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Review by Sean Boelman  Photograph by Simon Ridgway / HBO. The BBC/HBO series His Dark Materials has gained a fair share of fans over the course of its past two seasons, and this third and final season comes after a bit of a wait. Well, the wait was more than worth it, as it is exactly the epic, emotional conclusion that any fan of the series would hope it would be. The season picks up soon after the last one left off, with Miss Coulter having taken Lyra hostage and Will searching for her. An adaptation of the final book in the trilogy, The Amber Spyglass, this season has a lot of story to wrap up in eight episodes, and yet it does so in a way that is satisfying and fulfilling. Perhaps the best thing about this season of the show is how it explores the constantly shifting alliances. Rather than the clear battle between good and evil that we saw in the first two seasons, what we see here is more of a war of moral ambiguity, which aligns much more with the sense of Pullman’s writing. This season is also even more unabashed with its anti-religion themes. Pullman’s books have always been controversial because of their themes, and the film adaptation was relatively neutered in this regard. Now that the first two seasons gave fans enough time to acclimate themselves in the world, it can pull out the punches.  Photograph by Peter Baldwin / HBO. However, this does not come at the expense of expanding the mythology even further. Whereas the second season dove a bit more into the fantasy elements, the third goes back into the sci-fi realm. We also get to spend more time with some of the characters, such as Lord Asriel, than ever before, adding a welcome emotional connection.
The action is also even higher-stakes. There are some full-on battle sequences that are some of the most epic you will see in any series or film this year. They spared no expense with this season, ensuring that it is the epic conclusion to the trilogy, while still emphasizing the emotion and sensitivity of the story. The visuals are also second-to-none. The CGI in this season is better than ever before, from the creatures to the settings. Viewers will feel completely immersed in the many worlds in which this series takes place, especially the world of the dead, which is perhaps one of the most striking depictions of the afterlife in any media. Season 3 of His Dark Materials is a wonderful conclusion to the show. It feels nice to finally see this part of the story adapted to the big screen, and in a way that is both so entertaining and so profound. Fans will be satisfied with the way this show ends. His Dark Materials premieres on HBO on December 5 at 9pm ET/PT, with new episodes airing subsequent Mondays at the same time. All eight episodes reviewed. Rating: 5/5
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Review by Sean Boelman  Many industries were shaken by the COVID-19 pandemic, but few were entirely dragged to a halt as much as showbusiness. The new documentary Broadway Rising follows a group of talented, courageous, and passionate people both in front of and behind the scenes as they face their biggest challenge yet. The film tells the story of the artisans, craftspeople, performers, and workers who banded together to reopen Broadway after a lengthy closure due to the COVID-19 pandemic. The movie opens by mentioning the only other time Broadway closed — the aftermath of the 9/11 attacks — immediately emphasizing how bizarre and dire this situation is. First and foremost, the film is an ode to perseverance and the creative spirit. As the adage says, “The show must go on,” and this has never been more the case than it is with the industry still struggling to recover from an 18-month shutdown — the longest in the storied history of Broadway. The movie does a good job of showing us a range of who was affected by the Broadway shutdown, from the Broadway stars to the ushers and backstage workers who lost their livelihoods due to the pandemic. However, the film does — perhaps questionably — nearly glorify the questionable behavior of these individuals who prioritized work over safety without critiquing the system that caused them to reach such desperation.  Given that the movie deals with such a large group of subjects, there is plenty of story to be told. As a result, there’s not any dead time, making the film almost feel rushed. There is enough material here that a solid docuseries could have been made about the revival of Broadway from the pandemic.
One of the biggest missed opportunities of the movie is that it does not contain enough footage of the actual work that has been done to bring Broadway back to “normal.” Of course, much of this can be chalked up to licensing issues, as use of performance or even rehearsal footage could cost a hefty fee — but the absence is notable nonetheless. Instead, director Amy Rice uses a lot of talking head interviews to a point where the film almost becomes overly reliant on them. Although it’s certainly inspiring to see all of these people with their optimism that their beloved stage can return to the way it was before, it begins to grow old after a bit. Broadway Rising is a pleasant watch, largely thanks to how heartwarming it is to see everyone involved come together to support an institution they — and we — love so dearly. It’s a bit conventional in its presentation and limited by its budget, but it does the most it can with what it has. Broadway Rising screens in theaters for one night only on December 5. Rating: 3/5 Review by Sean Boelman  (L-R): Auli'i Cravalho as Capri and Riele Downs as Darby Harper in 20th Century Studios' DARBY AND THE DEAD, exclusively on Hulu. Photo by Marcos Cruz. © 2022 20th Century Studios. All Rights Reserved. It doesn’t take much for a teen comedy to work — a charming lead, some witty dialogue, and characters that feel genuinely relatable. Unfortunately for Darby of the Dead, the film lacks two out of three of those qualities, letting down its potentially great lead in an almost embarrassing way. The movie follows a high school outcast who has the ability to communicate with the spirits of the deceased, as she meets her match when the school’s most popular girl dies in a tragic accident. It’s an intriguing premise that, at minimum, should have made for something cute, but the script is so full of cliches that it’s difficult to enjoy. The film’s painfully obvious metaphor becomes clear in the second act, as the protagonist gives up her invisible life and her foil has to learn to cope with not being seen by anyone else. The movie clearly thinks that it's a refreshing, innovative take on the teen comedy, but it’s simply derivative of much better films that have come before. As one would expect, much of the humor in the movie is the typical fish-out-of-water material that we see in the genre time and time again. We are supposed to laugh at the fact that this “dorky” girl is doing things typically reserved for the popular girls, like cheerleading and dating, and showing them up. And honestly — it’s more frequently cringe-worthy than it is funny.  (L-R): Riele Downs as Darby Harper, Asher Angel as James and Auli'i Cravalho as Capri in 20th Century Studios' DARBY AND THE DEAD, exclusively on Hulu. Photo by Marcos Cruz. © 2022 20th Century Studios. All Rights Reserved. It’s hard not to feel bad for Riele Downs, who is clearly a talented actress, but the role gives her absolutely nothing to do. This could have been a star-making turn for her, yet the movie and character are so insufferable that her career could be over before it even really begins. It’s a shame because she shows true potential.
In terms of the more established names in the cast, only Auli’i Carvalho (Moana) isn’t wasted. Although she’s playing a generic mean girl, she’s at least moderately fun to watch in the role. On the other hand, screen legends Wayne Knight and Tony Danza show up for small bit parts and are completely insignificant in the film. One would hope that the movie would have leaned into the horror-esque aspects of the premise, but it’s shot like a generic comedy. There’s nothing particularly ghostly about the spirits the protagonist interacts with, and even as little as a bit of makeup and costuming work could have given the film more of a personality. Darby and the Dead is, unfortunately, one of the worst teen comedies in recent memory. So insultingly cliche-ridden that it feels like it was made by an algorithm rather than actual people, the movie seems unlikely to appease even the teenage audience it was designed to appease. Darby and the Dead streams on Hulu beginning December 2. Rating: 1/5 Review by Sean Boelman  (L-r) SCOTT SCHWARTZ as Flick, RD ROBB as Schwartz, PETER BILLINGSLEY as Ralphie Parker and RIVER DROSCHE as Mark in Warner Bros. Pictures and HBO Max’s family comedy “A CHRISTMAS STORY CHRISTMAS.” Photo Credit: Yana Blajeva. A Christmas Story has become a bonafide cult classic, receiving a very muted reception upon its release but eventually becoming one of the most beloved Christmas movies of all time. A Christmas Story Christmas is the latest in a line of sequels to attempt to capitalize on its popularity, and while it is definitely higher-caliber than previous efforts, it also lives in the shadow of its predecessor. The film follows Ralphie as he returns to his childhood home in the hopes of providing the same type of magical and memorable Christmas that he had as a child. Set decades after the original movie, this is the latest in the line of legacy sequels that have come out recently trying to capitalize on the popularity of significant IP’s. The film isn’t subtle with its nostalgia-baiting, with several annoyingly overt callbacks to some of the most iconic moments from the first movie. While a few of them are at least somewhat natural — exploring the aftermath of one of the anecdotes from the original film — many of the callbacks tend to be simply including props or lines to get a quick, cheap laugh. Peter Billingsley returns to his role as Ralphie, now nearly forty years later as an adult. He clearly has a connection to the role that made his career, and that really shines through in terms of authenticity. Billingsley also takes over narration duties now that series creator Jean Shepherd passed away over twenty years ago.  (L-r) JULIE HAGERTY as Mrs. Parker, PETER BILLINGSLEY as Ralphie Parker and in Warner Bros. Pictures and HBO Max’s family comedy “A CHRISTMAS STORY CHRISTMAS.” Photo Credit: Yana Blajeva. Just like the original movie, the sense of humor here is largely innocent and juvenile, although this time around, it tends to feel like a shell of the original. A Christmas Story got its charm by capitalizing on its adult audience’s nostalgia for their childhood, and while this sequel does the same, it creates a weird cycle of nostalgia where it’s being nostalgic for nostalgia.
The film also suffers from a feeling of bleakness compared to the original. The inciting incident here is the death of the Old Man, and while his presence doesn’t necessarily create an enormous void, the movie is constantly reminding the audience that he isn’t there because the characters are depressed and moping around without him. From a technical level, the film does look better than some of the straight-to-television and straight-to-DVD sequels that have been made in the franchise. The periodization isn’t great, as it does feel vague despite the fact that it was set a few decades ago. And furthermore, the physical comedy gags aren’t all that great. A Christmas Story Christmas is clearly baiting for nostalgia, and while there are some moments that accomplish that successfully, it grows monotonous rather quickly. In trying to recapture the magic that made the original so beloved, it ends up just spinning its wheels. A Christmas Story Christmas streams on HBO Max beginning November 17. Rating: 2/5 Review by Sean Boelman  Documentary filmmaker Chris Smith is no stranger to showbiz documentaries, having made several acclaimed movies about various figures in Hollywood. However, “Sr.” is perhaps his most tender film yet, a personal and intimate look into the life of its subject in a way that offers an extraordinary level of access and insight. The movie tells the story of the late iconic American underground filmmaker Robert Downey Sr. Although general audiences might not recognize Downey Sr.’s work, they undeniably recognize his son, who is one of the highest-paid actors in Hollywood. This gives the movie a level of cross-audience appeal that few cinema-centric documentaries have. At under an hour and a half in length, the film does feel like it is trying to cover too much ground in a short period of time. In trying to be both an homage to the legacy of Robert Downey Sr. — who has passed since the filming of this documentary — as a filmmaker and a family man, it does struggle to go into depth with either. However, what makes Smith’s documentary stand out is a portion of the movie devoted to the “Sr. version” of his story. Intercut with the more traditional portions of the documentary are portions made by Robert Downey, Sr. himself in which he uses his characteristically idiosyncratic style to tell his story on his own terms. This allows the film to become an endearing work of metafiction.  Of course, the movie also has the father-son relationship element between Downey Sr. and Downey Jr., and it is extremely resonant. Indeed, this aspect of the story presents a perfect intersection between the two storylines. It shows how Downey Jr. was influenced by his father’s filmmaking career, but also draws parallelisms between Downey Jr.’s journey as a father and his relationship with his own father.
There’s obviously something very emotional to the movie, owing to the fact that Downey Sr. unfortunately passed away last summer. This gives the film a very bittersweet feeling throughout, like we are watching a celebration of his life — we’re mourning his loss, but appreciating what he left behind. The documentary is shot in black-and-white, giving it much of the same underground look and feel as the movies that Downey Sr. made. It’s an artistic decision that could very easily be seen as pretentious, but it works quite well. The film also has some very good access to clips from Downey Sr.’s filmography, some of which are difficult to find. Although “Sr.” is an imperfect documentary that aims a bit too high, it’s still a profoundly emotional cinematic experience. Few viewers will finish the movie feeling unmoved, even if they aren’t familiar with the life and work of Robert Downey Sr. going in. “Sr.” screened as part of the 2022 edition of DOC NYC, which runs in-person from November 9-17 and online November 9-27. Rating: 4.5/5 Review by Sean Boelman  Tony Award®-winning actress and singer Idina Menzel takes audiences on an intimate journey into her life on and off the stage in the new Disney+ documentary "Idina Menzel: Which Way to the Stage?" from Disney Branded Television. (Photo by Eric Maldin/Walkman Productions Inc.) One would be hard-pressed to find a Broadway star more recognizable to general audiences than Idina Menzel, so it’s definitely not surprising that she is a subject of a new documentary to stream on Disney+. Offering a cursory glimpse at the career of the extraordinarily talented actress, Idina Menzel: Which Way to the Stage? is a mostly unexceptional biography. The film tells the story of beloved actress of stage and screen, Idina Menzel, as she works towards the goal of her dreams: a concert in which she is headlining at Madison Square Garden. As one of the most recognizable theater actresses working right now, plenty of people know who Menzel is, but unfortunately, it doesn’t offer the glimpse behind the curtain the film would have needed to be great. Director Anne McCabe attempts to make Menzel feel more relatable, but it is so caught up in the adulation that many fans have for her that it does not end up making her feel particularly grounded. Even the attempts at doing so — such as a sequence discussing the many mispronunciations of her name — come across as slightly out of touch rather than helpful. The film does spend a disappointingly long time exploring the Frozen portion of Menzel’s career. While this shouldn’t be surprising considering that this is a documentary that will be put out by Disney+, and much of the latter part of her career, it seems as if Menzel was owned by Disney. However, this is also the part of her story that more people know, so it would have been nice to see more of her early career discussed.  Tony Award®-winning actress and singer Idina Menzel takes audiences on an intimate journey into her life on and off the stage in the new Disney+ documentary "Idina Menzel: Which Way to the Stage?" from Disney Branded Television. (Photo by Eric Maldin/Walkman Productions Inc.) Indeed, as Menzel’s career is so impressive and storied, there is arguably too much here for an hour and a half, especially given that much of it seems Disney-mandated. Although the film does discuss Menzel’s stints on RENT and Wicked, a longer runtime would have allowed it to go into much more depth on these parts of her life.
That said, Menzel is primarily known as a musical talent, and her vocal skills are certainly on display here. Being that the documentary is distributed by Disney, the filmmakers had access to a great deal of archived performance footage, allowing them to showcase her skills while singing many of her most recognizable songs. McCabe is a very prolific editor, having worked on several high-profile and highly-acclaimed films in that capacity, but this is her first outing as a director. Given her background, the film is understandably more reliant on archive footage than it is on talking heads, making it a refreshing change in the sea of biographical documentaries. Idina Menzel: Which Way to the Stage? is strong in terms of production, but it ends up feeling more like a corporate advertisement for one of the company’s biggest stars than a genuine biography. It’s really not clear who’s going to get much out of this, but it’s inoffensive enough. Idina Menzel: Which Way to the Stage? screened as part of the 2022 edition of DOC NYC, which runs in-person from November 9-17 and online November 9-27. Rating: 3/5 Review by Sean Boelman  Daniel Giménez Cacho as Silverio. Credit: Limbo Films, S. De R.L. de C.V. Courtesy of Netflix. Alejandro G. Iñárritu’s Bardo, False Chronicle of a Handful of Truths was considered an awards frontrunner, but when it debuted at the fall festivals, its reception was less than stellar. Thankfully, Iñárritu has made a new cut that must be greatly improved — because it is one of the best films of the year. The movie follows an acclaimed journalist and documentarian who goes on a surreal journey to understand his past and his identity. It’s a film that presents itself as something complicated and convoluted, but when it gets down to it, there is a more conventional narrative beneath it that really draws everything together. Clocking in at over two and a half hours long — around a half hour shorter than the original cut — there is definitely some repetitiveness throughout the movie. However, when this repetition occurs, it definitely adds to the story. There is also a wicked sense of humor sprinkled throughout that will keep the viewer invested. As is the case with Birdman — the film for which Iñárritu won his first Academy Award for Best Director — the highlight of Bardo is its surrealist elements. There are certainly some points that go off the rails, and while they are likely to be a bit too bizarre for general audiences to vibe with, those who are on Iñárritu’s wavelength will be sure to be impressed.  Daniel Giménez Cacho as Silverio. Credit: Limbo Films, S. De R.L. de C.V. Courtesy of Netflix. Iñárritu definitely attempts to address some ambitious themes, including the immigrant experience, Mexican identity, fatherhood, and more. Although it’s a lot to chew, the movie is so undeniably personal that it’s hard not to admire the things that Iñárritu has to say and the passion with which he says it.
Perhaps the biggest obstacle for general audiences to accept this film is the character development. The protagonist comes across as somewhat pompous, but thankfully, given that the movie is so self-aware, it works. The existential journey he faces is surprisingly relatable despite the fact that the character is otherwise meant to feel distant. It definitely helps that Daniel Giménez Cacho gives a performance that is absolutely astounding. Iñárritu asks him to do some absolutely insane things as part of his performance, and he manages to pull off both the comedic and dramatic moments with grace. There are some strong performers in the supporting cast as well, but this is very much Cacho’s show. Bardo, False Chronicle of a Handful of Truths is Iñárritu’s most idiosyncratic film yet, and while its bizarre nature will alienate most audiences, those audiences that connect with it will really connect with it. It’s a hilarious, ethereal cinematic experience the likes of which only Iñárritu could make. Bardo, False Chronicle of a Handful of Truths is now playing in theaters and streams on Netflix beginning December 16. Rating: 5/5 Review by Sean Boelman  (L to R) Nathalie Issa as Yusra Mardini, Manal Issa as Sara Mardini in The Swimmers. Credit: Laura Radford/Netflix © 2022. The Swimmers debuted at the opening night slot of the Toronto International Film Festival this year, where it was met with mixed reviews. Despite having all the cards in its hand to be an inspiring and uplifting film, Sally El Hosaini lacks the directorial vision to do anything with this utterly standard script. The movie tells the story of two sisters who flee as refugees from war-torn Syria before making their way to the 2016 Rio Olympics as swimmers. There have been plenty of stories about athletes that overcome their circumstances to triumph on the world stage, but the filmmakers massively fumble the ball with this one. There are significant portions of the film that are utterly cringe-worthy. For example, there is a needle drop early on of the David Guetta song “Titanium” that is one of the most ridiculous, embarrassing moments in any movie this year — and that is just a small indication of the rest of what is to come in the film with its unfitting pop soundtrack and horribly uneven tone. On the opposite end of the spectrum, much of the rest of the movie is simply boring. The typical underdog sports beats are all hit here in typical fashion, and mixed with a refugee story that should be inspiring but is told in such a bland way that it lacks power. It’s clear that the film has something important to say about the refugee crisis, but this message is lost in a mediocre melodrama.  Nathalie Issa as Yusra Mardini in The Swimmers. Credit: Ali Güler/Netflix © 2022. No one can deny that what the Mardinis did was extraordinary, but the character development is shallow in a way that will prevent the audience from connecting with them beyond their plight. The movie would have benefitted from the sibling relationship between the two main characters to be more fleshed out and affecting.
What makes this even more frustrating is that the film has a pair of real-life sisters in Nathalie and Manal Issa to bring the characters to life. However, the movie doesn’t give them enough to do. Matthias Schweighöfer plays the sisters’ mentor in the third act of the film and feels entirely miscast, as it’s hard to take him as seriously as the role demands. For the most part, the execution of the movie is pretty straightforward and bland, albeit entirely competent. Apart from the music, that is generally poorly chosen, there’s not much about the film’s style that is memorable — positively or negatively — ensuring that it will fall into the pit of obscurity that comes with subpar biopics. An inspiring story should make The Swimmers an easy fit for a crowd-pleaser, but questionable execution has made it largely ineffective. The movie constantly pivots between being dull and embarrassing, making it one of the worst movies of the year. The Swimmers is now in theaters and streams on Netflix beginning November 23. Rating: 1.5/5 Review by Sean Boelman  Jason Kohn’s diamond documentary Nothing Lasts Forever picked up some raves on the spring festival circuit before dropping off the map for a bit and is now resurfacing for release. No matter how specific the subject matter may seem, audiences should not ignore this film, as it makes the most out of its fascinating tale. In the movie, Kohn takes a peek behind the curtain of the multi-billion-dollar diamond industry, with a specific focus on the conflict between those producing lab-grown diamonds and the legacy companies mining natural diamonds. Many people probably know how nuts the diamond industry can be, but this film has an incredibly unexpected amount of suspense. In a way, the movie can almost be described as a real-life Uncut Gems in that it’s a high-stakes thriller set in the world of luxury jewelry. Of course, you don’t have Adam Sandler running around and yelling the whole time, but as the viewer, you will still feel like you are being plunged into the seedy underbelly of an industry that peddles the idea of luxury and glamor. There is a very strong anti-capitalist message to be found in this film and its exposé of how the diamond industry is fundamentally corrupt and shady. Of course, this is only the tip of the iceberg. There are plenty of more shady and sleazy things happening within the diamond industry, but Kohn shines a light on an aspect of the issue of which the general public may not be aware.  The part of this movie that really puts it over the top is its interviews. Any documentary set in the world of high culture can be challenging to pull off because many of the experts tend to feel rather pompous. That said, Kohn has managed to find some exceptionally entertaining and grounded people to talk to in Nothing Lasts Forever, thanks to the fact that many of them have larger-than-life personalities.
Admittedly, many of the interviewees in the film use some pretty intense technical jargon that general audiences likely won’t be familiar with. However, they do a good enough job of explaining what everything means that viewers will be able to follow along with what is happening in the story and appreciate the weight of what is happening. From a technical level, it’s a staggeringly-executed documentary. The framing is exquisite, both in the interviews and the B-roll, and the editing is sleek, giving it a razor-sharp pace. Kohn wisely keeps the runtime under ninety minutes, weaving together the different story threads in a way that is concise yet expansive. Even for those who may think they don’t care that much about the diamond industry, Nothing Lasts Forever is an absolutely fascinating watch. Jason Kohn has managed to find a bizarre, interesting story in an unlikely place, and the result is an amazing documentary. Nothing Lasts Forever hits theaters on November 11. Rating: 4/5 Review by Sean Boelman  Frederick Wiseman is one of the most prolific documentary filmmakers working today, so the cinephile world was shocked when it was announced he would be tackling something a bit more narrative for his newest project. As expected, what is seen on the surface of A Couple is relatively simple, but what Wiseman makes the audience feel is something else entirely. The movie explores the relationship between Russian writer Leo Tolstoy and his wife Sophia Tolstaya, told entirely through the perspective of Sophia. Based on letters and diaries written by Sophia, the film presents an interesting glimpse into their relationship, although it is admittedly the type of literary story that few general audiences would be interested in. Although the title might imply that it is a two-hander, it is entirely a one-woman show for Natalie Boutefeu. Within the context of what she is being asked to do, Boutefeu’s performance is quite solid. It does sound like she is reading at times, but given that the movie is essentially a series of performances of written historical materials, this style of performance works quite well. Viewers will feel like they are getting a peek into the personal life of this character, and Wiseman and Boutefeu do an extraordinary job of grounding the character. In fact, if you didn’t know the context of Leo Tolstoy and Sophia Tolstaya going in, it would be easy not to realize this is about one of the most famous literary couples in history.  The film definitely discusses gender dynamics of that era in a way that is compelling, but it does have the limitation of all coming from a single source. Although the points being made are certainly valid and a necessary part of the discussion, the fact that it is one person saying and repeating them can cause it to come across as whining.
Of course, the movie is absolutely gorgeous to look at, but one would expect no less from a master director such as Wiseman. Wiseman reteams with cinematographer John Davey, who has worked with him for more than a decade, and the result is some beautiful images of the French seaside. Essentially, the film is one big monologue, and it does begin to feel slightly monotonous at times. The repetitive structure of the script definitely doesn’t help. However, given that the runtime is barely over an hour, it breezes by and is enjoyable to watch if only because of the gorgeous visuals. A Couple does suffer from monotony at times, but those who are a fan of Wiseman’s patient style in his documentaries are likely to find much of the same enjoyment here. It’s a gorgeously-shot, elegant watch — maybe not one of the best in the master’s filmography, yet still excellent nonetheless. A Couple hits theaters on November 11. Rating: 3.5/5 |