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Review by Sean Boelman
Ronin (voiced by Masaki Terasoma in Japanese and Brian Tee in the English Dub) in a scene from "STAR WARS: VISIONS” short, “THE DUEL”, exclusively on Disney+. © 2021 Lucasfilm Ltd. & TM. All Rights Reserved.
The Star Wars fandom is unique in that, for every deep dive into unofficial lore, there can also be a near-revolt when someone even thinks about messing with canon (see the polarizing response to The Last Jedi). As such, one would be within reason to approach Star Wars: Visions, a set of nine distinctly-crafted anime shorts set in the universe, with caution, when in actuality, it’s just a pleasant, largely inconsequential watch.
The series is comprised of nine shorts from seven anime studios (two studios made two contributions) bringing their own unique styles to the table, telling stories that could fit within the greater Star Wars universe. It’s an interesting experiment, making it one of the more ambitious projects of Disney+ so far from an artistic standpoint, but the result is predictably uneven. Each episode clocks in anywhere from thirteen to twenty-two minutes and consists of an action sequence with enough characterization to meet the bare minimum requirement. Sometimes that action takes an unorthodox form (a musical performance) and in other entries, it’s a lovingly-animated lightsaber battle. The best of the shorts in the series are those which stick more to the saga’s roots, with samurai-inspired battles. The anime style of the series obviously lends itself to this type of action sequence, although the limitations put on it by a family-friendly rating are obvious, as it’s entirely bloodless. 
The Elder (voiced by Kenichi Ogata in Japanese and James Hong in the English Dub) in a scene from "STAR WARS: VISIONS” short, “THE ELDER”, exclusively on Disney+. © 2021 Lucasfilm Ltd. & TM. All Rights Reserved.
Other episodes see the worst tendencies of both anime and the Star Wars universe come together. There are always cutesy elements to the Star Wars movies and shows (Ewoks, R2-D2, BB-8) but one episode sees a merchandise-ready cyborg character take charge in what feels like a clear attempt at appealing to younger audiences and their consumerist minds.
That said, the series is consistently pleasing artistically. These are some of the best animation studios working today, and seeing the way they get to play with this world is awe-inspiring. As the series implies, the filmmakers were seemingly given a great deal of freedom and room to explore what they chose, so each short feels individual. Still, this is Disney, so if one thinks that this daring work will have any real impact on the greater property, they are mistaken. Although the shorts are set during the war between the Resistance and the Empire, no canon characters are featured. That isn’t to say that these characters couldn’t be introduced if embraced by audiences (Ashoka Tano was brought into the fold via The Mandalorian), but for now, expect these to be mostly stand-alone. Star Wars: Visions is a genuinely good time, and while it may not be essential viewing like the streamer’s other Lucasfilm shows, it’s still worth watching. At the very least, it’s a nice return to a galaxy far, far away to hold fans over until The Book of Boba Fett. Star Wars: Visions streams on Disney+ beginning September 23. All nine episodes reviewed. Rating: 3.5/5
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Review by Dan Skip Allen
MIDNIGHT MASS (L to R) HAMISH LINKLATER as FATHER PAUL in episode 103 of MIDNIGHT MASS. COURTESY OF NETFLIX © 2021.
Netflix has doubled down on director Mike Flanagan (The Haunting of Hill House, The Haunting of Bly Manor, Doctor Sleep, Gerald's Game). He has quite the resume of shows and movies in his young career. Midnight Mass is the latest show from him, right on time, about a month away from Halloween. People are looking for new and interesting material to watch around Halloween. This is that. It'll get all of those horror juices flowing for sure.
The series takes place on a sleepy island called Crockett Island, known as the Crock-Pot, a place where all different kinds of people from different walks of life and religious background live and worship together. The show focuses on a new young priest (Hamish Linklater) that comes to town. He brings miracles in the form of healing the old and crippled. This causes the small community to enamor him, looking for some salvation in a hard time. This series pulls on popular horror and fantasy tropes we all love and admire. Religion has played a part in a lot of movies and shows in the past. It's something that's not always understood as far as the mythical and supernatural. God is misused to create a feeling of belonging yet ends up being a vessel for evil and wrongdoing. The title says it all, as well as the episode names, pulled from the books of the Bible. That's only half of it though. All the mysteries involving the characters play a part in making this show entertaining and right for the masses on Netflix. Flanagan knows his audience. 
MIDNIGHT MASS (L to R) ANNABETH GISH as DR. SARAH GUNNING, HAMISH LINKLATER as FATHER PAUL, and SAMANTHA SLOYAN as BEV KEANE in episode 103 of MIDNIGHT MASS. Credit: EIKE SCHROTER/NETFLIX © 2021.
Flanagan's frequent collaborators, The Newton Brothers, once again do the score for this series as well. They make the music very haunting and atmospheric. The soundtrack kicks in with some amazing songs right when they are needed. One song in particular from Neil Diamond is spot on and perfectly placed. Many others are chosen very well for the series. A good soundtrack can transport the viewers into the world of the show or film. This one does just that.
The production value on this series was pretty good as well. There are quite a few scenes with blood spillage and fire damage toward the end of the film. The setting was cool because it was a small village on an island and suffixes for this production. The catholic church iconography was well done as well. Flanagan and company kept this story light and beautiful until it wasn't. It is definitely different from the dark and dank settings from some of his previous work on Netflix. I felt this drew me into the story quite nicely Based on Flanagan's track record, people should give Netflix and Midnight Mass a chance. This series has very good acting from its huge cast. It develops its characters very well to make us care about what happens to them. The horror tropes are well thought out using the tried and true theory of religion as its backdrop. Priests have made good villains in many movies in the past and do so here as well. Netflix has marketed this show perfectly and it's coming out at the right time. The audiences seeking new and interesting spooky fare will enjoy this show with familiar horror concepts. Midnight Mass hits Netflix on September 24. All seven episodes reviewed. Rating: 4/5
Review by Sean Boelman
In the three years since the Danish police thriller The Guilty came out, the themes haven’t aged particularly well at all. While Antoine Fuqua’s American remake of the same name is still a suspenseful thriller, and Jake Gyllenhaal gives a great performance, the poor timing doesn’t do it any favors.
The film follows a police officer who has been demoted to manning the dispatch desk as he receives a high-stakes kidnapping call on the last day before he is due to be restored to duty. It’s a simple premise, but that is a big part of what makes it so effective. Admittedly, it loses a lot of its impact if you’ve seen the previous version, but it still creates a lot of tension. Fuqua does a great job of directing the movie in a way that maximizes suspense. After about fifteen minutes of introduction, it hops right into the action and doesn’t let up until the very end. Admittedly, as was the case with the original film, the script reveals its cards a bit too early, but it will shock those who don’t know what to expect. That said, writer Nic Pizzolatto absolutely misses the mark when it comes to addressing some of the themes in the script. There are some underlying ideas in the script about corruption within the police force, but they are underdeveloped at best. The result is that the movie ends up feeling apologetic, which is not a good look. The character development of the film is a bit of a mixed bag. Interestingly enough, the protagonist is far more underdeveloped than some of the unseen characters. The character mostly sticks to his archetype, especially when his arc becomes clear. On the other hand, those characters which we only hear via the phone have more layers, even if they aren’t exactly nuanced. Gyllenhaal’s leading performance is the single biggest asset on display here. Since the movie is largely a showcase for him, he has to carry the entire thing on his shoulders, and he pulls it off. For support, he does have some solid voice acting turns from Peter Sarsgaard and Riley Keough that go well with his work. Given the fact that the film is set entirely in the dispatch call center, Fuqua had to do some interesting things with the execution to build suspense. We are staring at Gyllenhaal’s face for a majority of the runtime, but the editing and use of sound in the movie keep the viewer invested and in a heightened state of anxiety. The Guilty will undoubtedly work much better for those who haven't seen the film which it is remaking, but it’s still a solid thriller even for those who have. Regardless, one will be left wishing that Nic Pizzolatto had adapted the script a bit less directly. The Guilty screened at the 2021 Toronto International Film Festival, which runs September 9-18. Rating: 3/5
Review by Sean Boelman
Image Courtesy of TIFF.
Mahamat-Saleh Haroun’s film Lingui, The Sacred Bonds might be set in the African country of Chad, but its themes resonate across the world, especially given recent events in America. Tackling its important themes in a way that will leave viewers absolutely shaken, this is one of the most hidden gems of the Fall festival circuit.
The movie follows a practicing Muslim woman who discovers that her teenage daughter is pregnant and wants to have an abortion, causing them to gain the scorn of their community. Although it has a premise that has been done before, and quite effectively, Haroun’s film manages to still feel essential thanks to its combination of empathy and honesty. One of the most impressive things about this movie is how refreshingly minimalistic it is. With a runtime of under an hour and a half, the film does just enough to get its point across without going overboard. It’s a slow-burn of watching these people’s world crashing down around them until the final act ties everything together in a truly heartbreaking way. Of course, in a direct sense, the movie speaks out against the anti-abortion laws in Africa. But this is also indicative of greater issues there are with the patriarchy. The political statements that the film makes are obvious but don’t feel like they are beating the audience over the head, instead showing the trauma this inflicts on people to leave audiences feeling disturbed. 
Image Courtesy of TIFF.
The character development in the movie is also extremely strong. Telling the film from the perspective of the mother rather than the pregnant teenager seemed like a problematic decision at first, but Haroun’s script writes them both in a fully-rounded way. It’s a movie about internal struggles, and the arcs are truly compelling.
Both of the lead actresses here are amazing. Achouackh Abakar’s turn is brilliant, commanding the screen in a way that is quiet but filled with emotion. Rihane Khalil Alio is also very strong in her role, her first-ever performance, having exceptional chemistry with Abakar who plays her mother. From a technical standpoint, the film is very reserved but it is fitting given its low-key nature. Nothing about the movie’s execution is flashy, from its cinematography to the score, but it works very well. Haroun rightfully focuses on the performances as the main source of the film’s power, and it pays off in droves. Lingui, The Sacred Bonds effectively makes the audience feel the heartbreak of the characters without ever feeling emotionally manipulative. It is one of the best movies about the issue to have come out, and it is particularly timely at the moment. Lingui, The Sacred Bonds screened at the 2021 Toronto International Film Festival, which runs September 9-18. Rating: 5/5
Review by Dan Skip Allen
It's hard to say what's funny and not funny because every person has their own standards. Lady of the Manor was meant to be a funny take on southern life and history. The problem is these characters in the film aren't in the least funny, let alone entertaining.
Melanie Lynskey plays a lazy woman who doesn't have anything going for her in life. Sure she's got a job but shortly loses it due to her incompetence. She has a fluke encounter with a well-to-do young man played by Ryan Phillipe. He offers her a job at his family's historical manor as a host of a tour. He has some ulterior sexual motives though. She starts to see the real scam behind the man with a little help from a local history professor played by Justin Long and the ghost of the woman she's portraying as the tour host. Long also directed the film with his brother Christian and enlisted help from some friends of his in various roles, including Judy Greer as the ghost and Louis Guzmán as an empathetic wise-cracking bartender. Long tries to make this a funny historically-driven story, but most of the jokes fall short. This film just has a bunch of contrivances in the script. It asks the viewers to have quite the suspension of disbelief in the events that occur. 
Filmed locally where I'm from in Florida, Lady in the Manor has some nice sights. It's got the feeling of a southern story. The accents and locations are on point. That's some good production value. The costumes and hair and makeup are strong as well. Other than the contrivances in the script, the historical aspects are quite interesting.
Like a lot of comedies these days, this film relies on cheap laughs from toilet humor. Two, in particular, are when Lynskey's character asks to go into another room so she can fart in private, but there is a man in the room. And the other is when she's barring her sole to Guzman's bartender and he says he had other customers and the camera pans around and there is nobody in the bar. Cheap laughs that don't work in the overall context of the story. Lady of the Manor is a film that didn't need to be made. It's not funny other than two cheap laughs it got from toilet humor. The story is full of contrivances and the acting isn't very good from Long's friends he enlisted to be in this bad history lesson. If Long wants to direct another film, he should find better material than this. Lady of the Manor is now in theaters and on VOD. Rating: 2/5 |