[Fantasia 2021] KAKEGURUI 2: ULTIMATE RUSSIAN ROULETTE -- A Fun Follow-Up with Raised Stakes8/19/2021
Review by Sean Boelman
The standalone Kakegurui live-action film, based on the manga, anime, and live-action TV show of the same name, was one of the highlights of the 2020 Fantasia Film Festival, and for the 2021 edition, fans can check out the sequel. Kakegurui 2: Ultimate Russian Roulette may not be as strong as a whole as its predecessor, but a thrilling final act makes it worth watching.
Set after the events of the first movie, the film follows hero Yumeko Jabami as she must resort to extreme methods and unexpected alliances to protect Hyakkaoh Academy from a hostile takeover. The tournament of the first movie might have made for a more exciting watch as a whole, but the higher stakes of this film, especially in the second half, result in some solid edge-of-your-seat tension. For the most part, the story is building to the two main action sequences. These two scenes (one of which takes up nearly the entire second hour of the movie) are absolutely exhilarating, even if they lack the creativity of some of the games from the first film. The result is a movie that feels action-packed even though there isn’t as much action as one would expect. The themes of this film are also very overt. It isn’t like the first movie was ever very subtle with its discussion of social stratification, but it’s even more on-the-nose in this case. However, this time around, the focus is more on the action, so it’s not that distracting to be pounded over the head with messages about class and wealth. When it comes to the pre-existing characters in the film, the characterization is entirely dependent on the viewer having connected with the first movie. And since there are so many players in that one, all but the most dedicated fans may have forgotten some of the nuances of the dynamic. On the other hand, the new antagonist that is introduced for this film is absolutely wonderful. Ryusei Fujii gives a performance that is wonderfully exaggerated, making the conflict all the more fun to watch. And his chemistry with the returning cast is excellent, allowing him to blend right in. Since this movie is a little simpler with the games that are being played, it doesn’t require the same level of creative and fast-paced editing. However, director Tsutomu Hanabusa still does a great job of making the viewer feel immersed in this unique high school environment through the cinematography and production design. Kakegurui 2: Ultimate Russian Roulette is a slight step down from the unexpected success of the first film, but it still offers a fun two hours. Fans will definitely be excited to see this story continue. Kakegurui 2: Ultimate Russian Roulette screened at the 2021 Fantasia Film Festival, which runs August 5-25. Rating: 3.5/5
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Review by Dan Skip Allen
There has been a long history of revenge thrillers in Hollywood, especially ones involving women who are seeking revenge on people who have done them, their family, or friends wrong. The Protégé is another film with a similar plot device. It's one of the better films with this type of storyline released in recent years.
Moody (Samuel L. Jackson) rescues a young girl from a Vietnam bloodbath. As an adult, Anna (Maggie Q) has to navigate various obstacles in her way to seek revenge for the death of Moody. Along the way, she gets involved with another hired killer, Rembrandt (Michael Keaton), and also enlists the help of a gang of bikers to help her in her quest led by Billy (Robert Patrick). There is more to her mentor's death than she realizes, though. She goes down a myriad of rabbit holes to discover the truth. A lot of actresses have done these types of acting roles in the past, from Angelina Jolie to Charlize Theron, but none of them were as better suited for this type of role as Maggie Q. She seems very at home with the action sequences as well as playing the part of an assassin disguised as a rare bookseller. Her childhood trauma and experience helped prepare her for what she has to do as an adult. Jackson's character helped assure that. In a world of spies and assassins, The Protégé is one of many very similar films. It has its charm and je ne sais quoi, though, like the things these assassins can afford to buy with money, such as rare guitars or cigars and such. This world these characters live in is pretty ritzy and filled with extravagances.
Despite the basic revenge plot, The Protégé has quite good character development and arks for all its main characters. The film gives everybody their fair share of screen time. The plot, meandering at times, was well thought out and serves its purpose, introducing these characters and their world — a world filled with shadowy people and darkness around every corner. This world was brought to life very realistically by Martin Cambell.
Martin Campbell hasn't had the best track record in his past. He has Green Lantern to show for that, but he has made his fair share of films with action scenes and spies and assassins. He has two Bond films and The Mask of Zorro to his credits. So he's no stranger to action thrillers. He worked with a lot of big-name actors as well, among them Mel Gibson, Daniel Craig, Antonio Banderas, and Ryan Reynolds. Maggie Q and company were in good hands with Campbell. For an August film, The Protégé is a perfect getaway for the parents or a date movie for a couple of teenagers wanting to get out of the house on a Friday or Saturday night. It's nothing we haven't seen before, but it also weaves an interesting story with fascinating characters. The action is first-rate. Martin Campbell may have found his groove again. Maggie Q might have found her jam in this female actioner. Directors will probably soon come calling on her in the future. The Protégé hits theaters on August 20. Rating: 3.5/5
Review by Sean Boelman
There have been plenty of high-profile duds that have come out of high-profile television filmmakers transitioning to a feature format, and the semi-ambitious sci-fi noir Reminiscence will join their ranks. A flat script and stuffy performances put what is a genuinely intriguing concept to waste.
Set in a future world where climate change has forced the world to become nocturnal, the film follows a man who specializes in helping people relive their memories when a woman from his past becomes entangled in a mystery. What it boils down to is essentially a mix between Total Recall and Chinatown, and it is nowhere near as intelligent as it thinks it is. The clearest issue with the movie is its pacing. The first twenty minutes are great, offering an interesting, if imperfect, introduction into this world. Then the rest of the film goes and turns into something much more derivative and less satisfying. There’s an entire sequence that serves merely to introduce a character who is reintroduced later on in a way that could have functioned well enough on its own. Perhaps the biggest missed opportunity here is that the movie didn’t do anything more to explore its environmentalist themes. This easily could have been a parable about how our actions and obsession with technology is detrimental to our world, but instead, it has a much less interesting message about living in the present.
At times, it can be somewhat hard to believe that this is written by a woman because of how shallowly-written the female characters are. Perhaps in an attempt to replicate the overwhelming male gaze in the noir genre, the female lead of the film is mysticized in a way that nears objectification. Thankfully, the sexualization of the character isn’t overboard, but her arc is largely subservient to that of the male protagonist.
Hugh Jackman’s performance in the movie is somewhat underwhelming, which is particularly disappointing given the fact that he has been putting out some of his best work ever in recent years. Rebecca Ferguson is much better in her role, as is Thandiwe Newton, although they are both given disappointingly little to do in the film despite their amount of screen time. The execution of the movie is also a bit of a mixed bag. Some of the world-building is magnificent and immersive, and then there are some shots that are clearly done with green screen and mediocre CGI water effects. And the score has some beautifully expressive moments followed by generic crime riffs. Reminiscence is a massive letdown, taking an intriguing premise and instead turning it into something that is derivative of so many other, better films. It’s definitely understandable why this swing-and-a-miss was stuck with an August release date. Reminiscence hits theaters and HBO Max on August 20. Rating: 2.5/5
Review by Camden Ferrell
In the Same Breath is a new documentary detailing the beginning of the COVID-19 pandemic and the Chinese and American response to the virus in early 2020. This is a topic that is timely and essential for our times. It is directed by Nanfu Wang who most recently directed the critically acclaimed film One Child Nation. This is a documentary that details the early days of the pandemic with some shocking footage and commentary.
This movie begins on January 1, 2020, in Wuhan, China. The news reports about the punishment of Chinese citizens spreading rumors of an unknown pneumonia. From there, Wang uses local cinematographers to document how the virus is affecting the Chinese population and how the government is responding to the threat. This is a narrative we’re all too familiar with, but Wang shockingly pulls back the curtain on what occurred in China in early 2020. The footage is captured well, and it’s a testament to their courage as we learn continuously of the Chinese government’s attempt to suppress footage. The footage gives us an inside look into the hospital and communities as the virus ravages its population. It’s shocking and quite horrifying at times, and it is a heavy watch after all this world has endured in this pandemic.
Wang once again proves she’s one of the most talented documentary filmmakers working today. It’s not only the footage captured that makes the movie great, but it’s how she crafts it into a compelling and all too powerful narrative. She is able to maintain pace fairly well throughout and she provides a lot of interviews and narration to fill in the narrative blanks.
COVID-19 media can be off-putting especially in this time, but this is essential viewing. It doesn’t exploit the tragedy of the pandemic; it feels wholly necessary especially in this time. It’s full of timely themes and warnings of what’s to come, and it’s a haunting reminder of how things could have gone differently in early 2020. In the Same Breath is a great documentary that confirms Wang’s talents as a filmmaker. If there’s only one COVID documentary you watch, this is a great candidate. It is a seething indictment of the Chinese (as well as American) response to the virus, and it’s even more horrifying to watch in the latter half of 2021. In the Same Breath is streaming on HBO August 18. Rating: 4/5
Review by Camden Ferrell
The Night House is a new psychological horror film that had its premiere at the 2020 Sundance Film Festival. It is directed by David Bruckner and is written by the writers of 2017’s Super Dark Times. The movie can be a bit of a slow burn at times, but it’s carried by the phenomenal leading performance from Rebecca Hall.
Beth is a woman who is grieving after the death of her husband. She passes her days in the lakeside home that her late husband built just for her. However, overcome by her nightmares, she begins to uncover secrets about her husband that lead her on a mysterious and troubling path. This is a simple premise that has lots of promise for horror and mystery. Written by Ben Collins and Luke Piotrowski, the script for this movie is justifiably minimal. Especially in the first act, this movie doesn’t have too much dialogue and gives room and liberty for its actors to perform. The little dialogue throughout does a decent job of being expositional without feeling forced. While the script is strong overall, a lot of the enjoyment of the movie comes from its performances. The supporting cast of the film is decent, but the undeniable standout of this film is the leading performance of Rebecca Hall. She plays the role of the grieving widow so well, and she navigates masterfully through many scenes, perfectly changing style and delivery as needed. Without her performance, it’s hard to say if the movie would work as well as it does.
I enjoyed how the movie didn’t utilize any jump scares to increase tension. It opts to use a more sinister nighttime atmosphere to thrill its audience. The cinematography and score are both also elements that elevate the thrill factor of the movie. It’s not scary as a whole, but it has some moments that are quite tense.
Bruckner’s direction is strong throughout. He excels in the moments of action and tension especially in the film’s final act. He even executes the slower moments fairly well, but unfortunately, there are some moments that are a little too slow for its own good. The slow burn is in the nature of the movie, and it works most of the time, but when it doesn’t work, it’s too noticeable. Despite the pacing problems with the movie, it does a great job of combining elements of horror and mystery in order to tell a story about one woman’s struggle with grief and closure. It has some pretty shocking twists and thrilling moments that make for an overall enjoyable theater experience. The Night House may not be groundbreaking, but it features a truly commendable leading turn from Rebecca Hall, and it has some spooky and scary moments. It has some problems with its execution at times, but for those willing to overlook it, they will be treated with a fun horror film. The Night House is in theaters August 20. Rating: 3.5/5
Review by Sean Boelman
There has been a long history of cult-favorite filmmakers creating some of their best work after a franchise project falls through, and while Demonic may not be a hit on the hands of Neill Blomkamp, it’s still a ton of fun. Less than satisfying as a horror movie but surprisingly cool for an action flick, this film is heavily driven by its cool ideas.
The movie tells the story of a young woman who realizes that there might be supernatural forces at play when she is suddenly drawn back into the life of her estranged comatose mother. There is no denying that the story is pretty dumb — it involves simulated reality and a band of militarized Vatican exorcists after all — but it’s just wacky enough to work. Ultimately, the first hour of the film is pretty much exposition drawing us into this world. And then there’s a “twist” (which isn’t really a twist, because the title gives away the true premise) that allows it to go off-the-wall. It turns from being an intriguing, if somewhat shallow psychological thriller into a bonkers B-movie action-horror extravaganza, and the pure ambition that Blomkamp brings to the table is entertaining. There are some interesting ideas in the first half about childhood trauma, but these don’t really pay off in the second half which is much faster-paced. The emotional resolution to the protagonist’s arc feels forced and sappy, and it seems out-of-place given the much darker nature of the rest of the film.
Something else that is missing in the movie is a deeper investment in its mythology. The main antagonist of the film is just a generic demon, and some more specificity in this regard definitely would have helped. The secondary antagonists are far more interesting and intriguing, but they aren’t given a whole lot of time in the spotlight.
The lead actress Carly Pope is solid in her role, although her turn admittedly isn’t that subtle. The chemistry she has with Nathalie Boltt, who plays her mother, is definitely noteworthy, though. In the supporting cast, Terry Chen and Michael J. Rogers both have a few really fun moments. Audiences will likely be divided by the visual style of the movie. Much like a majority of Blomkamp’s work, this is heavy on CGI effects, but they take a very different form than usual. There are a lot of volumetric capture sequences (the animation is reminiscent of A Scanner Darkly, in a way) that look really interesting but may distract some. Demonic is certainly a very messy film, even more so than the rest of Blomkamp’s filmography. However, there is something very charming about the heights for which the filmmaker is shooting, and the result is something that is a really cool watch. Demonic hits theaters on August 20 and VOD on August 27. Rating: 4/5
Review by Dan Skip Allen
We all probably have fond memories of watching the classic Disney animated film Snow White and the Seven Dwarfs when we were young. It's the first of its kind. Disney would later trademark the princess theme in their movies for decades to come. This isn't that, though. It's a French live-action film that takes this classic story to the next level. A level I never thought I would see from this legendary fairytale.
Claire (Lou de Laâge) is a maid toiling away at her stepmother's (Isabelle Huppert, Elle) house. She finds out Claire is having an affair with her husband and she arranges for her to be kidnapped and sent off to the French countryside. Claire lives with 3 men: a set of twins and a cellist. While traveling around in the town, she also is admired by a veterinarian, a bookseller, his son, and a priest. Maud, the evil stepmother if you will, isn't happy with how Claire has found a new lease on life. This isn't your parents' Snow White and the Seven Dwarfs, though. It's a sensual, passionate, sexually promiscuous version of this classic tale. It's borderline softcore porn if I do say so myself, but stops just short of showing the most explicit stuff. The director, Anne Fontaine, chooses to go the more modest route in the steamier scenes. I give her credit for that. De Laâge is a talented French actress. She has headlined television shows, stage productions, and many movies in her career. She is the perfect actress to headline this live-action version of this story for French audiences. The problem is American audiences have seen a couple of versions of this tale in recent years. These versions weren't great, but they were mildly better than this film, not for lack of trying though.
All the men that are focused on in this film are very bland and lack any real emotion. They are shallow versions of the Seven Dwarfs they are modeled after. They worship De Laâge's character as some kind of sexual object instead of the pure, beautiful, innocent soul she should be admired as. This film gets that fact of who this character is very wrong, among other things. Sadly, the writers stoop to this level with this script. They even shoehorn in the poisonous apple scene from the animated film. It went totally wrong. This story deserved better!
The film did have one thing going for it though. The film was set in a beautiful section of France. In a small town set between mountains with woods, waterfalls, and cliffs with gorgeous vistas. The cinematography is the first rate by any standard. The shots are amazing from the beginning of the film to the end. The title White as Snow is used in the film to describe De Laâge's character's skin tone. If this film was as simple as that, I could forgive it. It's not though it's just another way for the director to get sexual innuendos into a film full of them. What is sloughed off as innocent comments of funny moments in the film are just eye-raising, head-shaking moments instead. A good actress, De Laâge, and a great one, Huppert, are wasted in this terrible version of a classic children's tale. See the original or the American versions of this story. The French one isn't worth your time. White as Snow is now playing in theaters. Rating: 2/5
Review by Sean Boelman
Making a horror movie about a pandemic during the COVID-19 pandemic seems like something that could go very wrong very quickly, but Rob Jabbaz’s The Sadness is made in surprisingly good taste. A genuinely scary and viscerally impactful film, the fact that this rings so true right now is absolutely depressing.
The movie follows a couple who struggle to reunite after a once thought-to-be benign pandemic starts turning people infected by it into ruthless killing machines. One could make the argument that it is a tad on the distasteful side to make such a violent and vile film that is so evidently influenced by what we are going through now, but this angry message is exactly what we need to hear right now. The ultimate message of the movie is that it is not okay for us to let our guards down, which is an extremely urgent wake-up call. It’s a film that is clearly meant to be shocking, and it works, which will probably help it deliver its message to audiences around the world much more effectively. From the first action sequence that happens around the twenty-minute mark, the movie keeps going and doesn’t let up until the credits roll. From there, it’s about eighty minutes of non-stop violence and mayhem, and it’s probably one of the most gruesome films in the genre in recent memory.
However, the thing that allows this movie to work is that there is a genuine connection to the characters. Although the romance storyline might be basic, it gives the audience something to root for in an emotional sense. Even more surprising, though, is that the supporting characters are also very compelling and likable.
Both Berant Zhu and Regina Lei do a great job in their roles. The fact that they are able to have so much chemistry together despite sharing so few scenes is extremely impressive. And Tzu-Chiang Wang, who plays the movie’s most despicable villain, is absolutely terrifying in his role in the best way possible. Jabbaz cuts between the two parallel storylines in a way that really heightens suspense. Just as we think one lover has gotten to safety, we go back to the other who is in danger, and this cycle continues, building up the viewer’s anxiety. This, combined with some absolutely savage effects, will keep the audience on their toes. The Sadness is a disgusting film in every sense of the word, but that is exactly what it is meant to be. It’s one of the best movies to have come out of the COVID-19 pandemic as of yet, and it would be futile for any genre filmmaker to try to top it. The Sadness screened at the 2021 Locarno Film Festival, which runs August 4-14. Rating: 4.5/5
Review by Sean Boelman
Recent years have seen a lot of period pieces about women discovering themselves in the face of oppression from the patriarchy, and they vary widely in quality. Stefan Jäger’s Monte Verità, inspired by a true story, falls somewhere in the middle of the pack thanks to strong production values but a script that seems all too content to settle for the minimum.
The film follows a woman who, dissatisfied with her bourgeois life and abusive husband, begins therapy with Otto Gross, a pupil of Sigmund Freud, and follows him to an idyllic retreat where she finds meaning in life. There are an abundance of interesting angles that writer Kornelija Naraks could have taken with this story, but instead, the movie follows a rather basic women’s liberation arc. Perhaps the biggest issue with the film is that it takes too long to get moving. The title makes it seem like a majority of the movie will take place in the eponymous historic retreat, but it takes far too long for the characters to get there. And the conflict leading up to that point is the same abusive husband routine we have seen time and time again. The film definitely wasted a lot of opportunity when it came to the photography elements of the story. One of the most resonant plot points involves the protagonist finding herself through artistic expression despite the forces that be telling her that photography is a “man’s trade”, but this ends up taking a backseat to a subpar love triangle.
Even when it comes to the romance storyline, the movie is less than effective. Neither of the romantic interests for the protagonist — the abusive husband or the manipulative psychotherapist — are particularly likable as a match for the character. And at multiple points, the character’s independence is scoffed at in a way that isn’t rebuffed.
It’s a shame that the script is so bland because there are definitely some very strong elements behind and in front of the camera. Jäger does a great job directing the film, with period detail that is immersive and utilizing the photography (when the script allows) in a way that is genuinely creative. Additionally, the cast is very good all-around. Maresi Riegner is great in her leading role, giving a performance that is admirably nuanced and brings a lot of emotion out of a character that is shallowly-written. Max Hubacher and Philipp Hauß are also solid as the two male leads, complementing Riegner well. Monte Verità is a well-made movie, but the script doesn’t have enough energy or originality to keep things working. It’s ultimately just another period piece that could have been much more compelling had it done something more unique with its premise. Monte Verità screened at the 2021 Locarno Film Festival, which runs August 4-14. Rating: 3/5
Review by Sean Boelman
On paper, a film pairing the late director Benny Chan with the great martial artist and action star Donnie Yen should be a guaranteed hit. And while there are some awesome moments sprinkled throughout Raging Fire, a generic plot will put this disappointingly among the flood of forgettable Asian action fare pumped out every year.
The movie follows a hard-line cop whose life and career are put in jeopardy when a former protégé whom he put away in prison comes back after him seeking revenge. At this point, the trope of a policeman protagonist having to face off against a former colleague who knows his way around because of his background is so worn that this script holds no surprises. Ultimately, the action sequences are where the appeal of this film lies, and everything that isn’t a fight scene drags by. This isn’t a movie that anyone wants to take particularly seriously, so a simpler storyline would have sufficed, even just an excuse for some cool action. But what we get is a needlessly complex quest for revenge. Chan wasn’t particularly subtle with his script and what it had to say about corruption within the police system, which is something that is rare from Chinese cinema. However, the heavy-handed moral of the story, preaching honor and honesty over self-preservation, isn’t anything new.
The character development in the film is definitely very weak. The backstories we are given for the protagonist, a good cop who found himself in a bad situation, and the antagonist, a cop who didn’t play by the rules but meant well, are about as generic as they come. And their arcs both play out exactly as expected.
Yen is as amazing as always in his action sequences, kicking ass in a way that is absolutely spectacular to watch. That said, the younger actor Nicholas Tse threatens to steal the spotlight, holding his own in the fights while delivering his villainous dialogue in a way that is perfectly exaggerated. Being that the movie was made by one of the most accomplished action directors in China, it’s no surprise that it looks great. There are some amazing set pieces that are choreographed well and edited in a way that is fast-paced and exciting. In this regard, it’s everything one could want from an Asian popcorn flick like this. Raging Fire has a lot of things working in its favor, but ultimately, the script works against it so much that its strengths will leave viewers underwhelmed. Had some of the fluff been cut, everything was in place for this to be a great flick. Raging Fire screened at the 2021 Fantasia Film Festival which runs August 5-25. It is now playing in theaters. Rating: 3/5 |
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