is the best movie in the trilogy that uses its period setting to create a truly eerie and atmospheric cinematic experience that ties up the overarching story neatly.
Now that we have seen the horrific events of 1994 and 1978, it is now time to go back to the beginning. Picking up right from the cliffhanger of the second film, we are transported to 1666 as we learn the story of Sarah Fier and how the curse of Shadyside started. This premise is interesting, and it is elevated by some smart narrative choices and execution. Written by Phil Graziadei, Kate Trefry, and Janiak, this is a strong script. It isn’t anything miraculous, but it does a great job of building suspense and further developing the lore of the town through this 17th century setting. The old timey dialect doesn’t feel forced or cheesy, and it surprisingly fits well amongst the other movies. It is by far their most ambitious and distinct, but it still very much feels like part of a set. This serialized nature always makes the movie feel consequential and significant as a result. The cast, made up of new actors as well as those from previous films, does a great job adapting to the new time period. Kiana Madeira does a great job leading this film, captivating the screen with immense talent, and playing well to a large range of scenes. While the entire cast is strong, McCabe Slye’s over-the-top performance as a paranoid and aggressive villager makes a sizeable impression despite his brief screen time.
By far and away, this film is the least gory of the series. It substitutes its fast-paced, bloody kills with slower, more deliberate, and disturbing crimes. While the shock factor is lower, there are some genuinely haunting moments with graceful execution and horrific imagery. Janiak changes her entire approach to executing horror, and it works very well.
In addition to the chilling moments of horror, there is also a very tense and eerie ambiance to the film. It truly commits to the period with its bleak palette and sinister atmosphere. It is a far more mature film than the ones that came before it. While those were paying homage to the fun slasher films of their era, this movie pays tribute to other horror films set in this era, especially those that deal with witch hunts. There is also some strong albeit familiar themes of hysteria and paranoia present in the movie. The setting and historical context of this movie sets these themes up well, and the film executes them in an engaging manner. Much like the first film, it also has an LGBT angle that is seamlessly incorporated into the larger story. It also satisfyingly ties up the story of Shadyside without rushing its story or giving too much away too soon. Fear Street Part Three: 1666 is the best film in the series and solidifies the series as an overall success in my books. Janiak has proven how talented and versatile she is as a filmmaker, and I’m ecstatic to see what she does in the future. It features a great story, an ominous setting, and plenty of tension and horror to keep you on your toes. Fear Street Part Three: 1666 is available on Netflix July 16. Rating: 4/5
Review by Sean Boelman
The core appeal of the French thriller Mama Weed is the opportunity to get to see esteemed actress Isabelle Huppert go wild in a much less serious role than usual, but it doesn’t even deliver in that regard. Average but entirely generic, this film doesn’t live up to the level of potential it has.
The movie follows a police translator who finds herself drawn into the criminal underworld of drug dealing, using her unique insight to become successful. Although this may not be the usual pulpy dirty cop movie, it’s also a very generic Robin Hood story that doesn’t add anything interesting or new to the genre. Thankfully, the film moves along at a pretty decent pace, and isn’t especially long, but the overwhelming sense of familiarity doesn’t help keep the audience invested. A few exciting sequences sprinkled throughout aren’t enough to sustain a movie that should be campy fun but is instead dull and recycled tropes. However, the thing that makes most riffs on the Robin Hood arc so compelling is that we are rooting for their success in triumphing over an unjust system. We only get glimpses into the injustices of the Parisian police here. The script pulls most of its punches when it comes to its deeper commentary, leaving something to be desired.
The protagonist is charming enough, largely thanks to the leading performance of Huppert, but the growth she has to experience is so monotonous. It would be nice to watch Huppert do pretty much anything, but the role doesn’t give her the room to embrace her wild side that one would hope it would offer.
Another issue with the film is that the supporting characters aren’t especially memorable. There’s no exaggerated antagonist, no endearing sidekick that the audience can love — quite simply no one for the audience to have fun with. This is a movie that suffers from taking itself far too seriously. There are some nicely-done things in the film’s execution, but a competently-shot thriller is nothing without suspense in the script. Jean-Paul Salomé’s direction isn’t especially bad, yet it lacks a sense of visual style that could have helped elevate this beyond the dozens of other movies just like it. Mama Weed should be great because of its lead star alone, but even Isabelle Huppert is only able to do so much to save this sinking ship of a film. It’s not unwatchable by any means, although it is also hardly spectacular. Mama Weed hits theaters on July 16 and VOD on July 23. Rating: 3/5
Review by Sean Boelman
When Space Jam came out in 1996, it was a perfect storm of childhood nostalgia and one of the greatest athletes to ever live. Twenty-five years later, the sequel/reboot Space Jam: A New Legacy hopes to recapture that same lightning-in-a-bottle success, resulting in a generally funny adventure, even if it is an obvious bit of corporate synergy.
The film follows basketball player LeBron James, who must assemble a team of Looney Tunes characters to defeat a powerful artificial intelligence in a game of basketball. If the first movie’s premise of cartoon aliens from outer space trying to abduct Bugs Bunny and co. seemed ridiculous, this one about an evil algorithm running all of Warner Bros. endeavors is outright ludicrous. (At least it’s better than the actual evil CEO that ran Warner Bros. for years.) Perhaps the biggest issue with the film is that it is nearly two hours, and there is no good reason for it to be that long. The basketball game itself, which comes in the second half, stretches on for a bit too much, but the part that really drags is the beginning, introducing the audience to the “Warner Bros. ServerVerse”. From when James begins to assemble the Tune Squad, it starts to be pretty fun. Of course, the movie has the obligatory “be yourself” messaging that dominates films aimed at family audiences, but there is something interesting going on here about James’s journey as a father. The level of truth there is to this is questionable (the movie features a fictionalized son for James, not his actual children), but it comes across as mostly earnest.
The film makes the mistake of substituting the generally adorable villains of the original movie for a team of superpowered versions of real-life athletes. Damian Lillard, Anthony Davis, Nneka Ogwumike, Klay Thompson, and Diana Taurasi all give relatively forgettable cameos compared to those that were in the first film.
However, Don Cheadle’s big bad makes up for any disappointment that the rest of the antagonists face. Although the writing of the character is often less than stellar, Cheadle is hamming it up and clearly enjoying the role. It’s a performance that gets crazier as it goes on, and it’s a lot of fun to watch. Although the 3D animation of the Looney Tunes characters caused a lot of heat when the trailer was released, it’s not as distracting in the movie itself as one would think. Apart from some poor look-alikes in the backgrounds of shots to tease various WB properties, the film looks pretty solid, if overly busy. Space Jam: A New Legacy is far more fun than anyone ever expected it to be, though that doesn’t make it any less of a cash grab. It takes a bit of time to get moving, but once it does, it’s plenty enjoyable. Space Jam: A New Legacy hits theaters and HBO Max on July 16. Rating: 3.5/5
Review by Sean Boelman
Casanova is such a notorious womanizer that his name has become fundamentally associated with philandry, hence why it is so disappointing that Benoît Jacquot’s period romance Casanova, Last Love is hopelessly dull. Competently-shot and well-acted, but ploddingly-scripted, this will end up in the graveyard of would-be prestige pictures that don’t have much to offer.
The film follows Casanova, living in London after having been exiled from Paris, as he meets his true love that threatens to end his promiscuous ways. Occasionally passionate but never romantic, and full of sex but rarely steamy, Jacquot’s movie is (perhaps fittingly) full of excess that doesn’t amount to anything particularly fulfilling. The first twenty minutes show the promise of an interesting arc, challenging what we think we know about this stranger-than-fiction figure, only for the remainder of the film to become a straightforward historical romance. Thankfully, the movie mercifully clocks in under an hour and forty minutes, meaning that we aren’t subjected to too much of the monotony. Perhaps most frustrating is the fact that the character development is so shallow. The three writers had an opportunity to take this person whose story has become a uniquely interesting part of history and turn it into something unexpected, but instead, he becomes a stock character. And unsurprisingly, the female characters are even less well-developed.
Furthermore, the film doesn’t seem to take a stance on the protagonist, which will leave the audience needlessly confused. Is Casanova a tragic figure whose vice led him to struggle to find true love, or has he secretly been a romantic all along? Ultimately, it doesn’t matter, because the audience’s investment in the story ends early anyway.
Brilliant French actor Vincent Lindon gives yet another strong performance in a mediocre movie here, bringing anything that even resembles genuine emotion into the film. Stacy Martin shows a lot of potential in the role of the love interest, but the script gives her basically nothing to take advantage of her skills. The visuals of the movie are also rather notable. The costumes are elaborate (if exactly as expected), as is the production design. It’s a glossy period piece, but it’s about as shallow as they come. However, the benefit of the film looking good is that, even when it doesn’t have a whole lot that will keep the viewer’s interest in the story, it will at least catch their eye. Casanova, Last Love is an entirely inoffensive historical drama, but given the story of its protagonist, that is far from a compliment. Vincent Lindon’s performance is almost enough to recommend this otherwise unspectacular romance. Casanova, Last Love is now playing in theaters. Rating: 3/5
Review by Camden Ferrell
Gunpowder Milkshake is the newest movie from Israeli writer and director Navot Papushado. The film boasts an impressive cast and an action-packed premise. Unfortunately, even though the movie starts and ends strongly, it stumbles elsewhere in between and ultimately squanders its potential.
Sam is abandoned as a girl by her mother who is an assassin. Years later, she too grows up to become a cold-blooded assassin. One of her missions goes awry and spins out of control, and she go rogue, seeking help from her associates in order to protect a young girl who is caught in the middle of all the chaos. It’s a simple enough premise that has been done before. Even though it’s nothing new, there is a lot of potential for high octane action and fight choreography. One of the most jarring aspects of this film comes from its script, written by Ehud Lavski and Papushado. It starts out strongly with witty dialogue and cleverly paced scenes. These beginning moments seem to pay homage to the other films from this genre. However, the script slowly loses focus and utilizes a lot of dialogue that are more caricature than homage. It takes its premise and doesn’t do much to spice it up or make it unique. It is unevenly paced throughout, and it ultimately is one of the aspects working against this film.
The acting in the film is decent throughout, but the ensemble isn’t properly utilized. Karen Gillan leads the film as Sam, and she does it with a steadfast cold-blooded performance that is entertaining if nothing else. The movie was marketed as an ensemble film, but its talented cast is not as present as one would hope. Actors like Angela Bassett, Michelle Yeoh, and Carla Gugino are painfully underused, but they are strong and entertaining in their scenes.
Most of the action is tepid, and some of the set pieces and choreography feel a little dissonant. The fights are oddly paced, but even in the most underwhelming of scenes, there are always a handful of thrilling shots and moments. Even though a lot of the action doesn’t land properly, the final big fight sequence is genuinely exhilarating and exciting. If the other scenes were of the same caliber, this could have been a top-notch action film. The movie also has some interesting cinematography, wardrobe, and production design to give the film superficial personality even if it doesn’t mean much below the surface. Gunpowder Milkshake has its moments, but as a whole, it is underwhelming considering the amount of talent on and off screen. It doesn’t make the most of its cast and premise, and it doesn’t distinguish itself amongst assassin movies. There is already a sequel in development, and one can hope they expand more upon this world and properly utilize its wide array of characters. Gunpowder Milkshake is streaming on Netflix July 14. Rating: 3/5
Review by Sean Boelman
Nicolas Cage has become known for his absolutely unhinged B-movie performances, but he’s good for so much more than that. Michael Sarnoski’s film Pig has the premise of a B-movie but the restraint of an art house picture, making this an unexpectedly breezy and delightful addition to Cage’s filmography.
The movie follows a truffle hunter who must confront his past when his prized pig is kidnapped. It’s a film that’s very thin on story and heavy on atmosphere. There have been a lot of comparisons made to John Wick, and they’re understandable from a plot standpoint, but the movie being slow, meditative, and occasionally spiritual, it shares more in common with a Terence Malick film in almost every other regard. Audiences who come in expecting something action-packed will definitely be disappointed, as this is definitely much quieter than anything we have seen Cage do in recent years. However, that doesn’t mean that the movie isn’t enthralling, as viewers will be transported into the Portland restaurant scene, a unique and specific setting that works quite well. The script by Sarnoski and Vanessa Block does a good job of utilizing the quiet loner with a mysterious past archetype without making the character feel particularly derivative. However, the highlights of the film are largely the supporting characters, and while we don’t get much from them due to the short ninety-minute runtime, they are still quite memorable.
If the movie does struggle with something, it is that it doesn’t explore its themes especially well. The focus is ultimately on grief and coping with one’s past, but there have been plenty of other films to do this much more effectively in the past. Still, the movie has a surprisingly strong emotional resonance to it.
Cage’s performance is undoubtedly the best he has given in years. He shows a remarkable amount of patience and subtlety in the role, and the fact that there isn’t a ton of dialogue for him really plays into his strengths. In the supporting cast, both Alex Wolff and Adam Arkin give turns that are quite impressive. The film is just as restrained on a technical level as it is with its storytelling, and the result is understatedly beautiful. Cinematographer Patrick Scola makes some gorgeous images out of both the Oregonian wilderness and the food being cooked, resulting in a movie that is wonderfully pleasant to look at. Pig is far from what audiences will likely be expecting, but it’s all the better for it. It’s without a doubt the best picture that Nicolas Cage has put out in years, and will rank up there among his best work in his entire career. Pig hits theaters on July 16. Rating: 4/5
Review by Sean Boelman
Screenwriter Mike White has delivered some bonafide cult classics (School of Rock) and some commercial films that aren’t as good (The Emoji Movie), but even the latter films show potential. His newest work (which he also directs), the HBO miniseries The White Lotus, seems to be what his two-decade long career has been building to: a darkly funny and thoughtful satire with a great ensemble cast.
The series follows the employees and guests of a tropical resort over the span of a week as dream vacations begin to turn into nightmares. It’s a very sitcom-like set-up, but instead of the ridiculous antics that happen in that type of comedy, this series is firmly rooted in genuine emotion and thoughtful commentary on its issues. One of the issues with the series is that it is just too short. One would think that a six-episode miniseries would be adequate, with one episode roughly following each day of the vacation. However, since there are so many moving parts in the series and so many backstories to develop, some more time could have been beneficial. Perhaps the most impressive thing about the series is how all of the characters feel fully developed. For there to be so many characters that are uptight and upper-class, White does a great job of humanizing them despite their ill-informed ways, and it makes the series really compelling as a result.
White’s primary intent here seems to be to satirize the mindset of the uber-wealthy, and he does an excellent job of that. Some of the best moments are small one-off jokes that simply poke fun at some of the misconceptions of the upper class, and they are generally hilarious. Some of the harder-hitting stuff doesn’t hit as hard as it should, but the satire is still mostly successful.
The series also features an absolutely phenomenal cast. Steve Zahn and Connie Britton are both at their best in years, giving performances that are very nuanced. Jake Lacy and Alexandra Daddario are at their best ever, absolutely hilarious in their roles. However, the biggest highlight is Murray Bartlett, who is exceptional as the resort manager with his hands in all of these stories. On a technical level, the series is excellent thanks to its tropical setting. It’s gorgeous to look at, and the audience will feel transported into the world of this fictional resort. The overall visual style of the series captures the juxtaposition between the idyllic and the dark sense of humor quite well. The White Lotus is an excellent work of satire that manages to pull off a lot of really ambitious things. Its ensemble is one of the best of the year so far, and Mike White’s writing is as sharp as it has ever been. The White Lotus debuts on HBO on July 11 at 9pm ET/PT with subsequent episodes airing every Sunday. All six episodes reviewed. Rating: 4.5/5
Review by Sean Boelman
Right as preparations are underway for the Summer Olympics (albeit delayed by a year due to the COVID-19 pandemic), sports documentarian Julien Faraut has brought us a reminder of an important moment in Olympic history. Unorthodox and exciting, The Witches of the Orient is definitely one of the most interesting sports films in recent memory.
The movie tells the story of the 1964 Japanese Olympic volleyball team, who would go on to become the first gold medal winners in the history of the sport’s inclusion in the Games. Faraut treats this like the massively groundbreaking achievement that it is, focusing on how they got to the win rather than the simple fact that they did win, knowing the audience would rather not watch another underdog story for which the outcome is already written in the books of time. Perhaps the most interesting thing about Faraut’s style is how he is able to make the film so detailed and technical while still keeping it riveting at the same time. Most viewers probably won’t have too much of an interest in this level of specificity on how an Olympic volleyball game works, but Faraut’s approach keeps things exciting. However, Faraut does not fall back on a typical talking head/archive footage approach to tell this story, but rather something much more creative. Animated sequences in the style of action anime take the place of what would normally be the portions of the movie following the team training and practicing, and the result is something that is much more compelling than usual.
By the time the actual Olympic Games hit, the audience will be so hyped up from these energetic sequences that the actual footage of them playing has an impact even though we know what the results will be. The fact that Faraut was able to make sporting events from over half a decade ago feel thrilling is certainly impressive.
Faraut also has a fixation with spectation and sports, as can be seen in both this and his previous documentary (which was about John McEnroe). The film explores the relationship between the athlete, the camera, and the spectator, and the result is generally thought-provoking, even if the message can get lost in how busy the movie is. The thing that Faraut doesn’t succeed as much in is in connecting the audience with these subjects. In exploring the almost mythical status given to them, Faraut also nearly apotheosizes them, and because of this, a lot of the emotional beats in relation to their success just don’t land. The Witches of the Orient is a can’t-miss sports documentary, if only because of filmmaker Julien Faraut’s unique method of storytelling. It isn’t perfect, but Faraut has made an extremely memorable film in a characteristically overstuffed genre. The Witches of the Orient is now in theaters and hits virtual cinemas on July 16. Rating: 4.5/5 |
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