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Review by Tatiana Miranda  The best way to describe Nicholas Colia's Griffin in Summer is Theater Camp meets Rushmore meets Aristotle and Dante Discover the Secrets of the Universe. The movie centers around the titular Griffin, a 14-year-old aspiring playwright who is a bit of a jaded writer. His latest work, Regrets of Autumn, is described by Griffin as Who's Afraid of Virginia Woolf? meets American Beauty and centers around the downfall of a marriage. It's heavy stuff for a 14-year-old, but as the movie progresses and we meet Griffin's miserable mother, portrayed by Melanie Lynskey, and learn about his increasingly absent father, it makes sense why he would choose to base his play on such a subject matter. Although Griffin's plays might be a bit depressing, the film is anything but that. After alienating himself from his peers and long-time collaborators, Griffin meets Brad, an attractive 20-something handyman and former performance artist from New York City. While it isn't instant infatuation, Griffin quickly begins to look up to Brad and his former life in New York and discovers more about his burgeoning sexuality as he develops a crush on Brad. While it's no controversial queer romance like Call Me by Your Name, it is more of a comedic and heartfelt coming-of-age that focuses on growing up as someone a little unordinary through both their sexuality and interests. While Griffin in Summer can be a bit campy at times, it is ultimately a funny and relatable look at discovering yourself as a teenager. Incredible performances bring the story to life, with Everett Blunck portraying a standoffish yet passionate Griffin. His usual creative partner, Kara, is effectively played by Abby Ryder Fortson, best known for her role in Are You There God? It's Me, Margaret. Even Brad's over-the-top girlfriend, portrayed by Kathryn Newton, is a comedic scene-stealer. While each character seems to fall into specific tropes to service Griffin's growth, it doesn't feel inauthentic or one-dimensional. Even though the movie centers on Griffin, each character is unique and well-developed while not taking too much attention away from the titular character and his arc.  Because of Griffin's niche interest, his passion for his art differs greatly from his peers, who would rather spend the summer at parties or, for Kara, with her new boyfriend than spend hours practicing for an amateur play. While these secondary characters might just as easily have been played off as pawns to signal Griffin's loneliness and disconnect, instead, they also have their individual stories of growth and change. Lynskey's performance as Griffin's mom is, although understated, a great insight into what makes Griffin the way he is while also establishing her individuality as a character.
Although Griffin in Summer is not necessarily groundbreaking in terms of coming-of-age films, it is a wholesome and relatable story about growing up and not fitting in. Griffin's solace in his art and dreams about moving to New York is something that most young, queer creatives in suburbia can relate to, and Brad's setbacks as an artist are also familiar to those who have followed their passions into adulthood. Griffin in Summer premiered at the 2024 Tribeca Festival, which ran from June 5-16 in New York City. Rating: 4/5
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Review by Tatiana Miranda  Most recognizable from his leading role in Disney's Sky High, Michael Angarano has recently gained more notoriety for his roles in films such as Oppenheimer. Now, he stars in his sophomore film as director and writer, Sacramento. Co-written with Chris Smith, the movie follows Angarano's character, Ricky, as he grapples with his father's death and reminisces on past relationships. Alongside Angarano, the film stars Maya Erskine, Kristen Stewart, and Michael Cera as Ricky's old friend Glenn. While the movie might initially seem like a classic buddy road trip comedy, it attempts to tackle deeper subjects, such as fatherhood and relationships.
Sacramento opens with a meet-cute between Ricky and Erskine's character, Tallie. The film quickly shifts its focus away from them as we see Ricky in a rehab center following the death of his father. A know-it-all who tends to project his issues onto others, he finds himself visiting Glenn, who is hesitant about Ricky's reappearance and incredibly stressed about his impending fatherhood, which he tries to hide from Ricky. After an uncomfortable lunch together, Ricky lies and guilts Glenn into traveling from LA to Sacramento. By the end of the trip, the two have made amends and made strides in their respective romantic relationships. Like Angarano's directorial debut, Avenues, Sacramento is an awkward and understated emotional comedy. But Ricky's unlikable and untrustworthy personality, mixed with Glenn's uncomfortable and extreme behaviors, make the film too awkward for its own good. While the movie tries to show the nuances of the beginnings of fatherhood, it feels a bit cartoonish as we see Glenn have a mental breakdown due to the stress of becoming a first-time dad. Mirrored is the equally neurotic Ricky as he tries to make amends with those he ignored following his dad's death. Kristen Stewart also plays a similarly one-dimensional character as the stoic wife to Glenn. Every character acts a bit too outlandish for the audience to be able to empathize with them or understand their emotional state beyond quick gags. As a rare road trip comedy, Sacramento has the potential to be an interesting story about grieving a parent while also becoming one for the first time, but Ricky's loss is more of a driving force for the plot rather than a way to gain insight into the character's delay in becoming a father. In fact, not much is discussed when it comes to his dad or the relationship they shared, but instead, the act of his death is more what Ricky uses as an excuse for his behavior. With a film with so many different relationships, both on- and off-screen, hardly any of them feel like authentic and wholesome depictions. Glenn and his wife are opposites, and they are so comical that it makes it hard to picture them as a real, functional couple. Meanwhile, Ricky and Glenn's relationship is not given enough depth and chemistry to account for the years that they supposedly spent as close friends. Although Sacramento has its moments, such as the gorgeous cinematography and funny interactions between characters, it feels too distant to leave a lasting emotional impression. With a film as understated as this one, the flaws outweigh any potential merit the movie may have. Sacramento premiered at the 2024 Tribeca Festival, which ran June 5-16 in New York City. Rating: 2/5 Review by Tatiana Miranda  For many, Mars might seem like just another adult animated movie, but for those familiar with the comedy troupe The Whitest Kids U'Know and their sketch comedy series of the same name, it's the latest and last collaboration of the group following the end of the series in 2011 and leader Trevor Moore's death in 2021. The group had been working on Mars since 2012 and shifted it from an originally live-action film to an animated one. Even with all of the changes over the years, Zach Cregger, one of the filmmakers and members of the troupe, ensures that the final film is what Moore had envisioned. Drawn in a crass and simple hand-drawn style, Mars isn't anything revolutionary when it comes to adult animation in terms of visuals. Even the film's humor, while entertaining, does pander to a specific audience, that audience being long-standing fans of the troupe. Inside jokes from the group's crowdfunding campaigns make an appearance, and the film makes understated yet topical commentary on the extremities of wealth and the boredom of billionaires like Elon Musk and Jeff Bezos. Yet, the film doesn't hold a lot of depth beyond being an homage to Moore and The Whitest Kids U'Know. Since most of the group's comedy experience comes from their sketch series, it makes sense that the movie feels more like a series of sketches rather than a full feature-length film. Between the over-the-top characters and the unreal situations they find themselves in, the movie isn't lacking in comedy and is one of the things that the movie excels at. Yet, out of all of the adult animated series and films out these days, Mars doesn't stand out as the plot, and some of the characters, such as the main one, Kyle Capshaw, voiced by Cregger, feel a bit one-dimensional, even when they try not to be.  The film opens as Capshaw decides to abandon his overbearing fiance and father-in-law's dentist practice to start a new life on Mars. Alongside him on Mars are an adult kidnapping survivor, a religious fanatic, and a teacher, along with billionaire Elron Branson, who organized the trip to colonize the planet. With a very caricature-like cast of characters, it would make sense for the film to lean into the absurdity similar to popular adult animations such as Rick and Morty and Smiling Friends. Yet, it attempts to give the characters arcs to mixed results. With Capshaw's crisis that landed him on Mars, a narrative arc would make sense as he attempts to return home, but any growth or personality given to the character is quickly interrupted by one of the film's many gags.
While Mars might not necessarily work as its own entity, it is a testament to the comedic style and fanbase that The Whitest Kids U'Know has spent so many years establishing. Even though it marks the end of the troupe's collaboration, it is a well-earned culmination of the group's humor and the evolution of the film since its inception in 2012. Mars premiered at the 2024 Tribeca Festival, which ran from June 5-16 in New York City. Rating: 2.5/5 Review by Tatiana Miranda  Bad Actor: A Hollywood Ponzi Scheme sets out to tell the story of Zach Horwitz, a D-list actor under the name of Zach Avery, who was arrested in 2021 for creating a Ponzi scheme that garnered around $650 million. After being sentenced to 20 years in prison, Horwitz's story was well publicized, although the details of his life and lies hadn't been explored in as much depth as this film showcases. While Bad Actor might appear to be your average true crime documentary at first glance, just like Horwitz, there is more that lies beneath the surface. The film starts from the beginning, with the filmmakers traveling to Horwitz's hometown in Indiana, where they trace his high school football career to his time in college studying psychology and then his brief stint as a health food restaurateur. As they follow his history, they unravel discrepancies in what he's told the press, friends, and investors. As is shown in the documentary, Horwitz claims that he tore his ACL while training for college football during an interview, which is almost word-for-word from a scene in Point Break. Produced by NEON, the documentary utilizes talking head interviews with friends and former classmates of Horwitz, FBI agents, psychologists, and even investors who were victims of the scheme. Although Horwitz himself doesn't appear in the film (besides the clips of past interviews and his mediocre acting career that are interspersed throughout), actors portray him and his former wife to — almost satirically — showcase the absurdity of Horwitz's life and actions. In some ways, the documentary feels more like a mockumentary reminiscent of Nathan Fielder's The Rehearsal. That's not to say that the film doesn't capture the emotional depth of the aftereffects of Horwitz's actions, but the hilarity of his acting chops, as well as the juxtaposition of his lies versus reality, can't help but add to the tone of the film.  Even though the documentary and its participants aren't necessarily forgiving of his actions, those familiar with Hollywood's cutthroat nature and "foot-in-the-door" mentality can understand what may have led Horwitz to do what he did. After all, he spent a good portion of the money he earned from the scam to star in movies featuring well-known celebrities such as Olivia Munn and Brian Cox. The rest of the money he spent on things to make himself appear more successful, such as private jet rides to set and a $6 million house in LA.
Ultimately, the main theme of A Hollywood Ponzi Scheme is understanding how and why people find themselves caught up in these schemes. As interviewees in the film discuss, most don't understand how easy it is to fall for scams like the one Horwitz conducted, especially since he was seen as a successful and charismatic person who had insider knowledge of the industry. Through clever twists and emotional beats, Bad Actor: A Hollywood Ponzi Scheme excels in making the audience understand just how easy it is to be duped. Bad Actor: A Hollywood Ponzi Scheme is screening at the 2024 Tribeca Festival, which runs June 5-16 in New York City. Rating: 4/5 Review by Tatiana Miranda  Based on the best-selling novel of the same name, A Gentleman in Moscow is a unique look at post-Revolutionary Russia. The new Showtime limited series stars Ewan McGregor as Count Alexander Rostov, who is put under house arrest for life in the Metropol Hotel. While the story is primarily fiction, it is based on the real long-time tradition of house arrest in Russia and portrays the realities of life as a noble in Russia following the Bolshevik revolution, where most were either killed or lived a life of obscurity. The series begins in 1917, when Alexander is arrested and sentenced to life imprisonment in the Metropol Hotel. It showcases his life within the hotel until Stalin's death. Through flashbacks, Alexander's pre-revolution life is revealed as he grapples with the loss of his sister and his old friendship with revolutionary Mishka Mindich. While in the hotel, he grows close to nine-year-old Nina Kulikova, actress Anna Urbanova, and various hotel employees. Although the story can be intensely dark, dealing with subjects such as Alexander's loneliness and despair while imprisoned and several key character deaths, it is also a heartwarming and hopeful story about found families and keeping hope even during the darkest of times. The series ends around 1953, allowing the audience to see Alexander grow and make a new life within the hotel and examine the developments of communist Russia.  Even though the series is only eight episodes long, it packs in a lot during the time period it shows and allows the audience to grow fond of Alexander and those he interacts with in the hotel. Ewan McGregor's performance stands out as he perfectly encapsulates a count who won't let his imprisonment get the best of him; instead, he routinely makes light of the situation and stands up for himself and his peers as best he can. Fehinti Balogun is also exceptional as Mishka, Alexander's old college friend and revolutionary, and his character adds depth to Alexander's past while also providing a different perspective to Alexander's on the benefits of the revolution.
Other performances, such as Mary Elizabeth Winstead's portrayal of Alexander's love interest, Anna Urbanova, are lacking. Beyond her relationship with Alexander, she doesn't seem to have a lot of depth. However, they try to give her the storyline of a fading actress, similar to Margot Robbie's Nellie LaRoy in Babylon. In A Gentleman in Moscow, though, her storyline comes across as an afterthought rather than an intentional way to mirror the evolution of post-revolutionary Russia. While the series attempts to give characters depth through either pre- or post-revolution trauma, it feels surface-level and doesn't always last beyond the episode in which it occurs or is revealed. Overall, although A Gentleman in Moscow is an entertaining series with fascinating characters, it feels like just another limited series that doesn't attempt to break out of the cookie-cutter historical drama mold. A Gentleman in Moscow premiers on Paramount+ on March 31. All eight episodes reviewed. Rating: 2.5/5 |