Review by Sean Boelman Documentary filmmaker Chris Smith is no stranger to showbiz documentaries, having made several acclaimed movies about various figures in Hollywood. However, “Sr.” is perhaps his most tender film yet, a personal and intimate look into the life of its subject in a way that offers an extraordinary level of access and insight. The movie tells the story of the late iconic American underground filmmaker Robert Downey Sr. Although general audiences might not recognize Downey Sr.’s work, they undeniably recognize his son, who is one of the highest-paid actors in Hollywood. This gives the movie a level of cross-audience appeal that few cinema-centric documentaries have. At under an hour and a half in length, the film does feel like it is trying to cover too much ground in a short period of time. In trying to be both an homage to the legacy of Robert Downey Sr. — who has passed since the filming of this documentary — as a filmmaker and a family man, it does struggle to go into depth with either. However, what makes Smith’s documentary stand out is a portion of the movie devoted to the “Sr. version” of his story. Intercut with the more traditional portions of the documentary are portions made by Robert Downey, Sr. himself in which he uses his characteristically idiosyncratic style to tell his story on his own terms. This allows the film to become an endearing work of metafiction. Of course, the movie also has the father-son relationship element between Downey Sr. and Downey Jr., and it is extremely resonant. Indeed, this aspect of the story presents a perfect intersection between the two storylines. It shows how Downey Jr. was influenced by his father’s filmmaking career, but also draws parallelisms between Downey Jr.’s journey as a father and his relationship with his own father.
There’s obviously something very emotional to the movie, owing to the fact that Downey Sr. unfortunately passed away last summer. This gives the film a very bittersweet feeling throughout, like we are watching a celebration of his life — we’re mourning his loss, but appreciating what he left behind. The documentary is shot in black-and-white, giving it much of the same underground look and feel as the movies that Downey Sr. made. It’s an artistic decision that could very easily be seen as pretentious, but it works quite well. The film also has some very good access to clips from Downey Sr.’s filmography, some of which are difficult to find. Although “Sr.” is an imperfect documentary that aims a bit too high, it’s still a profoundly emotional cinematic experience. Few viewers will finish the movie feeling unmoved, even if they aren’t familiar with the life and work of Robert Downey Sr. going in. “Sr.” screened as part of the 2022 edition of DOC NYC, which runs in-person from November 9-17 and online November 9-27. Rating: 4.5/5
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Review by Sean Boelman One would be hard-pressed to find a Broadway star more recognizable to general audiences than Idina Menzel, so it’s definitely not surprising that she is a subject of a new documentary to stream on Disney+. Offering a cursory glimpse at the career of the extraordinarily talented actress, Idina Menzel: Which Way to the Stage? is a mostly unexceptional biography. The film tells the story of beloved actress of stage and screen, Idina Menzel, as she works towards the goal of her dreams: a concert in which she is headlining at Madison Square Garden. As one of the most recognizable theater actresses working right now, plenty of people know who Menzel is, but unfortunately, it doesn’t offer the glimpse behind the curtain the film would have needed to be great. Director Anne McCabe attempts to make Menzel feel more relatable, but it is so caught up in the adulation that many fans have for her that it does not end up making her feel particularly grounded. Even the attempts at doing so — such as a sequence discussing the many mispronunciations of her name — come across as slightly out of touch rather than helpful. The film does spend a disappointingly long time exploring the Frozen portion of Menzel’s career. While this shouldn’t be surprising considering that this is a documentary that will be put out by Disney+, and much of the latter part of her career, it seems as if Menzel was owned by Disney. However, this is also the part of her story that more people know, so it would have been nice to see more of her early career discussed. Indeed, as Menzel’s career is so impressive and storied, there is arguably too much here for an hour and a half, especially given that much of it seems Disney-mandated. Although the film does discuss Menzel’s stints on RENT and Wicked, a longer runtime would have allowed it to go into much more depth on these parts of her life.
That said, Menzel is primarily known as a musical talent, and her vocal skills are certainly on display here. Being that the documentary is distributed by Disney, the filmmakers had access to a great deal of archived performance footage, allowing them to showcase her skills while singing many of her most recognizable songs. McCabe is a very prolific editor, having worked on several high-profile and highly-acclaimed films in that capacity, but this is her first outing as a director. Given her background, the film is understandably more reliant on archive footage than it is on talking heads, making it a refreshing change in the sea of biographical documentaries. Idina Menzel: Which Way to the Stage? is strong in terms of production, but it ends up feeling more like a corporate advertisement for one of the company’s biggest stars than a genuine biography. It’s really not clear who’s going to get much out of this, but it’s inoffensive enough. Idina Menzel: Which Way to the Stage? screened as part of the 2022 edition of DOC NYC, which runs in-person from November 9-17 and online November 9-27. Rating: 3/5 Review by Sean Boelman Everyone in the world was affected by the changes our society has had to make over the past few years, but few have had their experiences altered as much as students. My So-Called High School Rank takes a unique angle to explore how a group of students have been forced to adjust to the changing landscape of the world.
The film tells the unlikely success story of the musical Ranked, written by two high school drama teachers to be performed by their students, only for it to receive a national spotlight when it debuts weeks after the college admissions bribery scandal breaks. In a way, this is like a real-life High School Musical, but much more compelling than that description may sound. Although the documentary is telling the story of the musical, it also takes the time to discuss the very real issue that inspired the musical in the first place: excessive competition in the United States educational system. Although a few other movies have made the “let kids be kids,” argument, few have been able to put their finger on what the cause of this phenomenon is quite as well as My So-Called High School Rank. The other main storyline in the film centers around the creators of the play, David Taylor Gomes and Kyle Holmes, as they attempt to stage a major professional production of the show. Unfortunately, these efforts would be disrupted by the current events of the world, making it a portion of the story that likely would have been better off being cut. Some of the documentary’s political elements in the movie definitely feel shoe-horned in. There is a portion of the film about how the subjects became involved in the Black Lives Matter movement in the wake of the death of George Floyd, and while this did become a significant part of their identities, this is such an afterthought in the narrative that it couldn’t possibly do justice to the topic. However, much of the second half of the movie pivots to focusing on these students’ experiences despite the COVID-19 pandemic. Although the parts that discuss how these student productions of Ranked were forced to adapt to the circumstances are interesting, there are so many other documentaries that have come out about students reacting to the COVID-19 pandemic that the film begins to feel too typical. While there is no denying that the content of the movie is very compelling, the execution is somewhat amateurish in nature — disappointing considering that the characters have impressive resumes. As a whole, everything about the production feels rushed and hectic, which is likely because of the fact that the film is far less important than the musical itself. My So-Called High School Rank tries to encompass too many sides of its story, but it’s still a fascinating story nonetheless. A documentary about high school theater kids has no business being as interesting as this. My So-Called High School Rank screened as part of the 2022 edition of DOC NYC, which runs in-person from November 9-17 and online November 9-27. Rating: 3.5/5 Review by Sean Boelman Alejandro G. Iñárritu’s Bardo, False Chronicle of a Handful of Truths was considered an awards frontrunner, but when it debuted at the fall festivals, its reception was less than stellar. Thankfully, Iñárritu has made a new cut that must be greatly improved — because it is one of the best films of the year. The movie follows an acclaimed journalist and documentarian who goes on a surreal journey to understand his past and his identity. It’s a film that presents itself as something complicated and convoluted, but when it gets down to it, there is a more conventional narrative beneath it that really draws everything together. Clocking in at over two and a half hours long — around a half hour shorter than the original cut — there is definitely some repetitiveness throughout the movie. However, when this repetition occurs, it definitely adds to the story. There is also a wicked sense of humor sprinkled throughout that will keep the viewer invested. As is the case with Birdman — the film for which Iñárritu won his first Academy Award for Best Director — the highlight of Bardo is its surrealist elements. There are certainly some points that go off the rails, and while they are likely to be a bit too bizarre for general audiences to vibe with, those who are on Iñárritu’s wavelength will be sure to be impressed. Iñárritu definitely attempts to address some ambitious themes, including the immigrant experience, Mexican identity, fatherhood, and more. Although it’s a lot to chew, the movie is so undeniably personal that it’s hard not to admire the things that Iñárritu has to say and the passion with which he says it.
Perhaps the biggest obstacle for general audiences to accept this film is the character development. The protagonist comes across as somewhat pompous, but thankfully, given that the movie is so self-aware, it works. The existential journey he faces is surprisingly relatable despite the fact that the character is otherwise meant to feel distant. It definitely helps that Daniel Giménez Cacho gives a performance that is absolutely astounding. Iñárritu asks him to do some absolutely insane things as part of his performance, and he manages to pull off both the comedic and dramatic moments with grace. There are some strong performers in the supporting cast as well, but this is very much Cacho’s show. Bardo, False Chronicle of a Handful of Truths is Iñárritu’s most idiosyncratic film yet, and while its bizarre nature will alienate most audiences, those audiences that connect with it will really connect with it. It’s a hilarious, ethereal cinematic experience the likes of which only Iñárritu could make. Bardo, False Chronicle of a Handful of Truths is now playing in theaters and streams on Netflix beginning December 16. Rating: 5/5 Review by Sean Boelman The Swimmers debuted at the opening night slot of the Toronto International Film Festival this year, where it was met with mixed reviews. Despite having all the cards in its hand to be an inspiring and uplifting film, Sally El Hosaini lacks the directorial vision to do anything with this utterly standard script. The movie tells the story of two sisters who flee as refugees from war-torn Syria before making their way to the 2016 Rio Olympics as swimmers. There have been plenty of stories about athletes that overcome their circumstances to triumph on the world stage, but the filmmakers massively fumble the ball with this one. There are significant portions of the film that are utterly cringe-worthy. For example, there is a needle drop early on of the David Guetta song “Titanium” that is one of the most ridiculous, embarrassing moments in any movie this year — and that is just a small indication of the rest of what is to come in the film with its unfitting pop soundtrack and horribly uneven tone. On the opposite end of the spectrum, much of the rest of the movie is simply boring. The typical underdog sports beats are all hit here in typical fashion, and mixed with a refugee story that should be inspiring but is told in such a bland way that it lacks power. It’s clear that the film has something important to say about the refugee crisis, but this message is lost in a mediocre melodrama. No one can deny that what the Mardinis did was extraordinary, but the character development is shallow in a way that will prevent the audience from connecting with them beyond their plight. The movie would have benefitted from the sibling relationship between the two main characters to be more fleshed out and affecting.
What makes this even more frustrating is that the film has a pair of real-life sisters in Nathalie and Manal Issa to bring the characters to life. However, the movie doesn’t give them enough to do. Matthias Schweighöfer plays the sisters’ mentor in the third act of the film and feels entirely miscast, as it’s hard to take him as seriously as the role demands. For the most part, the execution of the movie is pretty straightforward and bland, albeit entirely competent. Apart from the music, that is generally poorly chosen, there’s not much about the film’s style that is memorable — positively or negatively — ensuring that it will fall into the pit of obscurity that comes with subpar biopics. An inspiring story should make The Swimmers an easy fit for a crowd-pleaser, but questionable execution has made it largely ineffective. The movie constantly pivots between being dull and embarrassing, making it one of the worst movies of the year. The Swimmers is now in theaters and streams on Netflix beginning November 23. Rating: 1.5/5 Review by Joseph Fayed Dylan & Zoey is a dramedy that deals with an estranged friendship. Set over the course of one night, the two estranged friends try to figure out what drove them apart years prior. There have been many films before that have dealt with friends who are no longer friends reuniting for a brief period of time. While in those films, the two leads might express their love for each other right as the sun rises, this film has a different approach for rebuilding the bond between Dylan and Zoey.
Zoey (Claudia Doumit) is visiting Los Angeles and, on her final night, decides to see Dylan (Blake Scott Lewis) before she leaves. Over the next few hours they decide to spend together — or 82 minutes, in the viewers case — we see Dylan and Zoey laugh, discuss their memories from when they were closer, and reveal intimate details about the sexual abuse each of them have experienced in their lives. This is a "dramedy" after all folks. With such a short run time and a story that takes place over such a short amount of time, there is not much room here to explore these characters backgrounds. When your film is essentially mumblecore with two characters the viewers are unfamiliar with, you need to expand on your main characters as much as possible. 82 minutes really does not get us any explanations as to why Dylan and Zoey are no longer friends until the last third of the film. There is more than one way to address sexual abuse on screen as we have come to learn. The awkwardness between Dylan and Zoey shows us how there does not need to be some intense situation where one reveals their repressed trauma. We hear Dylan, who is revealed to be a 28 year old virgin, share his thoughts on sex while discussing his past traumas throughout the course of the day he spends with Zoey. Zoey, on the other hand, bounces off of Dylan's life before she makes an emotional revelation in the final act. Its ending is rather bleak but offers hope for both of our main characters, which given the context of why Dylan and Zoey grew apart makes sense. Dylan & Zoey is a film that handles trauma better than it handles relationships. The pacing is a bit off when it comes to exploring any trauma, but when the pacing isn't off, the trauma it explores becomes the most interesting aspect of it all. Dylan & Zoey is now available on VOD. Rating: 3/5 Review by Sean Boelman Jason Kohn’s diamond documentary Nothing Lasts Forever picked up some raves on the spring festival circuit before dropping off the map for a bit and is now resurfacing for release. No matter how specific the subject matter may seem, audiences should not ignore this film, as it makes the most out of its fascinating tale. In the movie, Kohn takes a peek behind the curtain of the multi-billion-dollar diamond industry, with a specific focus on the conflict between those producing lab-grown diamonds and the legacy companies mining natural diamonds. Many people probably know how nuts the diamond industry can be, but this film has an incredibly unexpected amount of suspense. In a way, the movie can almost be described as a real-life Uncut Gems in that it’s a high-stakes thriller set in the world of luxury jewelry. Of course, you don’t have Adam Sandler running around and yelling the whole time, but as the viewer, you will still feel like you are being plunged into the seedy underbelly of an industry that peddles the idea of luxury and glamor. There is a very strong anti-capitalist message to be found in this film and its exposé of how the diamond industry is fundamentally corrupt and shady. Of course, this is only the tip of the iceberg. There are plenty of more shady and sleazy things happening within the diamond industry, but Kohn shines a light on an aspect of the issue of which the general public may not be aware. The part of this movie that really puts it over the top is its interviews. Any documentary set in the world of high culture can be challenging to pull off because many of the experts tend to feel rather pompous. That said, Kohn has managed to find some exceptionally entertaining and grounded people to talk to in Nothing Lasts Forever, thanks to the fact that many of them have larger-than-life personalities.
Admittedly, many of the interviewees in the film use some pretty intense technical jargon that general audiences likely won’t be familiar with. However, they do a good enough job of explaining what everything means that viewers will be able to follow along with what is happening in the story and appreciate the weight of what is happening. From a technical level, it’s a staggeringly-executed documentary. The framing is exquisite, both in the interviews and the B-roll, and the editing is sleek, giving it a razor-sharp pace. Kohn wisely keeps the runtime under ninety minutes, weaving together the different story threads in a way that is concise yet expansive. Even for those who may think they don’t care that much about the diamond industry, Nothing Lasts Forever is an absolutely fascinating watch. Jason Kohn has managed to find a bizarre, interesting story in an unlikely place, and the result is an amazing documentary. Nothing Lasts Forever hits theaters on November 11. Rating: 4/5 Review by Sean Boelman Frederick Wiseman is one of the most prolific documentary filmmakers working today, so the cinephile world was shocked when it was announced he would be tackling something a bit more narrative for his newest project. As expected, what is seen on the surface of A Couple is relatively simple, but what Wiseman makes the audience feel is something else entirely. The movie explores the relationship between Russian writer Leo Tolstoy and his wife Sophia Tolstaya, told entirely through the perspective of Sophia. Based on letters and diaries written by Sophia, the film presents an interesting glimpse into their relationship, although it is admittedly the type of literary story that few general audiences would be interested in. Although the title might imply that it is a two-hander, it is entirely a one-woman show for Natalie Boutefeu. Within the context of what she is being asked to do, Boutefeu’s performance is quite solid. It does sound like she is reading at times, but given that the movie is essentially a series of performances of written historical materials, this style of performance works quite well. Viewers will feel like they are getting a peek into the personal life of this character, and Wiseman and Boutefeu do an extraordinary job of grounding the character. In fact, if you didn’t know the context of Leo Tolstoy and Sophia Tolstaya going in, it would be easy not to realize this is about one of the most famous literary couples in history. The film definitely discusses gender dynamics of that era in a way that is compelling, but it does have the limitation of all coming from a single source. Although the points being made are certainly valid and a necessary part of the discussion, the fact that it is one person saying and repeating them can cause it to come across as whining.
Of course, the movie is absolutely gorgeous to look at, but one would expect no less from a master director such as Wiseman. Wiseman reteams with cinematographer John Davey, who has worked with him for more than a decade, and the result is some beautiful images of the French seaside. Essentially, the film is one big monologue, and it does begin to feel slightly monotonous at times. The repetitive structure of the script definitely doesn’t help. However, given that the runtime is barely over an hour, it breezes by and is enjoyable to watch if only because of the gorgeous visuals. A Couple does suffer from monotony at times, but those who are a fan of Wiseman’s patient style in his documentaries are likely to find much of the same enjoyment here. It’s a gorgeously-shot, elegant watch — maybe not one of the best in the master’s filmography, yet still excellent nonetheless. A Couple hits theaters on November 11. Rating: 3.5/5 BLUE’S BIG CITY ADVENTURE -- Blue’s Moderately Entertaining Journey to the Big-ish Screen11/10/2022 Review by Cole Groth Legacy sequels are all the rage this year, and the Spider-Man: No Way Home-ification of the Blue’s Clues franchise is one of the most interesting film ideas of the year. Blue’s Big City Adventure takes the rebooted franchise to Blue’s most extensive journey yet: New York City. While it’s a wildly uneven experience for kids and adults, it’s hard not to enjoy the cheesy nostalgia of seeing some favorite childhood characters return. With a quick pace and plenty of fun songs, this is just as fun as the show was, although it doesn’t feel enough like an expansion to be a full-fledged film adaptation. Blue’s Big City Adventure opens up like a standard episode of Blue’s Clues & You!, with Josh (Josh Dela Cruz) and his ragtag crew of Blue, Mailbox, Mr. Salt, and Mrs. Pepper, among others. Josh is awaiting a letter for an audition with Rainbow Puppy (Brianna Bryan) to get onto a Broadway play. His antics at the beginning are identical to a standard episode, except we’re treated to an entertaining musical number. The grand scale of Josh and Blue’s adventure isn’t the only difference this time; it’s also a musical! Thankfully, Josh Dela Cruz is a great singer, and each song is educational and fun. Fortunately, Josh receives his invitation, which sends him off to the Big Apple. Unfortunately, he’s forgotten his Handy Dandy Notebook; oh no! Josh is lost without his notebook, so it’s up to the audience to find clues that Blue leaves around the city and get Josh to his audition. While on the way, we find Steve, Blue’s Clues’s first host. It’s lovely to see him again, and while the target audience of younger kids may not recognize him, he’s a sight for sore eyes for young adults like myself. Steve (Steve Burns) is just as warm of a presence as he was over twenty years ago, and the way he interacts with the audience is lovely. We reunite with Joe (Donovan Patton), Blue’s Clues’s second host. They always keep a neutral eye when interacting with the audience. They never look down on the children watching this, and minor details like this make the show and this movie great for children. Throughout the film, we cut between Josh’s adventure, Steve and Joe’s adventure, and the auditions that Rainbow Puppy and another judge (BD Wong) are holding. These auditions are a fun interlude between the action but sometimes become repetitive. It’s a shame that this wasn’t more accessible to the older audience. There’s too much juxtaposition between the childish segments with Josh and the more mature story that Steve and Joe follow. When following Josh, the special effects are jarring and look like they need work. While it’s similar to the show, there’s not much of a reason to advertise this as a movie when it isn’t trying to look cinematic. On the other hand, Steve and Joe’s segments are expertly shot and much easier to follow for adults. The noir aesthetic that director Matt Stawski applies is complex and original but ultimately creates an empty feeling because it’s immediately disregarded when we return to Josh. This criticism isn’t to say that it doesn’t work as a kid’s film because, in that vein, it works rather well. It’s simply disappointing that there couldn’t have been a more even blend of entertainment for adults and kids. This rough mix results in a largely uneven viewing experience that isn’t quite rewarding as it could’ve been.
Many comparisons can be made to 2021’s Clifford the Big Red Dog, which took the kids’ show and brought it to the big screen. Unlike that film, however, there’s not much of an effort to make this feel like a cinematic experience. The special effects are incredibly weak, and there’s too much reliance on green screen, which takes away from the viewing experience. The franchise initially pulled in over $1 Billion in merchandise sales, so why can’t this look more professional? While it’s easy to complain about the weak special effects and a predictable story, there’s no way to hate this movie. It maintains a lot of the heart of both the original and new series and moves quickly, keeping children entertained the whole time. Blue’s Big City Adventure is a fun trip down memory lane jam-packed with cheesy yet endearing songs. Josh, Steve, Joe, and Blue are a great squad. This movie might not stand the test of time as well as the original series did, but it’s a fine adaptation for its intended audience. Blue’s Big City Adventure releases exclusively on Paramount+ on November 18th. Rating: 3/5 FALLING FOR CHRISTMAS -- A Cheaply Made and Painfully Dreadful Lindsay Lohan Christmas Movie11/10/2022 Review by Camden Ferrell Lindsay Lohan made a name for herself in the late '90s and early 2000s, starring in films like The Parent Trap, Mean Girls, and Freaky Friday. Since then, she has found herself starring in fewer movies. Falling for Christmas is a new movie from Netflix and is one of the now relatively uncommon Lohan-led films. Playing out like a cheap Hallmark movie, this is a holiday film that will only please the most die-hard fans of the genre and will bore and offend other audiences with how poorly made the whole thing is. Sierra is the heiress to a wealthy owner of a ski resort. She lives a shallow life with her vain boyfriend, constantly seeking validation from superficial and materialistic things in life. However, after a skiing accident, she gets amnesia and finds herself living with a local lodge owner and his family. Living in this new environment, she slowly learns to regain her humanity and holiday spirit as Christmas approaches. This is a premise that features the same basic structure as most holiday movies, and this doesn’t inherently make it bad, but it certainly makes it unoriginal. It is abundantly clear early on that its writing will not do much to help its cause. The dialogue is cringy and so reminiscent of the many other holiday films that it could be a word for word copy, and I would be none the wiser. There are moments of verbal and physical comedy throughout that fail to land properly and do nothing to increase the enjoyment of the movie. As mentioned before, Lohan leads this movie and while it’s refreshing to see her in the spotlight again, it’s hard to deny how lifeless and stilted her performance is from start to finish. She’s on the same level as the rest of the cast, which is to say its utterly forgettable at best but more realistically painfully dull. In addition to the weak performances, there is just no chemistry between any characters which undermines any kind of romance or connection that was supposed to be prevalent throughout the film.
Nobody goes into a movie like this expecting anything groundbreaking, but one would at least expect some mindless entertainment, and this movie only delivers on the mindless portion of that. It’s made by Hallmark veterans, so it’s no surprise that it feels just like their endless catalog of holiday films. What’s disappointing is that even with Netflix’s (supposedly) larger budget, they couldn’t make anything that felt like it had time and effort put into. Falling for Christmas is a holiday film that you’ve probably seen before, just wrapped differently. It’s borderline unwatchable at times due to how uninteresting and uninspired everything is, but it is also very short which is one of the few commendable aspects of it. If you like Hallmark films, more power to you, this will be right up your alley and surely get you in the holiday spirit. All other viewers need not apply. Falling for Christmas is streaming on Netflix November 10. Rating: 1/5 |
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