Review by Camden Ferrell

​Christmas is many Americans favorite holiday, and Apple TV+ has a documentary about one extreme Christmas fanatic. ‘Twas the Fight Before Christmas is the second directorial effort from Becky Read. However, this film’s subject is radically different than her previous work. While this documentary has a wacky premise, it doesn’t have much substance, and it suffers significantly from wavering in its direction and execution.
 
Jeremy Morris is a lawyer in Northern Idaho, and like many people, he enjoys Christmas and decorating his home. Unlike most people, his decorations are beyond extravagant, featuring countless lights, choirs, and even a camel, becoming a community spectacle or eye sore depending on who you ask. However, his plans to inspire Christmas cheer are met with a notice that his event violates rules according to the HOA. From here, we see Morris do everything in his power to keep his lights on. In and of itself, this premise is interesting, and it has the benefit of exploring the legalese behind a conflict such as this.
 
Despite having a great set up, the retelling of events leaves a lot to be desired. It does a decent job of giving the audience context, but it lacks originality, and it’s not as captivating as it could have been. The film also has an overreliance on talking heads. While they’re effective means of storytelling, this film used it as a crutch when it’s B-roll couldn’t do the job.

One of the main problems with the film is that it remains sporadically ambiguous on its opinions on Morris. This gets especially muddled when he starts arguing that he is suffering religious discrimination. It’s ridiculous, but it’s hard to tell whether the filmmakers are in agreement or are making fun of his actions. I imagine audiences might be split on their opinions of the subject, and it doesn’t help that the film can’t seem to make up its mind on the matter.
 
Many parts of this film feels so inflated, that it comes off like a fearmongering Fox News segment, and it undermines the true story at its core. While I admit the premise has an innate factor of intrigue, it’s a shame to see how the film doesn’t make the most of its opportunity. Love him or hate him, Morris has charisma, and it’s disappointing to see how the film doesn’t amount to much when there are some good things working in its favor.
 
‘Twas the Fight Before Christmas might be interesting to some audiences who want to see a silly battle between a Christmas-obsessed resident and the HOA. Unfortunately, some may also find its execution to be generic and uninspired throughout.
 
‘Twas the Fight Before Christmas is streaming on Apple TV+ November 26.
 
Rating: 2.5/5

Reviewed by Adam Donato

Review by Sean Boelman

Paul Thomas Anderson is one of the rare American filmmakers who is both a critical darling and an audience favorite. And his newest film, the coming-of-age comedy Licorice Pizza, is his most accessible movie in years, a hilarious and heartfelt ode to the Los Angeles of the 1970s which benefits from his unique voice.

The film follows a teenage boy who is a former child actor and currently a failed young entrepreneur as he befriends and forms a unique connection with an adult woman. It’s definitely a movie that deals more in vibes than plot, but the atmosphere that Anderson builds is so infectiously fun that the movie is endlessly charming.

Anderson weaves through the different pieces of his story in a way that is somehow both relaxed and full of life. There are a lot of laugh-out-loud moments, and while there are a few scenes that will stand out to viewers more than others, these scenes are nicely distributed over the entire runtime to keep the audience interested.

Although this definitely isn’t one of Anderson’s more important films in terms of themes, that doesn’t make it any less profound. Anderson offers some poetic observations about youth and growing up. He takes this very common arc and makes it into something refreshing by writing characters that are remarkably empathetic.

A big part of what makes this movie work so well is that the characters are very complex. Even though the two leads both frequently make frustrating decisions, it’s their flaws that makes them so endearing. And the film is also filled to the brim with bit parts based on or inspired by real Hollywood figures from the past.

Cooper Hoffman, the son of the late Philip Seymour Hoffman (a frequent collaborator of Anderson), does an exceptional job in his leading role, bringing a lot of charm to the character. Alana Haim is great opposite him, commanding the screen and sometimes even stealing his thunder. And Bradley Cooper has an extremely memorable cameo resulting in one of the funniest scenes in any movie this year.

Anderson is one of the few filmmakers working today that still has an affinity for shooting on celluloid, and it really pays off in immersing the viewer in the world that he is setting up. It’s a gorgeous, nostalgic-looking film that radiates a visual warmth. And a soundtrack filled with some great songs from the ‘70s rounds it out quite well.

Licorice Pizza is probably Paul Thomas Anderson’s best and most consistent movie since Magnolia. It strikes the right balance between poignancy and hilariousness to make it both meaningful and a crowd-pleaser.

Licorice Pizza hits theaters on November 26.

Rating: 5/5

Review by Sean Boelman

Ryûsuke Hamaguchi’s Drive My Car has picked up numerous accolades on the festival circuit on the way to being selected as Japan’s submission for the Academy Award for Best International Feature. A contemplative, poetic masterpiece, this is one of the brightest spots in the filmmaker’s already accomplished career.

The film follows a stage director still grieving the death of his wife as he bonds with a chauffeur while putting on a performance of Chekov’s Uncle Vanya. The movie is based on a short story by the legendary author Haruki Murakami, and in their script Hamaguchi and Takamasa Oe manage to expand the material while preserving the author’s voice.

Creating a three-hour film out of a short story is an interesting prospect, but Hamguchi’s movie is more of an expansion of Murakami’s work than a direct adaptation of it. And while it is a very talky, measured three hours, the things it has to say are consistently profound and the way they are said allows it to be absorbing.

And the film definitely justifies its extended runtime with the sheer amount of things it has to say. Having this time allows Hamaguchi to explore his main themes with plenty of depth while also leaving enough time to explore other topics. Depending on their background, different aspects of the movie will resonate with the viewer, which is part of what makes it so special.

The protagonist of the film is an exceptionally nuanced character. The first act of the movie sets him up to be a very specific type of character, only for the rest of the film to break down these preconceptions and expose his vulnerability. But what is even more impressive is that the movie features multiple supporting characters that feel fully fleshed-out.

Hidetoshi Nishijima gives an exceptional performance in the leading role, bringing so much empathy and nuance to the character. It’s the type of turn that isn’t good because it’s flashy, but rather because of its quiet power. And despite a relatively small amount of screen time, Reika Kirishima will leave quite a lasting impact on the viewer.

It will come as no surprise to fans of Hamaguchi’s work that this is an extraordinarily crafted film. The cinematography is exquisite, with strikingly elegant compositions. Although this is definitely an actor’s movie, which is fitting given the content of the story, that doesn’t mean that the filmmaker is any less diligent with the technical aspects.

Drive My Car is an exceptional feat, taking its unlikely origins and making a magnificent three-hour poem out of it. Although some may not pick up on all of its nuances, there is plenty of greatness here that would make it hard not to admire.

Drive My Car is now in theaters.

​Rating: 5/5

Review by Camden Ferrell

The Unforgivable is a new drama that is based on the British mini-series Unforgiven. It features an all-star cast and is directed by German director Nora Fingscheidt. Despite all of the talent on and off screen, this movie fails to be gripping and seems to suffer a crisis of identity.
 
Ruth is a woman who has just been released from prison after serving for a violent crime. Upon her release, she must get readjusted to society and search for her young sister who has since been adopted and forgotten Ruth. This is an interesting premise that has a lot of promise for exploring different themes while delivering captivating drama.
 
The script was written by Peter Craig, Hillary Seitz, Courtenay Miles, each of whom have experience writing and working on acclaimed films and series.  However, this effort is tepid more often than not. Being based on a three-episode miniseries, the movie can’t but feel bloated. There are certainly some plot lines and scenes that are fine in the context of a series but should have been cut from a movie that has under two hours to tell its story.
 
The movie is full of dialogue that is neither memorable nor unforgivable. It’s as standard as drama dialogue gets. In addition to this, the script along with Fingscheidt’s direction can’t ever agree on what the film is. It jumps between a redemption story, a legal drama, and a thriller, and it doesn’t really excel at any of them. The movie could have benefited from a more consistent tone to connect its narrative more cohesively. 

The acting is simultaneously the best and most disappointing part of the film. Sandra Bullock leads the film as Ruth, and while she gives a decent performance, it is far from her best. The film also stars and underutilizes Jon Bernthal and Vincent D’Onofrio. I also want to point out the missed opportunity that is Viola Davis’ character. She doesn’t have much to do in the film, but Davis is one of this generation’s bests, and it’s a shame to see her misused in a film like this.
 
The film also doesn’t feel unique or impressive on a superficial level either. Again, this is disappointing considering the talent working on the film. The cinematography was done by Oscar-winner Guillermo Navarro, and this movie feels as generic as it comes. This, paired with the same nondescript overly emotional score, do nothing to supplement the already lackluster story and execution beneath the film’s surface.
 
Ultimately, this film has all the right ingredients for a great drama, but it doesn’t know what to do with all of its moving pieces. It should have focused more on the challenges of felons to readjust to a society both economically and personally. However, the movie opts to juggle a handful of storylines and not properly develop them each as they should.
 
The Unforgivable is a forgettable drama that will go down as a failed showcase for Bullock. It feels undercooked and tries to stuff too much into such a short time. It might have been intended to be Oscar-bait, but I don’t think it’ll succeed in catching any on its hook.
 
The Unforgivable is in select theaters November 24 and on Netflix December 10.
 
Rating: 2.5/5