Review by Sean Boelman
Many of the Japanese animated movies that receive the world spotlight are the big and flashy ones that appeal to the mainstream anime fanbase. However, there are some wonderful independent animated films like Kenji Iwaisawa’s On-Gaku: Our Sound that are absolutely charming and deserve attention too.
The movie follows a trio of delinquent school kids who decide to form a band to impress their friend despite not having the experience or money to do so properly. Based on a manga by Hiroyuki Ohashi, the film has a really simple story, and Iwaisawa doesn’t stretch it out beyond the seventy minutes it needs to get the job done. Admittedly, this brevity does come at the expense of some of the subplots being rather straightforward. The main band storyline works quite well, but the romantic subplot and the rival gang subplot end up feeling more like ways to introduce additional conflict rather than a developed storyline in and of itself. The themes of the movie are also quite direct. It’s clear that the message here is that anyone can redeem themselves if they set their mind to it and commit to becoming a better person. And while there have been plenty of love letters to forming a band in high school, it’s a story that a lot of people can relate to, and it’s mostly moving as a result.
One of the things that is missing from the film is more of an investment in the friendship between the three main guys. In a buddy movie, the dynamic between the characters is very important, and here, it’s really conventional. And for a movie about people challenging expectations, that’s a bit disappointing.
The first half of the film doesn’t feature a whole lot of music, and that can be a bit frustrating, but there are a few good musical gags sprinkled throughout culminating in a finale that is really fun. Even though there definitely could have spared to be a few more songs, the ones that are there are mostly memorable. Iwaisawa’s animation style is also quite good. The character design, for the most part, is pretty basic, but it is the intense level of detail that he put into the backgrounds that is impressive. There are some really gorgeous frames, and even some sequences that temporarily change up the style to interesting effect. On-Gaku: Our Sound is a quaint but enjoyable Japanese animated comedy. It’s a lot quieter and more restrained than one expects of the medium, but it’s also refreshing to see such an intimate story told in a unique and artistic way. On-Gaku: Our Sound opens in theaters on December 11. Rating: 3/5
0 Comments
Review by Sean Boelman
Filmmaker Adam Egypt Mortimer’s sophomore feature Daniel Isn’t Real put him on the genre map in a big way, so fans have been eagerly awaiting his follow-up, the gritty superhero riff Archenemy. Unfortunately there is far less going on in this movie, so despite some stylistic flair, it’s not as fun as one would hope.
The film tells the story of a washed-up man who claims to be a superhero from another dimension who has lost his powers on Earth, finding an unlikely ally in a teenage boy going through an identity crisis of his own. The idea of a “reverse Superman” — a powerful being from another world trying to save us but stripped of his abilities to do so — is promising, but Mortimer barely does anything with it. Many superhero movies seem to be centered around the same ideas and themes, so it’s only fitting that revisionist superhero flicks would do the same. However, when a film desperately wants to be edgy like this does, and it is simply repeating things that have already been said before, it loses that feeling of authenticity. Mortimer’s main criticism of the superhero genre seems to be the way in which characters (especially Superman, which so obviously inspired the character) are so unrelatable. What Mortimer fails to realize is that it is not the powerful superhero who is his protagonist — it is the human teenager. And in trying to make the superhero more empathetic, the movie loses track of its emotional core.
The pacing of the film is also very frustrating. Much of the first half is spent world-building, creating the mythology of these characters and setting the rules. This is intriguing, but the third act fumbles any potential that it had early on, devolving into a disappointingly generic and by-the-book crime thriller.
Joe Manganiello’s performance as the once-mighty hero is strong and one of the main reasons that the movie manages to achieve some level of success. Manganiello has the charming but gruff quality that this character demands. Amy Seimetz makes for a great supervillain, although she is disappointingly mostly underused. Mortimer also has a very strong visual style that he uses to play with the genre. Animated comic-like sequences cement this clearly as a dark take on the tendencies of the genre. However, it is Mortimer’s use of color and the cinematography that is most creative, particularly during the fight sequences, and allows the film to be memorable. Archenemy has some interesting moments and shows a lot of potential, but for the most part, it never lifts off. Even if it isn’t Adam Egypt Mortimer’s strongest work, it shows that he is still a truly interesting filmmaker. Archenemy hits theaters and VOD on December 11. Rating: 2.5/5 TO THE ENDS OF THE EARTH -- A Reporter's Meditative and Lukewarm Journey Through Uzbekistan12/10/2020
Review by Camden Ferrell
To the Ends of the Earth is the newest film from writer/director Kyoshi Kurosawa. This film played at the 2019 Toronto International Film Festival as well as several other festivals. While the film’s attempts at being a contemplative journey are pronounced, it often finds itself in tonally and structurally inconsistent territory.
Yoko is a Japanese host of a travel show. She is dedicated to her work, and it has brought her on a trip to Uzbekistan. In this foreign land, we watch as she adapts and explores the area with a caution that accompanies her introverted nature. The premise isn’t anything miraculous, but this allows the perfect opportunity to properly explore a character’s nature, their desires, and their fears. Unfortunately, the exploration ends up being tepid in comparison to what it could have been. The script is minimal, and it evokes characteristics of realism more than anything. It’s not flashy or cinematic dialogue, but it creates a lot of space for characters to interact by other means. What is being said isn’t always of the utmost importance, but it’s more important to observe actions and reactions. Kurosawa understands that to explore his protagonist, he doesn’t need to confound the narrative with unnecessary dialogue. The acting in this film is mostly forgettable save for the remarkable lead performance from Atsuko Maeda. She is joyous and optimistic on camera, and she is cautious and shy off camera. It’s a balancing act that Maeda does very well. Her performance is the best aspect of this movie, and it can sometimes elevate some lackluster moments throughout the film.
The main problem with the film comes from how unevenly paced the film can be at times. While it was designed to be a slow and meditative piece, it often meanders too much for its own good. It’s a balancing act that the film never really perfects, and the final product suffers as a result.
The film isn’t bad, but it is underwhelming. It clocks in at around two hours, and it never truly warrants it. It doesn’t do enough to examine the nature of the protagonists and the deep personal struggles she faces from being a fish out of water in a country that is unfamiliar to her. Some of these ideas are presented, but they’re not fully developed. There are a handful of great moments throughout. It’s interesting to watch Yoko on the job and to see how her media personality constantly covers up her discomfort in these situations. There are also two instances in which we see Yoko singing a cover of Hymne a L’Amour by Edith Piaf that is actually quite beautiful. Overall, this is a noble attempt at personal meditation through the eyes of a woman who is out of place in a new country. Unfortunately, its execution isn’t fully developed, and it leaves the viewer with something to be desired. To the Ends of the Earth opens December 11 as a part of The Metrograph virtual cinema and in nationwide virtual cinemas on December 18. (A list of participating theaters can be found here.) Rating: 3/5
Review by Sean Boelman
There are films that are very obviously passion projects for those involved, but sometimes one is left to wonder why said project was worthy of passion in the first place. Wild Mountain Thyme, written and directed by John Patrick Shanley (Moonstruck) from his own play, is one such case, a lurid but not too lucid romantic comedy that will leave viewers scratching their heads.
The movie follows a pair of star-crossed lovers whose love for each other is put to the test when their families get wrapped up in a land dispute. Romeo and Juliet set against the background of Irish farming sounds pleasant enough, but Shanley buries this simple and relatively charming premise beneath layer upon layer of pretension. Perhaps the single most frustrating thing about the film is that it is needlessly confusing. Struggling to find a balance between sentimental romance, quirky comedy, and empty poeticism, the movie is really just a bunch of dialogue that doesn’t make much sense building up to an ending that is bafflingly ridiculous. Also frustrating is the film’s apparent obsession with preserving the patriarchal ways of the culture it depicts. The whole plot revolves around a fight for the love of the female lead because whoever wins her love earns the right to inherit the farmland. The woman’s happiness is fundamentally tied to her romance, which is both generic and reductive.
And although Shanley desperately tries to infuse the movie with meaning, the script feels overly self-righteous. Symbolic use of Swan Lake and bumblebees can only go so far when the character development is so thin. These end up being little more than failed attempts at depth as a last-ditch effort to make this try to appeal to upscale audiences.
It’s really a shame that the script is so lackluster, because the prospect of working with Shanley drew a talented ensemble. Emily Blunt and Jamie Dornan have some really strong chemistry together, but their dialogue simply isn’t believable. Jon Hamm is charming as always, but isn’t given much to do. Christopher Walken feels miscast in his role. There are also some really gorgeous visuals in the film. Shanley shot the movie in the Irish countryside and he and cinematographer Stephen Goldblatt took advantage of the gorgeous scenery to elevate this beyond the usual stage-to-screen adaptation. Shanley also uses Irish folk music in some interesting ways, even if it isn’t as substantial as one would hope. Wild Mountain Thyme would have been passable had it not been trying so hard to be something more than it is. Ultimately, it can’t decide whether it wants to be for the common man or the art house crowd, and as a result, it’s often laughably weird. Wild Mountain Thyme hits theaters and VOD on December 10. Rating: 2.5/5
Review by Sean Boelman
There comes a time in an actor’s career where they can afford to not take themselves too seriously, and The Very Excellent Mr. Dundee shows Paul Hogan at that point. Light and insubstantial, but goofy and sweet enough to be fun, this is sure to be a treat for any fans of the Crocodile Dundee star.
The film follows Hogan playing himself as he attempts to prepare to receive a knighthood, but finds himself doing damage control when he gets into some unexpected hijinks. For the most part, it’s an excuse to see Hogan back in action along with some of his former co-stars and other famous Aussies. Much of the movie is just one gag after another, so even when one joke falls flat, viewers know that there’s one coming right up that may get the laugh. A majority of it is the family-friendly slapstick humor and slightly bawdy innuendos that got Hogan into the spotlight in the first place, but there are also some moments in which Hogan goes for the tongue-in-cheek meta humor. The only aspect of the film that feels like an absolute miss is when it tries to be a criticism of cancel culture. There are a couple jokes that may have been funny ten years ago, poking fun at the protagonist’s ignorance, that simply feel out-of-touch in this day and age, particularly if it comes from someone like John Cleese, who has been involved in controversy themselves.
Admittedly, the movie could have done a bit more in terms of character development. Hogan will obviously already have some pre-existing goodwill from his fans, and his story is very endearing, but it’s also a very conventional redemption arc. There are some threads, like his relationship with his granddaughter inspiring him to become a better person, that could have been expanded.
And as is the case with so many Hollywood-set romps, there are obviously quite a few entertaining cameos. The funniest is perhaps Wayne Knight (Jurassic Park) probably has the funniest one, setting up the best recurring gag in the film, but Chevy Chase, Reginald VelJohnson, and Olivia Newton-John all make memorable appearances. Director Dean Murphy does his best given the circumstances, but there are some clear limitations. Older actors such as these obviously aren’t going to be doing extensive stunts, so the more high-octane scenes, like car chases, are shot in a way that is very evidently obscuring their absence in the effects shots. Still, this rarely distracts from the comedy of the moment. The Very Excellent Mr. Dundee isn’t anything particularly deep, but there are enough laughs to make it worth a watch. It’s great to see Paul Hogan get the chance to have fun again, as he hasn’t had many roles in recent years. The Very Excellent Mr. Dundee hits VOD on December 11. Rating: 3/5
Review by Sean Boelman
Some documentaries attempt to tackle big issues by exploring them on a wide scale, and sometimes they do so to great success. However, it can be even more emotional and effective when a filmmaker takes an intimate story and uses it to provide commentary on a greater issue, and that is exactly what journalist-turned-filmmaker Richard Lui does with his film Sky Blossom.
The movie takes a look at military families caring for former service members suffering from combat-related medical conditions and injuries, all the while trying to live a life of their own. It’s the type of story which is likely to connect with viewers despite the fact that a majority will be unaware of its impact. In the film, Lui tells the story of five families, each of whom has a unique experience with life-changing combat injuries. And while at first glance these may seem like small, personal stories, the similarities between them are striking and shows that this may be more of a problem than anyone would have imagined. One of the things that really stands out about Lui’s approach is that he does not focus on the injuries or the tragedy of these families’ situations, but rather, the sense of hope that they have in their approach. Although the movie does call attention to the problems with the system that allowed this to become a problem in the first place, this is first and foremost an uplifting film about people beating the odds.
Lui also makes the wise choice of keeping the movie short despite telling all of these stories. Although each of these families is very compelling, Lui is able to make his point quickly and succinctly, opting not to belabor the point or try to milk the subjects’ stories any more than is necessary.
That said, the film still has a very strong emotional impact nevertheless. Lui obviously formed a bond with these subjects, and it shows in the movie. Audiences can expect to feel a connection with them in a way that is consistently engaging without ever feeling manipulative or exploitative of the subjects’ misfortune. Lui’s film is also very well-made in a technical sense. Although one would have expected Lui to take more of a journalistic approach given his background in news reporting, he’s actually made a very dynamic and cinematic documentary. From some great animation to a beautiful score, Lui and his team went all-out in making sure that they did justice to these people’s stories. Sky Blossom isn’t a big and flashy documentary like so many of the ones that dominate the awards consideration, but it’s a powerful movie nonetheless. It’s the “Little Engine That Could” of this year’s race, so to speak. Sky Blossom is now playing in virtual theaters for an awards qualifying run. Tickets can be purchased here. Rating: 4/5 THE BEE GEES: HOW CAN YOU MEND A BROKEN HEART -- An Emotional Tale of Three Talented Brothers12/8/2020
Review by Sean Boelman
When one thinks of the Bee Gees, their mind likely jumps immediately to Saturday Night Fever and disco music, ignoring the music they made for years before and after. Frank Marshall’s new documentary The Bee Gees: How Can You Mend a Broken Heart does not, providing a detailed and compelling look into the life and career of the brothers Gibb.
The film traces the tumultuous history of the band known as the Bee Gees, formed of brothers Barry, Robin, and Maurice Gibb as they reinvented the landscape of popular music time and time again. Even though fans will already know some of the backstage drama, it is nice to see it from the perspective of the people involved themselves. Perhaps the best thing about Marshall’s documentary is that it provides viewers the opportunity to hear directly from surviving member Barry Gibb in a series of really interesting interviews. Marshall also utilizes some archive materials to make sure that the other brothers get their chance to tell their part of the story, but it is particularly important to hear what Barry has to say. It’s clear that there were tensions between the brothers that weighed a lot on them, some able to be resolved before the untimely passing of all but one, and others not. But reliving their journey and discussing some of these issues that arose seems to have been a cathartic experience for Barry, who still clearly has a lot of love for his brothers.
As is the case with so many movies about people who skyrocket into fame, this is a cautionary tale to not let the ego get to one’s head and to make sure to hold those close to us dearly. It’s an often heartbreaking story, and one that we have sadly seen many times before, but fans will still find it to be quite powerful.
Marshall also paces the film quite interestingly. He breezes through the light and airy parts in which the Bee Gees are creating some of their biggest hits, but lingers on the darker moments of the story. This plays into the idea of how there are so many rises and falls when talking about success in the industry. Of course, there is plenty of great music. There is some pretty extensive use of performance footage and archive materials from recording sessions that feature some recognizable tunes. And audiences can expect to hear the stories of how some of their favorite Bee Gees songs like “Stayin’ Alive”, “Night Fever”, and the eponymous ballad came to be. The Bee Gees: How Can You Mend a Broken Heart is the ultimate documentary for fans of the band, but it’s also a great music documentary in its own right. More so than being the story of a group of musicians, it’s the story of a group of brothers, and a touching one at that. The Bee Gees: How Can You Mend a Broken Heart airs on HBO on December 12 at 8pm ET/PT. Rating: 4/5
Review by Sean Boelman
There have been multiple separate versions of the Ip Man story told in film in the past decade, but what makes Ip Man: Kung Fu Master so confusing is that it is unrelated to any other one, yet it isn’t the first to star Dennis To. Passably entertaining but inferior to the more mainstream movies, this almost would have been better as a generic kung fu action flick.
The film is set during Ip Man’s days as a policeman as a brutal gangster and invading Japanese forces set their eyes on him as their target. As is the case with every movie about the legendary martial artist, there’s a bad guy that needs to be taught a moral lesson, and what better way to do it than with a fight and a monologue. Unfortunately, this movie falls victim to the xenophobia and jingoism that defines Chinese cinema more so than any other Ip Man film. Granted, American movies about military heroes are just as gung ho with their patriotism, but all of these movies have been about making the world a better place, not making China a better place. At under ninety minutes in length, this is a lot more subdued than any of the martial arts epics that have made up previous Ip Man stories, for better or worse. There are a few major action sequences tied together by a narrative thread that is both underwritten and far too busy for its own good.
A majority of the audience will already know what makes Ip Man such an iconic figure in martial arts history, and as a result, they will identify with him as the film’s hero. However, the character development in this movie is virtually non-existent, so it is really relying on the audience’s pre-existing goodwill.
Dennis To is a strong martial artist, but one would be lying if they said he stood up against Donnie Yen, who plays the protagonist in the more popular films. Still, To obviously enjoys getting the opportunity to bring this character to life, and this passion for the role has a magnetic quality about it. The action choreography is nowhere near as impressive as one would hope for a movie that centers around one of the most famous martial artists of all time. There are some fun moments, but for the most part, it’s largely forgettable. And in terms of the rest of the film’s execution, it mostly looks overwhelmingly cheap. Ip Man: Kung Fu Master is worth a watch for anyone trying to watch every movie about the grandmaster, but for most casual martial arts fans, it’s probably one to skip. The more established franchises do this formula much more effectively. Ip Man: Kung Fu Master hits theaters and VOD on December 11. Rating: 2.5/5
Review by Camden Ferrell
Alabama Snake is a new documentary from director Theo Love. It’s a case that has haunted the people of Scottsboro, Alabama but may be new information for non-natives. Despite how unique this case is, this documentary feels repetitive and somewhat shallow in its exploration of the event.
Murder (or in this case attempted murder) is a crime as old as mankind, but it has never been executed quite as uniquely as the focus of this film. The documentary explores the attempted murder of Darlene Summerford by her husband, Pentecostal preacher, Glenn Summerford. What’s interesting about this case is the alleged murder weapon: a snake. While the case is inherently fascinating, the movie doesn’t properly exhibit how exciting it is. Divided into separate chapters, they all feel too similar and can come off as repetitive at times. There were certain aspects of the case that weren’t explored well enough, and then there were moments that seemed unnecessary. The movie features a combination of reenactments and interviews with knowledgeable individuals. The movie definitely overused the reenactments, and it made the movie feel gimmicky and slightly cheap, but it wasn’t too off-putting. When they did the interviews, that was when the documentary was at its best. It was interesting especially when the people doing the interviews had firsthand accounts of the events that happened.
The separation of the story into different chapters was an interesting narrative choice, and it had the potential to provide unique and detailed perspectives into the case. While it did examine different subjects and angles of the case, there was too much narrative overlap as well as repetition of information that didn’t make the chapters feel particularly distinguished.
The content is all present, but it’s the form and execution that are lacking in this film. Even though the information is sufficient in painting the picture of this case, it doesn’t treat its subject with the curiosity and intrigue that it deserves. It’s not bad by any means, but it’s merely underwhelming. Its brief runtime prevents it from going too in depth into the specifics of the case, and that’s why it feels shallow at times. It will satisfy those interested in a recounting of events, but it won’t do much for viewers looking for a more contemplative examination of the events. Alabama Snake may not live up to the originality of its subject, and it may not have the best execution, but it’s still a somewhat apt exploration of the events. It may appeal to some viewers interested in true crime or those with some background knowledge of the case. Alabama Snake premieres on HBO and HBO Max on December 9. Rating: 3/5
Review by Sean Boelman
Making the jump from short prose to screenwriting can prove to be quite a challenge, but acclaimed writer Debroah Eisenberg found a wonderful collaborator to bring her vision to life in master filmmaker Steven Soderbergh. Let Them All Talk continues Soderbergh’s interesting streak, with a funny reflection on writing and mortality.
The film follows an acclaimed author who, years separated from her greatest hit, goes on a cruise trip with her closest friends and nephew to accept a literary award, coming to terms with her past along the way. This story is specific in a way that would make viewers question why they should care, but Soderbergh directs the heck out of the script and makes something legitimately cinematic out of it. Much of the first half of the movie takes the form of a buoyant and literary comedy, with high-society characters talking about first-world problems. However, as the character dynamics begin to evolve, the film turns into something far more intriguing: a somber, almost cerebral meditation on some poignant ideas. Anyone who is a storyteller will undeniably be interested in the questions that Eisenberg poses about the process. Some of the most thought-provoking moments in the movie challenge the idea of subjective experience and whether or not one is truly the owner of the story that they have lived.
As is the case with most ensemble films, the character development is certainly skewed, but each of them has some compelling features. Even those that seem like they are going to simply be comedic side characters end up playing a substantial role by the time the third act rolls around, and the level of intricacy with which Eisenberg wrote them is impressive.
Meryl Streep is great (as usual) as the disillusioned writer protagonist, chewing up the scenery with her also talented co-stars. The standout in the ensemble is likely Dianne Wiest, who has some absolutely hilarious moments, although Lucas Hedges, Gemma Chan, and Candice Bergen are all good too. And even though Soderbergh may have moved past his technological innovation phase, he obviously learned a lot from this bout in his career. He shoots the movie in a very dynamic way even though most of the film is confined to a cruise ship. This is a big part of what makes the film work despite its seemingly niche topic. Let Them All Talk is another great entry into Soderbergh’s repertoire even if it isn’t what one would expect. Audiences will likely be lured in by the star power of the film’s cast but will be most impressed by the thoughtfulness of the script. Let Them All Talk streams on HBO Max beginning December 10. Rating: 4/5 |
Archives
April 2024
Authors
All
|