In addition to her Academy Award-winning work as an actress, Regina King has a quietly prolific career behind the camera in television, so expectations were understandably set quite high for her feature debut One Night in Miami. And she delivers as anticipated, using four excellent performances and a brilliant script to their fullest, making this a truly unmissable film.
Written by Kent Powers from his own stage play, the movie is set the night that boxer Muhammad Ali (then Cassius Clay) becomes the heavyweight champion of the world, celebrating with his friends Malcolm X, Sam Cooke, and Jim Brown. And since these men are some of the greatest African-American icons in their respective fields, it will be no surprise that it’s such a treat to see them together in one place. King and Powers don’t make the mistake of assuming that the audience isn’t familiar with these icons — they know that they’re dealing with some of the most famous men in history — and so the focus here is on paying respect to their legacies and contributions while using their stories to say something. The area in which it is most obvious that the film comes from theatrical origins is its dense dialogue. There’s a lot going on in the script thematically, and while it is a bit busy at times, a lot of it is really profound. It’s sad that stories like this, about minorities talking about minority issues told from a minority perspective are far too often ignored, if they even make it to the screen at all.
That said, from a technical standpoint, the movie feels a lot less stagey than one would expect. King does some really interesting things with the film, especially impressive given the fact that a majority of it is set in a single location. The cinematography by Tami Reiker and the score by the incredible Terrence Blanchard are stand-outs in an all-around well-made movie.
And all four performances are magnificent as well. The two higher-profile names in the cast, Leslie Odom Jr. and Aldis Hodge, are great, especially when Odom Jr. gets to sing, but it is the two lesser-knowns who steal the show. Both with massive shoes to fill from award-nominated biopic performances of these legends, Kingsley Ben-Adir and Eli Goree are extraordinary with their human takes on Malcolm X and Muhammad Ali, respectively. The film is at its best when it sticks to its core premise of allowing these legends to interact with one another. There is a sequence of about twenty minutes in which they split up, and it’s definitely the least effective portion of the movie. But Powers’s rapid-fire dialogue, executed wonderfully by King, keeps the film moving with ease. One Night in Miami stands out thanks to its script and performances that are among the best of the year, but it is Regina King’s silently accomplished direction that will allow it to stick with viewers for years to come. She definitely has a very exciting future ahead of her as a filmmaker. One Night in Miami screened as a part of the 2020 Toronto International Film Festival which runs September 10-19 and offers a blend of in-person and virtual (geoblocked to Canada) screenings. Rating: 5/5
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Review by Sean Boelman
Charles Officer’s insanely ambitious thriller Akilla’s Escape is definitely not made for everyone, but those who are willing to follow the story’s hyperactive narrative will find this to be a challenging and emotional watch. Balancing intensity and emotion, with some gorgeous visuals to boot, this film is vibrant in unexpected ways.
The movie follows a drug pusher who captures a teenage lackey in an attempted robbery, seeing himself in the young boy and going against orders to protect him. It’s a refreshingly empathetic take on crime drama tropes, focusing not on the criminal consequences of their actions, but rather, the emotional toll that years of abuse and internalized degradation take on one’s soul. What is going to keep this film from catching on with mainstream audiences is that the narrative is quite difficult to follow at times. There are two timelines, one with Akilla as an adult and one with him as a child. The complexity comes in with the fact that the same young actor, Thamela Mpumlwana, plays both the naive teenage robber and the young Akilla. While there is a clear purpose to this artistic decision, it becomes difficult to distinguish between the two periods at a certain point. That said, the movie’s absolutely fascinating exploration of the perpetuating cycle of violence and abuse that drove these characters to make the wrong decision relies on this unconventional structure. By drawing parallelisms between the two characters at the same time in their life, Officer and co-writer Wendy Motion Brathwaite make the story all the more heartbreaking.
Part of what makes this film stand out is that the characters work extremely well, both on an individual level and together. It’s a movie about encountering past trauma while facing the need to adjust for the future. The characters feel very real, not like gangster stereotypes, as their anxieties are not the exaggerated ones that often define the genre, but rather, fears that many have experienced.
Saul Williams is great in the lead role giving a performance that is subtle and grounded, not feeling overbearing in any way. But one would be remiss if they didn’t acknowledge Mpumlwana as the real show-stopper here, as he fully develops two sets of mannerisms that are similar but ever so slightly different as to build two distinct characters. The visual style which Officer brings to the table is also excellent. There’s an obvious neo-noir influence with the neon-tinged images (with a lot of use of red), but there are plenty of moments in which Officer does something more experimental and unique. And the score by Williams and 3D is phenomenal and complements the film quite well. Other than the fact that it will be a tad confusing for some, Akilla’s Escape is a very different take on a genre that is all too often homogenous. The voices of everyone involved in this project shine through, combining into something even greater than the sum of its parts. Akilla’s Escape screened as a part of the 2020 Toronto International Film Festival which runs September 10-19 and offers a blend of in-person and virtual (geoblocked to Canada) screenings. Rating: 4.5/5
Review by Sean Boelman
Chloé Zhao offers what has to be one of the most authentic voices in film today, so it comes as no surprise that her newest work Nomadland, adapted from the nonfiction book by Jessica Bruder, is one of the most anticipated indie titles of the year. An unorthodox take on the road movie genre, Zhao’s film benefits from the filmmaker’s wonderful eye and a great performance by Frances McDormand, but struggles to create that connection that made her other scripts work so well.
The movie follows a woman on her journey to find a sense of purpose and belonging after she loses everything when the economy takes a downturn, inspiring her to take up a life of nomadism living in her van. Perhaps the main draw that the story has going for it is that it is so unique, yet comes from a place of empathy, making it a fascinating portrait of a foreign world that exists right under our noses. From the first title card, offering a chilling fact about a small town in rural Nevada that was ruined by the recession, it’s clear that Zhao’s script offers an alternative to the traditional “American Dream”. This balanced sense of realism and hopefulness provides the emotional center of the film, even if Zhao doesn’t do enough with her characters to make it resonate. Zhao’s admiration for this world and the group of people that built it is obvious, and much like her past work, this feels like a true-to-life depiction of the way things are in reality. However, the movie feels much more atmosphere-centric than character-based. And while this has the effect of making the audience feel this sense of sadness, it doesn’t give us a real reason as to why.
McDormand’s performance is the epitome of making a lot out of a little. There’s not a whole lot of external conflict in the film outside of the first act, and so McDormand must communicate the audience’s inner feelings, and does so in a way that is subtle and affecting. While it may not be her best work, it’s absolutely some of her most complex work.
The film should also be given props for not being restrained by the traditional structure of a road movie. Yes, the protagonist interacts with various characters along her journey, but these moments aren’t what makes the film tick. It’s the slower, more introspective portions that are the most harrowing and compelling. Additionally, it’s an absolutely gorgeous movie. Zhao again partners with her cinematographer from The Rider and Songs My Brothers Taught Me, Joshua James Richards, and the way in which they are able to capture the beauty of the American West is awe-inspiring. The score by Ludovico Einaudi is fantastic as well. Nomadland is an undeniably beautiful film to look at, and it’s genuineness is admirable, but it’s the type of movie that will connect with some more than others. Still, Chloé Zhao is extremely talented, and the fact that she was able to make so much out of this film is definitely impressive. Nomadland screened as a part of the 2020 Toronto International Film Festival which runs September 10-19 and offers a blend of in-person and virtual (geoblocked to Canada) screenings. Rating: 3.5/5
Review by Camden Ferrell
Sibyl is the newest film from director Justine Triet (In Bed with Victoria). This movie premiered at the 2019 Cannes Film Festival and was also an official selection of the 2019 Toronto International Film Festival and the 2019 New York Film Festival. This is an ambitious film that has great performances but ultimately loses its initial momentum.
The titular character is a psychotherapist who becomes disenchanted with her work, so she decides to focus solely on writing her novel. However, she receives a new patient, Margot, an up-and-coming actress. Sibyl slowly becomes obsessed with Margot as she provides inspiration for her novel and simultaneously battles with her past. This is a unique take on a similar premise between artist and muse, and it’s a premise that isn’t explored to its fullest potential. Triet and Arthur Harari’s script is an interesting examination of the tumultuous lives of these two women. Some of the dialogue is a bit clunky, but it deals with sensitive topics such as abortion in a really unique way that isn’t done very often. Some moments do come off as convoluted and tired, but the script is very original and symbolic if nothing else. The performances in this movie are really great throughout. Virignie Efira plays Sibyl, and she has an interesting way of capturing the character’s complexity. This is best observed through the parallel moments as she conflicts with her past, and it’s a performance that adds more entertainment value to the film. Adèle Exarchopoulos (Blue is the Warmest Color) plays Margot in performance that pales in comparison to Efira, but it is one that is still enjoyable and very inspired.
The first half of this movie lays the foundation of the narrative in a way that isn’t expository or boring, but unfortunately the film squanders the set-up of its first half. There’s a specific moment that shifts the pace drastically, and it is somewhat off-putting. The latter half of the film has a tendency to meander at times, and it doesn’t have do much else to explore the relationship between the two women. However, the film’s final act does feature some great moments of conflict and tension.
Triet’s execution of certain scenes are well-done, tasteful, and it’s yet another case for more female representation behind the camera. The way she lets her female characters interact is pretty fascinating for the most part. Unfortunately, as mentioned before, there are a fair amount of meandering moments later in the movie that significantly impact the perceived quality of the film. It’s very clear upon watching this film that it’s bound to be polarizing. It’s an ambitious piece of cinema that won’t appeal to a large number of viewers. There are complex themes throughout, and Triet explores obsession, loss, and regret in a nuanced way that will not be for everyone. Sibyl benefits from its cast and refreshing perspective, but it ultimately suffers greatly from its loss of momentum and convoluted moments. For those looking for a challenging piece of art with limited appeal, this may be for you. Otherwise, this is not the most crowd-pleasing film for a general audience. Sibyl opens in virtual cinemas September 11. A list of participating theaters can be found here. Rating: 3/5
Review by Camden Ferrell
I Am Woman is a musical biopic that premiered at the 2019 Toronto International Film Festival. Director Unjoo Moon’s narrative feature debut has since played at other festivals. This movie takes its famous subject and tells her story that isn’t always entertaining but benefits greatly from its cast.
Helen Reddy is an aspiring singer who leaves her life in Australia to pursue a career in the United States. After falling for a talent manager, her career skyrockets, and we watch as she deals with the increased pressure that fame brings. Reddy is a very famous singer who is well-known, and her story makes for a fascinating premise for this film. Emma Jensen’s script doesn’t do too much to set itself apart from other biopics. It is a fairly strong script, and it characterizes its lead fairly well, but it’s an otherwise adequate script that doesn’t do anything particularly witty or ground-breaking. It has some funny exchanges and good moments of tension, and it’s a solid foundation for the film. The performances in this movie are what make the movie as enjoyable as it is. Tilda Cobham-Hervey gives a phenomenal turn as Reddy, and she is a fantastic lead with a captivating screen presence. She does well during the musical performances and as well as with her co-stars. Alongside her, Evan Peters co-stars, and he also gives a really noteworthy performance as Reddy’s husband and manager. Additionally, Danielle Macdonald gives a decent but not prominent performance as rock journalist Lillian Roxon.
Moon’s direction is decent throughout, but it can’t help but feel like it has been done before. The blocking and execution of many scenes are about what you would expect from musical biopics. However, there are some really well-made scenes in which Reddy is performing. The cinematography is pretty great in these moments and help elevate the scene.
Obviously, a big part of a musical biopic is its music. For those not familiar with Reddy’s music, this movie will still be a musical joy as her music is timeless and catchy. When your subject is Reddy, the musical performances and soundtrack are bound to be excellent, and this movie definitely delivers in this regard. In addition to the great music and performances, this movie has a timely message of overcoming adversity and achieving your dreams. This may be a cliché message, but it’s one that coincides with the cultural context of the women’s rights movement. Despite taking place decades ago, this is a movie with some timely themes for people of all ages. I Am Woman is on par with many other musical biopics in the last few years. It may meander and be somewhat bland at times, but there are some great performances throughout that more than compensate for the film’s shortcomings. This is a simple and fun movie for a general audience. I Am Woman will be available in theaters and on VOD September 11. Rating: 3.5/5
They say that a picture is worth a thousand words, and following that adage, former White House photographer Pete Souza’s body of work could fill up the dictionary countless times. A magnificent story told in a captivating and cinematic way, The Way I See It is one of the most poignant and unexpected political documentaries of the year.
The film tells the story of Pete Souza who worked as an official White House photographer for both the Reagan and Obama presidencies before the election of Donald Trump into office in 2016, at which point he became outspoken about his political beliefs. As far as political documentaries go, this one stands out because Souza offers a unique perspective that allows him to compare the policies of multiple leaders. Souza is definitely an interesting subject, and he has enough experiences that it would be easy to make a full-length docuseries of him sharing his journey, starting as a photojournalist before becoming a “historian with a camera” as he calls it. In condensing his prolific career into a documentary of an hour and forty two minutes, director Dawn Porter rushes through some parts of his tale, like his experiences in the Reagan presidency, but does a great job of showing Souza’s relationship with President Obama. In a way, the film has three foci. Of course, this is Souza’s story of how he used his camera to capture these moments in time. However, there is also an obvious political angle to the documentary in that it explores the dichotomy that exists between America’s last two Presidents. Like Souza’s book Shade: A Tale of Two Presidents, Porter’s film uses juxtaposition to effectively convey the horror of the situation in which we now find ourselves.
On the other hand, the film offers commentary on the magnificent powers of visual art. The most moving sequences of the film feature Souza discussing what he considers to be his favorites out of the photographs he took during the Obama presidency, and viewers will notice a common trend that these are not the most groundbreaking or revelatory images, but rather the ones that captured the humanity and empathy displayed by President Obama in his actions.
Of course, Porter largely allows Souza and his work to speak for himself. Apart from the interviews and archive footage to provide necessary professional or political context, the film is mostly composed of images shot by Souza himself, accompanied by voiceover taken from a moving speech he had given. And it’s a storytelling method that really fits the material. It’s obvious that there was a bit of a rush placed on the film in order to make sure that it was ready for an election year premiere, but for the most part, it isn’t too distracting. The only portion of the film that feels somewhat out-of-place is a tacked-on message about President Trump’s handling of the current crises in which we find ourselves, which really runs counter to the feeling of hope that permeates through the rest of the film. Even though we’re going through a rough time, not all leaders are this way, so we must come together to stand up for that in which we believe. It seems that every election year there is a slew of documentaries that come out in an attempt to inspire voters to act in one way or the other, and Dawn Porter’s The Way I See It is undoubtedly one of the more effective of the batch. Well-made and engaging, this film is one that will actually make the American public think about our political climate. The Way I See It debuts as a part of the 2020 Toronto International Film Festival on September 11. The festival runs September 10-19 and offers a blend of in-person and virtual (geoblocked to Canada) screenings. Rating: 4.5/5
Review by Sean Boelman
Many consider the Talking Heads documentary Stop Making Sense to be one of the greatest concert movies ever made, so David Byrne’s American Utopia, the recording of the frontman’s Broadway show, has an astronomically high bar to which it had to live up. And thanks to Byrne’s undeniable talent and energetic direction from master filmmaker Spike Lee, this is an experience that audiences won’t soon forget.
The film is a recording of the eponymous Talking Heads frontman’s Broadway show inspired by his most recent album, featuring performances of his solo work and some of his band’s classics with twelve other gifted musicians. Talking Heads aficionados are in for a massive treat here, as it’s one of the most fittingly idiosyncratic concerts you have ever seen. What is perhaps most impressive is that, even at the age of sixty-seven (he has turned sixty-eight since the time of filming), Byrne has still got it. His voice is still as magnificent as ever, and he runs and dances across the stage with just as much energy as he would have in his twenties. Fans of the new wave sound will be delighted with these unique renditions of both some of the greatest hits of the eighties and some interesting new pieces that share a lot stylistically but are perhaps even more ambitious than his most famous songs. And Byrne is just as experimental as ever, including a wonderful sequence in which he and the other performers on stage deconstruct a song into its individual elements.
But those thinking that this is just going to be an hour and forty five minutes of Byrne performing his greatest hits are sorely mistaken. His lyrics are anything but shallow, and he weaves them together in a way to form a message encouraging viewers and the world to come together and love each other, as that is the only way to achieve the eponymous state of mind.
That said, Byrne also isn’t afraid to address some of the deeper issues in society. A brief tribute to Colin Kapernick and a plea to the audience from Byrne to participate in the election both show Byrne’s desire to make change. However, the most powerful moment in the movie, and the one with which Lee most exerts his iconic voice, is a stirring rendition of Janelle Monaé’s protest song “Hell You Talmbout”. What really makes this film stand out, though, is that Spike Lee directs it in a way that is much more energetic and stylistic than is usual for concert documentaries. This isn’t just a camera crew pointing-and-shooting at the stage — although the way in which he captures the performance is very fluid — it’s a multimedia experience that feels like a companion piece, not a substitute to the live show. David Byrne’s American Utopia is the concert documentary event of the year. The fact that Byrne got two of the greatest filmmakers of all time to collaborate with him is a feat in and of itself, but that they are two of the best music movies ever made is even more awe-inspiring. David Byrne’s American Utopia debuts as a part of the 2020 Toronto International Film Festival on September 10. The festival runs September 10-19 and offers a blend of in-person and virtual (geoblocked to Canada) screenings. Rating: 5/5
Review by Sean Boelman
In recent years, Jessica Barden has shown herself to be an actress to watch, delivering some memorable (mostly comedic) performances across film and television. Her starring role in Nicole Riegel’s feature debut Holler is perhaps her biggest test yet, though, and both she and Riegel succeed in delivering a very compelling drama.
The movie follows a young woman who, coming from a troubled and uneducated background, sets out to forge her own path by going to college, forcing her and her brother to join an illegal scrapping crew. As an exploration of an unorthodox criminal underground, it doesn’t quite work because of some inconsistencies that will draw the viewers out of the film’s world, but as a movie about poverty, it works quite well. This film is about second chances, and while none of the commentary it has to offer is anything particularly new, it is presented in a way that is emotionally affecting. At times, it feels like Riegel is milking the melodrama out of the situation, particularly when it comes to the subplots, but the main conflict of the story is pretty riveting. The protagonist is a very sympathetic character and her desire to better herself is really what will form the audience’s connection with the story. And part of what makes this movie stand out is that the change in her character is a lot more subtle, rather than the overt arc that comes with most coming-of-age tales.
Barden is obviously excellent, packed with emotion and humility form start to finish. But the supporting cast that surrounds her is also very good. Gus Halper is great as the protagonist’s older brother, thriving in some of the more vulnerable scenes in the role. And Pamela Adlon has a few powerful scenes as their drug-addicted mother.
Stylistically, there are also some very interesting things happening here, showing that Riegel has a lot of potential as a filmmaker. With the subject matter, this is a gritty drama with a glimmer of hope, and the film’s visuals match that really well. And Riegel does an excellent job of bringing suspense out of something so mundane as scrapping. That said, the movie does fall victim to some of the first-feature traps, the most obvious of which is trying to juggle too many subplots. The main story and the protagonist’s relationship with her brother are really well-developed. On the other hand, the characters’ interaction with their mother feels undercooked, and another character that is meant to be their de facto parental figure doesn’t add much to the equation. Holler isn’t without its flaws, but for the most part, it achieves what it sets out to do. This is proof that Jessica Barden deserves more meaty leading roles like this, because she is an undeniably talented actress. Holler screened for press and industry as a part of the TIFF Industry Selects sidebar of the 2020 Toronto International Film Festival, which runs September 10-19. Rating: 4/5
Review by Sean Boelman
Low-budget, high-concept sci-fi can be a bit hit-or-miss, but Jon Stevenson’s directorial debut Rent-A-Pal uses its simple premise to deliver a darkly funny and chilling thriller. Thanks to excellent performances and a surprisingly poignant story, this is an unexpected and entertaining entry into the genre.
The film follows a lonely bachelor who, fed up with not finding success through a video dating service, finds a strange tape offering him a new companion, initially using it as an escape from his frustrations of caring for his mother but soon forming a dangerous obsession with it. It’s a strange little idea, but Stevenson and his actors approach it with enough sincerity for it to be taken honestly. Even though this movie is very much set in the 90s, a lot of its ideas have a lot of modern resonance. Replace video dating services with dating apps and you have a commentary on romance in the twenty-first century. The message about how crippling loneliness can be on one’s psyche also comes from a place of honesty and empathy. One of the things that makes the film work so well is that the characters are super charming. The protagonist is a lovable loser, and it’s easy to get behind his quest to find an outlet to relieve himself of some of the stress of his daily life. And the mysterious personality living within the VHS is intriguing and very much feels like something ripped out of a cheesy videotape.
Of course, the performances go a long way as well. Brian Landis Folkins carries a lot of the movie on his shoulders, selling every bit of emotion even though the story constantly threatens to veer into more ridiculous territory. And Wil Wheaton gives a very fun and hammy performance in his supporting part, bringing a bit of sinister charm to the character.
Admittedly, the film does fall apart a bit in the third act, losing many of the mystery elements and turning into a more straightforward psychological horror-thriller, but the first hour and fifteen minutes or so is extremely strong. The cynical humor that runs through the movie will have many viewers chuckling. Stevenson also brings an interesting retro style to the film through his costuming and production design. In a way, it almost feels like a wacky B-movie from the 90s, something that you would find browsing through the aisles of the video store. The ambitious finale is a bit of a swing-and-a-miss, though. Rent-A-Pal is a fun midnight movie, and while it exists in that area where it’s too weird for general audiences but also a bit too conventional for a cult following. Still, for an indie genre film, it’s a lot better than expected. Rent-A-Pal hits VOD on September 11. Rating: 4/5
Review by Camden Ferrell
Our Time Machine had its premiere at the 2019 Tribeca Film Festival where it won the award for Best Cinematography in a Documentary Film. Since then, the movie has played at several other festival where it has received more accolades. Directed by Yang Sun and S. Leo Chiang, this movie uses the unique artistry of its subject to tell an emotional story about the connection between father and son.
Maleonn, a famous Chinese artist, decides to stage an ambitious piece of theater about memory, time, and fatherhood when he finds out his dad, a former Opera director, is suffering from dementia. We get to witness his creative process firsthand as he must deal with the financial demands of the play as well as his father’s worsening condition. This is a unique premise that benefits greatly from Maleonn’s work and his relationship with his father. The documentary is executed very well, and it has a fair balance between footage from the play and from the domestic life of Maleonn. The narrative is cohesively structured, and it doesn’t confound or distract from the film’s main themes and messages. It’s a very well-made movie from veteran documentary filmmaker Chiang and newcomer Sun. Maleonn is a fascinating artist, and he brings a lot of life to this film as its main subject. He has a fascinating way of letting his personality emanate through his creations. His parents are also very interesting, and his father has a lot of great moments relating to his experience as an opera director in China. They are entertaining subjects who all do a really great job of bringing some heart and character to the film.
One of the coolest parts of this movie comes from seeing Maelonn’s artwork. The movie shows us work from his career, and they are absolutely gorgeous. His photography pieces are visually stunning, and they have such a unique style that is unlike anything you have ever seen. It’s surrealist, it’s beautiful. This, along with the captivating puppet designs make this film a treat to fans of physical art.
In addition to the artwork, the cinematography is stunning throughout. The framing is immaculate and dazzling, and there are moments that are almost mesmerizing. While the film is undoubtedly brilliant on a superficial scale, there are still some flaws with the film. It sometimes meanders in parts of his domestic life that don’t feel as essential as other parts, and this can lead to some moments feeling a bit unbalanced. However, this is a minor flaw that doesn’t detract much from the film. This movie also boasts a strong heart at its foundation. Many of us can relate to the desire to preserve our memories with loved ones. While not everyone knows somebody close with dementia, there is definite human element to seeing the struggles of it on screen. The ways in which Maleonn mourns his father’s loss of memory while simultaneously celebrating his memory is equal parts heartbreaking and profound. Our Time Machine is a unique and emotional experience about one son’s artistic pursuit in light of his father’s condition. It’s an intimate portrait of the inseparable bond between father and son that benefits from strong execution and a fascinating subject. Our Time Machine will be available in virtual cinemas September 11. A list of participating theaters can be found here. Rating: 4/5 |
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