Review by Sean Boelman
Although Jake Johnson is perhaps primarily known for his goofier roles, he has shown on more than one occasion that he has the talent to pull off more complex characters. Trent O’Donnell’s Ride the Eagle gives him a chance to flex his dramatic muscles in a quaint but effective dramedy.
The film follows a slacker who is accidentally propelled on a mission of self-discovery when his estranged mother leaves him a conditional inheritance, demanding that he complete a series of tasks before getting it. And although this may sound like a high-concept comedy set-up rife with over-the-top hijinks, it’s actually the foundation of a compelling (if not too subtle) character study.
Clocking in at a brisk sub-ninety-minute runtime, the movie goes by quite nicely. The narrative is essentially a series of interactions that the protagonist has with a plethora of zany supporting characters. Some of these moments end up being hilarious, and others do a great job of being endearing.
What the script, written by O’Donnell and Johnson, has to say about grief is hardly anything new, and there is also an element of forgiveness to the film that is pretty moving, although it too lacks originality. Still, the somewhat insightful observations that the movie offers allow it to connect with viewers.
Admittedly, the protagonist’s arc is somewhat underwhelming in that it is almost entirely predictable and generic. However, like so many great dramedies like this, the film’s supporting characters are great. O’Donnell and Johnson take these archetypes and build upon them in a way that is interesting.
Of course, a lot of this has to do with the talent of the cast. Jake Johnson is definitely good in his role, but it is everyone else who really shines. Susan Sarandon, D’Arcy Carden, and J.K. Simmons are all excellent as the people who the protagonist encounters along his journey to acceptance.
O’Donnell could have done more with his movie given the rustic, woodsy setting, but the simple approach here works. A majority of the film is composed of back-and-forth scenes between two actors, and the editing does a good job of accentuating the natural rhythm in these sharply-written dialogues.
Ride the Eagle is about as charming as one can expect from an indie dramedy such as this. A strong cast and lean and crisp writing make it a solid watch even though it isn’t the most original movie in the genre.
Ride the Eagle is now in theaters and on VOD.
Review by Sean Boelman
Hogir Hirori’s documentary Sabaya is one of those documentaries that deals with such an important issue that its power is inherent, even if its approach is flawed. Perhaps a tad opportunist in its approach to this issue, this is nonetheless required viewing due to the urgency of this discussion.
The film follows a group of men and women who put their lives at risk by traveling into dangerous refugee camps in the Middle East and freeing women being held by ISIS as sex slaves. A lot of stories are told about the military forces involved in the war on terror, but few are seen about everyday people like this doing extraordinary things to fight back, and that makes this movie distinctive.
Sex trafficking is obviously a horrifying issue, and Hirori dials into that feeling to create a documentary that is altogether harrowing. The level of anxiety that viewers will have watching this film is through the roof, as the audience is worrying both for the subjects of the movie and the people they are rescuing.
However, there is something to be said about taking a thriller approach to this story. Obviously, the stakes are as high as possible here, and the subjects are racing against the clock to save these women’s lives, but presenting it in a way that feels like popcorn entertainment to viewers is at least a little ethically questionable.
That said, the film still does a great job of putting most of its effort where it needs to be. This is a story of heroism and selflessness, of people who risk everything to help those who are unable to help themselves. As a result, even though the movie is undeniably dark, there is a hopeful tinge to it that allows it to stand out from a lot of other anti-terrorism documentaries.
Of course, it is also worth noting that there are a lot of limitations that come with this type of film in order to preserve the safety of these people who are already in extreme danger, and Hirori does his best to get around these. The movie easily gets the viewer to root for these heroes despite the fact that they can’t be developed with many identifying details.
Much of the footage in the film is done in a run-and-gun format, which makes sense given the extremely frantic nature of the story. This also helps build suspense in a way that is extremely effective, heightening the tension even more than it already was. It can get to be a bit overwhelming at times, but it’s often for the best.
Sabaya will leave the canny viewer asking some questions about what they have just been presented with, but it achieves all of its goals. It’s an all-around affecting documentary, and that’s what will let it connect with audiences.
Sabaya is now in theaters.
Review by Sean Boelman
2021 truly is the year of Lin-Manuel Miranda, as the cinematic adaptation of his Broadway musical In the Heights was released to great acclaim, and that is only his first of four projects coming out this year. Next on the slate is Vivo, an animated musical from Sony Pictures Animation, and while it can be a bit too conventional at times, it’s an altogether charming family film.
The movie follows a musically talented kinkajou (also known as a “honey bear”) who travels from Cuba to Miami to deliver a love song to the love of his owner’s life. First and foremost, this is a love letter to Cuban musicians, and the level of respect that the film has for this culture is absolutely exceptional.
Miranda’s eponymous tropical mammal is a surprisingly wonderful protagonist. Feeling like much more than an attempt to sell stuffed toys (although don’t be surprised to see honey bear plushies popping up on store shelves regardless), the movie gives the character a very compelling and emotional arc while, of course, doubling down on the adorable factor.
Miranda’s performance in the leading role is just as strong as one would expect given his past body of work. However, it is the supporting cast that steals the spotlight. Newcomer Ynairaly Simo threatens to steal Miranda’s thunder on more than one occasion, and there is an absolutely show-stopping turn from Gloria Estefan.
The opening musical number is absolutely spectacular, offering some of the most magical moments that any kids’ movie has had in a very long time. Unfortunately, the remaining hour of the film isn’t as breathtaking, as it’s a pretty by-the-numbers (albeit infectiously energetic) animated adventure.
It will not be surprising to viewers that the soundtrack is full of Miranda’s usual Latin and hip-hop-inspired songs, and they’re definitely very catchy. However, there is no denying that a lot of Miranda’s work is starting to sound similar to each other, and especially in a year where he is putting out so much content, he’s going to need to start messing with the formula a bit.
There is a lot of visual energy in the animation, and that will help keep audiences — especially younger ones — invested in the story, even during its more generic portions. There are a few musical sequences that are right on the edge of going overboard, but for the most part, it’s all good fun.
Vivo is definitely a very good animated movie to check out with the family this Spring. Although the film borrows a lot from stories we already know, strong execution all-around makes this extremely enjoyable.
Vivo hits Netflix on August 6.
Review by Dan Skip Allen
Recently, there have been more and more reboots, reimaginings, sequels, and rehashes of the classics. It has become an epidemic in the film industry over the last twenty or so years. Filmmakers and studios can't seem to develop new properties, and even when they do actually make something new and interesting, they are quick to pump out another very similar or a sequel. Sadly, Twist is another film in the former category.
Like the Academy Award-winning film from 1968, Oliver Oliver, Twist is based on the classic literary character Oliver Twist from Charles Dickens. In that film, Bill Sykes was played by screen legend Oliver Reed, but in Twist, the character is a woman played by world-renowned actress Lena Headey. This is another twist, pun intended, on the film. Like the '68 film, Oliver, known in this film primarily as Twist, is taken in by a ragtag group of thieves led by Fagan (Academy Award-winner Michael Caine).
Twist is a modern retelling of this story. It has all the modern touches to it as well, such as using technology to do the thieving. Caine's Fagan enlists his young pupils into stealing a prized painting from an art dealer he has a history with. The main characters Twist (Rafferty Law), The Artful Dodger (Rita Ora), Red (Sophie Simnett), and Batsey (Fran Drameh) are the crew that is the focus of the film. They embrace the newcomer. The antagonist does not though and uses him as a means to an end to hurt another member of the crew.
Twist uses a lot of common tropes from previous heist movies such as the Ocean's franchise and others to get to the crux of this story. At its heart, it's a story of acceptance and companionship between this group of misfits. They even make a point to say they have to eat together to be part of a family. That's the main focus of the dynamic between this group. They really bond together as a unit in the film. That is what makes this film work despite its obvious homage to other films.
Michael Caine added some gravitas to this film. He is the elder statesman in a cast filled with relative newcomers aside from Headey. He brings his usually fun-loving demeanor to this role. His being here is a cue for the director, Martin Owen. Owen needed someone of Caine's status in this film. Seeing his name in the credits will help get people to see this film. He's a big enough draw, especially in Great Britain, Headey's a good draw as well.
There is a little bit of a romance in the film and that will draw in the female audience. The two leads, Law and Simnett, have good chemistry with one another. I was drawn to their relationship as much as anything else in the film. They were smartly paired together. The two are relative newcomers and they didn't show their youthfulness as far as acting goes. They seemed like sealed pros. They anchored the film very well. It was a very good element in a film with a lot going on in it.
Overall this was an entertaining rehash of this classic character and story. The acting was solid from all the relative newcomers and veterans like Caine and Headey. The director and writers seemed like they had a good grasp on the material and it showed in the end product. Even though we as the public are inundated with reboots, rehashes, sequels, and reimaginings it doesn't mean they can't be good. This one proves that. It's a solid film all the way around.
Twist hits VOD on July 30.
Review by Camden Ferrell
Never Gonna Snow Again is a movie that premiered at the 2020 Venice International Film Festival. It was also the Polish submission for Best International Feature for the 2021 Academy Awards. This movie is written and directed by Malgorzata Szumowska and Michal Englert. It may have its slow moments, but this is a unique and well-executed movie about the lost souls of the upper middle class.
Zhenia is a Ukranian migrant in Poland. He makes a living by taking in-house calls and visits as a masseur to a gated and well-off community. There he learns of each of their unique and daily struggles, woes, and secrets. His excellent massages make him a hot commodity in the neighborhood where dives deeper into these people’s lives and spirituality. This is a unique and simple premise that works really well in pulling the audience in with its story.
The script by Szumowska and Englert is intriguing if not always refined. The dialogue does a great job of characterizing the community while creating a subtext of social commentary that it delivers upon later in the movie. There are some scenes that aren’t written particularly well, but as a whole, the dialogue is more compelling than not.
The movie is led by Alec Utgoff who plays Zhenia. As an immigrant in his country of work, he’s an outsider, and he’s not as accustomed to the country and its people. As a result, he doesn’t have much dialogue, but he does a great job acting regardless. He plays off of the other actors very well with a more subdued performance that still speaks volumes. It’s impressive how he’s able to accomplish this, and his performance is one of the highlights of the film.
The direction of this movie is mostly strong. They have a great way of blocking scenes and communicating the story through non-verbal means. This is especially true thematically since aside from a final line of text on screen, everything else is conveyed a lot more subtly. The movie also combines some more spiritual and fantasy-like elements into its story, and it does a strong job of not feeling too out of place. There are some moments in the final half that really steam roll the film’s momentum, and it seems to hinder its ability to finish strong. However, there are still a lot of commendable aspects working in the film’s favor.
Never Gonna Snow Again is a quiet yet thematically strong story told through the eyes of an immigrant masseur. It features a strong script and solid execution from the duo of Szumowska and Englert and a great leading performance that almost make up for its shortcomings.
Never Gonna Snow Again will be in select theaters July 30.
Reviewed by Adam Donato
Director of Bloodworth, Shane Dax Taylor burst back onto the scene with Masquerade. This thriller shows a wealthy family under attack as masked pair of thieves try to steal their precious artwork. Audiences are not left without star power in this under-the-radar flick. Bella Thorne, star of Shake it Up, leads this thriller as a kind bartender just trying to help some inebriated parents get home to their daughter. With a poster that proudly identifies itself as being produced by the same producer as Insidious and Split, does Steven Schneider produce a movie that lives up to those standards?
Now obviously this movie is not as good as Insidious or Split, but how bad is it? Pretty bad. The best thing that can be said about this movie is it has a merciful run time of exactly 80 minutes. While the movie does have things going on from start to finish, it is surprisingly such a drag. The parents don’t even get involved in the action until well over half of the movie, so the audience is left with fourteen-year-old actress Alyvia Alyn Lind trying to avoid the thieves in this giant house. Why this process takes a whole 80 minutes is beyond reason. How this episode of television is stretched to match the length of a full movie is borderline criminal.
Bella Thorne is definitely in the movie. The whole time the audience will be wondering why she is there and assume what the story doesn’t want one to assume. The rest of the cast is fine. Honestly, the best performance comes from Lind, who happens to be the only character worth rooting for. Watching her negotiate and combat the thieves is the most watchable part of the movie. The ending is satisfying in the sense that there is an explanation for why anything is happening, but also frustrating in the sense that nothing was really built on any kind of foundation of information.
It’s a good thing this movie is listed as a thriller and not as horror because it is not the least bit scary. The thieves have some kind of beekeeping masks on that changes their voices and every time they say something, it is laughable. At a bare minimum, the question of the movie is inherently thrilling. Will this little girl come out of this robbery alive? On that level, the story functions. That being said, little else does function in this movie.
While this thriller attempts to masquerade as a competent movie, audiences are sure to see through its mask. The resolution acts like it has more weight than the story deserves. While there is consistent action, it feels like nothing happens in the movie. It would be irresponsible to even recommend this to fans of Thorne as her role in the movie is quite possibly the most frustrating thing about it.
Masquerade hits theaters and VOD on July 30.
Review by Sean Boelman
When thinking of Disney attractions prime for cinematic adaptations, Jungle Cruise was near the top along with its Adventureland cousin, Pirates of the Caribbean. And while the film is mostly effective as passive entertainment, this is an overwhelmingly forgettable attempt to start a franchise.
The movie follows an explorer who sets out on a journey across the Amazon with the help of a charming riverboat captain in search of a mythical object. It’s an old-school adventure movie, complete with wacky hijinks, quippy one-liners, and extravagant set pieces, but what holds this film back is that it all too often feels like an imitation of the classic movies whose magic it is trying to recapture.
At just under hours before credits, the film is of a pretty average length for the genre, but the pacing is really inconsistent. Although the action scenes are pretty well spread-out, the beats of the movie are very generic and predictable. There are a few scenes that showcase the cheesy, campy fun this could have been, but the film loses its steam pretty quickly.
There is also the fact that the movie has absolutely no nuance with what it is trying to say. Although the anti-misogynist message of the film had the potential to be something really powerful and inspiring, the repeated attacks against the protagonist’s gender become cumbersome after a time. And an “openly gay” moment is well-intentioned but cheaply executed.
It’s a shame, because there are a lot of individual elements that work here — they just don’t come together into the satisfying whole. The two leads could have been interesting action heroes, if only they were given a more enjoyable adventure to partake in. And had the roles of the villains been developed a bit further, they could have been memorable.
The highlight of the movie is definitely the cast, which is mostly strong. Dwayne Johnson and Emily Blunt are both charming in their roles, making the most out of the little they were given. Jesse Plemons and Paul Giamatti are both hamming it up as the antagonists, and provide for some of the most fun-to-watch moments in the film.
Visually, the movie is very disappointing, which is heartbreaking to say. It’s a monstrous combination of CGI and practical effects that lacks the Disney “magic”. It’s always clear that what we are watching is fake, even more so than the dated animatronics in the theme park attraction that inspired the film.
Jungle Cruise has its moments, but for the most part, it’s pretty dull. The cast is exceptional, and are clearly having fun, although they deserve more than this entirely uninspired attempt at paying homage to the classic adventure movie.
Jungle Cruise hits theaters and Disney+ Premier Access on July 29.
Review by Sean Boelman
The South Korean filmmaker Hong Sang-Soo has made a name for himself directing quirky and quiet indie dramas. His newest, In Front of Your Face, shares a lot of qualities with the rest of the filmmaker’s body of work, but the extraordinary restraint exhibited by Hong and his cast is what makes this one of his best efforts yet.
The movie follows two sisters who reunite when one of them, an actress, decides to take a meeting with a director who has been wanting to work with her for years. Like a majority of Hong’s films, the priority here is not the plot, but rather, the conversations that it enables, allowing Hong to make an interesting examination of his themes.
What so often puts off viewers about Hong’s movies is their leisurely pacing, and audiences shouldn’t expect anything different from this. It’s a film where the conflict doesn’t come from external sources, but the struggles that the characters have with their own emotions. It’s a movie that points a mirror back at reality in a way that is very effective.
This film also comes with a dose of optimism that makes it pretty lovely. This is a movie about appreciating life, which hits even harder when one realizes that Hong made this film during the COVID-19 pandemic. There’s a lot of wisdom to be gained from Hong’s dialogue, but only if the viewer has the patience to listen.
Admittedly, the movie could have done a lot more with the dynamic between the two sisters. The first part of the film, which explores their relationship, is less developed (and therefore less compelling) than the second half between the actress and the director. There’s still something to be gained from this portion, but it isn’t nearly as profound.
The two lead actresses, Cho Yunhee and Lee Hyeyoung, both do a great job in their roles. Given the very conversational nature of the movie, it makes sense that their acting is quite naturalistic, and the chemistry they have with one another is great. Kwon Hae-hyo is also great, although his role is much more reactionary.
Hong’s visual grammar is just as restrained as his scripting, with a very still and quiet camera. However, this gives the very effective feeling that the audience is getting a personal glimpse into something that they shouldn’t really be seeing. It’s a subtly poetic approach that will have its share of both fans and detractors.
Those who are familiar with Hong Sang-soo’s work know exactly what to expect from In Front of Your Face, and will likely be left feeling fulfilled. It’s an altogether refreshing viewing experience, and one of Hong’s best.
In Front of Your Face screened at the Cannes Film Festival, which ran from July 7-17.
Review by Sean Boelman
There have been a lot of recent documentaries about the Chinese healthcare system (for obvious reasons), but what makes Ye Ye’s film H6 stand out is that it isn’t about the COVID-19 pandemic. A glimmering portrait of humanity, this is an absolutely moving work of verite filmmaking.
The movie takes a look at the patients of the No. 6 People’s hospital in Shanghai, China and their families, as they struggle to stay alive and maintain their optimism despite their seemingly bleak circumstances. It’s a highly relatable film in many regards because so many people have lived through loved ones experiencing crises.
At nearly two hours long, the movie does perhaps go on for a bit longer than it needs to. The film straddles the line of becoming monotonous in regards to how it presents these stories that feel similar to one another, but it manages to connect the audience emotionally to so many of these everyday people.
Ye Ye does set out to document a lot of individuals’ experiences in this movie, but they all serve the greater purpose of representing the collective experience of the people of China (and to an extent, the world). It’s one of those films that sets out to find empathy in the darkest of moments, and it works.
Of course, the movie hits the hardest when we see these families go through the emotional challenges of dealing with illness. Yet there is also something inspiring about seeing these people persevere through all of these challenges. Ye Ye finds the right balance between the optimistic and gritty elements of the film.
That said, the movie could have done a lot more in its commentary on the actual system. Although this was filmed right before COVID-19, it’s undeniable that audiences will be looking at this with a very different lens than it was probably created with. And the result is that it feels like it could do a bit more.
Still, Ye Ye does an excellent job creating meaning out of her heavily observational footage. It’s a very intimate movie, and the directorial approach works quite well, emphasizing the feeling that the audience is right there alongside these patients and families. Ye Ye makes something that could have felt voyeuristic and instead makes it personal.
H6 is without a doubt one of the best documentaries to come out of this year’s Festival de Cannes. Even with the changed perspective we will have on the film due to the COVID-19 pandemic, it’s still very moving.
H6 screened at the Cannes Film Festival, which ran from July 7-17.