Review by Sean Boelman
The opportunity to see two of the most internationally acclaimed Korean actors working today in a film together makes Han Jae-rim’s Emergency Declaration one of the most anticipated movies of the summer for cinephiles. Even though Han does not take advantage of his talented cast, the film offers enough solid thrills to be worth watching.
The movie depicts a terror incident occurring midflight in which a deadly viral pathogen is released on a plane, causing a team on the ground to investigate and find a cure as the passengers struggle to keep everyone alive. It’s a pretty run-of-the-mill disaster film, but in the wake of the COVID-19 pandemic, its viral storyline rings even more true. Unfortunately, the movie clocks in at two hours and twenty minutes and undoubtedly could have been cut down. Both sides of the story are things we have seen before, and the film takes far too long in the build-up to explain the context. Beyond that, the procedural aspect of the storyline is almost entirely unnecessary. There is some interesting commentary in the movie about the ethics of responding to an international tourism situation and the implications that a crisis like this could have, but the film raises more questions than it provides answers. Thankfully, this means that the movie doesn’t fall into the overly jingoistic trappings typical of the terrorism thriller genre, but it still could have spared to take a harder stance.
The film’s two main stars are Song Kang-ho (Parasite) and Lee Byung-hun (The Good the Bad the Weird), each of whom leads one of the storylines. Lee gets the more compelling portion of the movie as de facto hero on the plane, while Song’s portion of the film effectively could have been cut out with no impact.
Surprisingly, the real highlight of the movie is Yim Si-wan, who is downright intimidating as the film’s villain. For someone whose claim to fame was being part of a K-pop group, the performance he delivers is astounding. It’s on the level of Alan Rickman or Gary Oldman in terms of great villain performances. From a technical standpoint, the movie is undeniably very impressive, but that is typically the case with Asian disaster films. This type of high-concept storytelling tends to be a massive hit with international audiences, and so they can afford to go all-out with the effects. The result is a high-octane, edge-of-your-seat viewing experience. Emergency Declaration suffers from being too long and not knowing what to do with its talented stars, but its high production value makes it a very watchable entry into the genre. It’s a solid, if somewhat forgettable popcorn flick. Emergency Declaration hits theaters on August 12. Rating: 3.5/5
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Review by Dan Skip Allen Locke & Key is based on the popular comic book series by Joe Hill and Gabriel Rodriguez from IDW Publishing. The first season premiered on Netflix in 2020, and now it is in its third and final season, so all the storylines have to be sewn up. Season two had a few cliffhangers that bore fruit in season three. The new season took what fans of the show already knew and expanded on it. It takes this world to an entirely different level. Eden Hawkins (Hailee Jones) thought she had an ally in Captain Fredrick Gideon (Kevin Durand), but it ended in her demise. Tyler chose to forget the past and move out west. Ellie and Rufus Wheadon (Sherri Saum and Coby Bird) have returned but don't know if it was good for them. Of course, Kinsey (Emilia Jones, CODA) is still involved with The Splattering 2 and using her singing abilities. Bode (Jackson Robert Scott) finds a new key that causes some problems for the Lockes, and Nina (Darby Stanchfield) is trying to find her footing with her memories back in her relationship with Josh (Brendan Hines). Season three of Locke and Key is slightly more subdued than previous seasons. The first few episodes deal with the wedding of Uncle Duncan (Aaron Ashmore) and a Snow Globe in which two women, Dorothy and Ada, were stuck. These were just distractions from the main story involving Capt. Fredrick Gideon and his men, Coffey and Bolton, trying to open up a new doorway into their world and combine the human world and demon world. The other stories are also continued as the season continues forward. As the series ends, these subplots must end so the show can conclude. There are a lot of loose ends to tie up. Locke & Key mixes fantasy elements and young adult-type storytelling to create a dramatic show with suspenseful and interesting concepts. Netflix has invested in creators like Carlton Cuse (Bates Motel, Colony, Tom Clancy's Jack Ryan) to write and be the showrunner for this amazing show. The elements of all the different things in the series work well together. It makes sense that people of all ages love this series so much. The acting of all the main characters in the series is fantastic, and it's nice to see them progress as the show progresses. The mystery involving the keys keeps the show continuing to be fun, going in different directions each season. Kevin Durand has embraced his larger role this season like Layla De Oliviera, as Dodge, and Griffin Gluck, as Gabe, have in seasons past. He is a good character actor but thrives as a villain once again.
Some older characters, such as Geordie Shaw (Michael Therriault), also get a larger role. Seeds from previous seasons finally come to light and show how this series has been handled properly. These types of shows and series can be done right, and they don't have to go on forever. They have a finite ending that makes sense, and the fans can have a satisfying conclusion to a beloved IP/comic book series like this. Locke & Key season three starts slowly despite the episode "The Snow Globe." Older characters like Ashmore's character get a good send-off, but it's Kevin Durand who gets to really shine in a larger role this season. Plot lines involving the rest of the Locke family get sewn up, and the fantasy elements and storytelling become more extensive as the season progresses. The last few episodes are pretty action-packed and have a lot of set pieces. The showrunners and writers saved the best for last regarding these parts of the series. This was a very satisfying series conclusion, and fans will hopefully be happy with how the show ended. I've been with it since day one and have thoroughly enjoyed the show since the beginning. I'm glad the creators aren't trying to keep this series going forever. Most shows need to know when it's time to end, and it's definitely time this one did, but it ended on a high note. Locke & Key streams on Netflix beginning August 10. Rating: 4/5 Review by Camden Ferrell Neil Gaiman is one of the most versatile and prolific writers around today, being the person responsible for such works as Coraline, American Gods, and Good Omens to name a few. Arguably his most known and acclaimed work, The Sandman is finally receiving its long overdue adaptation as a television series. Often thought to be “unfilmable”, this adaptation is strong, entertaining, and feels very well connected to its source material even if it does falter in other areas. Dream aka. Morpheus is the personification of Dream who over sees his own realm. However, he becomes imprisoned for many decades and finds himself in a completely changed world when released. From there, he must reclaim what he has lost and deal with the fallout of the many threats the world and his realm face. This first season adapts the first wo arcs of the series Preludes & Nocturnes and The Doll’s House. Those who are familiar with the source material are aware of the unbounded potential this phenomenal and mesmerizing comic book series has to offer for a live-action adaptation, so its creators definitely have a lot to work with. The writing does a great job of honoring the style of the books while still making it feel natural in live-action and also adapting for a modern era. Like the book, this show offers some great meditations on universal themes and ideas that give the scenes more subtext and meaning. There are a handful of moments that feel slightly out of place with its dialogue and narrative, but it’s a pitfall of trying to adapt such an ambitious work. Surprisingly, one of the more underwhelming aspects of the show is its cast. Nobody is bad in this vast ensemble, but very few actors make a lasting impression. Tom Sturridge leads the series as Dream, and his dark and brooding performance is sufficient to carry the episodes, but it’s not as complex or nuanced as one would hope. The two actors who truly standout in these episodes are Kirby Howell-Baptiste and David Thewlis who play Death and John Dee respectively. Both are able to deliver unique and memorable takes on iconic characters with ease and emotion. Even though fans of the comic book series will probably get more mileage out of these episodes, the show does an amazing job of being accessible to all viewers, so reading the source material is not required whatsoever. The show is a very faithful adaptation that makes small changes to help the narrative flow better.
The show is hit or miss with its technical achievements. The cinematography wavers between gorgeous and well-shot to sometimes passionless and generic shots that don’t fully do justice to the rich visual source material. The effects can also be inconsistent in quality and use with a select few effects being quite weak for a show of this caliber. However, the show does have some truly amazing VFX work and cinematography throughout that help elevate certain episodes. Fans of the series will look forward to episodes 5 and 6 which adapt 24 Hours and The Sound of Her Wings respectively from the series. I’ll admit that albeit great, the 24 Hours episode is not as unsettling and brilliant as its literary counterpart. Fortunately, I’m happy to say that the sixth episode is utterly beautiful and nuanced in its complex story and themes, and it is by far and away the highlight of the entire series that I think will be the one episode that is unanimously loved. The Sandman is a faithful, creative, and overall strong first adaptation for the iconic series. It’s not without cosmetic flaws throughout, but these 10 episodes prove that this series is adaptable and will hopefully find a fanbase to keep this series running for years to come. Plenty of fun for new and old fans alike, this is a series you’re definitely going to want to give a chance this August. The Sandman is available on Netflix August 5. All 10 episodes are reviewed. Rating: 4/5 Review by Paris Jade What do you get when you match a man who has trouble keeping a girlfriend with a girl with multiple personalities? Starring Tyler Johnson and Bonnie Piesse, My Perfect Girlfriend answers that question with some of the most awkward acting you've ever seen. The film starts with narration from Conrad's best friend Will, played by Keston John. This is where the awkwardness immediately begins. Will is barely in this movie, and for some reason, the creators decided to have him narrate the love story of Conrad and Molly even though he only gets one or two interactions with the couple. Bonnie Piesse does a great job of playing multiple characters and is a good actress; however, Tyler Johnson feels way too awkward when it comes to playing opposite Piesse. It sometimes seemed like it was just the character, but a lot of it felt way too forced and made Johnson seem like a bad actor, and you can't really feel the chemistry between the two leads. Other than the awkward interactions, the actual story itself is a cute one. As unnecessary as Will's narration feels, it brings you right into the story and immediately grabs your attention, primarily because you're questioning why there is narration in the first place. It throws you off, but after that, you start to get into the actual story. It seems this film does an okay job at its representation of people with dissociative identity disorder. They use the correct terminology and treat it normally in the movie instead of treating it like it's a terrible thing, and any person with it can be a killer like many Hollywood tries to depict. Showing how the real disorder could be and how Conrad deals with his partner having it was well executed, and hopefully, people with DID can appreciate it.
My Perfect Girlfriend isn't for everyone, but I believe the casual moviegoer could enjoy it if they like a simple romance with a bit of a twist. If it weren't for the lack of chemistry between the actors, you could genuinely see this as a real couple. They go through real issues and feel like real people, and at times you do feel like you could be watching an actual couple's journey through their relationship. They both go through mental struggles and learn to find their way around them. It's a cute film and will probably make you smile, but it's not a must-see. If you have the time and feel like seeing a nice romance, give it a gander. My Perfect Girlfriend is now in theaters and hits VOD on August 9. Rating: 3/5 Review by Dan Skip Allen Cave Rescue is the second film about the Thai soccer team stranded in the cave system that came out in a matter of days. That doesn't include last year's documentary, now streaming on National Geographic and Disney+. The two narrative films start the same, but they are distinctly different from each other after that. Cave Rescue is a much faster and more linear version of this story. It comes from the Thai side of things more than the British or outsiders' side. One aspect is the point of view of the boys and their coach stranded in the cave. The film shows how malnourished the boys are and how scared they are to have been in the cave system for 18 days. It also shows the perspective of one newscaster broadcasting out to the world. Where the two films differed the most is the subtitles and the foreign side of the story. The Thai farmers and Thai Navy SEALS were shown exclusively as the primary focus going into the first part of the film until the actual rescue shifts to the more British side of things. And the rescue effort to bring the boys and their coach out. One particular character was Jim (Jim Warny). He is the only one of the Brits that the film mainly focuses on, unlike Thirteen Lives. This film uses pop-up graphics on the bottom left of the screen to inform the viewer about the timetable the film takes place in, but the way Thirteen Lives does it is better. Also, the camera work isn't as good as the style Ron Howard used in his film. The fast-paced storytelling is indicative of a smaller budget which shows in the end product. This film feels like an inferior version of this story to me. The technical aspects of the film, from the camera work to the cinematography, aren't that great. They use a ticking clock to represent the pressure the divers are under, but it felt forced here. The other film just showed the difficulty of the situation and each moment that passed seemed to bring up the pressure as the movie went along. There is a clear difference in the quality of these two films.
The main reason I feel this film lacks in quality was that quite a bit of the story was typed out on a black backdrop for people to read instead of filming these scenes. This was a cop-out way to do a film. I know the budget couldn't have been very big because of all the ways this filmmaker cut corners. The other film didn't do that, and it showed in the end. It was a much better version of the harrowing tale of rescue and survival. Cave Rescue tried being a good version of this story, but it felt lacking in quality from the beginning. The acting seemed second-rate, and the technical aspects from filmmaker Tom Waller, including mainly the camera work, weren't that good. It was unfocused and somewhat blurry at times. The film looked too dark where there should have been light, and the camera pushed in too much. Even though the film tells a very compelling story, its execution drags it down. Cave Rescue hits theaters and VOD on August 5. Rating: 2/5 Review by Dan Skip Allen Jo Koy is a stand-up comedian of some note in the Filipino community. To be honest, I hadn't heard of him before seeing Easter Sunday, a film that is supposed to be about his family and friends. Every story isn't always exactly the way it unfolds in the real world. Filmmakers take some creative license with the stories they are telling. I think that is the case with this film to make it seem more fun than the actual events that transpired. Joe Valencia (Jo Koy) is a stand-up comedian. He is estranged from his wife, and she is with another man. When his mother (Lydia Gaston) calls and asks him to come to the San Francisco area of Gateway City for Easter dinner, he sees it as a way to bond with his son, who has been struggling in school. Joe hasn't had much time to spend with him due to his burgeoning acting career. He may get a role in a sitcom, but it hinges on him being similar to his family. He moved away to Los Angeles for a reason. This trip up north could help family relations, though. So he's torn between family and his career. In the past, there has been more than one film depicting family drama in a comedy setting. Easter Sunday is the latest that has used this familiar trope. Crazy Rich Asians was a similar type of film that came out a few years ago. All you have to do is take out the rich and substitute suburban Asians, and you have this family. This film has the overheating mother figure, the troublesome brother, the supportive sister, the long-lost love, and a couple of subplots. The subplots led to some pretty hilarious moments with fantastic cameos from Tiffany Haddish and Lou Diamond Philips. These two added a nice touch to a film with enough humor from the start. Jo Koy, as I mentioned, was a stand-up comedian I wasn't that familiar with, but he really surprised me. From the very first scene of him doing stand-up, he controlled the film. He even took over at an Easter Sunday church gathering which was hilarious. He did what every comedian does and used his dysfunctional family as canon founder for his stand-up routine. It was fantastic how he weaved his routine into the story from the bible. It was brilliantly written and acted by him. He's going to be one to watch from now on for me.
Besides the hilarious comedic moments of the film, it actually had some heart to it. Sure there were a lot of box-checking moments, but it didn't matter because the film had me with the story of the dysfunctional family who came together in the end. One group of characters was shoehorned into the story but ended up working out in the end, giving the story a happy ending. Still, there were also a couple of stereotypical characters that the film got away with because of the film's overall charm. Easter Sunday, coming out in early August for some reason, turned out to be the perfect counter-programming for Bullet Train and other streaming films that are coming out this weekend. Not knowing anything about the film proved to be a blessing in disguise because it helped me enjoy the movie more. Jo Koy is a star in the making, and this film proved that. It had many comedic moments from the stars of the film and cameos from other established stars. The subplots worked in the context of the film, and in the end, this film was a pleasant surprise. If you're looking for something different this weekend, this might be the thing for you. It was funny and heartfelt and had some action to boot. Easter Sunday hits theaters on August 5. Rating: 3.5/5
Review by Sean Boelman
Masaaki Yuasa has become one of the most acclaimed anime filmmakers working right now thanks to his uniquely experimental animated films. His newest feature, Inu-oh, is a rock opera like no other, a transcendent experience that is both gorgeously animated and profound with its message.
The movie tells the story of a blind musician and a cursed dancer who stun society with their extraordinary talent and revolutionary performances. Although it seems like a very thin plot, screenwriter Akiko Noki takes Hideo Furukawa’s novel and expands upon it with rich world-building. Although the film is a bit slow to start, its entire first act being used to set the stage for a final hour which is among the most insane things that you will see at the movies this year. It’s trippy and mesmerizing without being hard to follow, which is what allows it to be one of the best cinematic experiences of the year. The animation style is absolutely gorgeous, with a perfect balance of whimsy and realism. The movie uses its historical context in a fascinating way while also taking advantage of the fantasy elements. And the character design, particularly for the eponymous character, is wonderfully detailed. With anime films, the soundtrack can either be really memorable or super repetitive, but in this case, it’s thankfully the former. Blending traditional Japanese sounds with modern rock style, there are a couple of songs in the movie that not only work within the context of the film but are also genuinely memorable in their own right. On its surface, the movie seems to be about accepting the differences we have with one another, and while that message is certainly there (and a very positive one), it’s the less interesting through-line. The more intriguing part kicks in during the second half, exploring the clash between self-expression and censorship. The character development in the film is rather straightforward, but it’s effective nonetheless. Both of the lead characters are extremely compelling and sympathetic, and while a lot of that rides on their disabilities, the fact that there is so little disabled representation in cinema makes them notable. Inu-oh is unquestionably one of the best animated movies of this year. With an art style that is absolutely astounding, fantastic songs, and a storyline that is equally thoughtful and fun, there’s been nothing quite like it this year, and that’s a good thing. Inu-oh screened at the 2022 Fantasia International Film Festival, which runs July 13 through August 3. Rating: 5/5
Review by Sean Boelman
Japanese director Takashi Miike is one of if not the single most prolific genre filmmakers there is, with over 100 feature film credits and counting under his belt. His newest movie, The Mole Song: Final, concludes a trilogy of films that was never released in the United States in a characteristically and gloriously over-the-top way.
Based on the manga by Noboru Takahashi, the movie follows a double agent who has infiltrated Japan’s most dangerous Yakuza clan as he tries to bring down a drug operation involving a pasta made entirely of methamphetamines. Writer Kankuro Kudo doubles down on the absurdity of the premise with a sense of humor that is unhinged and bonkers. With the film’s runtime clocking in over two hours, the juvenile humor becomes a bit monotonous after a while. The mystery itself isn’t all that compelling given that it is all based on the single gag that, while initially funny, isn’t enough to sustain a two-hour procedural drama on its own. For those viewers who haven’t seen the first two movies in the series — which is likely quite a few given that they haven’t gotten a wide-scale international release — the first fifteen-minute sequence presents a crash course on all of their events so that they can be primed to experience the finale. The protagonist is definitely the lovable goof type of character, and there is something very charming about that. Undoubtedly, fans who have been following this series since the original film will connect even more with the character in the conclusion of his arc, but newcomers will still find plenty to love about him. The entire cast of the movie is dialing it up to eleven, but given the farcical nature of the film, it works very well. Toma Ikuta’s leading performance has just the right balance of zaniness and charisma to nail the buffoonery while still being believable as the unlikely hero of the story. He plays the role so naturally that it’s almost as if he was born to play it. Visually, the movie is very colorful as is the case with most of Miike’s comedic films. However, the movie doesn’t have the awesome action that distinguishes the filmmaker’s best efforts from those that are simply good. This is much more focused on the slapstick side of things, and while it’s funny enough, it’s not always exciting. The Mole Song: Final is an enjoyable slapstick comedy, even if it isn’t among the best efforts from Takashi Miike. It will undoubtedly find its core audience of genre cinephiles, and they are who will give the film success. The Mole Song: Final screened at the 2022 Fantasia International Film Festival, which runs July 13 through August 3. Rating: 3/5 PREY -- A Solidly-Crafted, If Formulaic Origin Story for One of the Most Iconic Characters in Horror8/3/2022
Review by Sean Boelman
The Predator franchise may be the one that has experienced the most attempts to bring it back to life with the Robert Rodriguez-produced Predators in 2010 and Shane Black’s The Predator in 2018 both having not done the trick. Now we have Prey, a straight-to-streaming prequel that attempts to elevate the series but just ends up being a competent yet somewhat bland action-horror flick.
Supposedly following the Predator’s first ever hunt on Earth, the film takes place in the Comanche Nation hundreds of years ago as a young warrior sets out to protect her tribe from this intimidating extraterrestrial threat. In terms of plot beats, the movie follows the exact arc that you expect it to follow with very little deviation. It’s really almost fitting that the film doesn’t have Predator in the title, because there’s very little Predator action in the movie. That’s not necessarily a bad thing, but when the other action that makes up a majority of the first hour is so generic in nature, it would have been nice to have more than a few seconds of Predator flash every ten minutes until the final third. Admittedly, it is a gorgeous film. Even the CGI looks pretty dang good, which is surprising given that it’s a straight-to-streaming prequel in a series that isn’t exactly known for the quality of its CGI. However, the periodization in the movie does a lot of the heavy lifting and creates a solidly immersive and thoroughly entertaining atmosphere.
Perhaps the most frustrating thing about the film is that it is so straightforward. Setting the movie in colonial times gave the film the potential to address weighty issues of colonialism and racism. The parallelism between the Predator hunting the Comanche and the French taking the Comanche’s land is right there, but never explored.
It’s definitely awesome to have a strong female protagonist leading a movie in a series that, up to this point, has largely been about machismo. But it would have been even nicer for her to have any development that was not reliant on proving herself to men. It’s a step in the right direction, but still frustrating to be framed through a predominantly male lens. Still, Amber Midthunder absolutely steals the show with her leading performance. Although it may not have been designed as an acting showcase for her, that’s what it ends up being due to the slow pacing of much of the first two-thirds of the film. And she really channels the action hero charisma of someone like Arnold Schwarzenneger in her debut. Much of the praise for Prey has come from people hailing it as the “first good Predator sequel,” when, in reality, it’s just another good sequel — it's no better than the others. It’s a mostly fun time and is all-around well-made, but it’s probably not enough to kickstart a new franchise of Predator movies. Prey streams on Hulu beginning August 5. Rating: 3.5/5 Review by Tatiana Miranda Skydance Animation's first feature film Luck is a Pixar film in disguise. This is likely due to former Pixar filmmaker-executive John Lasseter's current role as head of animation at Skydance Animation, along with the film's writer and director who both have multiple Pixar films under their belt. While the Pixar-influenced plot devices and imagery shown in Luck feel familiar, this is also the film's downfall, as it proves itself to be just another addition to the sea of animated features that are being consistently churned out by the multitude of animation companies that exist. Pixar's influence on Luck can be found primarily in the film's 3-D animation style that is also featured in recent productions from Walt Disney Animation Studios, DreamWorks Animation, and various other animation companies. Although the visual similarities are the most striking between modern Pixar films and Skydance's debut film, the plot and character-building are incredibly reminiscent of what's been shown before. The settings of the Land of Luck and Bad Luck are one of the most noticeable examples of this, as they are both lucky- and unlucky-themed versions of Riley's Mind from Inside Out. There's also plenty of imagery that alludes to Monsters, Inc., most glaringly are the bunnies in hazmat suits that handle the unwanted specks of bad luck. While Luck tries to reinterpret these key resemblances to Pixar, John Lasseter's previous experience has a clear influence on his current work at Skydance. With all the ways that Luck is like other animated films, there are also all the ways that it falls flat in comparison to them. Although the Land of Luck and its inhabitants are incredibly well-thought-out and executed, the rest of the world is lackluster. In particular, the heroine of the film, Sam Greenfield, appears like any old 3-D style female character set in the modern day. Her design is vague and unimaginative, likely loosely inspired by the character's voice actor Eva Noblezada, but not bearing any distinctive similarities. While Noblezada's incredible voice acting gives some character to Sam, it's not enough to make her a compelling main character. This is especially visible when Sam is exploring the Land of Luck and follows a cast of unique and mystical creatures that seem to have received all of the attention to detail that the heroine of the story missed out on.
In between its direct influences and faults, Luck has a compelling storyline and extraordinary cast of voice actors that bring the world to life. Hidden underneath Pixar's stylistic grip and the film's half-done designs, there are some compelling moments in the plot and characters' personalities that give Luck and Skydance Animation a chance against the creations of popular animation companies. Hopefully, as more of their films are released, Skydance Animation will distinguish itself from its animation company predecessors. Luck premiers on Apple TV+ on August 5th. Rating: 2/5 |
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