Review by Jonathan Berk The midnight movie section of any film festival is often a cherished experience for horror fans. Both horror and comedy benefit from a packed house, and if a movie connects with the audience, the communal experience is elevated. Writer and director Damian McCarthy's film Oddity got the packed house to jump, laugh, and gasp multiple times. It's a great example of a film that knows where it came from yet feels fresh and memorable.
Oddity opens with Carolyn Bracken (You Are Not My Mother and The Gone) working on renovations at her giant home. She tells her husband, played by Gwilym Lee (Bohemian Rhapsody and The Tourist), that she'll be there working all night. Things get scary before the film cuts to a shot where we meet her blind twin sister (also played by Bracken) and learn that night's events did not go well. Bracken is remarkable in this dual performance. The costuming benefits the two characters, and the script format allows her to develop both characters to be distinct. The shop where the twin works is essentially an antique store specializing in "oddities." When we first meet her, she warns the person who entered the shop not to steal. She states that every item in the store is cursed, but curses end at the time of purchase. It's one of many organically funny lines that convey some of her character. Everyone in the cast delivers equally well. Lee is excellent. Tadhg Murphy, Caroline Menton, and Steve Wall are the other actors who get more than just a few flashes on screen. Each brings something to the story and contributes to the overall success of this horror film. Menton and Bracken have one of the best exchanges in the film, demonstrating how well-written and focused the film truly is. McCarthy's script works wonderfully. The film has a blend of genres, with horror at the center. A whodunnit element of the film keeps the audience on their toes. The set design and visual effects lend themselves to building the tension. He establishes the possibility of the supernatural and how various characters feel about the idea early on, helping pull the audience into the world the characters inhabit. The characters feel like real people, so when humor is injected into the tense moments, it feels like people trying to defeat an uncomfortable situation. There is no wasted space, and the set-ups truly pay off. Oddity was a total blast and a prime example that a film can use established tropes and still feel original. There is no question that McCarthy is a student of the genre, but his movie shows that he's got a clear voice. There is evidence on the screen in this movie that everyone involved is working to deliver a fun thrill ride. Oddity is screening at the 2024 SXSW Film Festival, which runs March 8-16 in Austin, TX. Rating: 4/5
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Review by Jonathan Berk In space, no one can hear you sigh from extreme depression. Well, Adam Sandler puts this idea to the test in director Johan Renck's new film Spaceman. Renck uses the isolation of space and man's desire to explore the unknown to reflect on exactly what we are running from. Jakub (Sandler) is a lone astronaut six months into a mission to explore a mysterious cloud just past Jupiter. His wife, Lenka (Carey Mulligan), has gone radio silent, and he has started to suspect his marriage might not be waiting for him when he returns to Earth. Jakub discovers he's not alone, as a mysterious creature (voiced by Paul Dano) is hiding in the bowels of the ship. The creature helps Jakub work through things as he contemplates if there is still time to fix what he left behind. Sandler's performance in the film is a bit uneven. His dramatic roles in films like Punch-Drunk Love or Uncut Gems have been some of his best, but sometimes he feels like he's phoning it in here. There are moments when he seems to be sleepwalking through the film. While his character is sleep-deprived, it seems that's merely an excuse for some of the deadpan reactions. Fortunately, there are a few moments where we get some of the Sandler charm that makes us hope there is still time to patch things up. Mulligan gets to work off more than a computer-generated creature. She's on Earth and often has to justify her decision to end her marriage. Her situation is even more complex than we initially suspected. Dano brings an ethereal quality to the creature, and while his visage will infinitely disturb some audiences, his performance is undeniable. Not all the exchanges with his character and Jakub actually work, but that isn't the fault of the performances. The film tackles some major existential topics, and sometimes it comes off as cheesy. The purple cloud that sent Jakub on this space odyssey plays heavily on some high-concept ideas that don't all connect. It isn't easy to address some of life's big mysteries, and if you don't subscribe to some philosophies, it may feel silly to try and nail them down.
Much of the film looks good, but sometimes, the visual effects look a little cheap. Some of the little things may feel like they didn't need as much attention. For example, there is an early scene where several objects float around Sandler, and it looks like CG clutter. It isn't enough to wreck the film, but it is noticeable. While not all the film's ideas pay off, and some performances are uneven, Spaceman offers enough to get the audience to reflect on their own life choices and maybe shed a few tears. Other science fiction films broach these topics in more impactful ways, and some are even more grounded than that. Still, these topics are universal and deserve reflection. Why are we always so willing to go into the unknown, seeking what we don't know instead of cherishing what we already have? Spaceman is now in theaters and streams on Netflix on March 1. Rating: 3/5 Review by Jonathan Berk There are plenty of films that tackle estranged parent-child relationships. The concept is ripe for good storytelling and relatability. However, it can easily feel like an afterschool special if not handled with tact. Fortunately, director Emma Westenberg's film Bleeding Love delivers anxiety, heartache, regret, and some genuine feel-good moments as this real-life father-daughter road trip unfolds. Ewan McGregor stars in Bleeding Love alongside his daughter, Clara, and both perform incredibly in this emotionally gripping story. It is clear early on that something has forced Clara to join her estranged father in his truck on their way to Santa Fe, New Mexico. No road trip movie would be complete without complications along the way. As they encounter interesting characters and a series of obstacles, the two are forced to confront the issues of their past. There is a vague element of mystery in the movie, as it allows the audience to piece together exactly what the details of the relationship are. The clues are mostly revealed visually, with close-ups and little mannerisms, or with items in the tight quarters of the truck. Daughter asks Father (the characters don't have names) to pull over so she can pee. Not long after, she takes off running into the desert, with Father quick to follow. He asks what her plan was, to which she simply says she hadn't thought that far. The film continues to provide insight in small doses while keeping us engaged with the charm both actors bring to the film. The film's title is revealed when Leona Lewis's song comes on the radio. We learn that this song has some sentimental meaning, and Father starts belting out the lyrics. As the scene plays out, we get our first real moment of levity, and some real goodness comes out of these scenes.
While much of the film takes place in the truck, Westenberg finds ways to get out of it. A few moments in the movie flash back to points before Father left Daughter. The image has a weird tint that reminds one of the idea of rose-colored glasses. The initial memories are positive ones, but we know there is some bitterness between these two — mostly coming from Daughter. As more is learned about the recent events and what has led them to reconnect on this road trip, we become more invested. Bleeding Love relies on the audience to buy into the performances and the story. It lands the major beats and takes us on an emotional journey with these characters. If you connect with them, the movie works, but if you can't find something about either one to click with, you'll probably find the film a little uneventful. For me, it resonated, and I found the conclusion extremely satisfying. Bleeding Love will be in theaters and on demand on February 16. Rating: 3.5/5 Review by Jonathan Berk Director Asif Akbar's film Skeletons in the Closet is one of the worst movie experiences in recent memory. It's often easy to assume that such a statement is hyperbolic, but in this case, there is a plethora of evidence to prove its sincerity. From bad writing, uneven performances, and some of the worst visual effects, it makes TikTok filters look like a James Cameron production by comparison — and ultimately, nothing about this film works. Admittedly, at about two-thirds of the way through, it's possible to think this film could be "so bad that it's good," yet it quickly douses out any hope of that possibility. After 90 minutes, you'll wish you'd never looked in that damn closet. Terrance Howard and Valery M. Ortiz are a "happily" married couple with their daughter, played by Appy Pratt. Although Ortiz is seeing ghosts, Howard loses his job, and Pratt's character's cancer has returned — and it's in her brain. Luckily, Cuba Gooding, Jr. plays Howard's brother, and he has made a connection in prison to a mobster who can help pay for the medical bills. He also knows a psychic who can offer guidance and direction to the family. There is plenty more of this nonsensical stuff to be found, but the aforementioned occurs within just the first thirty minutes of the movie. There is some cause for concern that if Hallmark movie producers see this film, a new Hallmark Horror channel may pop up. The initial look of the film feels much more like a TV drama than a horror film. Add in melodramatic performances and constantly upping the stakes of an over-wrought plot — all with a cheesy score to back it up — and it screams Hallmark movie. Yet even the worst TV movies tend to have better-looking visual effects than what we're presented with in this film. Late in the movie, there are several moments where things are on fire. It is the worst-looking cinematic fire one can imagine. If the fire effects had a watermark on them of the asset company the filmmakers downloaded it from, then it would have been less shocking than most of the other decisions in this film.
You're probably thinking, "Well, even if it looks bad and the plot is a bit much, surely this star-studded cast should bring it!" That would be a fair thought, but it would also be incorrect. Howard is kind of sleepwalking through the film. Gooding isn't "bad," but what he's given to work with really is, and he's not able to elevate it at all. Ortiz is giving a performance, but the story around her is so ridiculous that it's hard to call what she's doing "good." Udo Kier shows up and delivers a delightfully hammy performance, but no amount of paprika on this sandwich can save it. It's rare to watch a movie and struggle to find any redeeming qualities within it. There is an expression that no one sets out to make a bad movie. While that is probably true most of the time, one has to wonder at what point the people involved in a bad film's production are aware of how much of a stinker it is. Skeletons in the Closet doesn't work, and it feels like someone could have predicted that in the pitch meeting. Skeletons in the Closet will stream on Shudder on February 9. Rating: 1/5 Review by Jonathan Berk Leah McKendrick makes her directorial debut with Scrambled, which she also wrote and stars in. McKendrick plays Nellie, who continuously finds herself attending friends' weddings and baby showers between several bad dates. Through these experiences and pressure from her father (Clancy Brown), Nellie starts to worry that her biological clock is ticking into oblivion and decides to freeze her eggs. McKendrick was in several films before this performance. If she'd been politely knocking at Hollywood's door before — she's now kicked it in, demanding to be paid attention. The opening sequence starts with her as a maid of honor about to enter the wedding reception. She's trying to convince the best man what dance they should enter with, and it becomes clear this is not her first entrance. We get such a sense of her character in these opening moments that it perfectly sets up the journey Nellie is about to undergo. It is not always easy to balance the drama and comedy in a film like this. McKendrick navigates that with the confidence of someone who walked the path many times before. Despite it being her debut, it's clear she's done her homework. There are some big laughs in this film, and then some deep emotions. Late in the movie, McKendrick gets to give the big "breakdown" monologue and nails it — both in the performance and the scene's set-up. McKendrick plays on many tropes of romantic comedies but finds some new uses for the form. There is a montage-type sequence where Nellie attempts to revisit her past flings, which feels a little like the plot of High Fidelity. While it feels familiar in many ways, how it is presented and edited feels uniquely stylized to this film. This feeling is also depicted in many of Nellie's relationships with her friends and family. They frequently fit archetypes of the genre, but they manage to only hover around the cliches, often subverting the audience's expectations. In this way, Scrambled manages to feel both fresh and familiar.
Scrambled immediately reveals itself for what it is, and it may take the audience a few moments to sync on its wavelength. However, once the audience gets what McKendrick is putting down, it's hard not to fall in love with the movie. It is often said that the more specific a story is, the more universal it feels. This film feels unbelievably personal, and McKendrick's performance is so vulnerable that it's hard not to connect with it. The fear of getting older and living up to the expectations of our friends, family, and society is very real. Scrambled will be in theaters on February 2. Rating: 4/5 Review by Jonathan Berk The Underdoggs is a funny, swear-word-laden throwback to '90s sports films. Director Charles Stone III and writers Danny Segal & Isaac Schamis don't hide their influences at all, as Mike Epps encourages Snoop Dogg to pull a "Mighty Ducks" and then outlines the film's plot. Snoop also calls Kal Penn a "Harold and Kumar" looking mf-er. Fortunately, the film wears more than just its influences on its sleeves, as there is plenty of room for heart and cursing there, too. '90s kids will surely connect with much of this film, as it will remind them of their childhood while appealing to their adult sensibilities. Jaycen "Two Js" Jennings (Snoop Dogg) is a washed-up former pro-football star searching for an entry to the second phase of his career. However, his selfish attitude, both on and off the field, has left him isolated as he approaches rock bottom. Desperate and in trouble, his opportunity comes after he is sentenced to do community service coaching an unruly pee-wee football team in his hometown. Will he continue to engage in his selfish ways and use this as nothing more than a PR stunt, or will he find what's been missing his whole life? In many ways, Snoop seems to be having a Hugh Grant-type of acceptance of his new role in pop culture. Whether you've watched him with Martha Stewart, sitting on set with Kevin Hart, narrating animal videos, or now taking lead roles in comedies, Snoop seems to embrace his funny side. If you're skeptical of his ability to be the main character in a film, The Underdoggs may ease those concerns. Snoop is immersed in this film and delivers both motivational speeches and comedy with ease. He and Epps have tremendous comedic chemistry from the moment Epps shows up in the film. The two share some hilarious moments but are the best on the sidelines, roasting their players. It's an odd choice to have your coach and assistant coach throw swear words and insults at the players we hope to see overcome the odds. You may even think it'll be impossible for a movie that dedicates so much time to insulting the kids to make you love all the characters simultaneously — but it does. This film has several laugh-out-loud moments and a few that'll tug on the heartstrings and make even the manliest man produce a few tears.
A few smaller storylines involve a past love, played by Tika Sumpter, and Two Js's high school coach, played by George Lopez. However, these aren't given much time, as the film focuses on football. The kids in the movie — who are all quite charming and perform their roles well — also take a shift to the background. Snoop is at the forefront, but his interactions with the team provide that cliché inspiration that usually works for fans of the genre. If you were a fan of movies like The Little Giants, Mighty Ducks, Rookie of the Year, The Sandlot, and Ladybugs, you'd probably find some joy in The Underdoggs -- especially if you enjoy movies where they aren't afraid to shout profanities at children and have those same children retort with their own foul language. Sure, the comedy in this film is working blue, but it does it rather well. It may be hard for this film to find an audience, as it's not meant for kids, but rather the '90s kids who are now high on (legal) marijuana. The Underdoggs will be on Prime Video on January 26. Rating: 4/5 Reviewed by Jonathan Berk The Western is one of the most defined film genres. One element most audiences expect is a Western to be set in America as the country expands Westward. The setting of writer-director Felipe Gálvez’s new film The Settlers immediately stands out as unique for this genre. Rather than the American West, this film is set in Chile in the early 20th century. Alexander MacLennan (Mark Stanley), Cowboy Bill (Benjamin Westfall), and Segundo (Camilado Arancibia) are hired by a wealthy landowner (Alfredo Castro) to mark out the perimeter of his extensive property and open a route to the Atlantic Ocean across vast Patagonia. While the setting is unique for this genre, the film features many other elements associated with it: the three men on horseback traveling the wide open plains and the wide cinematography showcasing the vast mountains and grassy fields. Of course, traditionally, the West is full of a lot more desert in many films, so the colors of the landscape cinematography in this film are noticeably different. Another element this film shares with the genre is putting those men on horseback against the indigenous people. Part of their “job” is ridding the land of “Indians,” which is extra difficult for Segundo, as he is indicated to be a “half-blood.” It’s with this plot that the film finds some extreme brutality. Gálvez’s story does not shy away from the brutality of this process. The characters each deal with their actions in different ways. The way the film deals with each character often gets equally brutal. The first half of the film is the strongest part. The interactions with the three men, each with distinctive personalities and traits, are by far the most compelling. Some very difficult-to-palate scenes — and how the men deal with their roles in those horrible moments — create on-screen dynamics that are hard to process. As the film progresses, the story breaks from the three main characters. It’s a sudden shift and gets into the political ramifications of the events in the movie so far. The momentum dips for a while, and it feels a little more like a history lesson than a film. There are some interesting tidbits of information, and the film’s final moments, especially the final shot, earn back some early intrigue.
Ultimately, The Settlers is a unique entry into a well-established genre. There are some quality performances from the three leads, and for those unfamiliar with Chile’s history, there is some insight into it that parallels America’s treatment of the Indigenous people. The brutality of some scenes may be more than some audiences want to deal with, so be warned. The Settlers will be in theaters on January 12. Rating: 3/5 Review by Jonathan Berk Dan Levy wrote, directed, and stars in Good Grief. The film has moments that are really emotionally affecting and features some very great supporting performances. However, the story sometimes feels aimless, and some sequences make the characters feel insufferable. Good Grief is not flawless, but it has enough good to make it a decent debut feature for Levy. Marc's (Dan Levy) whole life is abruptly disrupted after his husband Oliver (Luke Evans) dies. As time goes by, Marc's friends Thomas (Himesh Patel) and Sophie (Ruth Negga) have been a constant system of support. However, the friends head to Paris to confront some hard truths and do a little soul-searching. There are a lot of moments in the film that allow the actors to give long monologues. The one that works the absolute best is given by David Bradley, who plays Oliver's father. His speech at Oliver's funeral is powerful and somehow still subtle. It's one of the few speeches a character gives that doesn't sound like they're regurgitating a self-help book. This speech also gives Levy the opportunity to react and demonstrate his emotional range. While some of the later speeches feel clunky in their structure, the performances are still very good. Late into the film's third act, Levy, Patel, and Negga sit around a ruined dinner table. Each takes turns spouting armchair psychology about their emotional well-being. "Let me be sorry" and phrases like that are bantered about in rapid succession. It is important for humans to have a grip on their emotional well-being, but this sequence trying to be a big third-act moment feels far less impactful than it should.
In reality, this movie could have used a bit more melodrama. The stakes and the revelations never really hit the emotional chords they should. Levy plays the role maybe a bit too restrained at times for a man who has many reasons to lose control. There is a sequence on a Ferris wheel that really seems perfect for this big escalation. Three people harboring issues with each other are put into a situation they can't easily escape. The film acknowledges this circumstance and then really doesn't do much with it. Things are said, but it still doesn't feel significant or revelatory. Good Grief delivers in a few ways, but mostly by allowing us to see some really good performances from its cast. The overall premise tends to just work, as it's hard not to feel sympathy for someone who loses the love of their life. There are traces of films that have come before dealing with love and loss and that sense of continued discovery after they are gone. Yet, this one doesn't quite feel as impactful as those that came before. Good Grief hits theaters on December 29 and streams on Netflix beginning January 5. Rating: 3/5 Review by Jonathan Berk Jared Keeso is a gift to humanity and all things funny. While every member of Letterkenny’s crew delivers year after year, the creative vision of Keeso continues to triumph. The fact that Season 12 of Letterkenny is the final season is probably for the best. The six episodes focus heavily on the fear of being “stuck,” and there are plenty of examples of TV shows overstaying their welcome. While we have likely not seen the last of some of the characters, as Keeso has a deal in place for more content, this feels like a fitting farewell to the show as it stands. The three core groups of Letterkenny — the hicks, the skids, and the hockey players — are on full display for this season. However, the Degens are on the rise as they jockey their way into a prominent position this season. The usual Letterkenny format is firmly in place, with bits taking center stage while a continuing plotline plays out in the background of the comedy. The dynamic of the core group of “hicks” — comprised of Wayne (Keeso), his sister Katy (Michelle Mylett), Daryl (Nathan Dales), and Squirrelly Dan (K. Trevor Wilson) — is threatened. Katy is considering moving to Mexico, Dan is drawn towards a Mennonite lifestyle, and Daryl’s differences push him towards a new friend group. Wayne’s relationships with his friends and other members of Letterkenny are on his mind, as is where he fits into everything. In true Letterkenny style, the humor is often silly and goofy, yet it finds ways to resonate emotionally. While constantly poking fun at the archetypes of the characters, the substance of the humor is far more forward-thinking than one may expect. Episode 1 introduces a stand-up night at Modean’s, which allows for some commentary on stand-up comedy while simultaneously showcasing each of our central character’s talents. Reilly (Dylan Playfair) and Jonesy (Andrew Herr), the hockey guys, initially have this season of hooking up with their “Billet” sisters, which is a Canadian term for “the daughter of the family a young hockey player lives with, who is around the same age as players" (according to Urban Dictionary). However, they’re given time to reflect on who they are and acknowledge that maybe it’s time to grow up even further.
The Skids — centered around Stewart (Tyler Johnston) and Roald (Evan Stern) — also find themselves stuck. They’ve exhausted their sales of Snooters and are looking to up their game. However, it takes a few ups and downs to finally help focus their attention on redemption. This leads to a great callback in the final episode of the final season. There have been so many jokes, characters, and fighters over the 12 seasons of Letterkenny, and almost all of them get some love in the final season. The show does a great job of referencing while not simply rehashing the memories of the things that came before — a trope many final seasons get hung up on. Instead of overstaying its welcome, Letterkenny tugs at the heartstrings while simultaneously causing its fans to bust a gut laughing. The final season of Letterkenny is now streaming on Hulu. Rating: 5/5 Review by Jonathan Berk The things that our minds retain are often baffling. We forget that important request our spouse made on our way out the door, but a song we heard three weeks ago still plays on a loop in our mind. Two people who experienced the same event as siblings may remember that moment in a variety of ways that seem like they must have been at a different event. Understanding the human mind is always puzzling, and writer/director Michel Franco’s new film Memory explores two sides of this idea: a person who remembers too deeply and one who can barely remember at all. The movie begins at an anniversary celebration for Silvia (Jessica Chastain) at an AA meeting. She lives with her daughter in a small New York apartment and works at a public home for adults struggling with mental health conditions. The many locks on her door and her hesitation towards people imply Silvia has had a rough past. After a celebration at her old high school, Saul (Peter Sarsgaard) follows her home. He stays outside of her apartment all night and through rain. Silvia confronts him in the morning, and their odd encounter develops from there. Casting Sarsgaard for this role and this specific initial encounter was a great play on audience expectations. Those familiar with the films Magnificent Seven, Boys Don’t Cry, Flightplan, An Education, or Green Lantern will think his character has malicious intentions. Saul notices Silvia sitting alone at a table. He works through the crowd and sits across from her. He doesn’t say anything to her and just stares at her. Eventually, Silvia gets up and leaves the party and Saul follows. It would be creepy if anyone took the actions that Saul does, but Sarsgaard in the role reinforces the concern. However, Saul’s motivation here isn’t what the circumstances imply. Chastain is playing so many levels of emotion in this film. She has had a rough time and, as a result, is a bit overbearing and overprotective of her daughter, Anna (Brooke Timber). Her fridge is broken, and she needs to call a repair technician. When the guy arrives, she says through the intercom and behind locked doors that she requested a woman technician. This happens before meeting Saul, which only makes that moment of her fleeing the party all the more stressful. Yet, this isn’t a thriller but rather a drama.
The next moment Silvia and Saul share after that long, initial encounter is vital to understanding the ideas the film explores. Silvia believes she remembers an encounter with Saul many years before, but Saul does not. There are reasons Saul’s memory may not be accurate, but Silvia’s sister Olivia (Merritt Wever) confirms that Silvia is mistaken. Without getting into specifics, this moment is essential to many scenes in the rest of the film. Both Silvia and Saul’s memories are called into question but for different reasons. Our memories are fallible and subjective. The way Franco explores this idea through the story with these two characters is compelling and often stressful. Memory has some great performances and an intriguing premise. The questions posed don’t quite reach a satisfying conclusion. The romance is a complicated one that also raises some ethical questions when considering the circumstances of their meeting. Memory will be in theaters on December 22. Rating: 3.5/5 |
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