Review by Sean Boelman
Based on the manga which has also inspired a popular anime and live-action television show (the latter of which shares its cast with this stand-alone feature film), Kakegurui is an energetic movie with a strong enough hook for even those who aren’t familiar with the source material. Its excellent world-building making up for its shortcomings in character development, this is a fun thriller that seems destined to become an international cult hit.
The film is set in a luxurious private school in which the strict social hierarchy is set by wealth and gambling skills, as a series of games are established to allow one student to rise up through the ranks. It’s an interesting blend of thriller elements (with the intensity of the competition) and a high school melodrama, which is not an entirely unique combination, but it still holds its charm. Even though there are only two big gambling sequences in the movie (which are shot more like action sequences than one would typically expect), the film moves along really quickly. The creativity that went into making these games is obvious, and it lends itself to some really entertaining results. Director Tsutomu Hanabusa brings a very dynamic style to the movie, and it works quite well. The use of on-screen graphics gives it a playful feel but also makes it a lot easier to follow. And the production design and costuming is just amazing, creating an immersive setting in which the film can craft its world.
If the movie is lacking in one area, it is its character development. Although it is officially not a follow-up to the previous adaptations, it seems as if the filmmakers expect most of the audience to already be fans coming in, so they don’t spend too much time building the characters. As such, there may be some confusion as to who the protagonist really is.
There are two characters that could arguably be the lead, and both of them are very interesting, but viewers will be left wanting to see more of the supporting players. There are some fun and unique characters that make up the student body of the school, some of which become competitors for the leads, but they each only get a few scenes in which they truly shine. Perhaps the most intriguing part of the film, though, is its social commentary. The movie says a lot about the upper class in Japan (and the entire world) and how they tend to not just look down on them, but use them for their own amusement. It pulls a few punches here and there, but it will be interesting to see where it takes these ideas in future entries. Kakegurui is a surprisingly exciting film with some wonderfully unexpected action sequences. Fans who have gotten the chance to watch the anime or live-action series on Netflix in the U.S. will definitely be excited to check this one out, but series novices may be drawn into this world too. Kakegurui screened as a part of the virtual edition of the 2020 Fantasia Film Festival, which ran August 20-September 2. Rating: 4/5
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[Fantasia 2020] TINY TIM - KING FOR A DAY -- A Brief but Loving Tribute to an Idiosyncratic Musician9/9/2020
Review by Sean Boelman
There are some people who remember Tiny Tim as one of the most unique vocal artists of all time, and others who recognize his distinctive voice from the numerous iconic uses of his music in pop culture. But regardless of their connection with the subject, viewers will find themselves fascinated with Johan von Sydow’s biography of the musician, Tiny Tim - King for a Day.
The film details how Herbert Kaury, better known as Tiny Tim, captured lightning in a bottle to become one of the world’s most successful recording artists at the time, singing in a falsetto that would normally send him into novelty act status, yet reaching unexpected stardom in the mainstream market. In a way it’s an underdog story, but it’s also a tragic story of the costs of stardom. Even those who may not be particularly familiar with his work before watching the movie will definitely find themselves admiring Tiny Tim for both what he did and how he did it. He’s got a lot of different talents, and while there are some not-so-savory details revealed here about what he did behind-the-scenes, it does a great job of showing him for the broken person he was. The most interesting part of the movie explores how Tiny Tim essentially became addicted to the spotlight. The last half of the film, which is about the later years in his life after he had already reached the peak of his popularity, are more compelling and much more unique than the rest, if only because they feel like they are coming from a place of honesty.
At only an hour and fifteen minutes, the movie does feel somewhat rushed, focusing mostly on the major events in Tiny Tim’s life. And while von Sydow doesn’t shy away from the truth of some of the darker elements of his personal life, it still feels like this isn’t quite personal enough to be the definitive portrait of his life that it is supposed to be.
Of course, as one would expect, Tiny Tim’s music has a big part in the film, both in the form of performance footage and a soundtrack to accompany the archive materials. It gives the movie a very playful feel, with the exception of when the film takes its much more somber turn, at which point, interviews take over as the main driving force. There is one additional storytelling method used by von Sydow, and that is narration from another famous outsider musician, none other than “Weird Al” Yankovic, but this portion of the movie feels disappointingly underused. It’s an interesting idea, but having materials written by Tiny Tim be read aloud isn’t nearly as compelling. Tiny Tim - King for a Day is definitely a very charming biography, especially if one has an interest in its subject. Still, because of its short length, it doesn’t quite deliver on the level of depth that most viewers will be wanting. Tiny Tim - King for a Day screened as a part of the virtual edition of the 2020 Fantasia Film Festival, which ran August 20-September 2. Rating: 3.5/5 [Fantasia 2020] NO LONGER HUMAN -- A Visually Interesting but Otherwise Standard Romantic Biopic9/9/2020
There are plenty of biopics about artists that take a look at the events in their personal lives surrounding the creation of some of their most famous work. Mika Ninagawa’s No Longer Human is one such film, exploring the romantic exploits of Japanese author Osamu Dazai with visual splendor but not a whole lot of narrative momentum.
The movie tells the story of Dazai, whose life was filled with tumultuous relationships including a series of affairs he had while his wife was pregnant. The eponymous novel which is considered by many to be Dazai’s magnum opus is believed to be at least partially autobiographical, so there are a lot of meta elements in the storytelling that are intriguing. Perhaps the film’s most compelling offering is its discussion of obsession in art. Yet while this commentary is interesting, it’s not enough to sustain a two-hour runtime. There are plenty of romances about obsession, a handful of which talk about muses. (In fact, there was even a better one playing at the same festival as this.) The movie definitely runs long, especially because it just feels like two hours of misfortune. It’s two hours of a depressed character doing depressive things, and at a certain point, it becomes repetitive and unpleasant to watch. That isn’t to say that there is no merit in it — it just may struggle to keep the interest of most audiences.
The character development here is also sorely lacking. It seems clear that the viewer is supposed to feel bad for Dazai, and anyone who knows his life story going in will undeniably feel some level of sympathy, but he’s presented in a way that isn’t particularly approachable, and the film’s emotion suffers as a result.
That said, the cast isn’t bad, as they do the best they can with the material they are given. Shun Ogiri gives a solid performance as Dazai, even if the extent of his role is mostly just moping. Fumi Nikaido is a talented actress, but it seems like she may be getting typecast into the role as the alluring muse. And Rie Miyazawa and Erika Sawajiri are both good but underused as two more love interests. Additionally, the uniquely gorgeous style that Ninagawa brings to the table is a highlight. Ninagawa is also a photographer, so it makes sense that a great deal of effort and detail was put into making the movie look great. The use of color is particularly impressive, although the juxtaposition of the beautiful visuals with the darker subject matter could have been increased. No Longer Human is a very nice-looking film, but it fails to deliver on its narrative promise. Ultimately, it is little more than an average romance under the guise of a self-referential biography. No Longer Human screened as a part of the virtual edition of the 2020 Fantasia Film Festival, which ran August 20-September 2. Rating: 3/5
Review by Sean Boelman
There is a generation of people who grew up after the heyday of the great martial arts movies and yet still grew up watching them. Tran Quoc Bao’s kung fu comedy The Paper Tigers is a wonderful tribute to said people, a nostalgic and fun action-comedy that still manages to pack quite the emotional punch.
The film follows three childhood friends and former kung fu prodigies who reunite after their master is mysteriously killed, trying to find the person that killed him. Blending elements of a comedy about growing old and an action-mystery, Tran’s script is both reminiscent of the greats of the genre while still being immensely satisfying in its own right. Perhaps the most refreshing thing about this movie is that its central mystery is surprisingly unpredictable. Even though it’s clear from the beginning what the resolution is going to be, Tran uses just enough red herrings in a way that keeps the audience invested. It’s not about whether or not the eponymous trio will solve the mystery — it’s how they will solve it. Also impressive are the kung fu fight sequences, with some moments of flair thrown in from other martial arts for good measure. As the movie gets going, there’s more of a comedic nature to the fights, but when it really shines is when Tran goes all-in on the choreography and delivers some beautifully-shot duels.
That said, even though this is first and foremost an action comedy, there is also a significant human element to it. The main subplot explores the protagonist’s desire to be a good father to his own son, at the same time he is dealing with the loss of his own father figure. It’s an interesting parallelism that makes the movie quite compelling.
It would have been nice had the other two members of the trio had more substantial roles, but they ultimately resort to being little more than sidekicks. Even the friendship between the three characters doesn’t play too big of a role in the narrative, as this is very much the protagonist’s story and the others are just along for the ride. That said, all three lead actors are great. Alain Uy is lovably awkward for much of the film before coming into his own as a charismatic leader for the group. Ron Yuan is hilarious in his part, having some great physical comedy scenes. And even though he is a tad underused, Mykel Shannon Jenkins rounds out the trio well. The Paper Tigers is definitely a cult classic in the making, a movie that was undoubtedly made by a fan of the genre for fans. It’s an infectiously charming and well-rounded film, offering everything that a great martial arts movie should have. The Paper Tigers screened as a part of the virtual edition of the 2020 Fantasia Film Festival, which runs August 20-September 2. Rating: 4/5
Review by Sean Boelman
Amelia Moses’s psychological horror Bleed with Me is perfect proof of how a genre can work even when stripped down to its bare minimum components. A minimalistic story executed well and benefitting from some superb performances, this may not quite be scary, but it is definitely quite unsettling.
The film follows a shy woman who tags along as a third wheel on a cabin trip with her best friend and her boyfriend, soon suspecting that something sinister may be afoot. This is by no means a standard rustic horror, although it does share that genre’s tendency of pitting its characters against each other. Instead, it shares a lot more in common with the traditional noir mystery, in questioning who it is that should be trusted and who has the ulterior motive. Yes, there are horror elements, some of which work quite well. But it is the focus on slow-burn suspense and intrigue that makes this movie so compelling. Apart from a few nightmare sequences, there aren’t really many jump scares here, with the emphasis instead on building an atmosphere that makes the viewer feel as if they are transported into the character’s mind. And Moses does a great job of turning the protagonist’s paranoia into an overwhelming sense of anxiety in the viewer.
The area in which Moses needs the most work is her character development. Although the dynamic between the two leads is great, they’re both a bit too ambiguous individually. And the third character, the co-lead’s boyfriend, feels very underutilized, resulting to little more than another element to make the audience ask more questions.
Regardless, the two lead performances are both excellent. Lee Marshall’s performance is full of nuance, really bringing out a lot of emotion in even the quietest of scenes. Viewers won’t know what to make of Lauren Beatty’s turn, which is exactly the point, as she is seemingly able to switch from devilishly charming to intimidatingly savage in an instant. Moses also has a very good eye behind the camera. The nightmare sequences look great, but perhaps even more impressive is her approach to the dialogue scenes. Unlike a lot of films that are set in a single remote location, this doesn’t really make one feel trapped by the wilderness. Instead, it is her psyche that traps her, along with the viewer. Bleed with Me is a fascinating exercise in psychological horror that, while a slow burn, creeps up in unexpected ways. With this restrained feature debut, Amelia Moses has put herself on the map as an exciting filmmaker to watch. Bleed with Me screened as a part of the virtual edition of the 2020 Fantasia Film Festival, which ran August 20-September 2. Rating: 4/5
Review by Sean Boelman
Jason Neulander’s road movie Fugitive Dreams is arguably one of the most ambitious yet understated feature debuts in recent memory. And although it bites off a bit more than it can chew, losing track of some of its themes in the process, it’s a gorgeous and poetic film coming from a distinct and authentic voice.
Adapted by Neulander and Caridad Svich from a play by Svich, the movie follows two homeless people as they travel across the country stowing away on trains, encountering an eclectic bunch of lost souls along the way. One of the great things about this genre is that, while the basic beats are the same, filmmakers can do something drastically different with those beats to make something refreshing and original, and that’s exactly what Neulander and Svich do. The movie’s origins as a play are evident, as its biggest strength is undeniably its dialogue. Sharp, insightful, and sometimes tinged with subtle humor, the way in which the dialogue flows is integral in pacing the film. Despite a somewhat episodic structure, the movie feels wonderfully cohesive nevertheless. That said, unlike what is the case with most films that are adapted from the stage, Neulander actually does something with the cinematic form here. Shot mostly in black-and-white, but with some bursts of color for symbolic effect, it’s a gorgeous movie, and there’s almost as much (if not more) to deconstruct in the stylistic elements as the narrative.
Where the film starts to fall apart is in its attempt to juggle so many themes. Obviously, the movie has a lot to say about the homelessness crisis in America, and it’s heartbreaking and effectively-delivered. On the other hand, the explorations of addiction and trauma aren’t as well-developed.
Viewers will likely also be left wanting more from the dynamic between the two lead characters. The friendship that forms between them is definitely interesting, but the addition of other players into the equation distracts from the matter at hand. The best moments are those which let the two characters sit with each other. April Matthis and Robbie Tann are great together. Both bring a lot of humanity and empathy to their roles, especially Tann, whose character treads a fine line of potentially being problematic had the performance been too over-the-top. But their chemistry absolutely lights up the screen and creates that naturalistic feel that is so needed. There are a few things about Fugitive Dreams that don’t work quite as well as one would hope, but it delivers on much of its potential. This is one of those multi-layered films that almost demands a rewatch to pick up on all of its nuances. Fugitive Dreams screened as a part of the virtual edition of the 2020 Fantasia Film Festival, which ran August 20-September 2. Rating: 3.5/5 [Fantasia 2020] THE CURSE OF AUDREY EARNSHAW -- An Eerie Tale of Witchcraft with a Unique Setting9/8/2020
Review by Sean Boelman
While the occult is a common theme in the horror genre, it isn’t often that one sees a film that explores witchcraft in the context of the twentieth century. Thomas Robert Lee’s The Curse of Audrey Earnshaw offers this intriguing premise, and even though its messaging may be a bit undercooked, it’s still a fascinating watch.
The film follows a woman who lives on the outskirts of her remote and traditionalist community along with her daughter, whom she has kept hidden from the superstitious townspeople until they discover her and accuse her of being the cause of their misfortune. It’s a fairly simple story, but a well-executed one at that. Lee’s approach to the idea of community isn’t entirely original, but it still manages to be interesting. When one thinks about occult horror, one thinks of witch hunts and how communities tear themselves apart from their paranoia. By transposing these common ideas to a more recent (albeit not quite modern) time, it’s clear how this distrust still permeates society. One of the film’s weaknesses is its character development. The most compelling aspect of the story is the mother-daughter relationship, and while Lee does explore this dynamic and how it was affected by keeping the daughter hidden for so many years, a substantial amount of the film is spent with another set of characters that is far less interesting.
The film also could have been a lot more effective had it been paced more consistently. The first hour or so is a solid slow burn with a few moments that drag (mostly when the film decides to go off on a tangent) before turning into something much more traditionally horror-focused. It is the drama elements of the film that made it work well.
Young actress Jessica Reynolds shows a lot of talent as the eponymous character. Her chemistry with Catherine Walker, who plays her mother, is excellent, but she really shines in those scenes in which she is allowed to be a bit more sinister. In the supporting cast, Jared Abrahamson and Don McKellar are standouts, even if their roles are mostly inert. The film also features some very strong production design. Lee immerses the viewer in this world as if he turned back the clock several decades and several centuries at the same time. The result is a satisfyingly disorienting feeling that makes us know that something isn’t right, which soon becomes a sense of creeping dread. There are quite a few moments in The Curse of Audrey Earnshaw that fall flat, but the idea is there, and there are some great parts too. It’s nice to see a return to form for the genre, even if it doesn’t do anything particularly unique with its ideas. The Curse of Audrey Earnshaw screened as a part of the virtual edition of the 2020 Fantasia Film Festival, which ran August 20-September 2. Rating: 3/5
Review by Sean Boelman
A film has a lot to live up to by taking a name so closely identified with a cinematic classic such as Vertigo, yet Jeon Gye-soo’s romantic drama (unrelated to Hitchcock’s thriller) took that tremendous risk. And while there are definitely some interesting ideas in play here, the narrative is simply too stagnant for it to be particularly stirring.
The movie follows a woman working in a high-rise office who, dissatisfied with her increasingly mundane life and her secret relationship with a popular co-worker, one day forming an obsession with a window cleaner perched outside her building. Jeon should be given props for not letting his film fall victim to many of the traps of the traditional love triangle, but it still feels like something is desperately missing. At nearly two hours in length, the movie does run a bit long. Perhaps in an effort to communicate to the audience the protagonist’s frustrations with her increasingly dull life, the film drones on with interaction after interaction that are obviously building somewhere, but at such a slow pace that viewers will likely check out after a while. What does unite Jeon’s romance with the iconic noir of the same name is its exploration of obsession. However, the themes here are much more subtle. Like Jimmy Stewart’s Scottie, Chun Woo-hee’s Seo-young finds herself drawn to the disorder of a forbidden love and finds herself falling down a tumultuous path as a result, albeit one that is less literal.
That said, the movie fails to develop the protagonist’s solo arc. In a film that is supposed to be about overcoming anxieties, Seo-young’s transformation is a lot more clearly-defined than one would expect in the real world. And unless the viewer is too bored with their uneventful existence, it may be hard to identify with the character’s growth.
Still, there is a lot of power in the performances, largely because of the physical barrier that separates the two leads for most of the film Chun and her co-star Jeong Jae-kwang have excellent chemistry together, showing their spark through nuanced expressions rather than the dialogue that defines most romances. There is also a lot of detail put into the movie’s visual and aural execution. The sound design here is phenomenal, creating some interesting effects that make up for some of the lack of characterization. And the cinematography is spellbinding, featuring shots that are gorgeous to look at (and don’t distract from the story because of the minimal use of dialogue). Jeon Gye-soo’s Vertigo has a certain restrained beauty to it, though a meandering narrative doesn’t lend itself to a particularly cinematic romance. Still, the filmmaker’s unique approach to the genre is one that is at the very least intriguing. Vertigo screened as a part of the virtual edition of the 2020 Fantasia Film Festival, which ran August 20-September 2. Rating: 3/5
Review by Sean Boelman
Millie Bobby Brown is one of the biggest rising stars working today thanks to her popular role in Stranger Things, and her new starring vehicle Enola Holmes proves that she has the ability to carry a film on her own even if the material is less than stellar. A rather dull mystery made enjoyable by her charming performance, this is sure to be a hit with Brown’s young fans but won’t impress those already versed in the tales of Sir Arthur Conan Doyle’s classic sleuth.
The movie follows Sherlock Holmes’s younger sister, who is herself an aspiring detective, as she sets out on a journey to find her missing mother, encountering a conspiracy involving a young Lord along the way. Based on the young adult book series by Nancy Springer, the premise is golden for those who are a bit too young for the darker themes that shape the classic Doyle mysteries, but it lacks the sense of unpredictability to make it enjoyable. As one would expect, the film explores the struggle of dealing with astronomical expectations placed on one by society. The deconstruction of the patriarchy here is welcome, but it is the portion of the movie that explores Enola’s attempts to make her own way while embracing the image passed down to her by her older brother. Unfortunately, Jack Thorne’s script seems to be too preoccupied trying to live up to the shadow of the greater stories that inspired it to stand on its own. Enola’s search for her mother is far more compelling than the other investigation she conducts, even if the latter is more action-packed. It would have been nice had this been a comedy-tinged character drama rather than an attempt at a thriller with some decent comedic relief.
The character really comes into her personality over the course of the film, setting up the promise of a more distinctive sequel, but there are some attempts at quirkiness here that don’t exactly pay off. The frequency with which the character breaks the fourth wall stands out as one of the less satisfying gimmicks.
The fact that Brown is able to breathe so much life into a character that is this all over the place is definitely impressive. She definitely has all the makings of a great leading lady, if only she finds a role that isn’t fundamentally tied to her proving herself. The supporting cast is solid, with Henry Cavill making a great Sherlock, but Sam Claflin, Helena Bonham Carter, and Adeel Akhtar all feel sadly underused. It feels like the movie could have used some more stylistic pizzazz. Everything is competently done, and some scenes even look very good, but there is no reason for a youthful take on these tropes to be so devoid of life and energy. A more tongue-in-cheek approach would have been welcome, as this too often feels like just another period piece. Enola Holmes is serviceable enough to be a night’s entertainment for its teenage target audience, but is unlikely to stick around in anyone’s memory long after the credits roll. Still, even if it isn’t the greatest start for the potential franchise, it goes through the motions well enough that future entries will hopefully be able to have fun with the character. Enola Holmes streams on Netflix beginning September 23. Rating: 3/5
Review by Camden Ferrell
Accounts of Native American genocide and oppression are too often overlooked, and that is why film’s like Sanjay Rawal’s Gather feel increasingly necessary in today’s cultural landscape. This documentary had its premiere in June at the Human Rights Watch Film Festival. Despite its very abbreviated runtime, this is a culturally and historically informative doc that is full of great interviews and powerful messages.
The food sovereignty movement asserts that those who produce and distribute food should also have some control over its policies of production and distribution. This documentary follows the movement of Native Americans who are attempting to reclaim their cultural identities through obtaining food sovereignty. The documentary features many indigenous people and how they relate to this growing movement. Rawal has a very firm grasp of the execution of this film. From the start, it’s well-organized, and its confident in the creation of this narrative. He is able to allocate time efficiently between all of his subjects, follow a cohesive narrative progression, and create thematic ties through the many subjects. It helps the film stay focused and reinforce its message without any meandering moments that distract from the film’s main purpose. The film has a few different storylines throughout, and they’re all unique and significant in their own ways. However, the most interesting moments of the movie are when it follows an indigenous high school student and her scientific research about the buffalo that are important to her people and also when it follows a group of young adults from the Yurok tribe and their struggles to maintain their culture through salmon fishing. These stories are important, and the subjects have a great screen presence, they’re unique, and they are very well-informed.
The documentary makes sure to include subjects from different generations as a way to highlight the continued oppression of Native Americans throughout history. Rawal uses great rhetoric to illustrate the many injustices indigenous people have faced as well as how their culture was nearly eradicated due to the genocide perpetrated by the United States. It’s a checkered history lesson that is heartbreaking, but it’s one that makes a strong case as to why food sovereignty is the next step for Native Americans to reclaim their culture and their health.
The main flaw of this film comes from the limitations that are imposed by its 74-minute runtime. The topic at hand is really delicate, and it deserved a more thorough exploration because of its importance. The documentary could have very well been two hours with more than enough material, and as a result, the film doesn’t feel as fulfilling as it could have. However, the only benefit to its short length is that it maintains a decent pace that doesn’t falter whatsoever. Regardless of your heritage or cultural background, this is a film that has a brilliant universal message. It’s a necessary movie for this growing movement, and this film exhibits the many ways in which this movement is essential for indigenous people all over the country. This movie is a great starting point for further independent research to inform yourself of this dire issue and how important it is to preserve these diverse cultures. Gather may not be an all-encompassing documentary, but it tells essential and fascinating stories. The message is powerful, and it features some great subjects. It’s a perfect movie for today’s day and age, and it’s one that is definitely worth checking out. Gather is available on iTunes and Amazon September 8. Rating: 4/5 |
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