Review by Dan Skip Allen Red, White and Blue is the third film in the Small Axe series from acclaimed writer/director Steve McQueen. All of these films are based on the West Indies community-based in London, England. They are all slice of life stories set in a tough period for these people in London and history. They are rarely if ever featured in films these days. It's nice to see McQueen focus his lens on an underrepresented part of life. Red, White and Blue focus on the police in London at this time in history. The police have been a part of a previous film in the series, Mangrove, but this film sheds light on the entire department as a whole. Leroy Logan (John Boyega) witnesses some gross negligence from the Metropolitan Police. They beat up his father. This motivates him to join the police and try to change their mindset from within. He grew up in a strict but loving family. His father was a hard worker and that mindset rubbed off on Leroy, especially once he joined the police force. Leroy grew up with good values. He wanted to be an example for all the other kids growing up in London like him. Despite what society at the time wanted. Boyega gives a very solid performance in this film. His role in the cult classic Attack the Block got him noticed, but being cast as Finn in the Star Wars sequel trilogy launched him into the stratosphere. Roles in Kathryn Bigelow's Detroit and Guillermo del Toro's Pacific Rim have kept his name in the public consciousness of people around the world. This role might arguably be the most satisfying for him to portray because of the character and subject matter.
The film is set in a country that has problems with its police and the country's disdain for them is widely known. McQueen was able to tell Leroy Logan's story, but also have it have cultural relevance in today's society. Even though it takes place in an entirely different country, it shows that the United States isn't the only country dealing with racial prejudices among the police forces of the world. This story taps into the genes of the past films but goes off on its own. Telling difficult stories isn't always easy. McQueen gracefully tackles these stories of the West Indies community. He has picked stories that represent these communities and their people perfectly. Boyega gives a solid performance as this man trying to swim upstream in a flood. He is very effective in this leading role. Red, White and Blue is now streaming on Amazon Prime. New installments of Small Axe stream every Friday. Rating: 4.5/5
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Review by Dan Skip Allen Movies about animals have been constant in Hollywood for many decades and Disney is a company that has done many of them themselves. Animal movies, specifically dog movies, have been the type of films Disney could get families to watch. Disney has even branched out into horse movies as well. Black Beauty is one that has been made a few times over the years. This is the fourth rendition of the Anna Sewell novel for the screen. This version is a modern-day retelling of the story. Set in the present day. Beauty (voiced by Kate Winslet) was born out in the wild before she was captured and separated from her mother. She lived at Birtwick Stables for a while. She meets a young girl named Jo (Mackenzie Foy). The two develop a friendship after Jo has survived a family tragedy. Along with John (Iain Glen, Game of Thrones), they have a good life together. That life wouldn't last for long. Black Beauty has been adapted to the screen before. Each version has its own tone and feels to it. In this version, Beauty is a Phillie. In the previous versions, the horse is a stallion. Alan Cumming voiced Beauty in the 1994 version. Kate Winslet does a great job as the voice of Beauty. She brings grace and elegance to the character of Beauty. Horses have these characteristics already, so it was very cool that Winslet embodied them in her voiceover. Ashley Avis produced, wrote, and directed this film. She came from the right place with her designation of the characters and locations portrayed in the film. She got some great people to work with her to get the right feel and esthetic of the movie. Cinematographer David Proctor has done an incredible job with his camera work. The vistas he captured were astounding to behold. This was a beautiful film to watch. The score by Guillaume Roussel was subtle but very effective in many of the more touching moments involving Beauty.
All in all, the 2020 version of Black Beauty was very good. It had an incredible story, beautiful cinematography, and a wonderful score to listen to. Avis made a film many people will like and Disney was the perfect home for this adaption of this story. They are by all intents and purposes the home of a good family fair. People know if it has Disney on the tag that they can watch it with their kids and elders alike. This film is one of those films. This holiday season the country needs a good-hearted family film to sit down and share. Black Beauty is now streaming on Disney+. Rating: 4/5
Review by Sean Boelman
There are some cases in which a film would have been better off not being based on a true story. That couldn’t be more the case than it is with the tear-jerking romance All My Life, a mostly charming movie weighed down by both the genre’s tropes and knowing where the story is inevitably going to end.
The film tells the story of a young couple whose plans to get married are accelerated when one of them receives a life-changing diagnosis. Like a majority of cancer dramas, this script doubles down on the sentimentality at the expense of emotional earnestness, and while that allows it to accomplish what it sets out to do, it prevents it from ever becoming something more. Additionally, it feels like there is so much more of this story to be told, but by cramming it into an audience-friendly ninety-minute package, writer Todd Rosenberg settles with the familiar beats. It’s a disservice to the message of compassion and giving that the true story has to offer, with an emphasis put on the romance rather than the sacrifices made by them and everyone around them. Perhaps the most frustrating thing about the movie is that the character development is so shallow. The male lead is at least given an ambition outside of the romance, pursuing a culinary career, but the female lead doesn’t seem to have a life outside of her relationship. A few random scenes scattered throughout seem to imply that something to this regard was left on the cutting room floor.
That said, the romance aspect of this film is pretty sweet, and that is why a majority of audiences will be watching this anyway. It’s a simple, cute love story, the type of crowd-pleasing movie that doesn’t need a lot of nuance to work. Those looking for something more aren’t those that will want to see this movie in the first place.
The chemistry between the two stars is fine, but nothing exceptional. Jessica Rothe, who burst onto the scene in Happy Death Day, proves here that her star-making turn wasn’t a fluke. Harry Shum Jr. isn’t as memorable in his role, although he complements Rothe well. The supporting cast is entirely underused, including Jay Pharaoh and Josh Brener. In terms of execution, the film is about as straightforward as expected. However, even though the movie is plain, there were plenty of opportunities for it to do something more interesting. Director Marc Meyers misses the mark by not including any delicious-looking food shots or doing anything interesting with the soundtrack. All My Life is a passable romance, and even though there may not be anything particularly spectacular about it, it’s cute enough to be worth a watch. It’s light and airy to the point of being forgettably entertaining. All My Life hits theaters on December 4. Rating: 3/5
Review by Camden Ferrell
Anything for Jackson is a horror film that had its premiere at the 2020 Fantasia Film Festival. It is the newest film from director Justin G. Dyck, a veteran director of many Hallmark Christmas movies. His first attempt at horror starts strong but unfortunately descends into a narrative mess that lacks thrills and cohesion.
In this film, Audrey and Henry grieve the death of their grandson, Jackson. To rectify their loss, they kidnap one of Henry’s pregnant patients in order to perform a reverse exorcism in an attempt to revive their grandson. This is a really interesting premise that puts a twist on the exorcism genre, but unfortunately the film doesn’t live up to the potential of its premise. The script, written by Keith Cooper, another Hallmark veteran, is pretty dull. The dialogue feels cliché and uninspired, and it doesn’t ever make an attempt to be original. While this problem could have easily been compensated by some thrills and tension, it unfortunately never happens, and this screenplay is forgettable at best. The performances are also fairly forgettable and don’t do much to enhance the film. The one exception seems to be Konstantina Mantelos who plays the pregnant woman being held captive. She does play the role very well and she does a great job conveying the character’s terror and transcendent anguish. Sadly, the rest of the cast doesn’t match her talents, and it leads to an underwhelming experience.
The movie starts out fairly strong with an opening act that is intriguing. It is quick to start, and it foregoes a lot of exposition that usually drags down horror films. However, the film quickly loses momentum in its second act, and the third act becomes a narrative mess in order to compensate for this.
The film incorporates many ideas like exorcisms and satanic rituals, but it feels contrived more than anything. It reuses horror tropes that don’t do much to elevate suspense, and it falls short of scary fairly often. There are some interesting visual effects in the film and some creepy imagery, but it doesn’t make up for the lack of scares and thrills. Ultimately, this is an unsatisfying movie that may appeal to some die-hard horror fans and not much else. It’s not the best horror debut for Dyck, but hopefully he returns to genre for a sophomore feature that could be better. Anything for Jackson is a misguided attempt at horror through the lens of grief. It may feature a singular good performance, but it’s underwhelming, unnatural, and fairly bland. Anything for Jackson will be released on Shudder December 3. Rating: 2/5
Review by Sean Boelman
(L to R) MERYL STREEP as DEE DEE ALLEN, NICO GREETHAM as NICK, LOGAN RILEY HASSEL as KAYLEE, ARIANA DEBOSE as ALYSSA GREENE, ANDREW RANNELLS as TRENT OLIVER, JO ELLEN PELLMAN as EMMA, SOFIA DELER as SHELBY, NATHANIEL POTVIN as KEVIN, TRACEY ULLMAN as VERA, JAMES CORDEN as BARRY GLICKMAN in THE PROM. Cr. MELINDA SUE GORDON/NETFLIX © 2020.
A schmaltzy high school musical directed by Glee creator Ryan Murphy is designed to appeal to a particular taste, and that target audience is going to eat it up. Even though it has a fair share of obvious issues, including falling victim to the exact narcissism it is parodying, The Prom is energetic and frequently hysterical.
The film follows a group of four washed-up Broadway performers who, hoping to revitalize their images, set out on a mission to help a high school girl who wants to take her girlfriend to the prom in a conservative small town community. And while the movie’s heart is undeniably in the right place, its approach is significantly misguided, at least for the first act. Until around the midway point, the story seems more concerned with being a satire of the excess and self-centeredness of celebrities. Admittedly, it’s quite funny, but the characters are little more than caricatures with a basic redemption arc, and the legitimately important message of inclusivity is overshadowed. However, when the film decides to double down on the emotional factor and focus more on the high school romance, it is much more effective endearing. Murphy obviously excels in telling this type of story, as it is reminiscent of a slightly more sentimental Glee, which is why it is disappointing that this did not serve as a stronger through-line for the narrative.
That said, the cast of the movie is pretty fantastic. It’s always fun to see Meryl Streep in a musical where she gets to be upbeat and joyous. James Corden’s turn will be divisive, but is enjoyably over-the-top. But the scene-stealers are the hilarious Andrew Rannells, who gets some of the biggest laughs in the film, and new actress Jo Ellen Pellman, who is great as the young lead. Only Nicole Kidman is unimpressive because she is criminally underused.
The music of the movie is definitely catchy, but what stands out about it most is its comedic value. The best songs are either those which stick true to their show tune roots or lean into full-on parody. There are a few moments in which the soundtrack tries to incorporate hip hop, and those feel like too hard of an attempt at pandering. The production values are very good, but one would expect no less from an A-list musical. The choreography is top-notch and the set design is fun, immersing us in the world of the film. Arguably the biggest success, though, is Lou Eyrich’s costume design, which adds the perfect splash of color and vibrancy to the movie. The Prom certainly isn’t a perfect film, but it’s undeniably charming and is sure to be a crowd-pleaser. It’s the type of movie that is best enjoyed by thinking as little as possible about its inconsistencies and enjoying its simple pleasures. The Prom hits Netflix on December 11. Rating: 3.5/5
Review by Sean Boelman
In terms of music documentaries, there are generally three approaches: a biography, a performance doc, or something more abstract. Julien Temple’s Crock of Gold proves that there is a fourth type, one that is an all-out party, celebrating an artist, their work, and what they mean to their fans.
The film tells the story of Irish vocalist Shane MacGowan, whose legacy reaches far beyond the music he wrote and sang himself. And while this unlikely hero story is nothing particularly new, the admiration that the filmmaker clearly has for MacGowan is infectious, making this a joyous music doc unlike any other. Admittedly, the movie does run long to the point it almost outstays its welcome. There is no reason that this needs to be more than two hours in length, but regardless, the lighthearted nature of the film keeps things moving. The sense of humor that MacGowan brings to the table, even despite what he has been through, is endearing. Temple uses a few different storytelling devices to communicate MacGowan’s story. Perhaps the most effective are conversations in a pub between MacGowan, Johnny Depp, and others, as they reminisce about his music and why it had such an impact. This gives the movie a much more personal feeling than most music documentaries.
Of course, there’s a lot of great archive footage of performances that MacGowan did in his younger years, and his music has a very prevalent role in the soundtrack. Even more interesting is that the film is framed around the concert that was held in honor of MacGowan’s sixtieth birthday, which brings in some other great musicians.
Fans will love getting this opportunity to see MacGowan recognized like this, and those unfamiliar will leave the movie with a great appreciation for him. Temple is able to capture his personality shockingly well, which is a significant part of what makes this documentary so charming and fun to watch. That said, the film does pull some punches in regards to the darker sides of MacGowan’s life. His substance abuse issues are barely explored here, with more of a focus on his music. Granted, since this is supposed to be a celebration more than anything else, it’s understandable why Temple didn’t want to linger on this part of the story. Those looking for an in-depth and hard-hitting music documentary won’t find that in Crock of Gold, but it’s still a very good time. As a bit of lighthearted escapism from today’s stresses, this is exactly what music fans need. Crock of Gold hits theaters and VOD on December 4. Rating: 4/5
Review by Sean Boelman
Ike White (later known by his stage name David Maestro) is inarguably one of the most unorthodox musicians in history, and Daniel Vernon’s profile of him, The Changin’ Times of Ike White, hopes to bring his unknown story to the world. A short runtime does work against the film, but the story is so unique that it manages to be compelling regardless.
The film follows the unusual journey of musician White from recording his acclaimed first album while serving a life sentence in prison to reinventing himself with a flamboyant musical persona. Like a blend of a true crime documentary and a quirky musical biography, White’s story is as unpredictable as his personality. Admittedly, there is a lot of story to be told, and Vernon struggles to cover it all in under eighty minutes. The first half, focusing on the eponymous album that was produced while White was in prison, is the more developed, but there is a lot that is intriguing about the later portion of his story, yet it feels like the film barely scratches the surface in this regard. One of the most interesting things about Vernon’s approach is the way in which he develops the subject. White is an unusual character, and as such, he deserves more than a traditional biography. The film explores him on both a musical and a personal level, trying to paint a comprehensive portrait of him.
Although the film may not be as clear or concise with its messaging as one would hope, the things that the film has to say about second chances and making the most of one’s situation are really profound. Some of the random wisdom that White attempts to impart isn’t as consistent or engaging.
If the film does miss significantly in one regard, it is that it doesn’t feature nearly enough of White’s music. There are some archive clips and uses of music in the soundtrack, and it’s understandable why resources from his time in prison were limited, but that doesn’t explain the lack of materials for the later part of his story. Vernon also doesn’t do much in the way of changing up the documentary form. It’s a mostly standard combination of interviews and archive footage. That said, it is not what Vernon uses, but how he uses it that matters, as he takes these basic elements and uses them to tell a story that is anything but. The Changin’ Times of Ike White is about a unique musician with whom many viewers may be unacquainted. And while the documentary may not leave one with much of an understanding of his music, it will undoubtedly leave them with an appreciation of his story. The Changin’ Times of Ike White is now streaming in virtual cinemas. Tickets can be purchased here. Rating: 4/5 |
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