Review by Sean Boelman
The first CG-animated adventure featuring the master thief of manga and anime, Lupin III: The First is the type of animated romp that is in such short supply right now. Quite campy and very fun, this will be a hoot both for those who are already fans of the franchise and those for whom this is their first introduction to the character.
The film follows Lupin III as he teams up with allies new and old to discover the secret behind a diary with ties to his family’s legacy and a treasure with the power to bring havoc to the world. While the adventure itself is relatively predictable, the tongue-in-cheek tone of the movie causes it to play out in a way that almost parodies the tropes to which it is abiding. There are a lot of ridiculous twists and turns in the story, and while they may catch younger viewers off-guard, it is their outright absurdity that allows them to be entertaining to their adult companions. And in place of the action set pieces that usually make up the adventure genre, the movie offers over-the-top slapstick comedy. Another thing working in the film’s favor is that it is genuinely funny. Admittedly, it isn’t the most highbrow of humor, but there are plenty of moments that are charming and will get a laugh from audiences young and old alike. There are a few great one-off jokes and innuendos, but the parts that will stick with audiences are the running gags.
That said, the movie does have a few shortcomings in its character development. Although the film does work well as a standalone, and there is enough exposition to let the viewer know where they are and who these people are, it mostly just throws you into the action. As such, it likely works better if you already have an appreciation for the eponymous antihero.
There is also some suspension of disbelief in regards to the cast. With the anime style that defined the animation of previous Lupin III outings, the European setting wasn’t too distracting. However, since the visuals have been Westernized significantly, there is a bit of a disconnect between the Japanese voice cast and the European sensibilities (although there is a dubbed version with a British voice cast). Still, the movie looks pretty great. Director Takashi Yamazaki brings enough modern slickness to the film without abandoning the flair that makes Monkey Punch’s creation what it is. Even though this is a move largely made to cater to the tastes of modern youth, it still absolutely feels like a Lupin III flick. For families looking for a fun and stylish animated adventure, Lupin III: The First is exactly what they need. Even though the creator is no longer with us, there is still plenty of life left in this franchise, so it will be exciting to see where it goes with this new style. Lupin III: The First screens in theaters on October 18 and 21 before hitting VOD on December 15. Rating: 3.5/5
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Review by Sean Boelman
One of the awesome things about AFI FEST is that it tries to shine a spotlight on some of the AFI Conservatory’s alumni, giving one film with significant alumni contributors a prominent spot in the lineup. This year, that is Angel Kristi Williams’s romance Really Love, produced by alumna Mel Jones and edited by alumnus Steven Pristin, and while it may be pretty conventional, it’s also authentic and beautiful, making up for its shortcomings.
The movie follows a Black painter trying to break into the art world as he falls in love with a perky law student with aspirations of her own, sending them into a whirlwind of passion. The script by Williams and Felicia Pride sticks pretty closely to the established Romeo and Juliet beats of two soulmates separated by issues of class, but it’s the context in which they set the film that really stands out. Admittedly, the familiarity of the story may lead to some viewers not finding the movie to be as entertaining. There’s definitely something irresistibly charming about the joyous celebration of love and art that this film offers, especially since Williams’s vision is very developed. And even though the movie is predictable, it is very restrained and doesn’t go too far into melodrama. Many of the film’s greatest successes are in how it explores what it means to be a creator in the Black community. Unfortunately, voices like the ones depicted in the movie are too often denied the chance to get the spotlight, but thankfully there are voices like Williams’s to tell stories like these that will hopefully make a positive impact towards inclusivity.
One of the film’s shortcomings is that its character development is somewhat unbalanced. There are some really interesting things happening in the male protagonist’s story, but unfortunately, his love interest’s arc is much more generic. Her struggles with disapproving parents are far less compelling than his struggles in trying to make it in the art world.
That said, the two lead performers both do an amazing job. Kofi Siriboe and Yootha Wong-Loi-Sang have excellent chemistry together, and this is a big part of what sells the love story aspect. Siriboe is a particular standout, bringing a lot of empathy and humanity to the role. And in the supporting cast, Michael Ealy and Uzo Aduba both have strong turns. Additionally, the movie is quite the visual treat. Obviously, given the fact that it centers around a character who is a prolific artist, one would expect there to be a great deal of aestheticism involved. And from the paintings showcased to the cinematography that is picturesque itself, it’s gorgeous to look at. The score also does an amazing job of creating the atmosphere. Really Love isn’t exceptional in its originality, but it stands out because of its refreshing approach to these common ideas and beats, contributing to the conversation in an intriguing way. It’s a quiet and lovely little romance that is sure to be a crowd-pleaser. Really Love debuted at the 2020 AFI FEST which runs virtually October 15-22. Rating: 4/5
Review by Sean Boelman
Pairing one of the most exciting new filmmakers in Hollywood today with an acclaimed actress waiting to make her transition from the small screen, the crime thriller I’m Your Woman may be the big break that both of them need. Satisfyingly intense and stylish as hell, this is the type of mature yet genuinely fun movie that isn’t seen nearly enough these days.
The film follows a young mother who is forced to go on the run with her child after her criminal husband crosses the wrong people. It’s a very simple story, but writers Julia Hart and Jordan Horowitz take these familiar beats to craft an homage to the classics of the genre while doubling down on the character development that allows it to stand out. Perhaps the single most effective aspect of this movie is the way in which it emphasizes the emotional journey of the protagonist. A big part of the film’s success is the way in which it allows the viewer to understand her feeling of alienation and disorientation as her life is upended, but not in a totally unexpected way. Rachel Brosnahan really proves that she is a star with her excellent performance. She’s already received awards for her star-making role in the series The Marvelous Mrs. Maisel, but in this movie, she shows that she has the range to carry darker and grittier fare as well. Arinzé Kine is also a standout as the mysterious and quiet companion of Brosnahan’s character.
That said, the film does face some pacing issues. Right at two hours long, there’s some fluff here that likely could have been cut, but the movie never feels boring, nor does it lose sight of the narrative momentum it establishes early on. And for a film that is so heavily based in emotion, there is one action sequence that feels a bit out-of-place.
Additionally, the movie is a bit hollow in its messaging. Obviously there are messages here about family and betrayal, but nothing that is particularly new. Still, the female-led perspective in a typically male-dominated genre is welcome and refreshing, and even if it doesn’t say anything particularly profound, it’s a hoot regardless. The film also stands out because of its wonderful visual style. Hart is really trying to emulate the pulpy crime movies of the 1970s, and she has the details down to a tee. Beautiful costume design from Natalie O’Brien does a lot of the heavy lifting in a way that is subtly immersive and even more impressive than flashier recreations. I’m Your Woman is a pleasantly surprising showcase for its director and actors’ talent. It’s fulfilling in many ways, but one thing that it will leave viewers wanting is even more great work from Julia Hart and Rachel Brosnahan. I’m Your Woman debuted at the 2020 AFI FEST which runs virtually October 15-22. Rating: 4/5
Review by Sean Boelman
Any journalist would tell you that the print medium is dying, and with it, the ways of newsgathering that have defined the way the public gets information for years and years. However, there are reporters like Robert Fisk, subject of Yung Chang’s thought-provoking new documentary This Is Not a Movie, who are working to preserve the integrity of the media industry.
In the film, Robert Fisk discusses his life and work as an acclaimed foreign correspondent and author working in the Middle East, with a particular focus on how he has seen the practice of reporting change over the course of his years in the field. Obviously, Fisk has plenty of stories to tell from the front lines, and Chang takes advantage of these to craft a cinematic watch. If viewers leave the documentary with one thing, it will be an enormous respect for the work that Fisk and other war reporters do every day. The level of risk they take just in going about their daily business is something many of us could never understand, but they put themselves in danger for the noble cause of keeping the world informed about important issues. However, arguably the more fascinating angle that Yang takes on his subject explores the role that a journalist plays in these conflicts. While one initially thinks of objectivity as one of the most important qualities of any great reporter, Fisk challenges this notion, saying that a good writer should take a moral stance about the issues they are commenting on, as media exposure of harmful ideas can be quite dangerous.
Yang’s film is admittedly a tad more disorganized than it needs to be, as there are many ideas floating around. There’s a clear narrative tracing Fisk’s career, but Yang is also juggling a lot of themes and struggles to allow them all to shine through. By trying to juggle both issues of journalism ethics and modern world politics, Yang and Fisk aren’t able to go into enough depth on either.
Additionally, one of the documentary’s significant weaknesses is that it feels somewhat detached from the people who Fisk is reporting about. Yes, this is Fisk’s story and the focus is on how he goes about his journalistic practice. But this could have been a much more harrowing viewing experience had Yang gone all-in on depicting the impact that Fisk’s work has on the greater picture. Still, the film is pretty exceptionally-made. Blending archive materials with fly-on-the-wall footage and some interviews, Fisk provides a very comprehensive and authentic view of his subject. And even though the narrative could have used a bit of streamlining, the editing is nice and precise, creating an effective rhythm. This Is Not a Movie had the potential to be a lot more urgent and important than it is. Nevertheless, it succeeds in its attempt to highlight the contribution of a legendary journalist and remind viewers why voices such as his are so necessary in the first place. This Is Not a Movie is now playing in virtual cinemas. A list of participating locations can be found here. Rating: 4/5
Review by Camden Ferrell
She is the Ocean is a documentary that most recently played at the San Diego International Film Festival back in 2019. It is directed by Inna Blokhina. While the documentary focuses on several unique and talented women, it ultimately doesn’t flow well together and creates a documentary that struggles the find footing.
In this documentary, we explore the lives of nine women, ranging from surfers to divers and to biologists. We learn about each of their own experiences with the ocean and how it has impacted their lives. This is a really interesting premise that features an exceptional group of women, but it’s a shame a lot of the promise of this film was squandered. The main problem with the film is that it doesn’t have a natural momentum between the different subjects, and it often finds itself abruptly shifting its tone and pace, and it can become rather off putting. The film has a common theme that unites these stories, but it still doesn’t do enough to connect these stories narratively in order to create a captivating exploration of the ocean.
The strongest aspect of this movie comes from its subjects. We learn about the exploits of Cinta Hansel, Coco Ho, Keala Kennelly, Andrea Moller, Anna Bader, Rose Molina, Ocean Ramsey, Jeannie Chesser, Sylvia Earle. There’s obviously a lot of talent that I would not be able to adequately cover it in this review, but suffice it to say, they are extraordinary women in interesting fields. Their exploits in each of their respective profession is exciting, but unfortunately, it can’t save the film.
The film creates parallels between the power of the ocean and the power of women, and it’s a great message that doesn’t get the best execution. The cinematography is great and it’s educational at times, but the movie comes off as bland and fairly uninspired throughout. She is the Ocean may appeal to those interested in ocean sports and the ocean in general, but otherwise, it might not do much for you. It has a great set of subjects, but it not particularly entertaining, and it is a disappointing documentary in the end. She is the Ocean is currently playing in virtual cinemas. A list of participating theaters can be found here. Rating: 2/5
Review by Sean Boelman
In recent years, Liam Neeson has proven himself to be a surprisingly reliable action hero, starring in many insubstantial but consistently enjoyable flicks. His newest vehicle, Honest Thief, is much of the same, with enough action to be mindlessly fun but a plot that is nearly indistinguishable from anything else the actor has done.
The film follows an older bank robber who, having found unexpected love, sets up a plan to turn himself in only for his fresh start to be thwarted by two corrupt FBI agents who hope to take the money for themselves. In what amounts to a very basic dirty cop thriller, the movie’s biggest weakness is its predictability, every twist and double-cross easily seen from a mile away. Still, despite the feeling of familiarity radiating throughout the entire story, it manages to be a passable thriller. Everything about the film feels very competent (and safe), and while viewers will almost certainly wish that there were at least some more creativity to the action sequences, the opportunity to get to see Neeson kick some butt again is welcome. One of the things that does hurt the movie significantly is that it does not get moving for about thirty minutes. The premise of the film is undeniably basic, so there is no real reason for there to be that level of exposition. Many of the first act’s issues can be attributed to the fact that the writers seem to think that viewers going to see a Liam Neeson B-movie actually care about the characters.
To a certain extent, the genericism extends to the character development: the romantic subplot is about as by-the-book as they come, and the antagonists are all woefully over-the-top. Still, there’s something charming about seeing Neeson as a mild-mannered badass. It’s the role that kicked off this resurgence in his career, and it’s exactly what we see here.
In the supporting cast, the movie’s performances are less noteworthy. There are some talented performers in the ensemble, like Robert Patrick, Kate Walsh, and Jeffrey Donovan, but they are massively underused. Jai Courtney is off-the-walls as the bad guy, but it feels like a performance that should be cool and slick. There are a few solid shootouts in the film, but for the most part, the way the action is shot is mostly adequate. The movie is aching for two or three really creative setpieces or car chases, as everything that’s here is pretty low-octane. Even for a PG13 action flick, it’s disappointingly tame and safe. For the most part, Honest Thief serves as passable entertainment. For those looking for mindless popcorn thrills, this isn’t a bad way to spend an hour and forty minutes, even if it isn’t particularly original. Honest Thief hits theaters on October 16. Rating: 3/5
Review by Sean Boelman
There are a lot of movies about comedians, and some may be asking whether or not there needs to be another one, and the short answer is no. However, Steve Bryne’s feature narrative debut The Opening Act manages to be thoroughly charming despite being generic thanks to the talent of its lead actor Jimmy O. Yang.
The film follows an aspiring stand-up comedian as he gets his first shot as the emcee for his childhood hero, a once-prolific television star, only to discover that the spotlight isn’t what it initially seems. There really isn’t much to set this out from any other underdog story about a fresh face trying to make it in the big leagues, but it’s an effective story nevertheless. Perhaps the weakest element of the movie is its character development. Although the protagonist’s arc is compelling, the supporting characters are all flat and archetypal. There’s the wild card, the reluctant mentor, and all sorts of other cliches thrown in for good measure. But it’s in service of an uplifting message, so it can be forgiven. Admittedly, the film’s portrait of the entertainment industry is a little bit starry-eyed. The main point, that everyone has to bomb at some point, and it’s best to get it out of the way early, is valid advice. However, in trying to cram all of the story beats into a mere ninety minutes, it loses a lot of its authenticity and legitimacy.
Still, it’s definitely a very entertaining movie, and it never outstays its welcome. There are plenty of great stand-up sequences that keep the laughs coming, and a few other bits that pay off really nicely. Even when the film is being deliberately unfunny, Byrne is able to get the laugh with a hilarious crash and burn.
Yang’s performance is excellent, as he brings both excellent comedic timing and some genuine emotion to the character. But the ensemble here is what is going to make the movie stand out. With supporting turns from Cedric the Entertainer and Alex Moffat and cameos from a slew of comedians including Bill Burr, Ken Jeong, Russell Peters, Whitney Cummings, and more, you’re sure to see a favorite face here. On a technical level, the film is definitely very straightforward. In fact, there are some sequences that play out in a way that almost feels like a commercial for the Improv comedy clubs. Still, Byrne does a few interesting things, like including personal interviews with the cast about their first bomb over the credits. The Opening Act is an extremely pleasant and quaint comedy. Although it doesn’t reinvent the wheel in any particular way, it offers sufficient laughs and entertainment to be more than worth the rental fee. The Opening Act hits VOD on October 16. Rating: 4/5
Review by Sean Boelman
Filmmaker Alex Gibney is known for his very prolific filmography packed with politically-charged documentaries. His newest film, Totally Under Control, features him and his co-directors back at it again with a portrait of the COVID pandemic that is equally terrifying and depressing, a message that desperately needs to be heard before the election.
In the movie, Gibney et al. take a look at how the government of the United States has responded to the COVID-19 pandemic with a specific focus on the shortcomings of the executive branch and its leader, President Donald Trump. And while (most) Americans are hopefully aware of how bad the situation has become, this film makes a compelling argument as to what caused us to get here in the first place. At right over two hours in length, the movie is filled to the brim with information. Admittedly, the film could have perhaps been more effective had it been presented as a sort of exposé, but this contains a lot of very good details that make it an educational watch nevertheless. It’s bleak and tone, but tackles issues that urgently need to be addressed and solved. Obviously, there is a clear political agenda in the movie, and the filmmakers don’t try to hide it. The fact that this is coming out as people are already voting via absentee ballots and early voting shows that this is a hot-button topic in current politics. But this does not feel opportunist in any way, but rather, as a reminder of the part that each and every one of us can play in fixing this crisis.
With this does come a bit of bias, but the film is heavily grounded in medical research and expert opinions. There’s a policy angle that specifically evaluates the shortcomings of the Trump administration and a public health angle that emphasizes the tragedy that this has become. And by blending these two approaches, the filmmakers appeal to both the viewer’s politics and emotions.
Yet even though the Trump bashing is a significant portion of this movie, there’s more to it than that. Other COVID documentaries have really focused on serving as a time capsule to remember what went wrong so that it doesn’t happen again, but Gibney and co. seem more interested in finding a solution to this madness. It’s obvious that the film was made very quickly and had to adapt as changes occur, but for something that was made on a moment’s notice, it’s a lot better than one would expect. The editing is done in a way that is consistently involving, and it feels very focused and deliberate, with a clear eye on what its story should be. Totally Under Control will either be preaching to the choir or dismissed as lies by a majority of its viewers. But for the people who need to see it most, those undecided voters who are waiting to cast their ballots, this is absolutely essential viewing. Totally Under Control is now available on VOD and streams on Hulu beginning October 20. Rating: 4/5 Review by Dan Skip Allen It's needless to be said that Adam Sandler can be quite divisive amongst film aficionados. Some like his weird awkward style and others like myself dislike his films. That being said, Hubie Halloween isn't as bad as some of his previous films, but it's far from his best acting performance. But no matter what people think he continues to go back to the well with his quirky odd characters again and again. Hubie (Adam Sandler) is a weird adult who lives with his mother, ring any bells, who has a penchant for protecting the citizens of Salem, Massachusetts on Halloween. Some interesting events in Salem are occurring. A hardened criminal escapes the local prison, a strange man moves in next door to Hubie, and people have started disappearing in Salem. But these events don't stop the locals from scaring the living daylight out of Hubie. It's their right of passage on this night every year. Steven Brill, a frequent collaborator of Adam Sandler, is the director of Hubie Halloween. He and Sandler seem to have a pretty good working relationship. Brill gets the weird sense of humor Sandler is going for. A lot of these films are interchangeable. Other than directing these Sandler films, Brill is a rather obscure director. I guess this is the only way he can get any work in Hollywood. Sandler also likes to work with a bunch of his old SNL castmates as well. Tim Meadows, Maya Rudolph, and Rob Sniffer all make appearances in Hubie Halloween. They are not the only ones who have roles to play in this Halloween extravaganza, though. Kevin James, Ray Leota, Steve Buscemi, Julie Bowen, and June Squibb all play prominent roles as well. Sandler likes to get a lot of Hollywood stars to join him when he's having fun with these films. There is no sense doing this all on his own. This is a common thing stars do when they reach the heights that Sandler has in his career.
As a Halloween movie, Hubie Halloween isn't the best, but not the worst. The same goes for it as a Sandler comedy. It seemed like Sandler and company were just having a lot of fun. They all melded together as an ensemble quite adequately in Hubie Halloween. This film has a good heart to it. It shares its love of the great holiday with all of the viewers on Netflix. If you're a Sandler fan, Halloween lover, or just a fan of fun family films then Hubie Halloween is for you. It's a fine, innocent take on many Halloween tropes people have seen before. Hubie Halloween is now streaming on Netflix. Rating: 3/5
Review by Sean Boelman
Every anthology seems to have one entry that stands out above and beyond the rest of the pack, and for Welcome to the Blumhouse, that is Zu Quirke’s Nocturne. Eerie and atmospheric, but a riveting high school drama at the same time, Quirke’s film is arguably one of the best pure horror movies of the year as of yet.
The movie follows a young and gifted pianist at a competitive arts school who falls back on unorthodox tactics to outshine her more prodigious older sister. Taking influence from Tartini’s account of the origin of the Devil’s Trill, a story which is even referenced in the film, this is a nice modern twist on the Faustian legend. This is one of those horror movies that is less concerned with mystery and the suspense that comes with it, and more with the internal dread that is associated with knowing what is going to happen and being completely unable to prevent it. The direction in which the movie is heading is always rather predictable, but it’s a satisfying watch nevertheless. There is something compelling about watching characters diving into an obsession beyond the point of no return, and it is a theme that Blumhouse has mastered so effectively. And while the film is to an extent a cautionary tale about this type of manic pursuit of a passion, it’s also a very empathetic story about the deterioration of relationships.
One of the most compelling aspects of the movie is the dynamic between the protagonist and her sister, and while there could have been some additional time spent developing this, it doesn’t feel insubstantial, nor does it fall back onto melodrama. Equally impressive is that the sister is a well-rounded character and not a straightforward antagonist.
Sydney Sweeney’s lead performance is effective, but not in the expected way. Her performance doesn’t go for the low-hanging fruit of feeling deranged and exaggerated, instead focusing on the more implicit emotions of the role. Madison Iseman’s performance is more conventional, but acts as great foil to Sweeney’s. On a technical level, the film is absolutely gorgeous. Of course, there is a soundtrack composed of and influenced by some of the most intricate works of classical music ever created, and that creates a great atmosphere. But the cinematography and production design are excellent as well, creating an alluring world for the film. Nocturne is clearly the highlight of the Welcome to the Blumhouse anthology, perhaps because it is arguably the most nuanced entry in the batch. Disturbing in a way that creeps under your skin, this is one not to miss for horror fans. Nocturne streams on Amazon Prime beginning October 13. Rating: 4.5/5 |
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