Review by Sean Boelman
It’s a well-known fact that (most) kids like to do stupid stuff, particularly when that stupid stuff is also somewhat dangerous, and the now-notorious Action Park was a refuge for those kids for nearly two decades before it closed. Seth Porges and Chris Charles Scott’s insanely entertaining but also surprisingly touching documentary Class Action Park takes a deep dive into the amusement park’s wild history.
The film takes a look at the literally deadly water park that was Action Park through the eyes of the people that worked there and the people who have memories of attending it. Now that Action Park has become such a legendary piece of pop culture, even having inspired a very mediocre Johnny Knoxville movie, it’s interesting to see just how crazy this place was in real-life. One of the things that has allowed Action Park to live on so long in history is the nostalgia that people feel for it. Even though these rides are the very definition of unsafe, former park-goers still look back on their summer vacations there with a sense of glee and bewilderment, unable to figure out the cause of its unique charms but knowing them to be true. Without a doubt, the best interviews in the movie come from those who are reminiscing about their favorite rides in the park. Comedian Chris Gethard is featured rather prominently in the film, having numerous hilarious anecdotes to tell about his experiences at Action Park as a kid. It is these very funny stories that make the movie so enjoyable to watch.
More than anything else, the film is an ode to the freedom of childhood. Yes, there are rules in the world, but sometimes it’s fun to break those rules, even if it comes at the expense of getting some bumps and bruises. As those who were able to “survive” Action Park would tell you, there’s been nothing quite like it before or since.
However, like Action Park itself, there is a second side to this story, and Porges and Scott don’t shy away from it. There is a significant tonal shift heading into the third act of the movie away from an energetic exploration of an unchecked amusement park to an exposé of the dark underpinnings of corporate America at the time. It’s a lot deeper and more hard-hitting than one would expect. Porges and Scott also bring a very dynamic visual style to the film. There is some pretty extensive use of archive materials in the movie, some of which can make the viewer feel like they are actually at Action Park. Additionally, some animated sequences are used to depict the absurdity of the designs, and they are absolutely hilarious. Class Action Park is a great documentary regardless of whether or not you have the nostalgia for its subject. Frequently funny and occasionally heartbreaking, the amount of love that was poured into this film is obvious. Class Action Park streams on HBO Max beginning August 27. Rating: 4.5/5
0 Comments
Review by Sean Boelman
It’s never easy to talk about some of the more difficult issues facing society, and it’s rarely fun, but filmmakers still make these urgent films because it is important to have these conversations. Flavio Alves’s new movie The Garden Left Behind may be a bit rough around the edges, but it deals with subject matter that hasn’t been addressed this effectively in film to this point.
The movie tells the story of an undocumented trans immigrant trying to make her way through her life in New York City, dealing with transphobia and racism from all around her. Blending elements of a slice-of-life character study with subtle and nuanced melodrama, the film draws the viewer in and then breaks their heart. For much of the first hour, the viewer follows the protagonist as she travels through the streets of the city, interacting with various figures in her life. However, there comes a climax that is sudden and unexpected, delivering a crushing blow to the viewer. While the abruptness of the movie could be off-putting to some, it really highlights the urgency of the situation. With their film, Alves and his co-writer John Rotondo explore just how scary discrimination and violence against trans people truly are. It is truly saddening that this is still an issue, and even more frustrating that society attempts to turn a blind eye to it, but if creators follow the lead set by Alves, there could be some major change in the world.
The area in which the movie does fall flat is in a subplot involving another character that crosses paths with the protagonist multiple times. Although the threads ultimately come together to a satisfying conclusion, it still takes up far too much of the runtime that could have been better spent exploring more of the protagonist’s experiences.
Carlie Guevara gives a phenomenal performance filled with empathy and humanity in the lead role. The recent shift in offering trans roles to trans performers (as opposed to cis actors in drag) has allowed the discovery of some phenomenal talents, and Guevara should certainly be added to this list. The film also features some pretty strong turns in the supporting cast. The most recognizable names are Ed Asner and Michael Madsen, both of whom have small but interesting parts. More memorable, though, is Miriam Cruz, who gives a wonderfully vulnerable performance as the protagonist’s grandmother. The Garden Left Behind is a worthy watch if only because of the difficult subject matter it tackles with grace, but the excellent performances are what will make it stand out even more. As an indie, it may be hard for this to get the eyes it deserves, but hopefully audiences will recognize this movie’s importance. The Garden Left Behind hits virtual cinemas on August 28 followed by a VOD release on September 8. Rating: 4/5
Review by Sean Boelman
While they aren’t necessarily mutually exclusive, faith-based films and a high level of production quality traditionally don’t go hand-in-hand. But every once in a while, there comes along a feature-length exercise in moralizing that actually looks and feels like an A-list movie, and Marco Pontecorvo’s Fatima impresses in that regard.
Inspired by true events, the movie tells the story of three young Portugese children who claim to have been visited by the Virgin Mary, angering both the Church and the government. Obviously, there are some historical liberties taken in this retelling of the Miracle of the Sun, as the characters speak English in 1917 Portugal, but the film does feel mostly sincere. Ultimately, the message here is an inspiring one, to not back down on one’s faith despite the opposition one may face. And while the events depicted in the movie are solely of Christian interest, it isn’t particularly evangelical, and the overall moral still rings true no matter what beliefs one may practice. The film does suffer from a bloated runtime. Much of the target audience will likely already know where this story ends, so the forced melodrama leading up to the climax is unnecessarily prolonged. While the story of the three young shepherds is compelling, it simply feels like the conflict is stretched out.
Additionally, the movie has too many characters and doesn’t set the right focus. Rather than simply telling the story of the three children, the film’s writers also attempt to depict the community that surrounds them. As a result, a lot of the audience’s emotional connection to the lead characters is lost.
That said, the cast does a really good job in their roles. Stephanie Gil is surprisingly good as the main one of the three young shepherds. It’s a demanding role for such a young performer, and yet she and her two co-stars, Alejandra Howard and Jorge Lamelas, hold their own. Also notable are Harvey Keitel and Sônia Braga, both of whom are solid but underused. The movie looks great too, which is part of what will help it connect with audiences. The production design and cinematography do an excellent job of periodizing the film. While there are a couple CGI-dependent sequences that don’t look the greatest, they are few in number and brief in length and aren’t too distracting as a result. Fatima actually isn’t bad, especially for a faith-based movie. It’s not particularly extraordinary, but for audiences in need of uplifting and hopeful content, this will satisfy that desire and may even impress on top of that. Fatima hits theaters and VOD on August 28. Rating: 3/5
Review by Sean Boelman
The survival thriller is one of the most simple genres there is because it dials into a universal and basic instinct. However, if a film fails to add anything to this established formula, it can end up feeling derivative and bland, as is the case with Brendan Walsh’s decent but straightforward Centigrade.
The movie follows a couple who, after pulling off on the side of the road to avoid a blizzard, find themselves trapped in their car under layers of snow. Granted, there is a rather large subset of viewers that likely won’t identify with the fear in this immediate set of circumstances, the threat of freezing to death is certainly pretty scary. That said, the film is so derivative of other, more effective movies about getting trapped in the cold, and even repetitive upon itself that it ends up being somewhat annoying. And somehow, each time a new element is added to the equation, it becomes even more frustrating than it was before. What could have elevated this beyond standard thriller status would have been some more substantial character work. And while the first act of the movie does explore the relationship between the two characters to a certain extent, this is largely abandoned in favor of delivering more blind thrills for the remainder of the hour and a half runtime.
And while the genre often serves as a cautionary tale to dissuade against some sin committed against the natural world, and here, it feels like nothing more than a giant case of these people getting caught in the wrong place at the wrong time. As a result, there’s simply no arc and little character development to be found.
Perhaps the most fatal mistake made by the film, though, is the fact that it doesn’t utilize its confined location effectively. Instead of restricting the camera movement, the movie tries to be creative with the angles from which the film was shot, thereby creating an illusion that the car is much bigger than it actually is. That said, Vincent Piazza and Genesis Rodriguez do a very good job in the movie. The first half largely stays afloat thanks to their chemistry, as that, rather than the subpar character development, is what keeps us invested in their story. But as the central relationship deteriorates and the characters go on their own paths, the film no longer has their connection as a crutch. Centigrade attempts to milk thrills out of a by-the-book set-up and an intriguing premise, yet fails to deliver much of anything resembling excitement. It’s watchable, largely thanks to its stars, but there are far more entertaining examples of the genre to watch. Centigrade hits VOD on August 28. Rating: 2.5/5 [Fantasia 2020] FEELS GOOD MAN -- An Unexpectedly Honest Depictions of the Challenges of Art8/24/2020
Review by Sean Boelman
While it is, on the surface, a documentary about a meme, Arthur Jones’s film Feels Good Man is so much more than that. Offering a personal and honest glimpse inside the artistic process of a creator whose work was taken from him in an unexpected way, this doc is equal parts entertaining and heartbreaking.
The movie follows comic artist Matt Furie as his character Pepe the Frog is taken and repurposed to be a symbol of hate, sending him on a quest to reclaim the image and restore it to his original intentions. This story is absolutely crazy, and while it is likely that those viewers who are in the know will already be familiar with the extent of the downfall of Furie’s creation, it’s unlikely that they’ll know his side of the story. Perhaps the film’s biggest success is that it develops Furie as this tragic figure whose creation is stolen from him. It is many artists’ worst fear to have their work stolen, hence why there are so many protections in place, but the copyright situation in relation to Pepe the Frog is far from black-and-white (and is explored in the movie). The thing that makes Furie so sympathetic is his hopeful personality. As he comes to recognize the disturbing ways in which the images originated by him are being used by abusive and hurtful communities, his desire to help not just himself (because of the personal and financial loss he will experience), but those who were hurt indirectly by them, is admirable.
There’s a definite political edge to the film, particularly as it begins to discuss some of the more notable misuses of Furie’s artwork, such as the use of Pepe in an image by notorious online personality Alex Jones, and neither Furie nor the filmmakers pull any punches. The movie very effectively addresses how this issue has become more than just a dispute over art.
The third aspect of this story isn’t explored with as much depth, and it leaves a lot to be desired. In addition to the reappropriation of Pepe as a symbol, Furie’s artwork birthed a complex cryptocurrency system, and an interview with someone who trades in these “Rare Pepes” is interesting, but hardly explores the deeper issues surrounding this process. Stylistically, there is a lot of energy to Jones’s film. In addition to fly-on-the-wall footage, interviews, and archive materials pulled from the internet, the movie features some very impressive animation starring Pepe the Frog. Used to communicate both emotional and story beats, these sequences are what will allow the film to stick with viewers. Feels Good Man definitely isn’t what audiences will expect from the “Pepe the Frog” movie. Excellently-crafted and telling an undeniably unique story, this is one of the most intriguing documentaries of the year to date. Feels Good Man screens on demand (geoblocked to Canada) as a part of the virtual edition of the 2020 Fantasia Film Festival, which runs August 20-September 2. Rating: 4/5
Review by Sean Boelman
The best horror anthologies are not those that try their hardest to be as wild and out there as possible — they are the ones that recall the days of classic horror with concepts that don’t have quite enough substance for a feature but are still spooky enough to be worth the time. Ryan Spindell’s enormously fun The Mortuary Collection fits that bill perfectly.
The film is framed as a series of stories being told by a mortician to a new employee about the bizarre deaths he has come across. As is the case with most anthology movies, there’s an “unexpected” twist and the framing device turns into a segment of its own. And in that regard, it does fall a bit short because there are more questions than answers to be had. Not unexpectedly, the four tales work to varying degrees of success, and the first (and shortest) is likely the most polished. Following a pickpocket that gets her comeuppance in an unexpected way, this is the most simple of the segments, but the lean narrative and suspenseful build up lend themselves to what is perhaps the best scare that the movie has to offer. The second story, a parable about safe sex, is both the most entertaining and authentic offering of the film. The foundations of the horror genre are as a way to scare people out of committing acts deemed immoral by society. Relatively self-contained, this tongue-in-cheek horror comedy is a ton of fun to watch.
Perhaps the least effective of the stories comes third, as it stretches on for too long and can’t decide on a particular style. Starting out as a psychological thriller and morphing into something altogether less satisfying, this story of a husband struggling with his catatonic wife isn’t particularly scary, but it does feature the gnarliest images in the movie.
Still, Spindell is able to bring it home nicely with a finale that is an entertaining riff on genre tropes. Turning the babysitter cliche on its head, this is both the scariest and most compelling of Spindell’s creations. It ultimately feels a bit rushed, but at over an hour and forty-five minutes in length, Spindell would have had to cut down one of the other bits to lengthen this one. Holding the whole thing together is a devilishly good performance from Clancy Brown as the storytelling mortician. In rather heavy prosthetics that make him hard to recognize at first, his distinctive voice is conducive to a role that, in the classics, could have very well been filled by the great Vincent Price. Apart from one portion that falls a bit flat, The Mortuary Collection is a really solid anthology horror flick. Fans of short-form spooky content certainly won’t want to miss this one, as it offers some fun, old-school thrills. The Mortuary Collection screens on demand (geoblocked to Canada) as a part of the virtual edition of the 2020 Fantasia Film Festival, which runs August 20-September 2. Rating: 3.5/5
Review by Sean Boelman
An interesting portrait of a once-respected figure falling from grace, The Blech Effect is a surprisingly affecting documentary. And while the film does perhaps suffer from trying to juggle a few too many themes, filmmaker David Greenwald has created a sad but important cautionary tale.
The movie tells the story of David Blech who, after being one of the earliest and most influential inventors in the biotech industry, struggles with mental illness and gambling addiction, leaving him in a situation where he is facing prison time. Blech isn’t super charismatic, and his actions are pretty consistently frustrating. Yet he is still a sympathetic subject nevertheless. Blech’s story is akin to that of a classic tragic hero. It is his own flaws that drag him down, and while he has the will and desire to conquer his issues, they often prove to be too insurmountable of a challenge for him to face alone. It’s heartbreaking to see this man trying to improve himself yet fail because of his circumstances. Films about addiction often address the more hot button issue of drug addiction, but Blech’s story serves as an important reminder of how other forms of addiction can be just as harmful. And despite Blech’s claims to the contrary, it’s not just the addict who is affected, it’s everyone around him as well.
Perhaps the most affecting portion of the movie is that which explores Blech’s family life. In addition to his own struggles, Blech has to worry about his son who is on the autism spectrum. This familial drama provides much of the stakes for the main conflict of the film, and it creates a greater emotional investment.
The area in which the narrative falls flat is in its discussion of Blech’s contributions to biotech. While it is understandable that the movie wants to focus on his personal life, a greater understanding of his professional accomplishments beyond blind praise would have been beneficial to the film’s impact. Greenwald’s approach to tell the story is a mostly traditional fly-on-the-wall technique, but the frequently prolonged scenes really draw the viewer into the subject’s world. There is also an animated courtroom sequence, set to audio taken from the trial, which is one of the most cinematic moments in the movie. A bit messy at times, but mostly very good, David Greenwald’s documentary The Blech Effect tells the story of a tragic figure you’ve probably never heard of. However, in making his experiences relatable to the common person, it’s a very compelling watch. The Blech Effect hits VOD on August 25. Rating: 4/5
Review by Sean Boelman
Although the vampire movie has provided some of the greatest classics of the horror genre, there has been a significant shortage of flicks using the monster in modern cinema. Although Frank Sabatella’s The Shed hardly seems worthy of even cult classic status, it’s plenty fun enough to be worth a late-night watch.
The film follows a high school student who discovers that a bloodthirsty vampire has taken refuge from the sun in his shed, attracting the attention of his bullied best-friend who is seeking revenge on his tormentors. With a script requiring few locations and is based largely on the unseen, this screams low-budget, but Sabatella’s handling of the material makes it entertaining. The first two acts are pretty excellent, building suspense in a natural and exciting way with a few bursts of brutality to keep tantalizing the viewer. Unfortunately, the movie does fall apart heading into a finale that is rushed and anticlimactic, with a climax that runs opposite to everything that Sabatella has established for most of the narrative. A majority of the film has a fun but campy action-horror vibe to it. It’s not particularly scary, and it’s definitely not a horror-comedy, but there’s enough of a tongue-in-cheek approach to the more melodramatic elements of the storyline that it’s consistently enjoyable in a campy B-movie sort of way.
The area in which the movie falls flat significantly is its character development. The protagonist is given a backstory as the troubled kid trying to redeem himself and stay on the good side of the law, a cliche that is so common that it has very little emotional impact. A forced romantic subplot doesn’t help very much either.
Admittedly, the acting is very over-the-top across the board, but it’s fitting given the schlocky nature of the film as a whole. The most recognizable face in the cast is probably character actress Siobhan Fallon Hogan, who plays the Sheriff character in a ridiculous but fun way. The rest of the cast is made up mostly of up-and-comers, some of whom show potential to do well in the genre. Perhaps the most impressive aspect of this movie is its visual style. The effects in the film are creepy and reminiscent of old-school drive-in movies in the best way possible. And with the minimalistic but brilliant set design for the eponymous shed, shot in a way that makes it look intimidatingly massive, Sabatella creates a lot of suspense. Even though the characters could have used a bit more work, The Shed is a lot more fun to watch than most other movies featuring bloodsucking antagonists. It’s some satisfyingly mindless popcorn horror. The Shed streams on Shudder beginning August 27. Rating: 3/5
Review by Sean Boelman
The summer love narrative is a common one in film, but what makes Jonás Trueba’s take on the genre, The August Virgin, stand out is the way in which it blends these tropes with a slice-of-life structure. Slow-moving but compelling and visually beautiful, this movie is a perfect example of elegant simplicity.
The film follows a young woman who, in search of a fresh start, decides to stay in her hometown of Madrid for the summer when many of the locals leave. There really isn’t much of a firm plot here, the script by Trueba and co-writer/star Itsaso Arana mostly taking the form of a series of interactions and events that happen in the character’s life. That said, the character arc in the movie is strong. The film is all about embracing oneself and letting go. It’s interesting to watch how the character grows more comfortable in her own skin through these interactions that initially seem random but quickly reveal the greater meaning that they entail. Yet despite the fact that these individual moments are each packed with meaning, many of them almost start to blend together. Yes, there are a few that are especially memorable, but too significant a significant portion of the movie is built around mundanities for anything but the overall message to stick.
This definitely isn’t a widely accessible film because of how it meanders through its setting. It’s a contemplative movie that takes plenty of time to allow its themes to build upon themselves. Part of what makes this film so intriguing is that each person who watches it will likely connect with a different aspect of the character’s experience, and as a result, gain something unique from the story.
Arana’s performance as the lead is phenomenal. Unfortunately, there aren’t any supporting players with parts that are large enough to be significant, but Arana has a screen presence that is plenty strong enough to carry the movie. She obviously has a connection to the material, and it shows in her understated approach to the role. Visually, Trueba’s film is exquisite, and this is likely what will make most viewers appreciate it. There isn’t a single shot that isn’t absolutely gorgeous thanks to some superb cinematography by Santiago Racaj. This is definitely one of those movies where looking at it is almost as (if not more) satisfying than the story itself. Despite a narrative that doesn’t have a whole lot of forward motion, Jonás Trueba’s The August Virgin is still a dynamic film thanks to how pretty it looks. There will be some for whom this is too slow for their tastes, but those who appreciate its merits will love it. The August Virgin is now streaming online in partnership with indie theaters. A list of participating locations can be found here. Rating: 4/5
Review by Sean Boelman
There is an old adage that good things come to those who wait, and that couldn’t be more true than it is in the film industry, which requires a great deal of patience. The sophomore feature of filmmaker Mona Zandi Haqiqi, coming thirteen years after her debut, African Violet is a very understated movie, though it works as an interesting character study.
The film follows a middle-aged woman who, after finding out that her ex-husband has been placed in a retirement home by their children, decides to bring him into her home to her new husband’s dismay. Although this may sound like the plot of a soap opera, writer Hamidreza Bababeygi doesn’t get too caught up in the melodrama of the situation. In fact, there isn’t a great deal of external conflict in the ninety-odd minute runtime of the movie. While it would have been an easy out for the film to get caught up in the potential love triangle at the center of the story, Bababeygi instead focuses on some of the ideas that have more impact on real-world society. Perhaps the most interesting angle by which to take the movie is as a deconstruction of the patriarchal society in Iran. The two male characters seem to value masculinity above everything else, but it’s interesting to see how, through each other, they are able to subvert some of the expectations put on them as a man in their culture.
The other interesting aspect of the film is the idea of loyalty. Although the protagonist is loyal to her current husband, she still feels a sense of obligation to her former partner who is the father of her children. With this, the movie provides a more nuanced exploration of relationships than the love triangle ever could.
Of course, the film owes a great deal of its success to the subtle performances of its cast. Fatemah Motamed-Aria does an excellent job in her leading role, giving a very grounded performance despite the sometimes theatrical nature of the material. Saeed Aghakhani and Reza Babak both complement her well. Haqiqi also brings a lively and elegant visual style to the movie. The pacing of the script is admittedly slow, but the vibrancy of the colors gives it a much-needed feeling of vitality. Cinematographer Farhad Saba’s work here is minimalistic but effective given the low-key nature of the film as a whole. African Violet is just a lovely little movie. Although it certainly doesn’t have the most exciting of narratives, the sophisticated character study and refined visuals it offers make it a compelling watch nevertheless. African Violet is now streaming online in partnership with indie theaters. Virtual tickets can be purchased here. Rating: 3.5/5 |
Archives
May 2024
Authors
All
|