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Review by Camden Ferrell  Premiering as a part of the International Critics’ Week section at the 2019 Cannes Film Festival, I Lost My Body is a French animated film that won the Nespresso Grand Prize. Directed by Jérémy Clapin, this film has enough whimsy to propel its wandering narrative even if it falls flat at times. This film follows Naoufel, a pizza delivery man who looks for love and deeper connection in his life. In another storyline, we follow a severed hand as it travels across town to find its owner. These two storylines are very original and are ripe for quirky exploration and storytelling. The writing of this movie may be its weakest asset. It is contemplative at times, but it isn’t as deep as it aims to be. It also likes to revel in the mundane interactions of its characters, and it’s rather charming. However, it wears off a little throughout. Despite this, it’s still an adequate foundation to explore our characters and the movie’s themes. One of the film’s strong points is its dazzling animation. It’s 2-D animation is very immersive and visually pleasing. It manages to look so primitive while also being mysteriously intricate. It gives the film its signature style and uses it to craft its unique and mysterious tale.  While it’s a visual achievement more than anything, the film still succeeds with its themes. It tells coinciding stories of longing in concise and palatable ways. These emotions and ideas are nothing new, but it works surprisingly well in the context of the film. Despite its odd premise, this is a resonant and familiar thematic experience.
The film also excels in its attention to detail. While cinema is a fundamentally visual and auditory experience, this film makes a noble attempt at making its story tangible as well. It focuses a lot on the sensation of touch, and it ties that in with its themes very well. The film runs at a little over 80 minutes, and it mostly does a great job of utilizing every minute. However, there are moments in the film that run on a little too long. This can sometimes disrupt the pacing of the story, but this is a forgivable problem. I Lost My Body is an enjoyable and enigmatic viewing experience. It boasts great animation and rich themes, and it’s a short and contemplative film that is easy to consume. Its quirks may turn off a select few, but it’s a generally unobjectionable experience. I Lost My Body is now streaming on Netflix. Rating: 3.5/5
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Review by Sean Boelman  The Turkey Bowl, co-written and directed by Greg Coolidge (Employee of the Month), is a new sports comedy arriving just in time for the Thanksgiving holiday. Although it is admittedly rather generic, the script has enough humor and charm and the cast is talented enough that the film is entirely watchable, and may even elicit a few laughs. The movie follows a big city businessman who is lured back to his hometown by his high school buddies at Thanksgiving to finish an incomplete football game against their rivals. Ultimately, the film follows pretty much the same path as any other movie that involves a once talented athlete attempting to relive their glory days, but this arc is such a relatable one that it tends to work consistently. Much of the movie’s humor is of the slapstick variety, and there are a few visual gags in the film that are very funny. The movie is at its best when it places the protagonist in an awkward situation and milks a laugh out of the audience due to secondhand embarrassment. Some of the film’s attempts at legitimate wit end up falling flat, but few viewers watching this movie will be looking for anything more than lowbrow comedy. Perhaps the biggest issue with this film is that it is simply too long. Clocking in at right around two hours, it frequently feels like the arc could have been better conveyed in a brisk ninety minutes, particularly given the fact that the humor begins to become somewhat redundant towards the end. That said, it is the first thirty minutes that feel the most useless, as they drag out the introduction for far longer than is necessary.  Additionally, the character development in the movie is somewhat lackluster. Although the protagonist has a compelling arc, all of the supporting characters are extremely archetypal and only serve to build the protagonist. The most frustrating part of the film involves the protagonist’s fiancée, as this subplot ends up feeling like an underdeveloped afterthought.
The more interesting idea explored in the movie is that of personal identity. The main part of the protagonist’s arc involves him trying to balance his background from his rural home town with the new lifestyle he has adopted. All of the different subplots, some compelling and others too flat to add much depth, simply serve to accent this main struggle. On a technical level, the film is mostly solid. Even though there is really only one major sports scene, that sequence is shot in a way that is surprisingly exciting and suspenseful. There aren’t really any stakes in this scene, but the cinematography, editing, and soundtrack are done in a way that creates a sense of tension during the climax. The Turkey Bowl isn’t a particularly deep or complex movie, but as a holiday comedy, it works surprisingly well. For a lighthearted (but not-so-wholesome) flick to watch on Turkey Day, this is a solid choice. The Turkey Bowl is now available on VOD. Rating: 3.5/5 Review by Sean Boelman  Queen & Slim, written by Lena Waithe (Master of None) and directed by first-timer Melina Matsoukas, is a new crime drama dealing with the timely theme of police brutality. Although it is a bit rough around the edges, Matsoukas’s voice is evident and Waithe’s script does a lot of leg work to make this an extremely compelling parable. The film follows a young African-American couple as they go on the run after a date gone wrong. Although some, even some of the movie’s characters, would describe this as a “black Bonnie and Clyde”, that would be a huge disservice to the nuances and complexities of this script. Whereas the typical Bonnie and Clyde tale glorifies the life of crime led by the protagonists, Queen & Slim is instead a scathing critique of the justice system and the way in which the public reacts to the media. The most interesting idea explored by this film is the way in which the public reacts to the actions of the main characters. Some characters believe them to be heroes, and others see them as vicious killers. By painting the characters and their actions in a morally ambiguous light, Waithe’s script brings a lot of humanity and realism to these characters, thereby allowing the movie to be an interesting conversation starter. The script does a very good job of making the characters sympathetic, regardless of which side of the debate on which the viewer falls. However, perhaps most intriguing about the film is that it throws the audience almost directly into the action. Although a single scene gives enough context as to their personalities to allow the characterization to be effective, viewers aren’t given much more before the incident that is likely to polarize the audience.  Daniel Kaluuya (Get Out) gives a phenomenal turn as the movie’s lead, and his performance is completely different from anything else he has done in the past. Whereas most of his past roles have required him to be a lot flashier, this character relies on his subtlety to bring out the emotion within the text, and he delivers. The true standout, though, is Jodie Turner-Smith in her first leading role. The way in which she commands the screen never ceases to impress, as she grips the viewer’s attention from beginning to end.
Many of the film’s issues come down to pacing, and that seems to be more a result of this being Matsoukas’s first feature-length directorial effort than anything else. At just over two hour and ten minutes, the movie could have spared to be just a bit shorter, but even so, the film doesn’t quite have the visual rhythm it needs. The cinematography and score are both wonderful, but the editing is somewhat lacking. One of the most frustrating things about the movie is that the editing frequently works against the script and its natural emotion. There is one particularly disappointing sequence that cross-cuts between the two emotional climaxes of the film. Individually, these two moments could have been extremely hard-hitting and resonant, but because they are presented in this way, they end up feeling rushed and don’t have quite the impact that they otherwise would. Lena Waithe’s script for Queen & Slim is one of the year’s best, and director Melina Matsoukas obviously has a lot of talent and potential; however, in the translation from page to screen, something seems to have been lost, keeping the movie from being as brilliant as it should be. It’s still very good, but Matsoukas’s masterpiece is yet to come. Queen & Slim is now playing in theaters. Rating: 4/5 Review by Sean Boelman  The newest film from acclaimed director Sam Mendes (Skyfall, American Beauty), 1917 is undoubtedly the most successful attempt at technical ambition this year, and perhaps even this decade. Taking the simulated one-take structure popularized by Birdman and applying it to a genre that is far more difficult to pull off, Mendes has crafted a marvelous movie that is sure to dominate end-of-year conversations. Although this film was very much a team effort, a large amount of the credit should go to cinematographer Roger Deakins who has all but locked himself in to win his second trophy from the Academy. The level of planning that was required of these filmmakers to achieve the simulated one-take is thoroughly impressive, but even beyond that, the movie is just gorgeous. Deakins uses the camera in a way that is both thrilling and humanizing, emphasizing the emotion in the story. The film follows two British soldiers during WWII as they are tasked with delivering an urgent message to the front lines, sending them through enemy-occupied territory. While there isn’t much more to the story than this, it is still extremely compelling thanks to the unorthodox approach that Mendes (and co-writer Krysty Wilson-Cairns) took to this story. Rather than a sprawling war epic, this is a small-scale story focusing on the journey of very few characters. Because the movie plays out in nearly real time, the pacing is quite unique and effective. From the moment the film starts, audiences will be drawn into the movie and its world. Even when it seems like the story is slowing down, these lulls are almost even more anxiety-inducing because the stakes are established early on and viewers know that the characters are never truly “safe”.  Part of what makes this film so effective is that the character development is so lean and precise. With all of the action, one would expect that there wouldn’t be much time to explore the characters and give them personalities, but the sympathy that viewers will have for the characters is built over the course of the movie subtly and allows the film to be quite hard-hitting.
Other than one or two lines which feel a bit too obvious, the movie resonates surprisingly on an emotional level. In certain scenes when one would least expect it, the film hits an emotional chord that is absolutely heart-breaking. This movie features two of the most gut-wrenching scenes of the year, yet the film never feels like it is simply trying to pull at the heartstrings. George MacKay and Dean-Charles Chapman are both absolutely wonderful in their leading roles. Their chemistry together is phenomenal and they are able to completely sell all of the emotion in the more impactful moments. Chapman, in particular, shows the great range he has. However, likely the most interesting thing about this movie’s cast is that it features well-known actors like Colin Firth and Benedict Cumberbatch in small but thoroughly effective parts. Any other director likely would have made them the star of the show, but Mendes allows the up-and-coming talent to shine, and to great effect. 1917 is a gorgeous and captivating war film, and likely the best cinematic experience of the year. This is a movie that demands to be seen on the big screen, with the best projection possible and the clearest sound available. Anything else would be doing this work of art a disservice. 1917 opens in theaters on Christmas Day and expands nationwide on January 10. Rating: 5/5 Review by Camden Ferrell  Dark Waters is a legal drama directed by Oscar-nominee Todd Haynes (Carol). Even if it might be a bit slow to start, this movie quickly becomes an engrossing and essential story of corruption and exploitation that is still relevant today. This movie is based on the true story of Robert Bilott, a corporate defense attorney that sues a powerful chemical company for their long history of pollution and endangerment. We watch as Bilott puts his career, health, safety, and family on the line to fight for the truth and to get justice for those who have suffered. This is a remarkable story about a strong and determined attorney that gives this film strong narrative footing. Written by Matthew Michael Carnahan and Mario Correa, this is a rather intelligently written film. It tackles legal themes and ideas in a way that is smart yet very accessible to the public. It doesn’t indulge in too much jargon; it’s concise and very efficient with what it has to say. It features some great dialogue that allows its actors to really explore their characters and interact with their co-stars. This film stars Mark Ruffalo (Spotlight) as Robert Bilott. Ruffalo does a fantastic job of capturing this complex role. While he is a mild-mannered attorney, Ruffalo does a great job of subtly showing the turmoil and conflict within his character. Even though most of his performance is subdued, he has some great moments full of emotional bursts and frustration. Both Anne Hathaway and Tim Robbins support Ruffalo as lead, and they both deliver great performances. Hathaway plays Bilott’s wife with tangible passion and concern, and Robbins has some great moments as chairman of the firm.  Haynes’s direction is very strong throughout. It’s a tight and controlled legal drama that effectively tells its story without much distraction. His attention to detail and character development help give this movie an emotional core to support its factually based narrative.
This movie is a truly eye-opening experience. It unveils the corruption and despicable negligence of DuPont in a way that is repulsive to watch. The movie intends to scare you with each and every revelation, and it succeeds on that front. It also portrays the human and emotional tolls these events take on the townspeople but especially Bilott and his family. These moments are resonant and powerful with what it says. The movie boasts a timely message that is still relevant today, and it leaves you with a sinking feeling of dread and mistrust. Despite all that worked for this movie, it does take a while to find its stride. The first act of the film drags on a little too much. However, once Bilott descends deeper into this legal rabbit hole, the movie is smooth sailing from then on. For the most part, the film takes an emotionally bleak legal drama and makes it work in its favor. Dark Waters is a great drama that is as gripping as it is intelligent. It’s a revelatory experience that is heightened by some great performances from Ruffalo, Hathaway, and Robbins. While it may be slow to some, this is still a fantastic and informative true story. Dark Waters is in theaters now. Rating: 4/5 |