Review by Camden Ferrell
Dachra is Tunisia’s first venture into the horror genre. It has played numerous festivals since its premiere, including the Venice Film Festival. It is also the narrative feature debut of writer and director Abdelhamid Bouchnak. The movie does benefit from its consistently sinister ambiance, it feels far too derivative and sluggish to reliably frighten or entertain.
In this horror movie, three journalism students are working on their documentary assignment. They decide to interview a woman named Mongia, a deranged woman who could provide insight into the crime they’re investigating. They are then led to a secluded village where nothing is as it seems. It’s interesting enough as a premise and it draws from a lot of North African folklore, so it has the potential to be something truly unique. From the start, its writing isn’t bad, but it fails to do more than deliver superficial dialogue and exposition. Its interactions are passable, and the script lays a foundation for the film without doing much else. It’s not bad, but it’s far from skilled and worthy of its interesting premise. It borrows too much from other horror movies to ever be distinct in its style. As the first horror film from this country, it feels like more could have done to make it more unique and representative of that area and culture.
The movie prefers to be more subtle in its thrills, and while the bleak color palette and ambiance create a great environment for the characters, it ultimately falls flat. It isn’t explicit in its horror, but even the more suggestive moments of horror aren’t communicated or executed well most of the time. There is some great imagery and blocking throughout, but the final effect isn’t always as intended.
Bouchnak’s creative vision seems confident throughout. It’s meandering pace is by design, but it doesn’t do much to maintain interest through its slow pacing. The main actors try their best, and they do well with the material especially in the latter half of the film. However, they still don’t always compensate for the squandered potential in its writing and execution. Dachra is a noble narrative feature debut from Bouchnak, and it has a chilling atmosphere, but the thrills often fall flat, and it doesn’t do enough to stand apart from other horror movies. Despite its flaws, it does show some promise for its director, actors, and the future of Tunisian horror movies. Dachra is in theaters July 9. Rating: 3/5
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Review by Sean Boelman
The second of two nature documentaries about whale songs to come out this summer, The Loneliest Whale: The Search for 52 aspires to be something more elevated but fails to subvert expectations. Predictably pretty but otherwise mostly unimpressive, this documentary is good enough to be background noise and not much else.
The film explores the story of a whale who communicates through whale songs at a frequency of 52 Hertz which is not recognized by other whales. However, to present a look at this specific (and surprisingly compelling) case study, the movie must first give the audience an understanding of basic whale communication, and this crash course ends up taking over much of the runtime. There isn’t a whole lot of time to spare, with the film only clocking in at ninety minutes, which is what makes it disappointing that the movie spends so long on this more general information. Those with a particular interest in zoology might find the film’s discussion of the nuances of whale songs to be fascinating, but general viewers will likely find themselves disappointed by how little depth the movie goes into the more unique story of 52. Some of the most interesting parts of the film ask questions about how humans tend to interfere with and anthropomorphize the natural world. The title refers to the theory that 52 experiences a feeling of solitude due to the fact that he is unable to communicate with other members of his species, but the argument is made that we should not impose these human feelings on a wild animal.
Filmmaker Joshua Zeman manages to make something really compelling out of a story that doesn’t have a real human subject. This is almost ironic given the fact that many people in the movie criticize people’s tendency to treat these animals as more than they are, but it does result in an uncharacteristically deep connection.
The choices in people interviewed for the film are sometimes questionable. There are the obvious scientific experts who have dedicated their lives to researching whale songs and 52, but there are some interviewees that are a bit more unorthodox, including comedian Kate Micucci. While unique, these voices ultimately don’t add much to the movie’s point. Of course, the big reason why a lot of viewers will be trying to see this film will be to witness some breathtakingly gorgeous nature shots, and this movie delivers in this regard. The cinematography by Nelson Hume and Alan Jacobson is great and will make for some pleasing things to look at in the background as one does other things, which is what this film seems destined to be. The Loneliest Whale: The Search for 52 isn’t a groundbreaking nature documentary, but it is competent and solid for what it is. Those who consume this type of content regularly will be pleased, and most others will be left unimpressed. The Loneliest Whale: The Search for 52 hits theaters on July 9 and VOD on July 16. Rating: 3/5
Review by Camden Ferrell
Fear Street Part Two: 1978 is the second movie in the horror trilogy that is debuting on Netflix in successive weeks this July. Writer and director Leigh Janiak continues her work on this second installment. Even though it doesn’t live up to the quality of the first, this is still a mindlessly fun and gory slasher movie that pays homage to the films of that era.
After the events of the first film, our protagonists track down a paranoid and reclusive woman who tells her about the summer of 1978 and how it relates to the murders from the first movie. This is a movie that works very well as a stand-alone film, but it does a great job of connecting to the first film and its lore. This script was written by Zak Olkewicz and Janiak, and it doesn’t do anything too impressive, but it provides a reliable foundation for the story to unfold. It lacks the characterization and tender moments that made the first one so unique. However, this simplistic writing may actually work in the movie’s favor as it allows the viewer to focus more on the violence and fun nature of the film. The acting is sufficient from the entire cast. Both Sadie Sink (Stranger Things) and Emily Rudd do a good job playing sisters in this film. They each hold their own in their respective storylines, and even though it’s nothing particularly impressive, they provide some enjoyable personality to the film. The acting from the rest of the cast, mostly consisting of kids and teenagers, is also decent and contribute to the environment.
Like the first movie, this film makes good use of its R-rating. It features even better and more graphic kills than the first movie, and it would fit nicely into the subgenre of slasher films. It also features some strong sexual content and drug use, and it’s refreshing to see these movies take risks in order to create more mature and daring movies.
Once again, Janiak is able to pay homage to an era while still creating a movie that feels fresh and original. She has proven herself to be a consistent and confident talent in this genre, and it makes me especially hopeful for the series’ final film. She directs this movie with style, and it’s executed in a thrilling manner. Even though the script isn’t the most dynamic and engaging, the film maintains a steady pace and doesn’t hit any lulls. It is consistently entertaining, and it goes by fairly quickly. It’s a love letter to this era of horror films that will please genre enthusiasts and novices alike. Fear Street Part Two: 1978 may not be on par with the first, but it’s a thrilling and violent summer camp movie that will entertain audiences when it comes out. It’s a testament to Janiak’s ability as a director, and it will excite you for the final film in the series next week. Fear Street Part Two: 1978 is available on Netflix July 9. Rating: 4/5
Review by Sean Boelman
With the Emmy eligibility period closing at the end of May, the summer months typically aren’t known for the debut of high-quality television. However, audiences will be pleasantly surprised by Schmigadoon!, a brilliant and hilarious comedy series that is essentially a Pleasantville for musicals.
The series follows a bickering couple who find themselves trapped in a magical town in which the residents act like they are in a musical from the 1940s. It’s a pretty basic romantic comedy premise of two people struggling to understand true love, but set against the backdrop of a lovingly and intricately crafted parody of classic musicals. Consisting of six half-hour episodes, one would think that the premise would wear itself thin rather quickly, but it doesn’t. In fact, the end product almost feels too short and will leave viewers clamoring for more. Each episode contains at least one or two catchy showtune homages, and this great soundtrack keeps things moving. One of the things that the series could have done better is developing its themes with a bit more weight. The show does contrast how progressive the modern-day protagonists are against their old-timey setting, but the statements it has to make about these issues like misogyny and homophobia are very basic and straightforward.
However, the series makes up for that with some wonderfully diverse casting (and even a few witty lines acknowledging it), including Keegan Michael-Key, Cecily Strong, Alan Cumming, Ariana DeBose, and more. Cumming and DeBose are particular highlights, having both some of the best musical numbers and funniest moments in the entire show.
The series does a great job of taking these stock characters and challenging the stereotypes in a way that is consistently engaging. The central couple is compelling, but the real standouts here are the memorable supporting characters, like the zany Mayor (Cumming) or the staunch preacher’s wife (Kristen Chenoweth). Of course, the music in the series by Cinco Paul is absolutely wonderful and will make for a soundtrack album that can be played on repeat many times. Yet equally impressive is director Barry Sonnenfeld’s direction which brings the eponymous world to life in a way that is beautiful and entirely immersive. Schmigadoon! is without a doubt one of the greatest new television comedies to debut this year. Infectiously fun and undeniably creative, this new series seems destined to gain a devoted cult following. Schmigadoon! streams on Apple TV+ beginning July 16 with new episodes releasing subsequent Fridays. All six episodes reviewed. Rating: 5/5
Review by Sean Boelman
Making a documentary about an important issue virtually guarantees that it will be part of the discussion, but it also comes at the risk that it is covering material that has been explored before. The Price of Freedom struggles with that line, making some interesting points but also meandering through a lot of things that have already been said.
The film explores the history of the National Rifle Association and how the organization’s influence on politics became massively exaggerated. Viewers often hear a lot about how the NRA has its hands in all sorts of pies when it comes to gun control, but Judd Ehrlich’s movie pulls back the curtain on a lot of secrets that politicians would probably rather not have the general public know. Perhaps the biggest issue with the film is that it tries to do too much in its relatively short runtime. It’s clear that Ehrlich is attempting to link the history of the NRA with the stories of those who have been tragically affected by gun violence, but the result feels way too busy and like it wasn’t able to explore any of these ideas with enough depth. There are some really good interviews in the movie, but Ehrlich’s mistake is that he doesn’t find a good enough angle for his story. Ultimately, the audience needs a perspective that they can identify with, and Ehrlich’s film features so many voices coming from different sources (even if they are mostly in agreement) that it is difficult to find one.
As a movie advocating for stricter gun control laws, it’s pretty middling. There have been films that have had a much greater emotional impact in regards to this issue, which would have made the point ring true. A lot of the incidents discussed in the movie are higher-profile cases of gun violence which have already been well documented by the media and other films.
However, the movie is much more effective as an angering portrait of how the American government has deceived its people. It’s obvious that there are a lot of shady goings on in Washington, but interviews with politicians and activists show how this organization that is seemingly insignificant on paper became such a formidable foe for progress. The presentation is very methodical, seemingly because this film’s purpose is less about being seen by consumers and more about making its point. For better or worse, Ehrlich would seemingly be happier with one audience member walking away enlightened than a bunch of viewers seeing the movie and being unmoved. The Price of Freedom isn’t the stirring call to action that it obviously hoped to be, but there is enough good here to make it a solid entry point for those who are yet to be informed on the issue. Its overstuffed nature is what is going to drag it down. The Price of Freedom hits theaters on July 7. Rating: 3/5
Review by Camden Ferrell
In between blockbuster franchises, Chris Pratt now stars in The Tomorrow War, an original sci-fi action movie. It is the live-action directorial debut of Chris McKay who most recently directed The Lego Batman Movie. While it’s a unique premise that delivers on occasional action-packed thrills, this movie can also be bogged down by its bland writing and daunting runtime.
Dan is an ex-military family man who works as a high school biology teacher. One day, people from thirty years in the future arrive to inform Earth of the forthcoming catastrophic war against aliens. Dan is one of many who are recruited to go to the future to fight these powerful threats. It’s a cool premise that has lots of potential for sci-fi thrills and action, and it also benefits from the originality of its premise. From the start, Zach Dean’s script doesn’t do much to set this film apart from other action blockbusters. It lazily delivers exposition and cliched dialogue, and while it serves its most basic purpose, it mostly feels like a buffer until the action begins. It doesn’t do much to explain the logistics of this world, but luckily the film is more preoccupied with mindlessly entertaining its audience. Chris Pratt leads the film as Dan, and he plays a very similar character to previous roles. He is a strong, noble, and funny action hero, and he surprisingly pulls that character off pretty well after all these years. He’s not great or revelatory, but he carries the film with the same charisma as his other franchises. Unfortunately, the supporting cast is severely misused or underused. Sam Richardson, who is a talented and funny actor, is ignored for most of this film and doesn’t get his due diligence. The movie also features Yvonne Strahovski, and while she gets ample screen time, she doesn’t always have the best material to work with.
The movie does a great job at crafting its aliens. The design is creative and really interesting and quickly prove to the audience that they are a formidable foe for our protagonists. I believe it could have benefit from more close-range attacks and fights with them, but the action we’re presented is still very good. McKay executes many of these action scenes well. They’re exciting and fast-paced, and they are the film’s saving grace.
Even though the PG-13 rating can hinder its potential for violence, the movie still manages to pull off some gruesome scenes and kills that will please viewers. In addition to the scenes with the aliens, there are a handful of really cool sequences and shots that are quite exhilarating. The movie has a hard time maintaining the quality of its entertainment, but it still has its moments to shine. The biggest flaw with this film is its length, clocking in at nearly 140 minutes. The movie truly feels too self-indulgent, and it’s final forty minutes were mostly unnecessary to satisfyingly conclude its story. The pacing is rather inconsistent, and it really distracts from the things that were working in the movie’s favor. The Tomorrow War benefits from its original premise and its action, but it’s writing, length, and misused actor bring it down throughout. Despite its flaws, it’s a fun movie that proves McKay has a promising future in this genre. The Tomorrow War is available on Amazon Prime July 2. Rating: 3/5
Review by Sarah Williams
Sex positivity is all too often centered back to male pleasure. With frank discussions on intimacy and kink often centered on heterosexual structures, films like Kamikaze Hearts, Bloodsisters, and the films of experimental film pioneers document a queer liberated desire, specifically lesbian community, long before Hollywood acknowledged us. Receiving a rerelease from Kino Lorber, Michelle Handelman's bitingly funny documentary about the San Francisco leatherdyke community comes best served at a time where eroticism has been made absent from mainstream cinema. Bloodsisters has a dykes to the front agenda, proclaiming itself to be an A-Z guide to leather, lesbians, and left radicals.
Sadomasochism here is less about personal fantasy, and more a power structure created to build its own society. Domination is used to build trust: BDSM becomes a learning experience for the subjects. They build their communication with each other, and learn to set boundaries. It's a language of physicality, a societal vulgarity that feels truly liberatory in the guide Handelman's camera constructs. In places, the subjects indicate that it's less the fist inside of them or the whip, less the sensation itself than the trust and adrenaline rush that brings them to it. The key to this power play is how different it feels from some heteronormative kink seen today. They are clear that death should never be a risk, that this is pleasurable BECAUSE of consent, and that the danger in this is acknowledged, and given a reminder to check in with your partner. The film is also incredibly quotable. "I'm butch but I primarily identify as a faggot, I'm very effeminate," one dyke says, "You're like a prep school butch," another responds. The refreshment here is the frankness of the language. Crass language, open sexual discussion, and terminology exclusive to this community is on full display, and the comfort the subjects have in this discussion is commendable. The deep dive allows so many voices to chime in their experiences, and there's a sense of camaraderie with the filmmaking team.
An important distinction made by a few of the documentary's participants is how they wish to be labelled as dykes, not lesbians, asking for an identifier ever further from being socially acceptable. This community is about subversion — it is about looking palatable respectability politics in the eye and saying if you don't want me for what I built to survive under you, you do not get me at all. The line "fist fuck the system" defines what these leather dykes believe. They believe in queer liberation without censorship, that it is better to find freedom in each other than respect in society. Of course, there are limits, in that this is a group that is mainly white lesbians.
Bloodsisters is a rarity because it calls out the dangers of kink without communication, and it makes it clear there are two halves to this equation. Even in all the playful fisting jokes, there are clear conversations about sexual power, and equality. Rarer still is how the film is a celebration of lesbian masculinity, dominant femmes and whiny butches, social roles and dykes refusing male pleasure. 77 minutes in the leatherdyke gives us more butches than the mainstream film industry has in twenty years. This is the kind of film we need to have a return to conversation. Not kink at pride discourse, not sex scenes in cinema discourse, but a clear, open discussion on healthy sex positivity free from a patriarchal structure. Bloodsisters is now available on VOD. Rating: 4.5/5 |
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