|
By Sean Boelman
It is that time of year again for the Fall festival season, in which some of the most exciting films of the year debut and screen, from acclaimed international pictures to soon-to-be awards contenders. One of the most prestigious of these festivals, the Toronto International Film Festival, returns again this year with another hybrid edition, offering both in-person and virtual screenings to Canadian audiences.
For the second year in a row, we at disappointment media have gotten the opportunity to cover the festival remotely. Although we are having to wait to see some of the biggest films to screen at the festival in a theatrical setting when they are released here in the States, we have gotten to watch plenty of great films from around the world. Here are some of our thoughts on the films we have screened! The Eyes of Tammy Faye
Image Courtesy of TIFF.
Michael Showalter’s The Eyes of Tammy Faye is a would-be prestige picture that hopes to be a comedic biopic, but Abe Sylvia’s script is far too indecisive on its subject to work. For much of the film, it’s hard to tell whether we are supposed to root for, pity, or laugh at the eponymous televangelist, and that creates a lot of really jarring tonal shifts. Jessica Chastain overacts as usual and is very annoying, but it fits here. It’s a shame, because Andrew Garfield’s performance is genuinely great, and Showalter’s direction is solid, but the film is nearly insufferable.
The Good House
Image Courtesy of TIFF.
Sigourney Weaver is overdue for a strong starring role, but The Good House was not it. Following an alcoholic realtor who reunites with an old flame, the film is an absolute mess tonally. There’s just too much going on in the film, from the main storylines to a subplot about some of her clients, resulting in an ending that is almost laughable. Weaver’s performance is strong as always, serving as the glue to hold the whole thing together, but even she struggles to pull it off.
Three Floors
Image Courtesy of TIFF.
Italian filmmaker Nanni Moretti has made plenty of acclaimed films, so it was a shock when Three Floors debuted at the 2021 Cannes Film Festival and was mostly panned. And if one wonders if the film is actually that bad, the answer is a firm yes. However, there is something alluringly watchable about this ridiculous melodrama in the same way that it’s hard to look away from a horrible car crash (which is fitting because of the film’s supposedly shocking but nearly laughable opening scene).
The Falls
Image Courtesy of TIFF.
Plenty of filmmakers have taken on the challenge of telling the story of the COVID-19 pandemic to varying degrees of success. Chung Mong-Hong (whose film A Sun was shortlisted for Best International Feature last year) manages to do so in a way that is surprisingly touching in The Falls. The thing about Chung’s film that works so well is that it isn’t about the pandemic itself, but rather, how people reacted to it, and that results in a film with even more resonant themes.
Snakehead
Image Courtesy of TIFF.
Director Evan Jackson Leong’s Snakehead is meant to be a crime thriller with a deeper message, but it doesn’t live up to its potential. There is some commentary to be found here about immigration in the United States, but the film gets far too caught up in the tropes of the genre to be anything more than passive entertainment. While predictable, the story has enough in terms of excitement to make up for largely uninspired action and less than impressive performances.
Where Is Anne Frank
Image Courtesy of TIFF.
Ari Folman’s animated documentary Waltz with Bashir is an absolutely phenomenal film, hence why his family parable Where Is Anne Frank is such a disappointment. The animation is just as strong as one would expect, but from a narrative standpoint, it is absolutely insufficient. Beyond the problem of making Anne Frank a side character in her own story, the film is nearly offensive in how it uses the Holocaust as a metaphor for the modern refugee crisis. It’s undeniably well-intentioned, but misfire after misfire make it nearly unbearable.
You Are Not My Mother
Image Courtesy of TIFF.
You Are Not My Mother is the type of film that seeks to build horror more through dread than simple scares, but it isn’t terribly effective in doing so. Kate Dolan’s film is based on Irish folklore, but doesn’t explore it in much depth. Instead, what we get is a mostly psychological piece, with slow pacing and much of the suspense coming from not knowing what is true. It manages to be both too straightforward and ambiguous to be even unnerving.
True Things
Image Courtesy of TIFF.
Harry Wootliff’s True Things is a romance like many we have seen before, but the bleak realism of what it depicts is effectively heartbreaking. Tom Burke and Ruth Wilson create a tremendous dynamic between them, capturing the ups and downs in the relationship. Burke is especially impressive in his role, giving a performance that is equal parts charming and unhinged. The story is at times frustrating, as the psychological cycle the protagonist is experiencing causes a lot of repetition, but it fits the themes well.
Ali & Ava
Image Courtesy of TIFF.
Much of the charm of the romantic dramedy Ali & Ava is in its simplicity. Following a landlord going through a divorce and a single mother struggling to stay afloat as they form an unexpected connection, the film is sweet in all the right ways, even if it struggles to do anything particularly profound with its themes. The film shows the potential to explore the plight of the British working class, but gets caught up in the basic humanity and empathy of the story. That isn’t necessarily a bad thing, because it’s refreshingly light, but it is unexpected.
Charlotte
Image Courtesy of TIFF.
One of many Holocaust films to play at this year’s TIFF (and perhaps more surprisingly, one of two animated Holocaust features), Charlotte is a good idea that is executed poorly. From an artistic standpoint, the film is solid, with a strong animation style, even if it does play it safe a bit often. That said, it is almost entirely insufficient from a narrative standpoint. The story is rushed to wrap it all up into an hour-and-a-half runtime, and as a result, any thematic nuance is lost in favor of a bunch of WWII tropes.
Benediction
Image Courtesy of TIFF.
The new Terence Davies film Benediction is a film that is undeniably good, but will alienate a lot of audiences with its style. Those who have seen Davies’s previous work will know that his films are slow, dry, and meditative, and while that approach works in telling the story of poet Siegfried Sassoon, it’s also not a particularly enjoyable watch as a result. Attempts at a type of acerbic wit throughout are enough to keep the viewer from being totally disinterested, and a phenomenal performance from Jack Lowden is nearly captivating, but it’s a bit too dull to work.
Montana Story
Image Courtesy of TIFF.
Scott McGehee and David Siegel’s Montana Story is, not unexpectedly, a gorgeous film to behold, but from a narrative standpoint, it isn’t all that impressive. Following two estranged siblings who reunite as their father nears the end of his life, the film offers a lot of genuine emotion but nothing that we haven’t seen before. That said, the two central performances from Owen Teague and Haley Lu Richardson are both great, bringing a lot of empathy to make the quiet, somber nature of the film work.
Lakewood
Image Courtesy of TIFF.
Many jokes have been made about the fact that every year’s TIFF lineup seems to feature a film starring Naomi Watts, and this year’s selection proves that trend to be absolutely dire. Phillip Noyce’s Lakewood is without a doubt the single worst film that screened at this year’s festival, a borderline insensitive school shooting thriller that milks genuine tragedies for the sake of supposed thrills. Shot during the pandemic, this is effectively a one-woman show for Watts, and while she gives it her all, it isn’t enough to boost an aggressively bad film.
Night Raiders
Image Courtesy of TIFF.
The Canadian sci-fi film Night Raiders is a massive disappointment, not because it’s bad (because it isn’t), but because the glimpses of brilliance are so obvious that one can’t help but think about what this could have been. Transporting the historical atrocity of residential schools to a dystopian setting, the film follows a mother who tries to break her daughter out of a state-run camp. It’s such an intriguing concept, but the dialogue is frequently mediocre and the performances consistently underwhelming. That said, filmmaker Danis Goulet shows a lot of potential here in her debut, and hopefully she will live up to it with her future work.
Compartment No. 6
Juho Kuosmanen’s Compartment No. 6 is a refreshingly light film that is a wonderful reminder of how important it is for us to connect with one another. Following two very different strangers who befriend each other when they are forced to share a cabin on a long train journey across Europe. It’s a lot more subtle than most films which explore a union between two people from very different walks of life thanks to some brilliant dialogue and excellent character work. It isn’t the weightiest film in this year’s lineup, but it has lots of good observations.
All My Puny Sorrows
Image Courtesy of TIFF.
Based on the novel by Miriam Toews, the drama All My Puny Sorrows is destined to be one of the biggest misfires of the festival. Following two sisters who are going through mental health crises, it’s clear that writer-director Michael McGowan had the best of intentions when exploring these themes, but he absolutely fumbles them. Allison Pill and Sarah Gadon try their hardest to salvage the script but end up overacting, likely due to poor direction, and all of the technical elements are overdone. It’s the type of film that wants to be a tear-jerker, but it doesn’t even succeed in that.
Hellbound
Image Courtesy of TIFF.
A new supernatural procedural series from South Korean filmmaker Yeon Sang-ho, Hellbound is set in a world where people receive visions of a spirit telling them when they will be condemned to Hell, with a demon later fulfilling the prophecy. It’s an intriguing premise with shades of Final Destination, but it’s executed poorly in a way that isn’t all that compelling. The three (out of six) episodes that screened at TIFF were fine, but filled with fluff, making it clear that this might have been more suited for a feature film format.
Mothering Sunday
Eva Husson’s film Mothering Sunday is a steamy period drama that will be overwhelmingly familiar, but is a very well-executed entry into its genre. The film follows a maid sharing one final, passionate day with the wealthy man she loves before he leaves to marry for status, and there really isn’t much more to this film than a bunch of sex. That said, the cinematography is gorgeous, the costumes are exquisite (when the characters are even clothed, which isn’t very often), and the performances by Odessa Young and Josh O’Connor are great. It’s a film that delivers exactly on its promises, which makes it hard to complain about.
Neptune Frost
Image Courtesy of TIFF.
Saul Williams’s output as a musician is certainly very interesting, so one should expect no less of his first effort as a filmmaker (co-directed with Anisia Uzeyman). Neptune Frost is an independent, low-budget musical about an intersex hacker and anti-colonialism. If that sounds like a lot to handle in one movie, that’s because it is, but Williams and Uzeyman pull it off gracefully. And as for the soundtrack, it’s weird and creative, a soundscape mixing traditional African beats with electronic and hip-hop sounds. It’s not quite like anything you will have seen before, and that’s a good thing.
Petite Maman
Image Courtesy of TIFF.
As the follow-up to her widely-acclaimed period romance Portrait of a Lady on Fire, filmmaker Céline Sciamma has made an equally restrained family film in Petite Maman. Following a young girl who discovers an unexpected friendship after her grandmother passes away, this is a lovely little film about the innocence of childhood. The visuals of the film are just as gorgeous as one would expect, and young actress Joséphine Sanz is absolutely wonderful, but the film is just too low-key to be anything more than merely adorable.
The Girl and the Spider
Image Courtesy of TIFF.
Ramon and Silvan Zürcher’s The Girl and the Spider is the type of talky international drama that makes up a lot of festival lineups. Following a woman as she prepares to move out, causing her to reflect on her connection with her roommate, this is interesting as a relationship drama that isn’t about romance. It’s occasionally poetic, and the things it has to say about how interactions leave a lingering impact on both ourselves and others are somewhat profound, but the character development is far too thin for the film to resonate.
The 2021 Toronto International Film Festival runs September 9-18.
0 Comments
Review by Sean Boelman
The Fantasia International Film Festival has long been a refuge for fans of genre cinema to check out some of the best in weird and obscure filmmaking from around the world. In 2020, the festival pivoted to an all-online format, allowing cinephiles across Canada to check out virtual screenings of some of the most exciting films in the lineup. However, with theaters being able to re-open, the 2021 edition was able to pivot to a hybrid format, including both online and in-person offerings.
We at disappointment media are excited to be covering Fantasia remotely for the second year in a row! As we screen the film selected for this year’s lineup, we will be updating this article with capsule reviews offering our brief thoughts on the films. Hopefully this will inspire you to check out some of the awesome movies you can see there! The Last Thing Mary Saw
Edoardo Vitaletti’s film The Last Thing Mary Saw may be billed as a horror movie, but it shares more in common with a period drama than the supernatural aspects of its story that festival-goers were probably expecting. It’s not particularly scary, nor is it especially original, but the commentary on the oppression of women is at least mostly interesting. That said, the film doesn’t take full advantage of its extremely talented ensemble cast including Isabelle Fuhrman and Rory Culkin.
All the Moons
The vampire drama All the Moons is one of the most gorgeous films of this year’s Fantasia lineup. With a gorgeous level of period detail and some excellent cinematography, it’s an entrancing feature. Admittedly, the film works more on a visual level than a narrative one, but there are still some emotional beats that resonate very strongly. It’s definitely reminiscent of a lot of films that have come before, and are perhaps better, but it’s a very effective addition to the genre nevertheless.
Frank & Zed
Jesse Blanchard’s puppet horror feature Frank & Zed is the type of film that one can’t help but appreciate even if they don’t entirely align with its sensibilities. It’s generally a fun time, but the film loses sight of the buddy comedy that makes the first half so endearing as it turns into a gory marathon of carnage for the final thirty minutes. The level of craftsmanship on display in the puppet animation is definitely impressive, and this would have been an absolute masterpiece had Blanchard’s script been as polished as his filmmaking.
Hayop Ka! The Nimfa Dimaano Story
Hayop Ka! The Nimfa Dimaano Story is an excellent reminder of the tremendous potential that independent adult animation has. A hilarious soap opera parody, the film doesn’t aim for the low-hanging fruit in poking fun at one of the lowest art forms there is. But the real success of the film is the way in which it creates a genuine emotional connection to these characters. Even though it’s obviously melodramatic (on purpose), the genuine heart in the film is absolutely charming and unexpected.
Glasshouse
Kelsey Egan’s film Glasshouse is very reminiscent of The Beguiled in terms of its plot, but with an immersive sci-fi touch to it. The most impressive part of Egan’s film is the way in which it builds the world of the story, both through the writing and the production design. It’s definitely a tad on the predictable side because of how familiar the story is, but there’s enough going on in the story on a thematic level for it to be intellectually challenging.
Beyond the Infinite Two Minutes
Junta Yamaguchi’s time travel comedy Beyond the Infinite Two Minutes is arguably one of the most creative films to play at the festival, and while it is far from perfect, it’s an absolute load of fun from start to finish. It can be confusing and a bit difficult to follow at times, but the ambition that this has as a lo-fi sci-fi comedy is very impressive, especially given the fact that it is both a directorial debut and a pandemic feature.
#Blue_Whale
The Screenlife format developed and innovated by Timur Bekmambetov tends to be more conducive to some stories than others, and the Russian thriller #Blue_Whale is on the more successful end of that spectrum. Although it has its fair share of flaws, this story of a teen investigating a deadly social media game that drove her younger sister to suicide is consistently involving. Admittedly, it’s very predictable, the big twist in the final act being entirely expected, but it’s still entertaining regardless.
Hellbender
For an occult coming-of-age story, the Adams Family’s Hellbender works extremely well. Sure, the effects aren’t the best, and sometimes even draw the viewer out of the story, but the intensely independent feel of the film is part of what makes it so charming. It may not say anything new about suppressing one’s own identity, but its message is still one that will resonate with teens and people who remember their teenage years, and it is delivered in a way that is quite entertaining.
Wonderful Paradise
Masashi Yamamoto’s Wonderful Paradise is perhaps one of the most wild films to screen at this year’s Fantasia, and that’s a high bar with some of the weird movies that were part of the lineup. It’s a film that gets crazier and crazier as it goes on, starting as something random and getting to some hilariously bizarre and occasionally messed up places by the end. The thing that is lacking here is character development, as viewers won’t care much about the story, but it’s an enjoyable watch nevertheless.
King Car
The increasing prominence of Brazilian genre cinema has been an exciting trend for cinephiles, and so Renata Pinheiro’s King Car was set to be one of the most intriguing titles of Fantasia this year. And while the wacky concept, immersive production design, and some inspired scenes show that there is no lack of creativity on display, the thing that is missing is a sense of humor. The film takes itself way too seriously rather than embracing the inherent absurdity of the premise, and the result is a film that is nowhere near as fun as it should be.
The 12 Day Tale of the Monster That Died in 8
Shunji Iwai’s pandemic comedy The 12 Day Tale of the Monster That Died in 8 is a cute little movie. Perhaps it’s something that is lost in translation, but it’s hard to find much in the way of laughter in a series of uber-specific in-jokes. Still, watching this is effectively like watching an hour and a half of nerds talking about kaiju, and there’s something charming in the level of love and detail put into it. Additionally, while the metaphors used in the film are certainly on-the-nose, it’s a message that is just as urgent now as it was when this was made a year ago.
On the 3rd Day
Latin American horror has very unique sensibilities to it, and On the 3rd Day sees them in full display. The portions of the film that work the best here are the character-driven ones, following a desperate mother trying to reunite with her son, as a lot of the emotional beats resonare unexpectedly well. However, the supernatural elements aren’t nearly as strong, offering a solid and sometimes even hypnotic atmosphere but not much in the way of genuine scares.
Martyrs Lane
Ghost stories tend to lend themselves well to quiet horror films that skew more towards the dramatic rather than the scary ones, and that is the success of Ruth Platt’s Martyrs Lane. The film may drag a bit at times, but Platt does an excellent job of capturing a surreal and occasionally nightmarish atmosphere that will immerse the viewer in the story. The things that the film has to say about guilt and trauma aren’t particularly original, but are delivered with plenty enough emotional authenticity for it to work.
Yakuza Princess
Based on the graphic novel Samurai Shiro, the Brazilian-Japanese film Yakuza Princess suffers from coming out around the same time as two similar, bigger-budget films. It’s the story of an attractive young person discovering their family’s dark and violent past and connections to a shadow organization, hitting many of the same beats as Snake Eyes and Shang-Chi and the Legend of the Ten Rings. Japanese pop star MASUMI gives a solid enough performance, Jonathan Rhys Meyers is largely unimpressive, and the action sequences and effects are rather strong, but the script is so dull that it doesn’t work.
Hand Rolled Cigarette
Kin Long Chan’s crime drama/thriller Hand Rolled Cigarette was released to great acclaim in its home country, likely due to the fact that it owes so much to the classics of Hong Kong cinema. However, this meandering and occasionally pretentious film doesn’t have enough investment in its characters to justify its slow pacing. The visual style of the film is strong, culminating in a great action sequence which shows the potential it had, but a solid landing doesn’t make the preceding hour and twenty minutes worth watching.
The Unknown Man of Shandigor
In addition to debuting some of the most exciting new genre films, Fantasia is known for premiering new restorations of obscure classics from around the world. The once-lost espionage thriller The Unknown Man of Shandigor is one of the hidden gems of this year’s festival. Although the plot is somehow both generic and altogether too convoluted at the same time, the excellent world building of Jean-Louis Roy makes this a standout within the genre. And a fabulous performance from the legendary Serge Gainsbourg is worth watching the film for alone.
Junk Head
Returning to the festival after having debuted there four years ago, Takahide Hori’s stop-motion animation film Junk Head is undoubtedly one of the most ambitious films to play at this year’s Fantasia, if only because of how much effort and craftsmanship went into it. From a narrative standpoint, the film is perhaps a bit too complicated, taking its rather simple story and expanding upon it in a way that is occasionally confusing. However, the intricacies of the animation technique are certainly very impressive, as is the commentary that Hori offers on his themes.
Ida Red
Filmmaker John Swab has made a few B-movie crime flicks, and while his newest film Ida Red is probably his most professional-looking yet, it’s also his most forgettable. A passable drama/thriller about two criminal brothers pulling off one last job, there are some solid action sequences here, but the story is so generic that it feels like any other movie that we have seen before. The only element here that truly stands out is the cast, with great performances from Josh Hartnett, Frank Grillo, and Melissa Leo. Grillo, in particular, is at the top of his game, showing how excellent he could be given stronger material.
When I Consume You
A unique thing about the horror genre is that complexity does not always equal effectiveness. Perry Blackshear’s When I Consume You is certainly an ambitious film, mixing a revenge thriller storyline with elements of family drama and supernatural horror. It’s an interesting combination, and there are some moments of genuine emotion throughout, but they are buried in a needlessly convoluted script. It’s the type of film that has the bones it takes to be something great, but needed an additional rewrite to fully capture its potential.
Don't Say Its Name
One of the weakest links of last year’s festival was an eco-horror film, and fans of the genre hoping that Don’t Say Its Name would offer some sort of redemption will be disappointed. Ruben Martell’s indigenous horror film certainly deals with some very important issues, but it addresses them in a way that is so sloppy that the (quite overt) message doesn’t connect at all. This messy blend of ghost and slasher tropes offers a few cool kills, but a script that is so rudimentary to the point of being almost laughable.
Stanleyville
When one thinks of genre film festivals, the mind likely initially goes to horror, but it is often the weird dark comedies that tend to impress the most and Maxwell McCabe-Lokos’s Stanleyville is one such film. Centered around a contest to win a car and possibly some form of self-actualization along with it, the first hour or so is quite funny, even if it does feel somewhat random, but the final act brings all of the themes full-circle and delivers in an unhinged and entertaining way.
The Righteous
The Righteous, the feature debut of writer-director Mark O’Brien re-teams him with his Ready or Not costar Henry Czerny. However, despite Czerny’s absolutely fantastic performance, this horror story of a spiritual crisis suffers from glacial pacing and themes that feel all like they have been done many times before. Crisp black-and-white visuals go a long way in creating the atmosphere, and O’Brien’s direction is strong as a whole, but solid craftsmanship alone can’t elevate an unsatisfying script into a memorable psychological horror film.
You Can't Kill Meme
One of the sleeper hits of last year’s Fantasia was Feels Good Man, a documentary which explored the origins and history of the Pepe the Frog meme. Apparently in a bid to recapture the magic of exploring viral sensations, the festival programmed Hayley Garrigus’s You Can’t Kill Meme, and it’s nowhere near as interesting or effective. Supposedly a deep-dive into the darker side of the internet and how memes influenced the political landscape in America, this is just an unpleasant mess of ramblings and conspiracy theories.
Ghosting Gloria
The Uruguayan romantic comedy Ghosting Gloria has a premise that sounds like it could be very funny, but in execution, amounts to little more than the scene in Ghostbusters where Dan Aykroyd gets a bj from a ghost stretched into a two-hour movie. Some interesting character work aside, the film isn’t deep enough to make more than an interesting short. That said, Stefania Tortorella’s absolutely charming performance makes the film a genuinely agreeable, and occasionally genuinely funny watch.
Indemnity
As far as thriller storylines go, Travis Taute’s script for Indemnity is about as basic as they come, as it follows a man on the run after he is framed by a conspiracy that he doesn’t quite understand. That isn’t to say that the film isn’t entertaining — there’s enough action to keep the film moving for the entirety of its two-hour runtime. There are some interesting (albeit surface-level) themes exploring PTSD and the lack of support that people suffering have from the government, but these are, perhaps ironically, abandoned in favor of popcorn entertainment.
Giving Birth to a Butterfly
If nothing else, Giving Birth to a Butterfly proves beyond a shadow of a doubt that filmmaker Theodore Schaefer is one to watch. Admittedly, the script does meander on more than one occasion, but this family drama is compelling through and through thanks to some exceptional character work and strong performances from Annie Parisse and Gus Birney. The visual style is very well-defined, if a bit on the pretentious side, but it does a great job of immersing the viewer in this slightly off-kilter world.
Hotel Poseidon
Tom Vermeir as Dave in "Hotel Poseidon". Photo Credit: Geert Verstraete, DOP.
Every festival — especially those that are devoted specifically to niche cinema — is destined to have at least one film that isn’t even going to come close to resonating with all audiences. The Belgian film Hotel Poseidon seems destined to be a contender for the title of most divisive film to come out of Fantasia. Some may love this grimy and occasionally hypnotic riff on The Shining, but others will be frustrated by its derivative and meandering plot. Unfortunately, while director Stefan Lernous’s craft is certainly respectable, we still found ourselves to be a part of the latter group.
Satoshi Kon, The Illusionist
© EUROSPACE / GENCO / ALLERTON FILMS / CARLOTTA FILMS.
Anime filmmaker Satoshi Kon made a mere four feature films in his short but acclaimed career, and documentarian Pascal-Alex Vincent hopes to pay tribute to him with his film Satoshi Kon, The Illusionist. Basic in its execution but powerful in its content, Vincent’s documentary features plenty of well-known American, Japanese, and French filmmakers talking about Kon’s filmography and how the master influenced their own work. It’s sure to be an interesting watch for anyone who already loves Kon’s films, and seems likely to win the director over a few new converts.
The 2021 Fantasia Film Festival runs August 5-25.
By Sean Boelman
Every year in New York City, the Japan Society comes together to put on Japan Cuts, a festival celebrating the best in Japanese film. Considered to be the largest festival in North America devoted exclusively to cinema from Japan, there is something here for everyone, from big-budget Asian blockbusters to prestige dramas, and everything in-between. At disappointment media, we got the opportunity to screen some of the films that will be playing the festival, and here are some of our recommendations of what you should check out!
Perhaps the most high-profile film screening in the lineup is The Great Yokai War: Guardians, a sequel to Takashi Miike’s 2005 fantasy epic. Any cinephile knows that Miike is one of the most prolific filmmakers working in genre cinema right now, so his newest film is sure to be highly anticipated. The film follows a young boy who discovers that he is the descendant of a legendary warrior and must team up with the yokai, a group of spirits, to save the world. It’s a very fun blend of CGI effects and practical work, with plenty of supernatural action sequences and a cute Spielbergian quality to it. This film is sure to be in-demand, so there are two in-person screenings: one on August 28 at 7pm and the other on September 1 at 4pm. Another major film playing at the festival is Kiyoshi Kurosawa’s Wife of a Spy. The first historical drama from the legendary director, the film is co-written by his former students Ryûsuke Hamaguchi (whose Drive My Car is making waves on the festival circuit right now) and Tadashi Nohara, and it’s by no means a traditional espionage thriller. The film follows a Japanese merchant who discovers a dark secret about his country’s past and speaks out about it, causing him to be accused of being a spy. It’s a riveting and unexpectedly emotional drama anchored by two great performances and exquisite direction. Although the online screening is already sold out, there is still an in-person showing on August 27 at 7pm. For those looking for something on the weirder side, it may be worth checking out Masashi Yamamoto’s Wonderful Paradise. The film is set during a family’s last day before moving out of their luxurious mansion as eccentric guests show up, resulting in a bizarre and wild farewell party. The first act is quirky, but when the film really shines is when it leans into its dark comedy elements in the final thirty minutes. It’s not going to be for everyone, but make sure to check out this virtual screening if you are in the mood for something wacky and fun. And those are only a few of the films that are screening in-person and virtually at this year’s event. Even if you aren’t in New York City, you will be able to watch many of the selections online from the comfort of your own home. And with such a diverse selection of films from Japan, there’s no excuse to not find a movie you want to see! The 2021 edition of Japan Cuts runs August 20 through September 2. More information, including how to purchase tickets, can be found here.
Review by Sean Boelman
One of the world’s longest-running festivals, the Locarno Film Festival is back in 2021 with a hybrid edition featuring films from around the world. From exciting premieres of the newest films from established filmmakers to some intriguing debuts from new voices, the lineup this year features plenty of movies that festival-goers won’t want to miss.
We at disappointment media are excited to be providing remote coverage for the 2021 Locarno Film Festival. Below you can find our thoughts on some of the films we have been able to check out that are playing as a part of the lineup. Although the festival is coming to a close, the press and industry online library continues until August 31, so we will add more capsule reviews to this article as we check out more films! The Legionnaire
There have been plenty of films to pose the question of what the oppressed would do if they became the oppressor, but filmmaker Hleb Papou’s unexpectedly tender approach for The Legionnaire is welcome and refreshing. On paper, this story of an African-Italian police officer who is torn between his duty and his obligation to family sounds like it is going to be a race-against-the-clock thriller when in reality, it is something much more nuanced, a restrained and intimate character study. Germano Gentile’s leading performance is absolutely brilliant, nailing every bit of emotion in the story.
The River
Festivals are designed to discover all sorts of films, including work that would likely never have been seen if not for the platform and prestige that the festival provides. For better or worse, Ghassan Salhab’s The River is one of those films, with a slow and frequently meandering script but solid production values. There is definitely something interesting to be found in this story of two people wandering the landscape contemplating an impending war, but it will test the viewer’s patience as the interactions start to blend together. It’s worth watching for some gorgeous scenery and strong chemistry between Ali Suliman and Yumna Marwan, but it won’t be for everyone.
Mad God
Phil Tippet is an absolute legend in the film community for having worked on the visual effects teams on such classics as RoboCop, Jurassic Park, and The Empire Strikes Back, so his feature-length stop-motion animation project Mad God was obviously high on the list of most-anticipated films of the Locarno lineup. While it’s certainly a bit on the heavy-handed side when it comes to its message, the love and craft that went into this project absolutely leap off the screen. The world which Tippet has created for his film is so immersive, and will have viewers transfixed for the entirety of the eighty-plus minute runtime.
The 2021 Locarno Film Festival runs August 4-14.
By Sean Boelman
After having been one of the festivals to set the standard for virtual presentations, the Fantasia Film Festival returns in 2021 with a hybrid edition. Featuring many selections with virtual-only or both virtual and in-person screenings, and a few with only theatrical screenings, the lineup this year is as exciting as ever, even kicking off with a special screening of The Suicide Squad on August 4. We at disappointment media are excited to be covering the festival remotely this year, and below, you can find some of the film’s we’ve seen that we hope you’ll check out!
Coming Home in the Dark
Coming Home in the Dark is likely the least fun to watch of these recommendations, but that doesn’t mean that people attending Fantasia shouldn’t check it out. It’s often hard to stomach in all of its brutality, but this revenge tale isn’t one that viewers will soon forget. Admittedly, the story is pretty straightforward, but James Ashcroft’s lean direction allows it to be impactful nevertheless. Those who already have a taste for New Zealander genre cinema will definitely be impressed.
King Knight
Richard Bates Jr. has gained quite a cult following since Excision, making it almost ironic that his newest film is literally about a cult. However, the film shares more in common with Suburban Gothic than it does with his debut feature, as Bates Jr. leans more heavily into his comedic tendencies here than the dark and cynical ones. Combined with an excellent performance from Matthew Gray Gubler, this results in what is probably the filmmaker’s most agreeable film yet — an all-around wholesome and enjoyable watch.
Mother Schmuckers
In what is sure to hold the title for the most disgusting film at this year’s Fantasia, Harpo and Lenny Guit’s Mother Schmuckers is nonetheless a must-see film for any genre aficionado. A charming exercise in excess, the film follows two brothers who set out on a journey to find their mother’s lost dog, getting into all sorts of ridiculous antics along the way. Its over-the-top nature is sure to appall some, but the shock value is absolutely what makes it so memorable.
Prisoners of the Ghostland
In recent years, Nicolas Cage has given plenty of memorable unhinged performances, and Prisoners of the Ghostland sees him at the top of his game. Directed by Japanese filmmaker Sion Sono, it’s nice to see Cage working again with an auteur behind the camera, this film giving off heavy shades of Face/Off. It’s a blend of Eastern and Western tropes that is undeniably a hell of a lot of fun to watch, but packs a surprising political punch under the surface. Hi-fucking-ya.
We're All Going to the World's Fair
Jane Schoenbrun’s We’re All Going to the World’s Fair debuted quietly at Sundance this year but has had a steadily growing cult following singing its praises, and hopefully Fantasia will be the place where it makes its big breakout. On its surface an exploration of online culture, but beneath that, a deeper exploration of identity, this is probably one of the most complex and nuanced horror films to have debuted in recent years. Festival-goers won’t want to miss their chance to say they experienced this film early on.
The 2021 Fantasia Film Festival runs from August 5-25.
Review by Sean Boelman
The Cannes Film Festival is back for its 74th edition after having to take a break for a year due to the COVID-19 pandemic. Filled with some highly anticipated premieres of both auteur-driven films and new discoveries, the lineup should have any cinephile excited for the state of film for the rest of the year. Unfortunately, we at disappointment media were unable to attend the festival in person, but we are providing remote coverage where possible. Here are some of our thoughts! We will be updating this article with more capsule reviews as we screen additional films.
Small Body
The Italian period piece Small Body starts out very interestingly and loses steam over the course of its hour and a half runtime. Laura Samani’s film, about a woman who sets out on a journey to save the soul of her stillborn child, is a visually stunning exploration of spirituality for much of its first act. However, after about thirty or so minutes, it settles into a much more conventional rhythm resembling a traditional road movie. It’s still good by all means, just not as great as the opening shows the potential to be.
Aya
Simon Coulibaly Gillard’s coming-of-age drama Aya certainly has some emotionally affecting moments, but it falls victim to convention a bit too often for its own good. Following a young woman who faces an identity crisis as her home is threatened, there is obviously a very important message here, although the pacing does detract from it a bit. The visuals are frequently gorgeous, and Gillard is clearly very talented, but from a narrative standpoint, it feels a bit too much like things we have already seen.
The Heroics
Sometimes, an inspirational crowd-pleasing drama is what is called for, and the Maxime Roy film The Heroics fits that bill wonderfully. It’s a pretty simple film about a former junkie who is trying to make himself into a better person for the sake of both himself and his kids. At times, it feels like it’s a bit too self-serious, but there are plenty of absolutely heart-wrenching moments sprinkled throughout. François Creton’s leading performance is brilliant as well, bringing a lot of emotion to the role.
Babi Yar. Context
In terms of documentaries composed solely of archive footage, Sergey Loznitsa’s Babi Yar. Context is pretty brilliant. It’s simple yet effective in what it hopes to depict, the tragic massacre of thousands of Jewish people in the Ukraine. It’s undoubtedly a difficult film to watch because of how brutal some of the footage it utilizes is. At two hours in length, it’s perhaps a bit longer than it needs to be, but it achieves the point it is trying to make quite effectively.
Returning to Reims (Fragments)
Based on Didier Eribon’s novel, Jean-Gabriel Périot’s documentary Returning to Reims (Fragments) offers a very compelling portrait of the French working class. However, despite some excellent archive footage and great narration from Adèle Haenel, this feels more like an essay and less like a film, for better or worse. It argues its point quite effectively, but it may not connect with viewers in a way that will allow its message to be entirely resonant. There are a lot of really good things going on here, but it won’t expand beyond the audience that is already interested in it.
A Radiant Girl
Sandrine Kimberlain’s coming-of-age drama A Radiant Girl joins the tradition of the great Holocaust comedies that have a sense of optimism to them which one wouldn’t expect from a film like this, even if it doesn’t live up to the same level. Rebecca Marder’s performance is absolutely exceptional, bringing a lot of personality to a character archetype that has been done many times before. Yet even though the film might struggle with a genre that is overstuffed, it sticks the landing in a way that won’t soon be forgotten.
Zero Fucks Given
Almost entirely dependent on the success of the lead performance from Adèle Exarchopoulos, Julie Lecoustre and Emmanuel Marre’s dramedy Zero Fucks Given doesn’t live up to the enormous amount of potential it has. The first half of the film, following the protagonist as her world falls down around her, is really compelling, but the second half struggles to keep up the strong momentum. There are a lot of really good things going on in the film, but it’s a bit too meandering for its own good.
Little Palestine (Diary of a Siege)
The ACID-selected documentary Little Palestine (Diary of a Siege) makes an expectedly compelling and emotional watch. A verité look at the residents of a Palestinian refugee camp in Syria, the narrative through-line in the film isn’t the strongest, but the footage that director Abdallah Al-Khatib utilizes to depict this political crisis is absolutely astounding. The film inspires in how it showcases the members of this community creating art and enjoying life despite all the turmoil that surrounds them, but it also calls attention to the important issues at hand.
Tom Medina
One of the selections from the cancelled 2020 edition that were invited back to screen at the 2021 festival, Tony Gatlin’s film Tom Medina is gorgeous, but it features a very wandering narrative. There is a point to all of the antics that the eponymous protagonist gets into, but it’s really conventional in a way that isn’t entirely satisfying. The highlight here is the performance from David Murgia, who gives a turn that is far better than everything that surrounds it.
A Corsican Summer
Pascal Tagnati’s film A Corsican Summer screened in the ACID sidebar to the Cannes Film Festival, a parallel section devoted to finding distribution for independent films from across the world, and it is definitely a very independent production. This very specific slice-of-life film about a group of people going about their routines one summer is completely stagnant in a narrative sense. The visuals are frequently gorgeous, and there are definitely some compelling vignettes, but they don’t amount to a compelling enough film to justify a two-hour-plus runtime.
The 2021 Cannes Film Festival runs from July 7-17.
By Sean Boelman
The first half of 2021 has seen a return to (somewhat) normal moviegoing, as we have already had two $100 million+ blockbusters in theaters (Godzilla vs. Kong and A Quiet Place Part II) with a third well on its way (F9) and plenty of indie darlings debuting on the festival circuit, both online and in-person. Now that six months of the year are over, it is time to reflect back upon some of the best films we have seen in that time. Here are our top 10 films of 2020 so far, in alphabetical order:
Bo Burnham: Inside
Bo Burnham’s comedy special Inside is perhaps the best portrait of what it felt like to live during the COVID-19 pandemic. Hilarious, insightful, and poignant, the special features all of the brilliant comedy that one would expect and some catchy songs too. Everyone will have their own favorite part, but some clear highlights include “How the World Works” and “Welcome to the Internet”. It’s perhaps the most purely entertaining eighty-seven minutes of content released this year so far, and it will be hard to find anything funnier in the next six months.
Cruella
Unlike most of Disney’s live-action reimaginings of their classic animated properties, Cruella feels less like a cash-grab and more like a legitimate attempt to tell a story. Director Craig Gillespie (I, Tonya) was able to make a film that is stylish and fun, featuring the best costumes and soundtrack of the year so far. Of course, the performances are also exceptional, with Emma Stone and Emma Thompson having a competition to see who is better, and the audience being the only winner.
Derek DelGaudio's In & Of Itself
Directed by Frank Oz, Derek DelGaudio’s In & Of Itself is a performance film capturing the mind-blowing stage show by magician DelGaudio. And while this magic show, which is very heavily rooted in audience participation, may not sound on paper like it would make for a great film, the power of the performance is absolutely undeniable. It’s an experience that is best left unspoiled, but there are plenty of absolutely awe-inspiring moments that will have audiences glued to the screen even though they are watching this from the comfort of their own home.
Judas and the Black Messiah
One of the films to take advantage of the extended Oscar eligibility window, Judas and the Black Messiah was honored in the most recent Academy Awards ceremony but is still a 2021 film nonetheless. And no halfway list would be complete without mentioning this emotionally-charged and unorthodox biopic following Black Panther chairman Fred Hampton. Daniel Kaluuya’s award-winning performance as Hampton is obviously the highlight, but it’s an all-around exceptional film that people will hopefully be talking about for years to come.
Love Spreads
Jamie Adams’s comedy Love Spreads is ultimately just a hangout movie about a group of musicians trying to make an album, but it’s exceptional at what it does and offers some surprisingly insightful commentary. Alia Shawkat and Eiza González are great in the film as the two creative forces in the band, giving performances that are uncharacteristically low-key for both of them. The thing that impresses most about Adams’s film, though, is how lived-in it feels, something which so many films in this genre struggle and fail to pull off.
Profile
Timur Bekmambetov’s Screenlife format of filmmaking has resulted in some really bad and gimmicky films, but his terrorism thriller Profile is not one of them. Having debuted on the festival circuit three years ago but not receiving a release until now, the film definitely isn’t as timely as it would have been had it been released when it was made, but that doesn’t keep it from being an entertaining and anxiety-inducing thriller.
Raya and the Last Dragon
The output of Walt Disney Animation Studios has been very inconsistent in recent years, but Raya and the Last Dragon is absolutely exceptional. It’s an energetic and emotional adventure with some really strong action and plenty of laughs for both kids and adults. The voice cast — including Kelly Marie Tran, Awkwafina, Daniel Dae Kim, Benedict Wong, and more — is great, but the true standout of the film is the gorgeous animation which builds this intricate world of Kumandra so wonderfully.
The Sparks Brothers
Somehow cult-favorite filmmaker Edgar Wright’s first foray into nonfiction filmmaking, The Sparks Brothers is undoubtedly one of the most fun and energetic music documentaries in recent memory. Telling the story of the groundbreaking and underappreciated duo Sparks (who will definitely receive their due when their musical Annette is released in August), Wright’s documentary has great interviews, wonderful archive footage, and of course, plenty of great music, and what else could someone want from a documentary like this?
Supernova
Harry Macqueen’s gay love story Supernova is a brilliant film that got the short end of the stick in awards season because of the level of competition. However, this film features career-best performances from Colin Firth and Stanley Tucci that deserve plenty of recognition, especially the latter. The other thing that allows this film to stand out is that it is an LGBTQ film that isn’t about homophobia or being gay. It’s nice to see love between two men treated as love between two men, not as an obstacle.
There Is No Evil
The Iranian film There Is No Evil is hard to watch, but fittingly so, as it deals with the very difficult theme of capital punishment in Iran. The first two out of four segments of this anthology are riveting, containing some of the most harrowing moments of the film, and the latter two serve to reinforce the point. The fact that this film exists is extraordinary, and cinemagoers should take advantage of that to inform themselves on this issue.
This list only included films that received a regular release between January and June of 2021. Films such as Cryptozoo (releasing in August), We Need to Do Something (releasing in September), A Cop Movie, and Mass (both releasing later this year) might pop up on our end-of-year list.
By Sean Boelman
AFI DOCS was one of the first film festivals to go entirely virtual during the COVID-19 pandemic, and this year’s edition features a virtual program with an in-person component in Washington, D.C. happening simultaneously. With a lineup including multiple exciting high-profile premieres and some screenings of intriguing films from unique voices, this is a festival not to miss for lovers of non-fiction cinema.
At disappointment media, we are proud to be covering the 2021 edition of AFI DOCS. As films screen at the festival, we will be updating this article with capsule reviews of select titles. Be sure to check out this page for the length of the festival to see our thoughts on what we’re watching! Storm Lake
There was a time in which print journalism was one of the most important institutions in the country, and now there are documentaries about how print is dying. Perhaps the most depressing documentary of the festival, even if it isn’t as hard-hitting as some of the others, Storm Lake documents how a community can fall into total disarray as it loses the newspaper that is the glue that holds it together. Yet like the subjects of the film, Beth Levison and Jerry Risus maintain a sense of optimism that this small town paper will succeed in its fight to survive, and the result is generally moving.
The Neutral Ground
CJ Hunt’s documentary The Neutral Ground is ultimately about a lot of things. In exploring New Orleans history, white supremacy, and Confederate monuments, Hunt presents a deeper commentary on Black identity than a lot of documentaries have been able to achieve. Often harrowing and sometimes funny, Hunt gets right into the front lines, interviewing activists from both sides in an attempt to bridge the gap between them and debunk the myth of a neutral ground that exists between them. It’s a really compelling and informative documentary that challenges what we think we know about our past.
The Story Won't Die
David Henry Gerson’s The Story Won’t Die is a film that should be applauded for its attempt at handling a difficult issue in a way that is sensitive and unique, even if its ambitious goals never really pay off. Following a group of musicians who create music despite brutal and oppressive conditions in Syria, this had the potential to be a harsh commentary on the reality of one of the world’s most war-torn countries, but is disappointingly slight. As a whole, the film is somewhat… uplifting? And that feels like the wrong approach when dealing with a story that involves war crimes.
The One and Only Dick Gregory
Viewers may be familiar with the name of Dick Gregory for one of a few reasons: as a comedian, as an activist, or as an entrepreneur. Andre Gaines’s documentary The One and Only Dick Gregory does an exceptional job of capturing the talents and impacts of this multihyphenate, serving both as a wonderful tribute and a reminder of why his work is so necessary. Interviews with numerous well-known comedians from today attest to the impact that Gregory had on the comedy world, and while it doesn’t feature enough in the way of hearing from Gregory himself, it’s still a funny and touching documentary.
No Straight Lines: The Rise of Queer Comics
No Straight Lines: The Rise of Queer Comics is definitely very conventional in terms of how it is presented, but this deep dive into the history of LGBTQ+ artists is so fascinating that it makes for an interesting documentary nevertheless. Some viewers may be familiar with the stories of some of the more well-known people profiled in the film, such as Allison Bechdel, but the portions of the film that tell the story of the more underground artists in the movement are much more effective.
Pray Away
Executive produced by Ryan Murphy and Jason Blum, the documentary Pray Away is absolutely one of the most heartbreaking films to come out in quite a while. Following some of the former leaders of the “Pray Away the Gay” movement, it’s hard to watch the level of self-loathing that is demonstrated in the film. However, the horrors that are being discussed are very much real and need to be talked about so that society doesn’t make the mistake of repeating history. The fact that this is director Kristine Stolakis’s feature debut is absolutely astounding.
Cusp
Isabel Bethencourt and Parker Hill’s documentary Cusp is a very uncomfortable film to watch because of some of the content and issues which it addresses, but the way in which the filmmakers were able to put their finger on the pulse of today’s youth is extremely impressive. Following a group of teenage girls over the course of a Texas summer, this is very reminiscent of the classics of the fly-on-the-wall documentary genre, with a presentation that is typical but a level of empathy that is anything but. It’s a film that finds power in the seemingly mundane moments.
President
The Presidential election in Zimbabwe might not sound like the most compelling story for a documentary, but filmmaker Camilla Neilsson’s film President is surprisingly fascinating. Although this is about an African country, this exploration of a democracy in decline is shocking and riveting. Much of the first half of the film plays out like a race-against-the-clock thriller as the subject struggles to fight back against the corrupt status quo of the Zimbabwean government, and while the second half is much more conventional as a political documentary, it’s still quite interesting.
Searchers
Pacho Velez’s documentary Searchers is definitely very messy, but there is a unique charm to it. Featuring a set of New Yorkers who reflect on their experiences of online dating, this is a topic that is going to be quite relatable to many and is presented in a way that is unorthodox and fascinating. The first half of the film quite literally just observes the subjects as they scroll through potential matches on various dating platforms, and it’s quite entertaining. The remainder of the film is less abstract, and perhaps less effective, but still surprisingly insightful.
The First Step
Following CNN political contributor Van Jones, the documentary The First Step is just as well-intentioned as its subject, but similarly, it is also likely to receive a good deal of controversy. In an era of so much division, the idea of centrism might sound nice on paper, but it’s very difficult to recommend that as a genuine solution. Ultimately, as a whole, the documentary feels like Jones complaining about getting so much heat from both sides, acknowledging but not really accepting why he earned that heat in a very whiny way.
Try Harder!
Debbie Lum’s documentary Try Harder! should absolutely be required viewing for anyone who is in the process of applying for colleges. As someone who is less detached from this process than a majority of critics, this portrait of a group of high school students striving to get admission into their dream colleges would have proven an invaluable resource when going through the same thing. It would have been nice to see Lum go into more depth with the students on a personal level beyond their academic ambitions, but the film is successful in communicating how these students’ broken mindset continues to present them with challenges.
The Lost Leonardo
Robert Simon inspection of the Salvator Mundi at the National Gallery (2011). Copyright Robert Simon. Courtesy of Sony Pictures Classics.
A documentary about one of the most mysterious paintings in the world sounds like it should be very entertaining on paper, but in execution, filmmaker Andreas Koefoed overestimates the amount that the average viewer cares about the art scene. The Lost Leonardo wastes an absolutely insane story and a solid sense of style with talking-head interviews that will easily lose the viewer’s interest. It may be a bit of a stereotype, but the experts who are telling the story are either overzealous and obnoxious or monotonous and boring to listen to, and as a result, this “real-life art thriller” can feel like watching paint dry at times.
Roadrunner: A Film About Anthony Bourdain
Anthony Bourdain stars in Morgan Neville’s documentary ROADRUNNER, a Focus Features release. Photo Credit: CNN / Focus Features.
Filmmaker Morgan Neville’s last documentary, Won’t You Be My Neighbor?, tapped into the audience’s nostalgia to deliver a moving and heartbreaking portrait of its subject. With his newest film, Neville again sets out to document the life of a beloved television personality, this time the late celebrity chef Anthony Bourdain. However, those who expect this to be another sweet crowd-pleaser will be caught off-guard by the surprisingly dark tone this film takes. Much like Bourdain himself, the film is interested in exploring the unknown in a way that is unexpectedly insightful and poignant. It’s an extraordinary tribute to an extraordinary man, and it works brilliantly.
Naomi Osaka
A three-part docuseries from director Garrett Bradley (last year’s Oscar-nominated documentary Time), Naomi Osaka tells the story of the eponymous world-class championship tennis player. However, those who are familiar with Bradley’s work will know that this isn’t an average sports biography, as Bradley’s approach is exceptionally tender and nuanced. It’s really unexpected to see a portrait of an athlete be so humanistic and empathetic, which will allow it to connect with audiences more than many films like it. Only the first episode screened for festival-goers, but if it is representative of the quality of the series as a whole, this will be an absolute must-see when it drops on Netflix next month.
The 2021 AFI DOCS festival runs from June 22-27, 2021.
By Dan Skip Allen
Courtroom dramas are a dime a dozen in Hollywood. A lot of them have flashy lawyers played by a who's who of Hollywood A-listers. The lawyer is usually considered the star of courtroom dramas. In the case of Primal Fear, the star lawyer in the film is Martin Vail, played by Richard Gere. He's a hot defense attorney on the news at night and the cover of magazines. The star power of Richard Gere is all a film like Primal Fear needed, but it has a hell of a lot more star power in it. The least of which is Academy Award nominee Edward Norton as Aaron Stampler.
Martin Vail (Richard Gere) is a hotshot lawyer who defends the biggest criminals in Chicago. He gets them settlements and results for himself. When an altar boy, Aaron Stampler (Edward Norton) is caught running from a murder scene at the house of a prominent priest in Chicago, Archbishop Rushman, covered in his blood. Vail zeroes in on this high-profile case. This could be the whale he's been trying to catch for his entire career. Does all the evidence point to this altar boy or is there more to this case than meets the eye? Looking back at Primal Fear is an incredible thing because of the story based on the novel by William Deihl. This is an amazing story of mistaken identity or possibly multiple personality disorder. This film has an amazing cast that all play their roles terrifically. From the prosecutor Janet Venable (Laura Linney) to the shrink Molly (Frances McDormand) to the Judge Shoat (Alfre Woodard), this cast is packed! Andre Braugher, John Maloney, Maura Tierney are just a few more names in this film that all do excellent work. The real star is Edward Norton! It's the role of a lifetime for him and he got robbed of an Academy Award for Best Supporting Actor. 
Primal Fear has a great story, but it's the twist that makes it work. Gere's character has to sell his side of the story. If he does, the jury and audience can buy into the twist. This film is a classic whodunnit, but everybody already knows who done it. Or do they? The twists and turns in this film are off the wall, which makes it a great courtroom drama. This film isn't straightforward. That's a good thing because it keeps everybody on the edge of their seats throughout. All great courtroom dramas have this effect.
The director, Gregory Hoblit, takes the words of the author and puts them into capable hands: the actors'. He creates an atmosphere that the actors bring their a-game in every scene. He films the courtroom scenes with a lot of up-close shots so the viewers can see all the emotions on the actor's faces as they perform this great dialogue. All great films start with the script and the source material. This film is no different than all the rest in that regard. Primal Fear takes the classic courtroom drama and turns it on its head. It has great performances from the entire cast, but most notably from Gere and Norton. They both give career-best performances in this film. Hoblit put the camera in the right places every time including a lot of close-ups. The script is terrifically acted out by everybody involved in the film. The suspense was there every moment Norton was on screen. He gives one of the best performances ever as the altar boy with multiple personalities. This is the main reason why this film is so great!
By Sean Boelman
Note: We at disappointment media do not support many of the decisions that the Tribeca Film Festival has made in regards to its treatment of the media during the 2021 edition. However, we also recognize the fact that the festival is an important launchpad for many films seeking distribution. As such, we will continue to cover films in the lineup, but will focus on the films themselves rather than the festival as a whole.
Wu Hai
Wu Hai is a film with a ridiculously intriguing premise that ultimately ends up being another entry in the slow cinema movement. Following a man whose world comes crumbling down around him, this would work much better as a race-against-the-clock thriller than the meditative character study that it is. There are definitely some compelling moments, but more often than not, this feels like a redo of emotional beats that have been done better so many times before. The only thing that there is to really recommend about this film is the absolutely stunning visuals.
Wu Hai is currently seeking distribution. Ultrasound
Rob Schroeder’s sci-fi movie Ultrasound is one of those movies that is extremely complicated to the point of feeling really intelligent, even if it isn’t as profound as it seems to think it is. Yet even though the film is a bit hard to follow at times, it’s generally entertaining thanks to the way in which Schroeder creates the atmosphere. Ultimately, it works best as an exercise in eeriness rather than a horror film in its own right, and as such, it will appeal to hardcore genre fans.
Ultrasound is currently seeking distribution. Paper & Glue
Street artist JR has always been known for being very socially conscious, but his new documentary Paper & Glue takes his activism to the forefront. Following JR as he uses his art to give a voice to regular people who are underrepresented, it has some pretty powerful aspirations but never manages to reach them. A lot of the issues that JR sets his eyes on are very important, but the focus here seems to be more on the art and less on the issues. It’s a noble step, but it isn’t as great as it should have been.
Paper & Glue is currently seeking distribution. Clean
Adrien Brody is clearly a very talented actor, but his skills when it comes to writing screenplays have yet to be proven. If the revenge thriller Clean is any indication, he definitely needs a bit more work in that department. As a starring vehicle for himself, it works well enough, as it allows him to give a performance that is predictably strong. However, the script is painfully dull and generic, rehashing the beats of any other movie in the genre in a way that can be hard to get through.
Clean is currently seeking distribution. Ballad of a White Cow
The Iranian film Ballad of a White Cow is perhaps one of the most haunting films on the festival circuit right now, a slow-burn melodrama that escalates into something more sinister with its expertly-crafted tension. Following a woman who learns that her husband was executed for a crime of which he was innocent, this is a bleak film that can be very hard to watch at times, but it’s consistently stirring and very thoughtful. Great direction from Maryam Moghadam and Behtash Sanaeeha and a fabulous performance from Moghadam make this an absolute stand-out.
Ballad of a White Cow is currently seeking distribution. With/In Vol. 1
Pandemic films are certainly going to be a mainstay in the industry for the next year or so, and so audiences need to get prepared for both good ones and bad ones. Thanks to the talent involved, With/In Vol. 1, an anthology film composed of shorts from notable talent including Sanaa Lathan, Rosie Perez, Morgan Spector, and Bart Freundlich trends towards the positive side, with Spector’s segment “Mother” being a particular highlight. However, even though the intentions are good, filmmakers using the same, widely-available equipment to create a film, the fact that all of these creators are well off is a little suspect.
With/In Vol. 1 is currently seeking distribution. The Novice
Having earned several comparisons to Whiplash, Lauren Hadaway’s thriller The Novice is an enthralling glimpse into obsession. In terms of the script, it’s on the conventional side, hitting all of the beats in a predictable manner, but the execution is so stylish that it works nevertheless. The visuals in Hadaway’s film are effectively nightmarish, drawing the viewer into the tense world of the protagonist, and Isabelle Fuhrman gives an amazing performance that was clearly very demanding, both physically and emotionally.
The Novice is currently seeking distribution. Catch the Fair One
Executive produced by Darren Aronofsky, Catch the Fair One, the sophomore feature of filmmaker Josef Kubota Wladyka may be a bit conventional in terms of its script, but it’s certainly confident in its style. A lean, entertaining revenge thriller, even if it plays it a bit too safe, this story of a boxer trying to find her missing sister packs quite the emotional punch. The lead performance from real-life boxer Kali Reis is also worthy of note, as she manages to pull a lot of nuance out of a character that is somewhat by-the-book.
Catch the Fair One is currently seeking distribution. Claydream
A must-see for anyone who is interested in film history, the documentary Claydream tells the story of one of the originators of the claymation style of filmmaking. Documentarian Marq Evans profiles filmmaker Will Vinton in a way that is somewhat formulaic, but the film does a good job of playing out in a way that is cinematic and entertaining. The incorporation of clips from Vinton’s work will undoubtedly leave viewers in awe of his craft, but the real appeal of this film comes in when the story takes a crazy turn in the third act.
Claydream is currently seeking distribution. Italian Studies
From the looks of it, Italian Studies would have been a huge breakout because it features a rising star in Vanessa Kirby, but this film is way too abstract to connect with a majority of audiences. Following an amnesiac writer who wanders the streets of New York City, possibly or possibly not having conversations with teenagers, this is basically a series of metaphorical and philosophical ramblings. Sometimes they are insightful, and other times they feel empty and pretentious. But there’s no doubt that the film is gorgeous to look at, and Kirby’s performance is quite good.
Italian Studies is currently seeking distribution. Mark, Mary + Some Other People
Mark, Mary & Some Other People is a hilarious romantic comedy exploring the somewhat taboo idea of polyamorous relationships. It’s the type of comedy that deals heavily in secondhand embarrassment, as we watch the characters make the wrong decision time after time, but it’s very funny at what it does. Lead actors Ben Rosenfield and Hayley Law have exceptional chemistry together and pull off both the romantic and comedic aspects of the script. From previous outings, it was clear that writer-director Hannah Marks was talented, but this proves that she is great at comedy.
Mark, Mary & Some Other People will release later this year. Blind Ambition
Offering a compelling blend of underdog story, food porn, and a political documentary, Robert Coe and Warwick Ross’s film Blind Ambition seems like an unlikely candidate for success, but much like the team of sommeliers it follows, there is much more to this film than it initially lets on. Audiences can expect to be pulled into the story of the Zimbabwean Wine Tasting Olympics team, and the film also does a very good job of diving deep into the stories of these four men who are fighting against the odds.
Blind Ambition is currently seeking distribution. False Positive
False Positive is a deeply unoriginal film with a script that borrows heavily from, if not entirely ripping off, better films. Anyone with even a passing knowledge of classic horror will be able to predict where the story is going from a mile away, and the fact that the film seems to think it is smart and subversive is, quite frankly, insulting. A decently eerie style from director John Lee and a devilishly fun performance from Pierce Brosnan are nowhere near enough to make up for this joyless attempt at atmospheric horror, especially with the ending being so outright laughable.
False Positive streams on Hulu beginning June 25. Creation Stories
Creation Stories is clearly meant to exist in the same vein as the much better 24 Hour Party People, a comedy-tinged biopic about someone whose hand guided the evolution of British pop. However, despite having plenty of interesting stories to pull from, the script by Dean Cavanagh and Irvine Welsh is so messy that it’s nearly impossible to make anything out of it. Ewen Bremner is solid as music mogul Alan McGee, and the soundtrack is obviously great, but the writing is just horrid, and director Nick Moran’s failed and cheap-looking attempts to infuse the film with a sleek style don’t help.
Creation Stories will be released later this year. The Justice of Bunny King
Gaysorn Thavat’s tear-jerking drama The Justice of Bunny King offers some genuinely heartbreaking commentary on the failures of the system which it critiques, but its emotional beats are too predictable and artificial for it to be especially resonant. The performances by Essie Davis and Thomasin McKenzie are fabulous, but this story of a mother struggling to provide for her children has a script that is less than impressive. The first two thirds are sentimental but bearable, but the final act goes way overboard, nearly to the point of being unwatchable.
The Justice of Bunny King is currently seeking distribution. Larry Flynt for President
The story of Hustler founder and unlikely Presidential candidate Larry Flynt is so insane that it got the biopic treatment in 1996, but the charm of Nadia Szold’s new documentary Larry Flynt for President is that it features lots of unearthed, never-before-seen footage from the Flynt campaign. Clocking in at a lean ninety minutes, the film is definitely very entertaining thanks to its subject’s larger-than-life personality and the often absurd antics in which he involved himself. But beyond that, it’s an interesting exploration of the issue of freedom of speech and the press, which has always been a hot-button topic.
Larry Flynt for President is currently seeking distribution. a-ha: The Movie
Norwegian pop band a-ha has a large, passionate fanbase, so one would think that a documentary about their rise to fame would be absolutely delightful. However, director Thomas Robsahm’s approach to telling the story is very straightforward, to the point of it becoming dull. There are some interesting moments that feature animation in the style of a-ha’s iconic music videos, but other than that, it’s mostly a compilation of interviews and archival performance footage. It’s good enough to be worth watching, but there’s also no doubt that fans and the group deserve something better.
a-ha: The Movie is currently seeking distribution. Bernstein's Wall
Perhaps the most influential American composer in all of history, Leonard Bernstein lived an absolutely fascinating life and the documentary Bernstein’s Wall allows audiences to hear about it in his own words. It’s a bit traditional in how it’s presented — mostly archive footage with the interviews used as voiceover — but Bernstein is such an exceptional subject that flashiness isn’t necessary. Admittedly, it’s a film that’s going to appeal more to those who are already interested in classical music, but it could also win over some fans for Bernstein’s impressive body of work.
Bernstein's Wall is currently seeking distribution. We Need to Do Something
Vinessa Shaw as ‘Diane,’ John James Cronin as ‘Bobby,’ Pat Healy as ‘Robert,’ and Sierra McCormick as ‘Melissa’ in Sean King O’Grady’s WE NEED TO DO SOMETHING. Courtesy of IFC Midnight. An IFC Midnight release.
Sean King O’Grady’s film We Need to Do Something is an absolute masterclass in tense horror filmmaking. Following a family who find themselves trapped in a bathroom after a devastating storm, this starts out as a lean slow-burn thriller before going absolutely off the rails around the thirty-minute mark. The things that O’Grady is able to do with sound and set design are thoroughly impressive and succeed in capturing the feeling of anxiety that the film requires, and Pat Healy’s unhinged performance as the family’s patriarch is a scene-stealer. Genre fans definitely need to check this one out.
We Need to Do Something hits theaters and VOD on September 3. Shapeless
Kelly Murtaugh wrote and stars in Shapeless, which is clearly a very personal film, but personal and compelling aren’t always synonymous. Following a lounge singer with an eating disorder that turns her life into a waking nightmare, the film does some interesting things with body horror, but for the most part, is just dull and repetitive. It gets its point across early on, and the rest of the runtime feels like we are trapped in an endless loop of misery. Of course, this seems to be the point, but that doesn’t change the fact that it’s an altogether unpleasant film to stomach.
Shapeless is currently seeking distribution. Fathom
Dr. Michelle Fournet and Natalie Mastick Jensen in “Fathom,” premiering globally on Apple TV+ on June 25, 2021.
No matter how many are made, there is a seemingly eternal demand for nature documentaries, and the streaming services are often the ones who provide the supply. The newest film from Apple TV+, Fathom, follows two scientists who set out to decode the language behind humpback whale songs. The mission that these researchers are undertaking is pretty fascinating, even if the sound of these whale calls is so soothing to almost lull the viewer to sleep. Still, director/cinematographer Drew Xanthopoulos has a tremendous eye, shooting the film in a breathtakingly gorgeous way that will make this a crowd-pleaser.
Fathom streams on Apple TV+ beginning June 25. Brian Wilson: Long Promised Road
If one is discussing the best albums made of all time, at least one by the Beach Boys should undoubtedly come up — Pet Sounds — but the documentary Brian Wilson: Long Promised Road seeks to remind audiences of just how prolific Wilson’s entire discography is. In terms of how filmmaker Brent Wilson (no relation) presents the eponymous musician’s story, this is a pretty standard biographical documentary, but it’s an entertaining watch nevertheless, especially for those who are already fans. And of course, the best part of the documentary is getting the chance to hear about the origins of some of the best songs ever straight from the mouth of their creator.
Brian Wilson: Long Promised Road is currently seeking distribution. The Beta Test
Jim Cummings as “Jordan’ in Jim Cummings’ and PJ McCabe’s THE BETA TEST. Courtesy of IFC Films. An IFC Films release.
Jim Cummings has become quite the indie superstar since his feature debut Thunder Road, and his newest film, The Beta Test (co-written and co-directed with PJ McCabe), is his best and most ambitious yet. Although the film is a tad busy, biting off a bit more than it can chew in terms of themes, it is a mind-blowing satire of Hollywood and social media. Many films have tried and failed to do this same thing before, but Cummings and McCabe have pulled it off in a way that is thoroughly stylish, entertaining, and anxiety-inducing, making for one of the best thrillers of the year so far.
The Beta Test will be released in theaters and on VOD this fall. Wild Men
The Danish dark comedy Wild Men starts off strong, with some excellent situational humor and the promise of a twisty storyline, but after a while, one begins to wonder why it all matters. Entertaining moments are sprinkled throughout, but the film peaks early and plateaus for much of the rest of the runtime. Perhaps the best thing in play here is a great performance from Rasmus Bjerg, who does a great job with both the comedy and the action. Still, viewers will largely be left unfulfilled, wishing that the film had lived up to the untapped potential of the set-up.
Wild Men is currently seeking distribution. Roaring 20's
Although the adjective gets thrown around a lot more frequently than it needs to be used, there is no better word to describe Elisabeth Vogler’s film Roaring 20’s than “pretentious”. Although the execution of the film as a one-take ensemble drama shot on the streets of Paris during the COVID-19 pandemic is certainly impressive, it often feels like the purpose of this film is merely to prove what Vogler was able to do. It’s gimmicky in all the wrong ways, with minimal story or character development and themes that are scattered at best. It’s a shame that Vogler couldn’t put her obvious talent to use on something more profound.
Roaring 20's is currently seeking distribution. No Man of God
As long as audiences aren’t able to get enough true crime content, filmmakers will keep putting it out, and No Man of God is the latest film that will come and go in the genre. Strong performances from Luke Kirby and Elijah Wood keep this chamber piece about conversations between serial killer Ted Bundy and an FBI psychoanalyst from being entirely forgettable, but the whole affair is frighteningly one-note. The first two thirds are competent but largely dull, but once it gets to the climax, it starts to get outright bad with hokey and forced emotional beats.
No Man of God will be released in theaters and on VOD on August 27. No Running
Recent years have seen an uptick in the amount of socially conscious genre films, and Delmar Washington’s feature debut No Running hopes to put a timely spin on the sci-fi mystery genre. However, the fundamental issue with the film is that first-time writer Tucker Morgan’s script has next to no suspense. There are a lot of genuinely great ideas at play within the story, but an unsubtle hand and a failure to take advantage of the intriguing premise keep the film from elevating beyond competent B-movie level.
No Running is currently seeking distribution. The Last Film Show
A coming-of-age story set against the backdrop of the cinema should be an immediate hook for any cinephile, but The Last Film Show is far too familiar for its own good. Pam Nalin’s film is impeccably shot, and it sticks the landing tremendously well, paying off with an unsurprisingly resonant finale, but the abundance of tropes (particularly in the first two acts) make this more sentimental than genuinely emotional. It clearly wants to recapture the magic of Cinema Paradiso, but it just doesn’t have the same level of oomph as that classic.
The Last Film Show is currently seeking distribution. See For Me
Many horror movies capitalize on the very common fear of the unknown to create a sense of terror. Randall Okita’s film See For Me attempts to double down on that by having a blind protagonist, but fails to translate that to an experience that is particularly tense for the audience. It’s an entertaining and lean thriller, but a very basic one at that, and there have been plenty of movies that have done this same thing much more effectively in the past (just watch Wait Until Dark instead).
See For Me is currently seeking distribution. My Heart Can't Beat Unless You Tell It To
Although the magnificent title is one of the best in the horror genre since the days of giallo, My Heart Can’t Beat Unless You Tell It To is a disappointingly dull affair. Following a brother and sister who begin to clash over the care of their sickly younger brother, this film is far more interested in mood and tone than anything else. Filmmaker Jonathan Cuartas is playing with some interesting ideas here, but the slow burn it takes to the minimal payoff isn’t worth suffering through in the name of an occasionally distinctive take on genre tropes.
My Heart Can't Beat Unless You Tell It To will hit theaters and VOD on June 25. |