Review by Sean Boelman
Hollywood pumps out plenty of feel-good dramedies, but what sets out the good ones from those that will fall into obscurity is a great performance. Paul Bettany fulfills that requirement in the LGBTQ+ road movie Uncle Frank, turning a pretty straightforward story into something endearing and charming.
The film follows a man and his niece who take a road trip to the family patriarch’s funeral joined by his lover, even though the rest of his family doesn’t know about his sexuality. Blending common tropes from both road trip and coming out movies, Alan Ball’s script is about as sentimental and cheesy as one can expect. At about ninety-five minutes in length, there’s plenty of room to spare for this movie to go in more depth on some of its ideas, which is why it’s somewhat disappointing that it is so conventional. There are a few subplots that show the promise of delivering something legitimately challenging to the audience, only for its punches to be largely pulled by the time the resolution is met. Furthermore, the film almost feels as if it came out about a decade too late. While there are definitely some people who need to learn compassion, the people who still need to hear that message are unlikely to watch something like this in the first place. Everyone else has moved past the need for shallowly uplifting stories about educating homophobes.
That said, the eponymous character is very sympathetic and likable, even if his arc is mostly predictable. There is a subplot in the movie involving him coming to terms with his sexuality in his adolescence, and this is arguably the most interesting and emotional portion of the film, but this portion is left underdeveloped in favor of more broad comedy and melodrama.
Bettany delivers what is likely a career-best turn as the eponymous character, and if it weren’t for such a competitive crop, he would be in conversation among the best performances of the year. He is able to bring so much emotion and humanity despite the relative stagnancy of the script. Visually, the movie is solid but safe in an awards-bait type of way. Though the production design and costuming are both strong, periodizing the film nicely, there are a lot of other technical elements that are somewhat lacking. Some of the movie is oversaturated, giving it a weird glow, and the score is frequently overbearing. Uncle Frank is a charming and very funny film bolstered by a phenomenal lead performance. In terms of conventional and mostly sanitized LGBTQ+ stories, it’s plenty charming enough to be worth a watch. Uncle Frank screened at the 2020 AFI FEST which runs virtually October 15-22. Rating: 4/5
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Review by Sean Boelman
Matt Yoka’s exciting new documentary Whirlybird benefits not only from an interesting story, but also the wealth of other fascinating stories to which it is tied. Playing out like a real-life version of Nightcrawler, this is a wonderful exploration of the public’s relationship with the news, both in the past and now.
The film follows a couple of freelance reporters who revolutionized the field by being among the first to practice helicopter news gathering, being on the front lines in such famous stories as the L.A. riots and the white Bronco chase. The appeal of this to the journalistically-minded is obvious, but the general public will find interest in reliving these iconic moments. One of the most intriguing ideas that Yoka explores is the origin of breaking news. Until the innovations made by the subjects, the information that the public received was significantly limited by the speed with which reporters could get to the scene. By taking to the air, news would be changed forever. However, this would soon increase the demand for sensational content. The argument made by Yoka is that the public has a sort of infatuation with the idea of crime and excitement, taking pleasure in the action of this type of footage. And with the introduction of helicopters, news became less and less a source of information and more a form of entertainment.
Almost ironically, Yoka’s documentary falls victim to the same trend. Rather than being an informative biography about some of the pioneers of broadcast journalism, it ends up becoming a flashy documentary about the excitement in their careers. It’s definitely interesting, and occasionally thought-provoking, but clearly works best as infotainment.
Obviously, a great deal of the movie is composed of archive footage shot by the two subjects. And although the perspective it offers has likely been seen by many viewers, it still manages to have much of the same impact nevertheless. The images of the Rodney King attacks and the L.A. riots are particularly horrifying. One of the areas in which the film could have used some more development is in the exploration of its subject’s personal lives. One of the subjects would later come out as transgender, and in a few segments, she discusses how her experiences led to her understanding her identity, but this feels like an afterthought to Yoka. Whirlybird is an entertaining documentary thanks to its cinematic and sensationalized approach to its story. For the entirety of the hour-and-forty-three minute runtime, viewers will have their eyes locked on the screen. Whirlybird screened at the 2020 AFI FEST which runs virtually October 15-22. Rating: 4/5 [AFI 2020] THE BOY BEHIND THE DOOR -- A Horror Film with Even Less Common Sense Than Usual10/20/2020
Review by Sean Boelman
On paper, a throwback, return-to-basics horror-thriller with two talented young stars sounds like it should be a hit. But unfortunately for David Charbonier and Justin Powell, the success of their feature debut The Boy Behind the Door stops with its premise, as it is an astoundingly dumb movie lacking in artistic or narrative creativity.
The film follows a young boy who is kidnapped along with his best friend as they find themselves in over their heads when trying to escape their captors. At its core, the movie is little more than a game of cat-and-mouse, but the script attempts to shift the dynamic so often that it soon becomes exhausting. Even though the film clocks in at less than ninety minutes, it feels like so much more because it is so frustrating. Charbonier and Powell think that they are increasing excitement by changing the location or introducing what is supposed to be a twist, but many of these narrative tricks are executed too embarrassingly to cause any suspense. Obviously, the characters are sympathetic because they are kids who have been kidnapped and tortured, but the viewer’s patience is going to wear thin because of their increasingly annoying actions. And as for the antagonists, they are painfully generic apart from a spin on the trope that is disappointingly sexist.
It’s nothing new for horror movies to feature characters that don’t act with much logic, but the level to which these characters lack common sense is the most startling part of the film. And while there are jokes to be made about them not understanding “old” technology like a corded phone or a stick shift car, one would think that they would at least have asked questions.
What makes this movie so disappointing, though, is that the two young are legitimately talented. Lonnie Chavis and Ezra Dewey do their best with the material they are given, but all the charm in the world couldn’t save these characters from being obnoxious. The film is also missing a strong presence in the villain. Additionally, the visual style doesn’t exhibit much creativity. Filmmakers need to get the memo to stop mimicking the “Here’s Johnny!” scene from The Shining. It’s been done so many times before, and way more effectively than this, which causes it to be cringe-worthy. The general aesthetic is also disappointingly generic. The Boy Behind the Door is one of the most lackluster genre movies of the year. Hopefully the young actors get another chance in the spotlight, because this unoriginal thriller isn’t going to do them any favors. The Boy Behind the Door screened at the 2020 AFI FEST which runs virtually October 15-22. Rating: 1/5
Review by Sean Boelman
Every spooky season brings with it an influx of horror, distributors often saving their best and scariest content for this time in which everyone is wanting their fill of thrills. Unfortunately, 32 Malasana Street (removing the tilde from the real-life Madrid street’s name) doesn’t fit that bill, as it’s a competent but entirely average haunted house flick.
Supposedly based on actual events, the film follows a family who moves from the country to a new house in Madrid, only to find that their idyllic abode is actually shared with a malevolent supernatural presence. The story doesn’t go much deeper than that, and as a result, this feels like a cheap Conjuring knock-off without the soul that made that series so successful. One of the movie’s issues is that it feels too long, even if it is under an hour and forty-five minutes in length. Had the script (which has four credited writers) been more original, and unique, perhaps it could have been justified. But for a story that is generic and predictable, there is no need to extend things as long as this. That said, the film’s biggest shortcoming is its lack of character development. The lack of an interesting story could have been remedied by an intriguing angle, emphasizing the dynamic between the characters, but as is, they feel like a nondescript family that could appear in any stock horror picture.
Another thing that is extremely disappointing about the movie is that it wastes the talent involved. For the ghostly characters, director Albert Pintó was able to recruit the extremely talented physical performer Javier Botet, who is one of the best actors working today in bringing monsters to life. The fact that he isn’t given a truly horrific character to play is blasphemous.
That isn’t to say that the film doesn’t have any good scares at all. The opening sequence is strong and effectively establishes the atmosphere, and there are a few solid moments sprinkled throughout. Still, a majority of the jump scares tend to use the same formula, and so after the third or fourth time, they lose their effect. The movie also has some really interesting things going on aesthetically. Although period horror set in the 1970s has become a pretty prominent trend in the genre, Pintó does a solid job of making that atmosphere work. Thanks to some strong production design and solid soundtrack choices, the film looks and sounds pretty great. 32 Malasana Street will mostly serve to remind viewers of better, scarier haunted house movies that would be a better use of their time. Still, for those who are easily frightened, this may have just enough mediocre jump scares to be worth watching. 32 Malasana Street streams on Shudder beginning October 22. Rating: 2/5
Review by Sean Boelman
The directorial debut of Darius Marder, who has collaborated with filmmaker Derek Cianfrance in the past, Sound of Metal is inarguably one of the most daring and unconventional films of the year. Powered by a subtly emotional script, wonderful sound design, and a phenomenal performance by Riz Ahmed, audiences won’t soon forget this masterpiece.
The movie follows a heavy metal drummer who begins to struggle after suddenly and completely losing his hearing. At first, it seems as if this is going to be a conventional and sentimental recovery and rehabilitation drama, but it soon becomes obvious that there are many more layers to this story. There is a patience to the way in which Marder approaches his film. What the character is going through is a cycle, and that is how Marder depicts it. It’s not a movie that constantly wallows in misery, but it’s also not overly sappy and uplifting. In real life, people go through both good and bad moments, and this film nails the balance between the two. If there is one thing that viewers need to take away from this movie, it is that people react to things in different ways, and it is important to offer compassion to them no matter the decision they make, good or bad. The film’s depiction of addiction is particularly unique, as it creates a thought-provoking comparison between the protagonist’s literal addiction and his inability to accept change.
Obviously, the protagonist will immediately earn the sympathy of the audience because of his situation, but the movie does a great job of challenging the audience’s presuppositions about this type of character. Yet despite all the effort that goes into the lead, the script has plenty of empathy and humanity to spare, even for the most minimal of supporting characters.
Ahmed’s performance in the leading role is clearly one of the best of the year. He’s able to find the perfect balance between sadness, fear, and hope that makes the character and his story so compelling. The supporting cast also features some great turns, especially from Paul Raci, Olivia Cooke, and Mathieu Amalric. What really puts this film above and beyond, though, is the way in which it approaches its technical element. There is so much creativity in the sound design. The way in which the team mixes the different pieces allows the audience to understand the disorientation the character is feeling. The inclusion of open captions is another small but brilliant decision. Sound of Metal is one of the most unexpectedly amazing movies of the year. While it’s sad that most audiences won’t get to see this one on the big screen, it’s a unique and ambitious film in both a narrative and a technical sense. Sound of Metal screened at the 2020 AFI FEST which runs virtually October 15-22. Rating: 5/5
Review by Sean Boelman
Written by David E. Kelley (Big Little Lies) and directed by Susanne Bier (The Night Manager), the new HBO limited series The Undoing has all the makings of the next television sensation. While the story may be a tad uneven at times, the unpredictable twists and turns and phenomenal performances all-around are what will make this a sure-fire hit.
The show follows an upper-class socialite whose life begins to unravel when her husband disappears and a mystery involving one of the other mothers at her son’s illustrious private school. Based on Jean Hanff Korelitz’s book You Should Have Known, the story may not be entirely inventive, but it overcomes a lot of the melodrama that often weighs down the genre. Admittedly, the first episode does get off to a bit of a rough start, if only because it doesn’t settle on a tone until the final five minutes. For the forty-five that precede it, viewers will wonder whether they are watching is a gritty thriller, a soapy erotic thriller, a gritty mystery, or some combination thereof. Starting with episode two, it becomes much more obvious what Kelley is going for, and it becomes much easier to get invested in the story as a result. Kelley obviously has a clear understanding on how to craft episode and series arcs, allowing the suspense to build slowly but surely and leaving the audience eager with anticipation as to what is going to happen next.
Bier does an expectedly great job bringing the story to the screen in a way that is consistently exciting and intriguing. It starts out in a way that is very slick and beautiful before turning into something more rough as the protagonist’s life of glamour begins to fall apart in front of our eyes.
Perhaps the most challenging aspect of the show, though, is its character development. Much of its appeal lies in the fact that the viewer doesn’t know who to trust or who is telling the truth. As such, it becomes hard to form a particularly deep attachment to any one character, and our sympathies are spread amongst many of them. That said, the undeniable highlight here is the cast. Nicole Kidman gives another breathtaking performance here as the wife and mother whose world is spinning out of control. But it is the supporting ensemble that really steals the show, with Hugh Grant, Donald Sutherland, Noah Jupe, and Lily Rabe all having moments that absolutely demand the spotlight. The Undoing is a very well-made limited series, offering a compelling watch even when it plays things a bit too safe. This arguably works best as an acting showcase, so it is the performances that will likely stick with viewers. The Undoing debuts on HBO on October 25 at 9:00 ET/PT with subsequent episodes airing on Sundays at the same time. Five out of six episodes reviewed. Rating: 4/5
Review by Sean Boelman
Jessica Barden is one of the brightest young stars working right now, and she has proven on multiple occasions that she has the chops to carry even a less than impressive film. Kelly Oxford’s coming-of-age dramedy Pink Skies Ahead yet is arguably her biggest test yet, as its occasionally obnoxious characters prevent it from working as well as it should.
The movie tells the story of a college dropout living with her parents as she is diagnosed with an anxiety disorder and struggles to accept her condition. It’s evident that Oxford only has the best of intentions with her film, but unfortunately, it is far too cynical, angry, and whiny to be particularly enjoyable to watch. Interestingly enough, Oxford absolutely nails the last thirty minutes, which leaves one to wonder what went so wrong with the first hour. It seems as if she has more of a penchant for writing emotional drama than comedy, as the more serious third act is far more successful than her forced attempts at quirkiness that comprise much of the movie’s humor. Furthermore, Oxford disappointingly pulls many of the punches in regards to the film’s unique angle. By the end of the movie, it becomes clear that this is a compassionate and caring approach to anxiety disorder, but for much of the runtime, this feels like an afterthought. Instead, the film is too preoccupied with the common themes of the genre.
The character development in the movie is also underwhelming. While the protagonist is sympathetic, much of her arc is conventional. Her two sidekicks who accompany her on many of her comedic antics are bland and forgettable. Even the love interest has very little development apart from pushing along the protagonist’s arc.
Barden is undeniably talented, but even she can’t make such an annoying character completely likable. That sudden and dramatic shift heading into the final third makes her a lot less insufferable, but charming and irritating simply don’t go together. In the supporting cast, everyone feels wasted or miscast, with the exception of Henry Winkler, who is a joy to see as always. That said, perhaps the most frustrating thing about this film is that Oxford shows an insane amount of potential behind the camera. The visual style shows genuine creativity and the director’s distinct voice. This is a colorful and quirky period piece that, with a better script, could have been a ton of joyous fun. Pink Skies Ahead does not live up to expectations given by its unique premise and talented cast. It manages to stick the landing, but one must put up with an hour of nuisances to get to that point, and it’s not quite worth it. Pink Skies Ahead debuted at the 2020 AFI FEST which runs virtually October 15-22. Rating: 2.5/5
Review by Sean Boelman
Filmmakers Aaron Moorhead and Justin Benson have gained a moderate and passionate cult following in the indie community for their twisty sci-fi mindbenders, and their newest movie Synchronic is arguably their most ambitious yet. Admittedly, some of their charm is lost in trying to make something slightly more mainstream, but their talents are still very much on display.
The film follows two paramedics whose lives are torn apart after a series of bizarre crimes tied to a new designer drug, including the disappearance of one of their daughters. Moorhead and Benson’s movies are best enjoyed knowing as little as possible, and this is no exception, but it is a lot more predictable and trope-laden than their usual work. Viewers will be hooked by the really intriguing and mysterious first act, but when Benson’s script eventually settles on the direction in which it will be heading, the film almost becomes a bit too comfortable in its own skin. And at just over ninety minutes, by the time the story really starts to ramp up, the movie is basically over. What makes a lot of fans love Moorhead and Benson’s films is that they are extremely thoughtful and use the genre’s tropes in a way that is consistently insightful. And they do a great job of taking the ideas and themes common to the particular subgenre of sci-fi in which they are working this time and putting a modern spin on them.
The character development in the movie is a lot more one-sided than one would hope. Viewers will be left wanting a lot more from the central friendship, and it could have been used a lot more effectively as a tool of creating emotion. The protagonist is sympathetic, but his arc is disappointingly conventional, especially given the typically unorthodox way in which the filmmakers write.
That said, Anthony Mackie and Jamie Dornan are great together. The best moments in the film are those in which they share the screen. Unfortunately, around the midway point, Mackie starts to fly mostly solo, and while he’s got a ton of charm and is able to carry the movie, the buddy angle likely would have made for an even better watch. The film is also impressive in a visual sense. Moorhead and Benson have shown in the past that they are able to make a lot out of a little, and with this, they have obviously been given more money to work with. It’s cool to see what they are able to imagine when they have more at their disposal, but with this, some of the personal and fiercely independent feel is lost. Synchronic is a step down from Moorhead and Benson’s previous movie, but they are still wonderful filmmakers and manage to make this an intriguing sci-fi flick. If nothing else, it will be a more audience-friendly introduction to their more complex work. Synchronic hits theaters on October 23. Rating: 3.5/5
Review by Camden Ferrell
Memories of Murder is the sophomore feature film from writer/director Bong Joon-Ho, recent 3-time Oscar winner for 2019’s Parasite. Upon its release in 2003, this film became a staple of South Korean cinema and the crime genre. Even though it may not transcend in the ways you would hope, this is an incredibly well-made film where Bong Joon-Ho begins to refine his craft.
Loosely based on the South Korean serial murders from 1986 to 1991, this film follows two detectives who struggle to find the killer. It’s a fascinating story that is shrouded in much mystery, and it makes for a riveting basis for the film. It uses to horror of the real-life cases and expands upon the arduous process of dealing with this case. Bong’s script is very controlled but motivated. It’s a confidently written script with some great dialogue and character interactions. His dialogue is often witty and necessary, and this is a trait that can be traced back to this film. While it can sometimes fall into standard crime drama territory, it’s a well-written script regardless. The acting is probably the film’s strongest aspect. Frequent collaborator with Bong, Song Kang-Ho leads this film as the fervent Detective Park. He plays the role with such conviction, and he even energizes the film’s more meandering moments. He has a fantastic screen presence that it is rivaled by few. The rest of the supporting cast is fairly decent as well, but Song overshadows all of these performances.
The film’s main flaws come from how often it can find itself imbibing in the tropes of the genre. It’s not predictable at all, but some of the beats feel similar, and others feel very boilerplate. Not to say it’s bad, but it’s not nearly as original and revolutionary as Bong’s other films. This along with the film’s 132-minute runtime can lead to this film feeling a bit bloated.
Luckily, the film overcomes this with some harrowing cinematography. The composition of the film is very strong and visually pleasing. It is equal parts bleak and beautiful in the way it captures these horrific events. This is also supplemented with a great score that is also eerie but very fitting for the film. This film is quite disturbing at times, and it helps the movie feel motivated, and it allows us to be more invested in the events and characters. The film also highlights many flaws in the justice system and forensics at the time. It’s an interesting film that could have done more with its material, but it still shows the blossoming of an emerging director with a bright future. Memories of Murder may not be the mind-blowing crime drama that it has been made out to be over time, but it’s still an interesting character study and exploration of horrific murders. It is a fantastic showcase for Song as a leading actor, and it is a great directorial effort from Bong. For those trying to finish his filmography or those interested in true crime, this film might be the way to go. Memories of Murder will be digitally remastered and play in theaters nationwide on October 19 and October 20. This Fathom Events engagement will feature exclusive content and a post-screening conversation with Bong and Edgar Wright (Baby Driver). Rating: 3.5/5
Review by Sean Boelman
The afterlife is a common theme in cinema because death is one of the greatest mysteries of the world, but Edson Oda’s ambitious yet restrained feature debut Nine Days explores just the opposite: what happens before we are born? Carried by a phenomenal performance from Winston Duke, the concept may have worked slightly better as a short, but it’s a charming and poignant film nevertheless.
The movie follows a gatekeeper who is tasked with interviewing souls for a chance to be born in the real world as he encounters an unorthodox candidate who challenges his understanding of what it means to be human. It’s an intriguing premise, and the structure of following these personalities through their different trials to see if they are “worthy” of life is creative, albeit imperfect. It feels like there is something off about the characterization of the film. Unfortunately, each of the characters, including the one that is supposed to be against the grain, feel rather archetypal. And in a movie that deals with subject matter that is so intensely introspective, the fact that the film doesn’t feel particularly personal is a bit of a hindrance. Clearly, there is an existential angle to Oda’s musings, and many of the observations he makes about life and the world are quite fascinating. But there is a lot left unexplored, particularly in regards to the spiritual realm. Even though most of the plot points resolve themselves, there are still a few too many loose ends, like the protagonist’s assistant of sorts, to be entirely fulfilling.
That said, the cast is absolutely wonderful. Duke’s lead performance is so subdued, and in a movie that is largely quiet, this goes a long way. Zazie Beets’s turn is perplexing and unorthodox. There’s a bit of distance to the way in which she approaches the emotional aspects of the role, but it is still thoroughly affecting.
The film moves through the trials at a nice pace, and while it reveals its hand early, it manages to never get stuck in a rut of redundancy. Oda finds an excellent balance between the poignant poeticism of the ideas and an almost wistful humor that makes the movie feel heartwarming without being overly sentimental. Perhaps the most impressive aspect of the film, though, is its visual execution. The minimalist of the world-building creates a feeling of wonder and surreality that makes the movie so immersive. And a brilliant score by the massively underrated Antonio Pinto adds another layer of beauty and emotion. Nine Days isn’t lacking in originality by any means, and it largely pays off. It’s a gorgeous-looking film with a lovely and touching script that will almost certainly be embraced by audiences. Nine Days screened at the 2020 AFI FEST which runs virtually October 15-22. Rating: 4/5 |
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