Review by Sean Boelman
Filmmaker Daniel Farrands has taken numerous real-life tragedies and turned them into what basically amounts to a blend of genre and movie of the week filmmaking. Disingenuous, arguably distasteful, and possibly even despicable, his newest film Ted Bundy: American Boogeyman is, like much of the rest of his filmography, a watchable mess nevertheless.
The thing about Farrands’s movies that is so shocking is that everyone involved seems to think they are paying their respects to the victims of these horrific crimes, whereas in reality, everything is in extremely bad taste. The idea of making a slasher movie out of the Chi Omega murders even sounds ill-informed on paper, so how it made it onto the screen is baffling. In terms of themes, the film says the same thing as almost every procedural drama that has ever been made. And the wooden dialogue as written by Farrands leaves no room for interpretation, shoving a grade-school explanation of good and evil based in a rudimentary understanding of history down the viewer’s throat. There have been so many movies about Bundy, especially in recent years, and while it is refreshing to see one that doesn’t attempt to psychoanalyze the serial killer and explain away his actions, using the cop investigating him as the protagonist was an underwhelming and safe choice. This makes it clear that Farrands really doesn’t care much about the victims.
The performances in the film are weak all-around. Since Bundy has been represented on screen so many times before, it’s hard to get a truly original performance out of the role. Farrands’s weak direction probably didn’t help, but Chad Michael Murray’s turn feels like an imitation of an imitation. But when Farrands couldn’t even get a strong performance out of horror queen Lin Shaye, what could be expected?
Farrands’s understanding of cinematic language is borderline incompetent. The production values of the movie are slightly higher than the average made-for-television picture, although Farrands’s frequently bizarre choices threaten to undermine it even further. An absolutely terrible synth score comes to mind as an immediate example. Still, this is one of those movies that is so woefully misguided that one can’t help but enjoy it. It’s a film made outside of the system, seemingly without oversight or fact-checkers to serve as a voice of reason for a filmmaker who barely knows what he’s doing. This symphony of out-of-tune pieces comes together into an appealing dissonance that few movies are able to achieve. Ted Bundy: American Boogeyman certainly isn’t a good film, and likely won’t even be enjoyed by the typically easily-satisfied true crime fanbase. However, Daniel Farrands seems destined to earn a cult following among the likes of Uwe Boll in the hall of cinematic infamy. Ted Bundy: American Boogeyman screens in theaters for one night only on August 16 followed by a VOD release on September 3. Rating: 1.5/5
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Review by Sean Boelman
There are a lot of stereotypes surrounding European (especially French) cinema and sex, and Lou Jenet’s Curiosa does no favors to that image. A steamy yet empty exploration of sexual politics, this is one of those films that viewers will wish was as artfully written as it is beautifully shot.
The movie tells the story of the passionate tryst between authors Marie de Régnier and Pierre Louÿs. It’s a pretty basic romance storyline with little in the way of unique and original conflict. The protagonist gets wrapped up into a love triangle with oppression being the main villain as opposed to a more literal one. As is the case with so many films about women experiencing sexual liberation in other time periods, it’s clear that the intent here is to draw a parallel between the oppression of women’s sexuality by the patriarchy then and now. Jenet and co-writer Raphaëlle Desplechin make a noble attempt in this regard, but this message has been done better in other movies before. Admittedly, at an hour and fifty minutes in length, the film does begin to grow monotonous at a certain point. If the purpose of the movie was to entirely desensitize the viewer to sexuality, it achieves that by the hour mark, as the sex becomes increasingly passionless despite its attempts at creativity.
The fundamental flaw in this film that prevents it from succeeding is that both of the lead characters aren’t especially likable. It’s hard to buy into a romance that isn’t based in any sort of love or connection beyond the physical, especially when both parties seemingly have no regard for anyone but themselves.
Noémie Merlant is sure to be the biggest draw for this movie among the cinephile community, and she does a good enough job in her role. Granted, she isn’t given much to do other than pose naked, which is disappointing given the character’s literary connection and the talent of the actress. Her chemistry with co-star Niels Schneider is passable but nothing special. Visually, the film is exquisitely-shot. Jenet has an eye for shooting the sex scenes in a way that doesn’t feel excessive or grossly titilating. There are more than a few sequences in the movie that lean on the formally experimental side, enough to keep the viewer’s interest and also keep this from feeling like a plain period piece. Curiosa is a solid effort from Lou Jenet that shows she has tremendous potential behind the camera should she work with stronger material. There are other similar films that are more worth your time, but there isn’t anything particularly bad about it, either. Curiosa is now in theaters and on VOD. Rating: 3/5 THE LOST LEONARDO -- Painting a Picture of the Most Controversial Piece of Art in the Last Century8/12/2021 Reviewed by Adam Donato The commercial art industry is a lot more sketchy than one would think. When an unreal piece of art enters the fray, the entire world takes notice. Is it real or is it fake? While that should be for the experts to decide, they can’t. So it might just be up to you. The winner of the New Documentary Director for Ballroom Dancer back in 2011, Andreas Koefoed, attempts to get the story straight when it comes to the most controversial piece of art in modern history. Is this documentary worth a record amount at auction or is it relegated to a publicity stunt? This very well could’ve been an entire story about a bunch of stuffy old people describing how to restore a painting. Of course, some of this story is about that, but the rabbit hole that this documentary goes down is wild. It's a story about global politics and integrity that makes it feel larger than life. The event in question is so recent and so large scale that it will make audiences wonder how they don’t remember hearing about this in the news when it happened. Just under a decade ago, a painting was found that turned out to potentially be attributed to the all-time great, Leonardo Da Vinci. Painted on a poor-quality piece of wood with plenty of wear and tear, the beginning of the documentary dissects the legitimacy of the work of art. Some skeptics don’t think the painting went under the utmost scrutiny to be undeniably defined as a Da Vinci piece. The painting then goes on to sell for a record amount to an anonymous buyer. This is such a dense subject that is ripe for a documentary. There’s so much to explore here and it is quite the ride. There is a flurry of interviews of experts close to the situation that bring a good amount of insight into the events surrounding the painting. One of the experts, in particular, adds quite a bit of heart to the story. Dianne Dwyer Modestini had her whole life consumed by this painting. After restoring it and making some money for her involvement in the distribution, she made a website with all of the information that she has learned about the painting to defend its legitimacy. Especially since there are several villainous figures prevalent in the interviews, Modestini stands out as the hero of the story.
This industry-defining work of art is most certainly deserving of its own documentary. Clocking in at a 100 minute run time, this story never drags. Not only does this entry seem like the best of Koefoed’s career, but this review projects it to be in the conversation for best documentary at the end of the year. Hopefully this doc sheds some light on a dying industry because whether or not the painting is authentic, it is a conversation. This is certainly worth anyone’s time to become part of the conversation. The Lost Leonardo hits theaters on August 13. Rating: 4/5
Review by Camden Ferrell
Donald Rugoff may not be a household name, but the documentary Searching for Mr. Rugoff makes a compelling case for knowing that name. It is the directorial debut of indie film veteran Ira Deutchman, and it had its premiere at the 2019 DOC NYC, America’s biggest documentary film festival. While the movie doesn’t always capture the same energy and entertainment that Rugoff allegedly possessed, it is still an enjoyable look into the career and impact of a man who made a splash in the film industry.
Rugoff was the mad genius who was behind Cinema 5, a theater chain and film distributor. His craziness and unorthodox marketing helped usher art-house films into the mainstream. He was described as difficult and impossible, and this documentary uses testimony from former employees and contemporaries to paint a picture of an influential man who has been consigned to obscurity. This is an interesting subject, and there is a lot of rich cinematic history in this time period that helps make the story more dynamic. Deutchman delivers a noble first film, and this is mostly because it is obvious that he has a profound respect and admiration for Rugoff. This is evident in the way the film is executed and his onscreen journey to learn more about this enigmatic man. This is the type of film that lives or dies by its director’s passion for the subject. In this regard, the film succeeds in honoring his legacy as well as capturing an image of the film industry in this time period.
As mentioned before, the film features a myriad of interviews from former employees and colleagues. They do a mostly sufficient job of creating a portrait of Rugoff. The excess of interviews can bring down the film and its pacing, but it’s clear there isn’t a lot of other material to capture his character. Most of the interviewees bring something to the table to elevate the film, but there are a handful that do feel inconsequential.
The film’s strongest aspect is how it incorporates film history into the story of Rugoff. Deutchman’s admiration for independent cinema is most apparent in these moments, and these sections of the movie are very entertaining and informative. Unfortunately, there are other sections of the movie that interrupt the momentum and make the pacing feel sluggish. It’s an enjoyable movie, but it doesn’t quite live up to Rugoff’s legacy and impact on modern independent cinema. Searching for Mr. Rugoff is an enjoyable documentary that film buffs will most definitely enjoy. Despite some questionable pacing, this is a movie that is entertaining and is a great debut from Deutchman as a director. Searching for Mr. Rugoff is in theaters August 13. Rating: 3.5/5
Review by Sean Boelman
Filmmaker Takashi Shimizu is known as one of the most influential figures in J-horror, and Howling Village serves as a welcome return-to-form for the director. Genuinely eerie and atmospheric, this urban legend-inspired horror flick may be a bit on the conventional side but is effective nevertheless.
The movie follows a psychologist who discovers some dark secrets while investigating her brother’s disappearance at an infamous haunted village. In terms of story, it’s a pretty standard arc of uncovering a horror-tinged conspiracy, but what allows the film to stand out is its basis in real-life Japanese culture. One of the clear strengths of the movie is its pacing. A found footage-style cold open immediately throws the audience into the myth of the Inunaki Village and the supposedly supernatural circumstances surrounding it. The remainder of the runtime is a chiller with a solid helping of effective jump scares. The film also benefits from having characters that the audience will genuinely care about. The relationship that the protagonist has with her younger sibling serves as a solid, if somewhat safe, emotional core for the movie, especially as the disappearance element of the storyline is such familiar territory.
Ayaka Miyoshi’s performance in the leading role is very good, largely thanks to the very commanding screen presence that the actress has. The supporting cast is also solid all-around, although Rinka Otani is a particular standout, having one scene that is absolutely terrifying and will stick in the viewer’s mind.
Admittedly, the film could have gone a bit deeper into its themes, but it poses some interesting questions about the relationship we have with our past. Although the commentary on how legends are exaggerated through generations isn’t particularly original, the message about atoning for the sins of our ancestors is much more intriguing. The movie may not live up to the heights of some of the iconically nightmarish images from his earlier work, but there are definitely some very disturbing scenes. The way in which the film uses its setting to create fear and suspense is consistently very immersive, with some very well-selected locations. Howling Village may not be an instant classic, but it shows that Takashi Shimizu still very much has a strong grasp of his craft. With plenty of memorable moments, it’s an entertaining and satisfyingly disturbing horror flick. Howling Village hits theaters on August 13 and VOD on August 17. Rating: 3.5/5
Review by Sarah Williams
Actress Kate Lyn Sheil exists in a sort of Brooklyn apartment movie stardom, a household name among mumblecore fans yet virtually unheard of to anyone else. These low-key indies have a sort of cult following, raging from the self-insert talky sex comedy (Joe Swanberg’s Autoerotic and The Zone) to the sensorily overloading, creative art horror of Adam Wingard and Amy Seimetz. Materna rests somewhere in the middle. David Gutnik’s directorial debut, produced by two of its four lead actresses (Jade Eshete and Assol Abdullina) follows in the tradition of films like Short Cuts and Magnolia to blend a pseudo-feminist subway story of four women who meet by chance. The film is divided into four sections, each centering a different woman, and particularly their relationship as either a mother or a daughter.
The weight of these stories varies wildly, everything from passivity to a child’s bigotry, reproductive pressure, and found family, but each of these feels like its own movie. There is something to say for the treatise Materna makes on private lives, on the rich complexities of passing strangers, but the omnibus of short films we are essentially given seems to merely skate the surface. Its attempt to give a unifying scope of womanhood through its packaging is especially strange, given that there is little universality outside a vague idea that they are all connected to the idea of motherhood and maternity.
In terms of the individual segments, they are all wildly uneven. From a vision and performance perspective, Sheil’s is the strongest, a near horror psychodrama on the pressures of fertility. Though a bit shy on the script, the segment holds a deep weight of pressure between Sheil’s Jean, a VR tech, and her mother who wishes her to start a family or at least freeze her eggs. This pressurized fountain of youth is further confounded by Jean’s unplanned pregnancy, and the suffocation of the situation is clear. Better written, and by the actresses they center, are two others. One, where a woman detaches from her Jehovah’s Witness mother, and finds surrogate family in an older colleague, is strangely touching, while the final segment is quieting, about three generations of Kyrgyz women and the ghosts in their lives. This segment is what Materna should be pushing towards, a clear, cyclical connection to the maternal lineages it teases.
Most baffling is one chapter starring Lindsay Burdge (fans curious about a new collaboration with Kate Lyn Sheil may be disappointed that this is far-flung from the short buddy comedy Super Sleuths). Her conservative mother deals with her son’s suspension from school, and the segment falls into pained New York liberalism as her family gathers to interrogate his racism. It’s the most chronologically rooted segment, Burdge’s out of touch mother taking away the kid’s Fortnite access, and it messily tries to bite at group-think and cancel culture while plodding into message movie territory without having the grounding to do so. Because of its constant grab for social relevance, Materna bites off so much it never quite gets deep into its false-intersectional tote bag liberal feminism to handle the weighty omnibus of motherhood it wants to be. Materna is now available on VOD. Rating: 2.5/5
Review by Camden Ferrell
After the release of The Kissing Booth 2 in 2020, it was revealed that it was shot back-to-back with the third film, The Kissing Booth 3, which is why this young adult series is coming to a conclusion so quickly. It is based on the series of books by Beth Reekles and Vince Marcello has once again returned to direct. While it will please the fans of the first two movies, this is a movie that is as unpleasant as its predecessors and features weak performances, cringe-inducing writing, and a tepid conclusion for these characters.
When we left off, Elle was in a dilemma. She had been accepted to two schools, one her best friend would be attending and one where her boyfriend was currently enrolled. Putting off this decision, she decides to try and pull of the most memorable summer ever, but as expected, drama unfolds with her relationships. This is a simple premise, but it is the first movie in the series to take place during the summer, so it thankfully avoids the high school plot that has already been done twice before. Written by Marcello and Jay S. Arnold, this script is no better or worse than the ones that came before it. The dialogue is unnatural, and the plot is progressed in a manner that is forced and unceremonious. The interactions between the characters are stiff and some are incredibly awkward and unintentionally uncomfortable to watch play out. This isn’t a surprise, and it’s mostly on par with the previous films. It’s not as openly sexist and misogynistic as the first, but less is happening in its story than the second.
All of the main cast returns for this movie. Joey King once again leads the film as Elle, Jacob Elordi returns as Noah, and Joel Courtney plays Lee. The quality of their performances is consistent with the other movies, so even though it jumps between lifeless and painfully melodramatic, it’s not unexpected. There are times where they seem exhausted with the movie, but there are a handful of moments where the actors look like they’re having genuine fun despite the weak material they’re working with.
Aside from the writing problems, the scenes are executed in such an off-putting manner. It has strange camera angles, laughably bad visual effects, befuddling editing, and it all feels sloppily constructed. The movie also doesn’t have the substance to forgive these mistakes. The actions of the characters are confusing and unmotivated, and the movie sporadically opens new plot lines that contribute significantly to its nearly two-hour runtime. It’s something that will not win over any new fans. The Kissing Booth 3 is an unpleasant watch, but it’s something that is expected from the series’ track record. Worth watching only for the sake of completionism and for fans of the series. It repeats the myriad of shortcomings of its predecessor and marks the end of a series that shouldn’t have been made. The Kissing Booth 3 is streaming on Netflix August 11. Rating: 1/5
Review by Sean Boelman
After Loki opened up the door to the multiverse in the Marvel Cinematic Universe, the new half-hour animated series What If? further explores the concept. Consisting of self-contained entries, this entertaining blend of comic books and The Twilight Zone might not be as consequential as the rest of the Disney+ shows, it’s still very satisfying as a fan.
The series explores alternate timelines in the MCU in which a single decision led to a completely different outcome, such as Peggy Carter becoming a super-soldier instead of Steve Rogers or T’Challa becoming Star Lord instead of Peter Quill. And while this anthology series seems designed more to cater to hardcore comic fans, general audiences will still find plenty of action-packed fun here. Perhaps the most impressive thing about the series is how they are able to condense down an entire story into a single thirty-minute episode. The first episode is particularly impressive, as it tells an abridged version of Captain America: The First Avenger, hitting all of the major events in a way that is still coherent and cohesive. Some of the episodes in the series are destined to work better than others, as is the case with any anthology. Those which stick closer to the main timeline with a few alterations (the Captain Carter episode) are mostly just diverting, whereas the other ones that take crazier paths are much more intriguing.
For the most part, a majority of the live-action cast from the MCU has returned to voice their roles. Of the noticeable omissions (Tommy Lee Jones, Robert Downey Jr.), their replacements aren’t too distracting. But the best part of the series is getting to see actors like the late Chadwick Boseman get a chance to play a different version of their roles.
The animation style of the series is what is likely going to divide fans and general audiences. The motion comic-like approach is fitting given the series’s origins, but the lack of polish is not what audiences are used to seeing from Marvel Studios. Still, it delivers on the action in a way that doesn’t feel cheap. It will be interesting to see how the series further deepens the mythology of the MCU. Early on, we are introduced to the character of The Watcher as a narrator, but the first three episodes all function as individual units. Perhaps in the remainder of the season, we will see things start to tie together a bit more meaningfully. What If? is an enjoyable watch that refreshingly tells its stories in a very concise way. It’s unlikely to be as much of a smash hit as the last three series on the streamer, but it will find its fans among the Disney+ subscriber base. What If? streams on Disney+ beginning August 11 with new episodes airing subsequent Wednesdays. Three out of ten episodes reviewed. Rating: 4/5
Review by Dan Skip Allen
CODA (which stands for Child of Deaf Adults) was the opening night film at this year's Sundance Film Festival back in January. It was very widely acclaimed by everyone who saw it, and some people even have said that it's an early contender for a Best Picture nomination at next year's Academy Awards. After finally seeing it, I can honestly say it's one of the best films of the year as of yet.
Ruby (Emilia Jones) is a high school student who works on her father's (Troy Kotsur) fishing boat in Gloucester, Mass. Fishing is the family business. Her brother, Leo (Daniel Durant), and her mother (Academy Award-winning actress Marlee Matlin) are all involved in the family business. Fishing has been in the family for generations. The problem is Ruby has a gift of singing, but her family can't hear her because they're deaf. The choir teacher Mr. V (Eugenio Derbez) tries to help Ruby nurture her singing ability. CODA is an unconventional coming-of-age story because of the deaf angle. Even though subtitles are placed on screen while the family members are using sign language, the emotions of the various situations and arguments/disagreements are very effective to the viewer watching. The director Sian Heder gets her story across very well that way. A subplot involving the son/brother is left on the back burner though. The main focus is Jones's character and her plight as the only hearing-able person in a deaf family. The family business is the key to how this family makes a living and lives their lives. That is coming into turmoil because of the changing landscape of the fishing industry. The fact that the family is deaf comes into effect because they can't understand what's going on around them at times. Jones's character is a big part of how they translate to the outside world away from their family. They are somewhat known as outcasts because of their collective disabilities. This is the real heart of the film.
The music in the film is a nice lighter side compared to the dramatic stuff involved with the family dynamic. The soundtrack is probably something to invest in. It has a couple of songs by Joni Michell and Etta James that are sung throughout the film by the teens in the choir and in a singing competition. The score by Marius De Vries is a nice addition to the film as well. It has a feel that flows nicely with all the drama as well as nicer, more pleasant moments in the film.
CODA has a tender side as well as a real side to it. The real-life problems are problems a lot of us are going through, but more focused in this particular town in Massachusetts, the fishing capital of the northeast. The tender side is the fact that teens have different motivations than adults. They think about acceptance in school, boys, and friends. The singing is a way for the main character to get her way with her family and friends. This could also be her true calling in life. She may not be meant for the family business, like the rest of them. CODA has a story most of us can get behind. It is relatable to teens and adults alike. Families of all backgrounds, creeds, and religions can feel this is a story about them. This story and film is the kind of thing America needs right now considering the hard times we are in as a civilization. People need happy heartwarming stories with happy endings and CODA is that film. I hope it's there in the Best Picture race next year because it deserves the spotlight with all the other great films of 2021. Emilia Jones (Locke & Key) is a revelation in this film and I can't wait to see what she does next. CODA hits theaters and Apple TV+ on August 13. Rating: 4.5/5
Review by Sean Boelman
Directed by Pablo Larraín (Jackie) from a script by Guillermo Calderón and Alejandro Moreno, Ema is an expressive new drama. Featuring some truly breathtaking cinematography and dance performances, this film definitely won’t be everyone’s cup of tea, but those who appreciate its artistry will likely find it to be a new favorite of theirs.
The movie follows a couple as they deal with the fallout from a failed adoption, impacting their relationship and their careers. The plot is less of a focus than the emotion, though. The film's conflict revolves around reggaeton and flamethrowers, and it’s weird and intriguing, to say the least. Some viewers will be put off by this unorthodox narrative. Larrain’s method of telling the story is also extremely unconventional and ambitious, and it consistently pays off. Scenes featuring conflict between the couple are intercut with prolonged dance sequences that are hypnotic and intricately choreographed. As a result, the movie feels more like an artistic statement than anything else. It’s definitely very interesting to dissect what this film has to say because of the multifaceted nature of the story. The main message of the movie explores the idea of creativity and self-expression, but the more intriguing part of the film provides commentary on the protagonist’s grief and anger.
The thing about the movie that is absolutely undeniable is its aesthetic grandeur. The cinematography by Sergio Armstrong is among the most gorgeous that will ever grace the screen, especially during the dance sequences. The music by Nicolas Jaar is phenomenal as well, filled with the sounds of reggaeton.
Calderón and Moreno do a wonderful job of developing the core relationship of the film. It feels like it comes from a place of honesty regarding the conflict they are experiencing. For a movie that primarily functions as a case study of ethics, it’s nice to see that the characters are fully-developed and not simply archetypes to get a point across. As always, Larraín is able to get amazing performances out of his actors. Lead actress Mariana Di Girolamo is phenomenal in her role. She is able to handle both the complexity of the dance sequences and the nuance of the more tense and emotionally-charged scenes. Gael García Bernal is also a standout in his supporting role, bringing great delivery to some of the film’s most powerful scenes. While the idiosyncratic narrative of Ema won’t appeal to everyone, it’s probably the most gorgeous and daring art film to be seen in a while. It’s not quite like anything else that Larraín has done, but it shows that he is one of the finest directors working today. Ema hits theaters on August 13. Rating: 5/5 |
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