Review by Erin M. Brady If you have ever found yourself in a life-altering event, you likely know how isolating it is to adjust to normalcy. It is even more isolating if you are an immigrant trying to start over in the supposed land of opportunity. This best describes Donya (Anaita Wali Zada), the subject of the surprise festival hit Fremont. She lives a simple, if not suffocating, life. She works at a fortune cookie factory and often spends her evenings alone or as the sole patron of an Afghan restaurant. However, when she receives an unexpected job opportunity, Donya decides to take charge of her life in her own way. Fremont -- the fourth feature by director Babak Jalali — is a quietly fascinating look at what is considered truly American. So much of how Donya moves around each frame is influenced by her past as a translator for the armed forces in Afghanistan. It is incredible that this film marks Zada’s screen debut, considering how poignant of a presence she is. Her stoic expressions come across as more forced than natural, and each of her lines is delivered so realistically that it’s hard to imagine that she’s acting. It’s hard to imagine the film working without her specifically as its lead, as so much of what makes Fremont work comes back to her. That isn’t to say there aren’t other aspects of the film worth highlighting. The black-and-white coloring amplifies Donya’s isolation in her surroundings, making the environments she navigates even lonelier than they already are. This coloring also makes even simple artistic shots feel impactful in a way that harks back to the early films of Jim Jarmusch.
However, directly comparing Jalali to Jarmusch would be a disservice to how uniquely composed Fremont is. It is not a particularly exciting or fast-paced film, but it doesn’t set out to be. It instead wants to show how unremarkable the American Dream really is, and how it isn’t the end-all-be-all for immigrants that people make it out to be. The film, which Jalali also co-wrote alongside Carolina Cavalli, sometimes bangs this message over the viewer’s head, but not without good reason. It’s not a takedown nor a glorification, but something more deceptively mundane: it's simply a look into one Afghan woman’s perspective. All she wants is to sleep at night, and even if she isn't convinced she's traumatized, it's a noble dream to have. Fremont arrives in theaters on August 25. Rating: 4/5
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Review by Daniel Lima Following the latter-day career of Liam Neeson is an arduous task, requiring a sturdy constitution. It’s not simply that he’s prolific — though with four projects awaiting release and four more in pre-production, that is certainly true. What makes keeping up with him such a dire prospect is the amount of interchangeable, anonymous thrillers he tends to headline, each new entry in the ignoble canon promising an endurance test. His latest film Retribution, while not quite a breath of fresh air, at least offers a certain novel charm that sets it apart from the worst of his body of work. Neeson plays a well-off financier who lives for his work, to the detriment of his family. While driving his teenage son and young daughter to school, he receives a call from a man claiming a bomb has been installed in his car. With no other option, the neglectful father is forced to follow the unknown caller’s every command, buying time until he can figure out how to keep his family safe. On the surface, it seems like a premise designed to produce the lowest-effort thriller possible. It asks nothing of its aging star beyond sitting down and turning a steering wheel. It has an incredibly limited cast and set of locations, and it doesn’t call for the same amount of action as any of Neeson’s previous films. The only promising facts in its favor are that it is a remake of a well-received Spanish film, and that Jaume Collet-Serra — an auteur that has always brought the best out of Neeson — has a producer credit. The best case scenario for Retribution is a no-frills thriller with zero pretensions beyond keeping the audience on the hook for its ninety minute runtime. To the credit of director Nimród Antal and screenwriter Chris Salmanpour, they understood the assignment. There is precious little prelude, with the film rushing forward to get to its high-concept premise. From the moment Neeson settles into the driver’s seat, and the bomb underneath him is shown to arm itself, it is clear Antal has an understanding of how to generate tension within a scene. While there is no big action set piece per sé, every interaction with the maleficent mystery caller has a palpable sense of danger, a charge that makes those scenes work in spite of the inherent ridiculousness. That's not to say the ridiculous quality is a bad thing. At first, one might cringe at the awkward, unnatural dialogue these actors bark out — dialogue that forces them to give stilted performances in turn. Bane quickly turns to boon, however, as all the strange lines and even stranger delivery cultivate an atmosphere reminiscent of the low-budget pulp of decades past. From the unknown caller's snark to out-of-nowhere silly lines from the kids during lulls in the action, this film is funnier than most comedies, granting it a personality most modern thrillers of this sort lack. It all culminates in a final confrontation that is some of the best scenes in the year, as the villain revels in his evil in glorious fashion. All that said, there are far too many lulls in the action. Antal may do a good job handling tension in the moment, but he lacks the ability to maintain the narrative drive that Collet-Serra’s collaborations with Neeson have displayed. This is most egregious towards the end of the film, when the plot literally grinds to a halt, allowing all that momentum to evaporate over the course of nearly fifteen agonizing minutes. There is also a lack of visual flair, with only a handful of shots more complicated than a closeup of Neeson driving, as well as a remarkably drab palette. These may simply be a consequence of keeping production costs down, but the result is a work less rich than it could have been.
This is especially notable in the structure of the narrative. As commendable as the lean story is, it doesn’t take much imagination to think up changes that might have made for something deeper and more meaningful. A bit more character work could have made for more involving family drama; some timed challenges from the caller could have introduced more thrilling set pieces; a darker edge to Neeson’s character — hinted at in the film — might have offered some sharp social commentary. Reading a synopsis of the original film, whose runtime is only six minutes longer than Retribution, it seems that these are all considerations made there. Why this script adapted those elements out, only to replace it with obvious filler, is truly baffling. It’s a bit telling that the star himself is almost an afterthought when discussing this film. While there’s little material to go off, this is admittedly far from Neeson’s best work, leaving him just as off-putting as the rest of the ensemble. In a way, it almost works in his favor, as whether it’s dealing with a mad bomber or being a good dad, the character is reckoning with a situation he is utterly unprepared for. Then there are the moments where, against all odds, Neeson is able to wring actual pathos out of a scene where he’s acting against absolutely no one at all. There is a reason he’s able to consistently headline three movies a year, even if they tend to be of questionable quality. As for Retribution, this is a perfectly serviceable thriller, albeit one with tantalizing hints at something more. Though bereft of the kind of ingenuity that would put this among the top of the Neeson oeuvre, this stands far above the dregs of his recent past. Sight unseen, however, one may be better served looking to the Spanish original for something truly exhilarating. Retribution hits theaters August 25. Rating: 3/5 Review by Camden Ferrell Before, Now & Then had its premiere at the 2022 Berlin International Film Festival where it was nominated for the Golden Bear and won the Silver Bear. This movie was adapted from the first chapter of the novel Hais Darga Namaku. Written and directed by Kamila Andini, this is a tender and profound exploration of womanhood and its struggles among the backdrop of 1960’s Indonesia even if it can be bogged down by its slow pace. Nana is a beautiful woman who is currently the wife of a wealthy plantation owner in Indonesia. However, her heart still remains with the memory of her first husband who was murdered in a civil war a decade prior. She carries on with her daily life while still being haunted and dreaming of her past and the life she had lost. In this time, she confronts the infidelity of her husband by befriending and connecting with his younger mistress Ino. Together, they share their personal secrets and desires, an act that allows them to access emotions and liberation denied by their patriarchal society. This premise is one with great potential for exploring its central themes and lends itself to still timely social commentary. Andini’s writing is quite strong for the most part. Some of the earlier scenes in the movie do meander a bit, but by the time the crux of the story comes around, her writing is top notch. The way she writes dialogue between its central characters is beautiful while not feeling forced or artificial. There is a scene in the final half of the movie between Nana and Ino that is breathtakingly well-written and helps overcome to movie’s previous shortcomings. Happy Salma leads the film as Nana while Laura Basuki plays Ino. Both women give fantastic performances that feel appropriate to the story being told while also feeling authentic and original. They capture the nuance in their relationships well and have great chemistry in their scenes together. The supporting cast is quite forgettable in comparison, but also significantly less important in the grand scheme of things.
Andini’s direction is always confident but not always ideal. The first half of this movie is slowly paced, and it takes some time to arrive at the defining moments of the movie. This can lead to early scenes feeling slow, but this issue is corrected by the second half where the pacing gets better, and the movie becomes more captivating. In addition to this, the movie boasts gorgeous cinematography by Batara Goempar and music by Ricky Lionardi. Both of these elements stand out in the film without undermining its story and characters. It’s a delicate balance that Andini handles very well despite some minor hiccups. Before, Now & Then tells a beautiful and personal story that balances 1960’s Indonesian turmoil with a universal story of womanhood that may still resonate today. It has great lead performances accompanied by solid writing and directing from Andini. This may not be everybody’s cup of tea, but I think it at least deserves a chance from everyone. Before, Now & Then is in theaters August 25. Rating: 4/5 Review by Dan Skip Allen In the ‘70s, the U.S. was so blinded by Watergate and the Vietnam War that many Americans did not see the other crises happening around the world. At the same time in the Middle East, a burgeoning war was about to break out from Egypt and Syria attacking Israel, which caused its leader at the time, Golda Meir, to reciprocate on behalf of her country. Golda is that story that many Americans may not know about. Golda Meir (Helen Mirren) is the Prime Minister of Israel in the 1970s. While under her watch as caretaker of her country, it was attacked on the sacred day Yom Kippur in 1973. She had to overcome the damage and loss of life, and still lead her country. With the help of her trusted military leaders, generals, and such, she tried to defend her country and fight back against these two countries who want their so-called land back. The movie, which more or less captures a moment in time, used a lot of technical aspects to help tell its story. In the opening credits, dates, news broadcasts, and newspapers were used to depict what was going on at this time. Later, archive footage and flashbacks were used to show Meir’s past and motivations for why she's doing what she's doing in the present, which is mainly in 1973. The viewer can learn a lot from all this information shared in these various ways. Helen Mirren’s filmography is vast and varied. She played the Queen of England, Queen Elizabeth II, for which she won an Academy Award for Best Actress, the mother of Owen and Deckard Shaw in the Fast and Furious franchise, and everything in between. She has had a vast career under her belt. Her portrayal of Golda Meir is one of the best of her career, though. She all but disappeared into this character. She has a lot of difficult dialogue, and she uses an accent to become this woman who was trying to save her country. She may have another Oscar run in her future. The film uses a framing device as its main form of telling its story. Meir went to a special committee hearing, where they asked specific questions about all the decisions that went into what happened in Israel during these difficult times of war. This framing device served a great purpose in the story.
As this is a period piece set in the ‘70s, there must be a realistic look and feel to the film regarding these years in history. As mentioned, Mirren disappears into Meir, and she isn't the only one who looks amazing in her role. Liev Schreiber plays Henry Kissinger, the Secretary of State, and other men and women are dressed and look the part of people during this time. The hair and makeup departments were on point. As well as the production design, all the various rooms and places depicted looked amazing. The period look of the movie was terrific all the way around. Golda is about someone I hadn't known before watching this film. This was a fascinating story about a woman in a difficult position. She had to make tough decisions regarding her people. Mirren knocked this role out of the park. She may have a chance at another Academy Award nomination. The below-the-line departments brought me completely into this time and place in history. This is an interesting history lesson about Israel and the Middle East. Golda hits theaters on August 24. Rating: 3.5/5 Review by Erin M. Brady When you are in a failing relationship, it can often feel like you’re running in circles trying to figure out how to salvage it. There comes a point, though, where you must wonder if simply giving up is the better option after you’ve exhausted all your options. This breaking point is where Dane Elcar immediately drops audiences into Brightwood, his crafty and promising feature debut. Dan (Max Woertendyke) and Jen (Dana Berger) are a couple on the rocks. One of them has succumbed to toxic habits making them a shell of who they once were, while the other has lost so much trust that they wish the other would die. After years of unresolved tension culminating in an unseen work party incident, the couple attempts to hash things out on a morning jog. However, what starts as the duo losing their direction turns into something much more sinister when they encounter all-too-familiar hooded killers in their wake. While explaining further would involve diving deep into spoiler territory, it’s a cleverly constructed mystery that only gets bleaker as it unravels. What makes this bleakness so bearable, however, is the well-constructed conflict between Dan and Jen. Woertendyke and Berger confidently sell their roles to an appropriately uncomfortable degree, making some of their confrontations feel like intimate conversations you shouldn’t be privy to. Even if the situation is implausible, the film's core is grounded in a palpable reality. From the very beginning, it is clear that Dan and Jen harbor deep resentment for each other, but in a way that is carried as more sad than schlocky. When they finally confront mid-film to discuss their failing marriage, there is a legitimate weight hanging over them that feels like it’ll crash at any moment, and many times, it does. Some of this weight is lessened by some hit-or-miss comedic moments, but even the comedy feels like it is clinging onto itself in an attempt to not fall into despair.
Brightwood was not just Elcar’s debut. It is an adaptation of his 2018 short film The Pond, which follows a similar plot in a more condensed format. While keeping the entirety of a feature-length film might sound tedious, the way Elcar shoots the surroundings makes it feel more expansive than one might expect. The natural lighting makes each scene feel both dangerously familiar and uncomfortably unfamiliar at the same time, and while some segments shot on a Steadicam don’t always work, they help make viewers feel deeply uneasy. This feeling of setting uneasiness combines well with the discomforting dread felt between the two leads, making for a surprisingly compelling watch. Sure, the on-screen brutality is largely cut away, and some of the few gore effects are a bit cheap looking. However, Brightwood’s horror is a philosophical kind that will stick with you once the credits stop rolling. There is a lot in the film that is intentionally kept vague due to a major thematic spoiler revealed halfway through, but there is one thing Elcar does make clear: if you love someone, you have to fight for them. Brightwood hits VOD on August 22. Rating: 3.5/5 Reviewed by Jonathan Berk Scrapper is the ambitious, smart, and funny debut from writer and director Charlotte Regan. While not every idea works, the film is quirky and full of charm. It will inherently be compared to Aftersun and possibly My Girl for older audience members, but Scrapper is doing its own thing by bringing genuine laughs before making the tears flow. Lola Campbell makes her acting debut playing Georgie, a 12-year-old who lives alone in a flat in London after the death of her mother. She is earning money with her friend Ali (Alin Uzun, who is also making his acting debut) stealing bikes. Georgie feels like she’s got a grip on things until her estranged father, Jason (Harris Dickinson), shows up unexpectedly. Jason is determined to get Georgie to face the reality that she can’t continue living on her own, but he isn’t sure he’s ready to be a dad. Campbell is an instant on-screen presence to watch out for. Tasked with carrying the majority of the film and doing so effortlessly, her delivery of dialogue is very natural, and the scenes that ask her to be emotionally vulnerable work incredibly well. She has strong chemistry with Uzun, making their scenes feel very organic. One scene, in particular, has Uzun explaining how a vampire and werewolf hybrid creature could be made that just feels like two teenagers being teenagers. However, the film's full success comes from the interactions with Dickinson and Campbell. Dickinson was excellent in Triangle of Sadness last year and continues that level of performance in this film. He expertly portrays desperation and fear as the character struggles to know how to approach his daughter. The conflict between them and the clear stakes it results in make the film’s emotional scenes land like a punch to the gut. At the same time, you’ll get these touching moments where they get to know each other and have a bit of fun as they bond. Campbell has to do a lot in her performance to make these scenes reflect the character’s initial attitude and gradual change. It’s an impressive performance.
Regan takes some interesting swings in the filmmaking style. One element that doesn’t quite work — or at least isn’t given any context — is documentary interviews. At various times throughout the film, the aspect ratio will change to a square, and ancillary characters directly address the camera and comment on Georgie’s situation. It doesn’t completely take the audience out of the film, but it is jarring and seemingly disconnected. Fortunately, Regan has some strong visual instincts that work, particularly in the scenes that take place in Georgie’s mind to one degree or another. She and cinematographer Molly Manning Walker shoot these surreal moments exquisitely, establishing Regan as a clear stylistic voice. Scrapper is a powerful and fun coming-of-age story full of great performances. The story feels clearer than what Aftersun was doing, and, at least for me, made this a better viewing experience. The stylistic flourishes that Regan brings mostly work in terms of storytelling, and linger in one’s memory once the film concludes. Scrapper opens in theaters on Aug 25. Rating: 4/5 SAN FRANCISCO SOUNDS: A PLACE IN TIME -- A Definitive Look at the Bay Area's Musical Movement8/20/2023 Review by Tatiana Miranda During the rise of musical artists such as the Grateful Dead, Jefferson Airplane, and Janis Joplin, San Francisco became a hub of experimentation in all forms. From music to drugs to sexuality, San Francisco in the '60s and '70s defined the hippie movement and a new wave of creative freedom. Compared to its Southern California counterpart, music in San Francisco was often genre-bending and accompanied by drug-induced performances. In MGM+'s San Francisco Sounds: A Place In Time, directors Alison Ellwood and Anoosh Tertzakian go beyond the height of this musical movement, instead chronicling the beginnings and endings of pivotal musicians in the scene. The two-part docuseries opens as the San Francisco scene starts to develop with strangers connecting via rehearsal spaces and later forming revolutionary bands. Bands such as Sly and the Family Stone, Steve Miller Band, and Big Brother and the Holding Company got their start at local venues like Bill Graham's Fillmore and the Avalon Ballroom. At the end of part one of the series, we see these musicians reach new levels of fame at the Monterey International Pop Festival in 1967. Part two of San Francisco Sounds begins with hoards of young adults and teenagers flocking to San Francisco to join the hippie, free love movement. As the docuseries points out, the "Summer of Love," in some ways, killed the progress of San Francisco artists as crime spiked and drug use became more prominent. Mirroring the acclaimed performances at the Monterey festival is the 1969 Altamont Free Concert's outbreak of violence that signaled the decline of San Francisco's musical community. The infamous Altamont festival was then followed by Janis Joplin's untimely death a year later and Jefferson Airplane and Sly and the Family Stone's breakups.
While the docuseries features voiceovers from band members such as Steve Miller, Mickey Hart, and Jack Casady, they are only shown in archival footage from some fifty years ago. Meanwhile, non-musicians and authorities from the scene are seen reminiscing on the rise and fall of San Francisco's creative height. Radio DJ Dusty Street, former San Francisco Mime Troupe actor Peter Coyote, retired Rolling Stone journalist Ben Fong-Torres, and poster artist Victor Moscoso lend their perspectives on the musical and artistic developments in San Francisco in the '60s and '70s. San Francisco Sounds features plenty of previously unseen footage and exclusive interviews with band members recounting pivotal moments of their careers. One of the docuseries' best features is the choice to go beyond just one band or the widely known "Summer of Love." Instead, the series captures the beginnings and endings of the creative movement in the Bay Area and the interlocking musical community that defined the movement. While many documentaries have tried to capture the entirety of San Francisco music in the '60s and '70s, none have done so as decisively as San Francisco Sounds: A Place in Time. San Francisco Sounds: A Place in Time releases on August 20 and 27. Both episodes reviewed. Rating: 5/5 Review by Joseph Fayed Thrillers that involve deception through their main character don't often have that character be multi-layered enough to understand the depravity of their actions. Madeline Collins has Virginie Efira in a predicament, where she proves she is good at being bad. This Hitchcock style thriller directed by Antonie Barraud effectively lets you piece the puzzle together, while slowly taking you through the motions of a lie being uncovered. Judith has two picture perfect lives. In one, she lives in Switzerland with Abdel, where they raise their young daughter. In the second, she lives in France with Melvil and two older sons. Her weekly routine of going back and forth between these two lives begins to unravel, and soon she realizes that to preserve one of these lives, she must sacrifice everything she has come to love. The biggest distinction this film has is how the character of Judith is almost identical in her two lives. She shares similar traits in each lifestyle, despite living a facade. The truth of Judith is acknowledging that she is living a lie, but this also paints the picture that certain people around her are active participants in her far-fetched life. Judith is inherently messy this way because she fears losing half of what she has, but neglects to think of her other family. She is narcissistic, and the more she talks, the more Judith exposes her true self. I thought the decision to have her gradual breakdown caused by her longstanding actions was well done. It really rings true to how actual narcissists are uncovered. Virginie Efira is a force to be reckoned with. She carries the film with her performance, and while playing a narcissist from a clinical perspective must be daunting, she acts brilliantly when she's expected to maintain composure and when she's not. Efira bases her character around the sense of liberation from either of her lives. She acts nearly the same when she's with both families, but she is grounded in not accepting the boundaries of the men she's with. From one scene to the next, Judith is living quite a comfortable life, but she only feels free when she travels from one life to the next. Her painless re-entry into her other life is well acted throughout the film by Efira too.
Madeline Collins simply put is a story of how you can only hide your morals for so long until they catch up to you. With a brilliant performance at its center, you'll be enthralled by the double life of Judith and taken aback by her every move. I suppose we have a French Amy Dunne equivalent now. Madeleine Collins is now playing in theaters. Rating: 4/5 Review by Dan Skip Allen Shelter is the first novel in American crime author Harlan Coben's young adult series featuring the teenager Mickey Bolitar, the nephew of his popular book series protagonist Myron Bolitar. The book came out in September 2011. Harlan Coben’s Shelter is a new series on Prime Video that is a little more adult than most young adult films or television series. Mickey Bolitar (Jaden Michael) is reeling from the death of his father. He ends up having to live with his aunt in New Jersey and start life over at a new high school. While there, he meets some new friends and gets embroiled in a deep and dark mystery, starting with the kidnapping of another new student at the school. Every twist leads to another turn. The story is complicated, and there are many subplots unfolding. Coben knows how to tell a story. He creates a tale of lies and deceit that completely envelopes everyone involved in the show. From the aunt to a creepy old lady who lives down the street, nobody's off limits in this series. The main character has enough of his uncle's ingenuity and curiosity to spare. He can't help but delve deeper and deeper into this world with the fight and courage he got from his father. He left him with a lot of questions. The high school aspects were like a whole different world within this story. Typical high school angst follows this story as the main character meets new friends and gets involved with pretty girls dating other boys. Bullying and teen awkwardness follow this boy and his friends, whether it's involved in trying out for the basketball team or a stage production at the school of The Phantom of the Opera. The kids get wrapped up in everything the main character is doing. The cast is a vast one, with a bunch of high school kids and many adults. Coben fills his story with many characters, and all of them play an important part in the overall storyline, while sometimes having their own subplots. The parents even have storylines. The three main kids besides Michael's character — Ema (Abbey Corrigan), Arthur "Spoon" (Adrian Greensmith), and Rachel (Sage Linder) — all play major parts in this series. They all get over their heads and into trouble, along with the main character. They help him out quite a bit, considering everything that goes on in this show. These actors do a great job supporting the lead kid in the series.
There are many different filmmaking styles that go into making this show. One of them is flashbacks of German concentration camps, in black and white, to show the back story of an old lady. Another shows us some of the history the main character has with his deceased father. A lot of the show is shot at night, and the camera work is very good. The lighting is used to create a moody and noir-esque feel to the series during these moments. Then the show switches back to the young adult high school feeling once again. It's a very good dichotomy between styles. Harlan Coben's Shelter is a complex series based on a dense and modern book. It takes themes we've seen before and turns them upside down. There are many twists and turns in this show. The high aspects are typical of a young adult series such as this, but they still add a different vibe from the mystery thriller stuff. The story as a whole is the strength of the series. The actors give good performances, and the cinematography blends many elements. This is a good first season, and hopefully there will be a second based on this literary character. I'm sure Coben has more in store for fans of these characters, and ideally, more books in this series will get the light of day. Harlan Coben's Shelter is now streaming on Prime Video. All eight episodes reviewed. Rating: 4/5 Review by Cole Groth Thoroughbreds director Cory Finley is no stranger to weird high school movies. His latest, Landscape with Invisible Hand, is perhaps the hardest to decipher. An unusual trailer was the first piece of media that brought this film to my attention, and the original premise left me excited for more. Crossing various genres — including sci-fi, drama, romance, and comedy — it’s a multifaceted experience that’s undeniably original and worth a watch. The many twists and turns of Landscape won’t be explained in this review. They’re much better seen and interpreted with your own eyes. To put it simply, this film takes place in a world taken over by benevolent aliens. After the technology they broke rendered most human jobs obsolete, two teenagers begin live-streaming a manufactured romance with the aliens in a desperate bid to make cash for their families. The relationships between the teenagers, families, and aliens are all explored in this vast story. The script, penned by Finley, is an absolute powerhouse of indie science fiction. It’s very creative and manages to be quirky, while avoiding the traps of other films like this by not being annoying. There’s a real skill required to write many of the scenes contained within Landscape. Finley’s script contains multilayered people with realistic dialogue and depth. It’s full of rich satire that feels particularly poignant, with Finley continuing to prove his screenwriting prowess. The heart of the film lies with Asante Blackk’s powerhouse performance. Blackk is a terrific leading man and will have a successful career ahead of him if he continues to act this well. He’s joined by Kylie Rogers, who’s also great. The two have a powerful dynamic with plenty of angst, chemistry, and friendship. They’re both complex characters, written and performed well. Joining the two leads are Tiffany Haddish and Josh Hamilton as Blackk and Rogers' characters' parents. Haddish has continued to build into more complex roles in the previous years and continues to thrive. Hamilton is excellent, too. Michael Gandolfini, Brooklynn MacKinzie, and William Jackson Harper appear in smaller roles, and all kill it as well. All around, this cast is stacked.
One of the unexpected standouts of Landscape With Invisible Hand is the score. Composed by Michael Abels, the music works wonders toward the overall feeling of the film. It’s synthy, funny, and dramatic. Like the film itself, it’s full of whimsy and complexity. The repeating motifs are fun to listen to, and make this stand out as one of the best-composed indie films recently. Other technical aspects are great, too. It’s well-lit, edited well, and has great visual effects. Landscape with Invisible Hand is a movie best experienced blindly. It’s easily one of the most creative films of the year, and will leave you thinking. While its quirks are occasionally a bit overpowering of the ultimate message, Finley’s direction is assured, and continues to show his talents as a filmmaker. With a fantastic cast, good music, a strong script, and great pacing, this is deserving of a watch for anybody looking for a good, original movie. Landscape with Invisible Hand releases in theaters starting August 18. Rating: 4/5 |
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