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Review by Sean Boelman
Recent months have seen several strides towards diversification in the Criterion Collection, one of which is the inclusion of several Blaxploitation films. This month sees one of the most beloved films of the genre enter the collection — Gordon Parks’s 1971 action classic Shaft — and it is a must-own for any cinephile.
The film follows the story of a cool private eye who is recruited by a crime lord to find and rescue his kidnapped daughter. It’s a storyline that has been replicated ever since — hell, even Star Wars is doing it in their Obi-Wan Kenobi series — but there is a reason why this film has stood the test of time to become such a classic. No one would deny that a big part of this film’s success is Richard Roundtree’s performance as the eponymous private eye. In subsequent sequels, Samuel L. Jackson and Jessie T. Usher would take up the mantle as the descendants of Roundtree’s o.g. bad-mother-shut-yo-mouth, but no one can or will ever live up to his pure swagger. There is also no denying that the style of the film is a big part of its success. Shaft was one of the foundational films of the genre, with the stylish action and funky music that would come to define Blaxploitation. Isaac Hayes’s Oscar-winning music is certainly memorable, and is a joy to hear the new uncompressed mono soundtrack on a good at-home sound system. 
The new edition also features a new restoration of the film, and it’s very nice. Granted, there are still a few 35mm prints of the film circulating around, and that’s probably the best way of seeing this picture, but a crisp new 4K restoration isn’t a bad way to go. And this is the first time the film has been released on the format.
This edition also includes a Blu-Ray copy of the film’s first sequel, Shaft’s Big Score. While it’s not quite as good of a movie as its predecessor, it’s certainly more underseen and is still an interesting action flick. And who’s gonna turn down the chance to see Roundtree back in his role again. For a film that already has so many releases on home media, the bonus features with this edition are surprisingly strong. There’s a new behind-the-scenes documentary, a new interview with the film’s costume designer, and a new featurette. And if you’re a fan of the film like me, you could hear people talk about it all day. Shaft may not be the most preservation-minded addition to the Criterion Collection, but it’s still a fun and worthy Blu-Ray to add to your shelf. If I dare say, I can dig it. The Criterion Collection edition of Shaft is now available.
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By Sean Boelman
It may have only been around since 2017, but the Overlook Film Festival has earned its spot in the horror community as one of the best festivals there is to see great horror flicks. From traditional terrifiers to other genre pictures that run adjacent to the horror genre like pitch-black comedies, Overlook has plenty to offer for every connoisseur of the macabre.
We at disappointment media had the pleasure of covering the Overlook Film Festival this year in New Orleans, LA. At the festival, we saw a ton of awesome films, including a few we missed at other festivals and some awesome world premieres that we expect to make a big splash when they are released to general audiences. Here are some quick thoughts on some of the films we saw at the fest! Good Madam
Another in the recent trend of psychological horror films dealing with themes of race, Jenna Cato Bass’s Good Madam is undeniably a well-crafted film, but it does leave the viewer wanting more. Although some of the imagery in the film will create a sense of unease in the viewer, this never really builds into a feeling of tension. As a result, this turns into a movie that you admire more from afar — respecting its craftsmanship and the things it has to say in its social commentary, but never really immersed enough for this to be a great work of genre cinema.
Roger Corman, The Pope of Pop Cinema
In addition to being a showcase for genre films themselves, festivals like Overlook often serve as a way of shining a spotlight on some of the most influential voices in filmmaking history through documentaries. Bertrand Tessier’s Roger Corman, The Pope of Pop Cinema follows the career of one of the most prolific B-movie filmmakers of all time. While it may be a bit on the conventional side, its brief sub-sixty-minute runtime and the fact that Corman’s career is just so freaking extraordinary keep this documentary moving and make it a worthwhile watch for any horror cinephile.
Saloum
The Senegalese action-horror film Saloum picked up a lot of acclaim on the festival circuit last fall, and Overlook audiences got the chance to check it out this year. It definitely has some striking imagery, and the aggressive energy it has is undeniable, but this story of three mercenaries who must fight to survive in the mythical plains of Saloum is perhaps a bit too much on overdrive. Regardless, Jean Luc Herbulot clearly made exactly the film that he set out to make, and it should certainly be admired for that.
She Will
Charlotte Colbert’s feature debut She Will is very much a feature debut in that it throws a bunch of stuff to the wall to see what sticks, and while the result may be a total mess, the things that Colbert does with it are so fascinating that it’s easy to forgive some of its flaws. Following a woman who attends a mysterious retreat with her younger nurse, there are a lot of moving plot points here, and not all of them work, but those that do are extremely good, especially when coupled with Colbert’s fantastic eye behind the camera.
Zalava
Seeing horror movies from around the world is always awesome because each culture has a different perception of what “horror” should be. Zalava is less what we in the United States would consider a horror film, and more akin to a thriller, but this story of a community that is torn apart by paranoia surrounding a potential demonic possession is more unsettling than a lot of traditional horror movies. Co-writer/director Arsalan Amiri has penned several screenplays before, but this is his first time in the director’s chair, and it will be exciting to see what he does next.
The 2022 Overlook Film Festival ran June 2-5.
By Sean Boelman
After two years of being part of the streaming co-op Nightstream due to the COVID-19 pandemic, the Overlook Film Festival is finally getting to hold another in-person edition again in New Orleans, Louisiana. Considered one of the most haunted cities in the United States, the setting of the Big Easy is perfect to get together with horror fans to celebrate some of the most exciting new films in the genre.
We at disappointment media are excited to be covering this year’s festival on the ground in New Orleans, and we hope that you will be joining us! For those of you who are able to check out some films at the festival, we’ve had the chance to check out part of the lineup, and here are some spooky flicks we think you should check out. Jethica
For those looking to support independent cinema at the festival, Pete Ohs’s microbudget ghost movie Jethica is definitely worth checking out. Following a woman who is being followed by a ghostly stalker, this is basically a mumblecore movie with some horror elements. Having debuted in the fan-favorite SXSW Midnighters section earlier this year, the film is one of the most exciting independent genre discoveries on the festival circuit right now. The film’s budget is a measly $150,000, and Ohs makes the most of it, delivering a film that feels lovably rough-around-the-edges.
Mad God
Thirty years in the making, Oscar-winning visual effects pioneer Phil Tippet is finally releasing his feature debut, Mad God, a wild stop-motion animation film that is a sight to behold. Completely free of dialogue, the film follows an assassin who heads deep into a labyrinthian city full of monsters. Genre cinephiles are absolutely going to geek out about getting to see this technical marvel, although it is certainly more of an atmospheric piece than based in a strong narrative. Shudder will be releasing the film later this month, but you shouldn’t miss the chance to see this one on the big screen if you can.
Swallowed
What would a great film festival be without some exciting World Premieres? One of the higher profile films premiering at the festival is Swallowed, a queer body horror film written and directed by Carter Smith (The Ruins). Starring relative newcomer Cooper Koch and Jose Colon, the film follows two friends who, on their last night together, end up getting wrapped up in a drug smuggling operation, causing what was supposed to be a night of fun to turn into a nightmare. It’s not what you would expect, but the many twists of the film will leave you feeling unsettled. Add in an unforgettable supporting turn from LGBTQ horror icon Mark Patton (A Nightmare On Elm Street 2: Freddy’s Revenge), and you have one film at the festival you don’t want to miss.
Who Invited Them
Another World Premiere at the festival that has more bubbling beneath the surface than it initially lets on, Who Invited Them is a darkly comedic thriller following two couples whose night begins to escalate into debauchery after a housewarming party. It’s the type of film that is best experienced blind apart from that basic premise, as it is fascinating to see things unfold over the course of the crazy night. And much of the film’s success can be attributed to the four leads — Ryan Hansen, Melissa Tang, Timothy Granaderos, and Avital Ash — who make the film tick.
Zalava
While most of the films playing in this year’s lineup are American genre pictures, there are a few international highlights that festival-goers can check out. We recommend that you see Zalava, an Iranian film exploring superstition. Arsalan Amiri’s film won the prestigious FIPRESCI Prize at last year’s Venice International Film Festival, and that is certainly a feat for a genre film like this given that horror films are rarely recognized like that at a major festival. Even though this may not be a horror movie in a traditional sense, it’s possibly even more unsettling than the “scarier” movies at the festival.
The Overlook Film Festival runs from June 2-5 in New Orleans, LA.
By Sean Boelman
Jûzô Itami’s Tampopo has long been a part of the Criterion Collection, so it is certainly a surprise that it has taken this long for his feature debut, The Funeral, to join the fold. However, now that it is in the collection, it is a must-add for any cinephile who is a fan of Japanese cinema.
With an episodic structure, the film follows a family who have a series of unusual interactions during the traditional three-day funeral of their patriarch. Although this is often over-said about films, this is the type of movie where you truly don’t know what is going to happen next, as the film expectedly gives no shits about your expectations. The comedy in the film is certainly unique. It’s seldom laugh-out-loud hilarious, but it’s quietly wry with a very dark undercurrent. The often weird and random nature of the film is a large part of its charm. Itami focuses on parodying the mundanity of everything that goes on in preparing for a funeral, and the result is something that is extremely relatable. With an episodic piece like this, it is important to have characters that are interesting, and Itami certainly delivers on that. The motley crew of family members that have congregated to “mourn” the death of their patriarch is full of quirky folks, and the dynamic between all of them is excellent and what makes the film work. 
The cultural aspect of the film here is certainly interesting, as this is a commentary on many of the practices that make up a traditional Japanese funeral. However, even the practices that are most sacred and dear — the honoring of a loved one who is passing on from this life — are not too high for Itami to skewer them.
From a technical aspect, it is astounding that this is Itami’s debut feature. His command of the visual craft here is already fantastic and feels fully developed. There are several shots in the film that are simply gorgeous, and others that are framed wonderfully for perfect comedic effect, all thanks to the work of cinematographer Yonezô Maeda. This Criterion edition features several bonus features, some new and some old. For the new, audiences can expect new interviews with actors Nobuko Miyamoto and Manpei Ikeuchi, which supplement a short program produced by the Criterion Channel and a booklet containing an essay by Pico Iyer and excerpts from Itami’s 1985 book Diary of “The Funeral” and a 2007 remembrance of Itami by actor Tsutomu Yamazaki. The Funeral is a Criterion that you are definitely going to want to pick up, especially if you are a fan of Japanese comedy. It’s sharp, witty, and still a phenomenal satire even after almost thirty years. The Criterion Collection edition of The Funeral is now available.
By Sean Boelman
Emilia Jones in “CODA,” now streaming on Apple TV+.
Every year around the time of the Academy Awards, the major contenders end up getting more significant theatrical play because of the increased interest. However, recent years have seen films get nominated that weren’t intended to get theatrical play in the first place. Oscar week marathons and other extended play is a great chance for people to catch up on the nominated films they haven’t seen or revisit those they didn’t get to see in theaters.
Last year, for the 93rd Academy Awards, was the first year that all of the nominees had been available to screen in theaters across the country since the 90th edition (since Netflix would get their first Best Picture nomination in the 2018-19 season with Roma). However, the pandemic showed the need there was for theaters to adapt and be flexible with the changing distribution ecosystem, and the theater chain squeaked out a deal with Netflix in November 2020. This is a nice return to what makes the Oscars what they are — a celebration of the best movies to grace the silver screen. But the reality of the matter is that people aren’t consuming media the same way they used to. Theatrical is still alive and well, yes, but with more options than ever before to watch from home, and those options being as high quality as they are, it is nice to see those being recognized as well. In a move that split cinephiles everywhere, the entire Warner Bros. slate for the year of 2021 streamed on HBO Max for 30 days on the same day it opened in theaters. Under the old eligibility guidelines, Dune and King Richard would have been disqualified, but the Academy’s willingness to adapt has allowed these films to be recognized. WB even emphasized the theatrical experience for Dune, running it several weeks in PLF screens and holding numerous in-person FYC events for voters in major markets. It’s a gorgeous film that demanded to be seen on the biggest screen possible. Interestingly enough, streaming service Netflix had more of a commitment to theatrical exhibition than the legacy studio WB. Their Best Picture nominees Don’t Look Up and Power of the Dog each had theatrical exclusivity periods of a few weeks, and for the most part, even only screened for press theatrically only. Don’t Look Up blew up on Netflix, but it’s the type of film where the laughter plays well with a crowd. Power of the Dog is the only film that maybe benefits from a lack of theatrical play because, despite Ari Wegner’s cinematography being a sight to behold, its glacial pacing is hard to sit through in a theater. 
Photo Credit: Melinda Sue Gordon.
Some studios still committed to a limited theatrical window with their releases. Focus’s Belfast played exclusively in theaters for 19 days before being available to rent at home for $19.99 in the PVOD model. While this is the type of prestige pic that likely would have gotten a theatrical run anyway, it was still nice to be able to see this with a full crowd of people laughing and crying alongside the film.
Disney-owned 20th Century Studios took it a step further with 45-day theatrical exclusivity periods for Nightmare Alley and West Side Story before they hit HBO Max and studio-owned services (Hulu and Disney+, respectively). Both are films that feel like they came from a bygone era, one a moody noir drama, and the other a big-screen musical. Both benefit from the immersion of being able to see them with an extraordinary sound system and picture quality. The two films that had a full theatrical run were MGM’s Licorice Pizza and Janus Films’s Drive My Car. Licorice Pizza even had a full-month run exclusively in 70mm film before even opening in theaters nationwide. It felt like a prestigious theatrical event. Drive My Car had a specialty run, and part of what makes the Oscars so special is that a nomination can boost a film’s profile significantly. Now, the film is getting play in major multiplexes across the country. One of the most surprising things about this year’s Best Picture race is that one of the frontrunners had the least theatrical play. CODA is a true crowd-pleaser in every sense, and it hits so much harder emotionally when you see it with a crowd of people who are eating it up. It’s unfortunate that only a select few people have gotten the chance to see this on the big screen, but those few who did had a truly lovely experience. It’s a great feeling to be able to see all of the Best Picture nominees on the big screen again. With so many of these films being available for at-home viewing, it’s easy to forget the magic that these films can have on the big screen.
By Sean Boelman
Returning in-person to Austin better than ever, the SXSW Film Festival is again bringing cinephiles a showcase of some of the most exciting and subversive films that the year has to offer. For those who have been missing the feeling of community for the past two years, this will be a happy reunion, but for those who aren’t able to make it out to the live event will still have the opportunity to participate via some online offerings.
We at disappointment media are covering the SXSW Film Festival again from home, and we will be reporting to you on what we have had the chance to see in the lineup. Below you will find some of our quick thoughts on some of what we have seen, and we will be updating this article throughout the fest, so be sure to check back in! Split at the Root
Yeni Gonzalez, a mother seeking asylum for herself and her children, are reunited after months in detention. The family was separated under the 2018 Zero Tolerance Policy. They were reunited by a rapid-response group, Immigrant Families Together. | Credit: Emily Kinsky.
Linda Goldstein Knowlton’s documentary Split at the Root explores a very important issue: immigrant families being separated under the Zero Tolerance Policy. And while the film explores these issues in a way that highlights the urgency of the situation, there are some issues with its presentation. Although it is understandable why the filmmakers wanted to focus on the people bringing about change on this front, it comes dangerously close to coming across as white saviorism.
32 Sounds
Credit: Free History Project.
Documentarian Sam Green’s new film 32 Sounds debuted at Sundance earlier this year and is now making its way to SXSW. However, this was not envisioned as merely a film — there is also an in-person experience that augments the film with live performance elements. It’s unfortunate that the COVID-19 pandemic has prevented most audiences from experiencing the latter, but Green’s exploration of sound is still fascinating and something you have to behold. It’s definitely a tad on the pretentious side, but it’s observations are strong enough to justify it.
Bad Axe
Credit: David Siev.
The SXSW Film Festival Documentary Feature Competition often features a film that will be very important in the long run, and David Siev’s Bad Axe is that film this year. Exploring a community in rural Michigan, the film is at once an exploration of the COVID-19 pandemic, generational trauma, and the Black Lives Matter movement. It’s a lot to juggle, and at times, first-time director Siev struggles to tell all of these stories, but the result is mostly affecting.
We Feed People
Caption: José Andrés carries a tray of food in a field from helicopter. Sam Bloch, WCK's Director of Emergency Response, follows behind him. | Credit: Sebastian Lindstrom.
For some reason, filmmaker Ron Howard’s documentaries tend to be much more consistent in quality than his narrative films. We Feed People, his portrait of the activism of celebrity chef José Andrés, is yet another good documentary from him. Those hoping for this to be a standard cooking documentary are going to be disappointed, because there isn’t much of a focus on the food itself, but it is a moving portrait of the difference that people can make if they dedicate themselves to change.
Jazz Fest: A New Orleans Story
Credit: The Kennedy-Marshall Company. Courtesy of Sony Pictures Classics.
Despite what the title may imply, Jazz Fest: A New Orleans Story isn’t really about jazz… nor does it go too heavy on the Big Easy. Just as the eponymous music festival has evolved over the years to become something more mainstream from how it started, this documentary appeals to the masses. Yes, it’s a good film in many ways, with great music and a celebration of the culture that led to Jazz Fest exploding as it did. Still, the film doesn’t escape the feeling of being a glorified promotional video to attract new attendees to the festival.
Hypochondriac
Zach Villa in Hypochondriac. | Credit: Dustin Supencheck.
Addison Heimann’s Hypochondriac is the type of movie where you can admire what it was obviously trying to be, even if it doesn’t always work for what it is. The film deserves some points for being an unabashedly gay genre picture, something which there isn’t enough of, even these days, but the execution is messy. The first half of the film and the second half of the film don’t really mesh together, as when the film goes from being slightly tongue-in-cheek in the beginning to being more of a straightforward horror picture for the remainder of the runtime, it loses most of its steam.
Millie Lies Low
Michelle Savill’s Millie Lies Low is the rare film that manages to take two very different tones and balance them extraordinarily well. It works as both an awkward comedy and an uncomfortable race-against-the-clock thriller. Ana Scotney’s performance as the titular character is extremely strong, giving the film a majority of its emotional resonance. For those who experience any form of anxiety themselves, Millie’s struggle is not only going to be extremely sympathetic, but entirely contagious.
Soft & Quiet
Credit: Greta Zozula.
When Jason Blum boards something that isn’t outright horror, you know that it’s something to be excited about. And so when he was announced to be joining as a producer on the real-time thriller Soft & Quiet shortly before the beginning of the festival, it immediately became one of the most intriguing films in the lineup. Lo and behold, it’s an absolutely riveting watch, with a depiction of white supremacy that is disgusting in all the right ways. It’s the type of film that will stick with you long after the credits roll.
Jethica
(L to R) Callie Hernandez, Ashley Denise Robinson in Jethica. | Credit: Pete Ohs.
Pete Ohs’s Jethica is a true rarity in the major festivals these days — a truly independent film. You would expect a film like this with a budget of about $100,000 to pop up at something like Slamdance or perhaps a genre festival, but the fact that it got a major platform like SXSW is impressive in and of itself. While the film shows its budget at several points, and even occasionally looks outright cheap, there is something undeniably charming about its style that makes it a cult classic waiting to happen.
Diamond Hands: The Legend of WallStreetBets
The GameStop stock situation is without a doubt one of the most bizarre things to happen in the history of the stock market, and so it’s definitely the type of story that would make a fascinating documentary. Diamond Hands: The Legend of WallStreetBets interviews the retail investors who played an integral role in the historical surge of the company’s stock prices along with the Wall Street insiders who were caught so off-guard by this unprecedented movement. But these events also pulled back the curtain on an issue in the system that threatens our financial freedom as individuals, and this film explores that well.
The Thief Collector
Credit: Scott Grossman.
In her documentary The Thief Collector, Allison Otto explores one of the most unusual mysteries that shook the art world. It’s an art heist that feels like it is pulled out of the movies because of how simply outrageous it is. And yet, the film still falls victim to the same flaw that a majority of art-centric documentaries have: the talking head interviews just aren’t that interesting. No matter how many ridiculous twists and turns the story takes, it will be hard to keep the audience interested in these people talking about art in a very dry way.
Still Working 9 to 5
Credit: Brian Tweedt.
Camille Hardman and Gary Lane’s documentary Still Working 9 to 5 explores both the making of the eponymous hit 1980 film and the context in which it is made. It’s a film that is sure to be of interest to cinephiles, because it tells one of the best underdog stories in the film industry, but it also explores the very real issue of gender parity. And in discussing the ways in which these issues are still prevalent over 40 years later, the film is a call to action that audiences need to see.
Deadstream
Actor Joseph Winter portrays Shawn Ruddy, a washed up influencer chasing social relevance, in the film Deadstream. | Credit: Jared Cook.
Co-writer/co-director/star Jason Winter is a lot of what makes the horror-comedy Deadstream work. As a parody of a specific type of viral video, it’s quite funny, even if its humor is derived more from basic gags than insightful satire. But it’s also just a solidly-crafted horror flick in its own right. In terms of found footage movies, it’s on the upper end, with a narrative device that makes sense and a style that isn’t overwhelming. Plus, the make-up work here is exceptional, featuring a handful of really impressive monsters.
Sissy
Aisha Dee as Cecilia in SISSY. | Credit: Steve Arnold ACS.
Acquired by Shudder shortly before the start of the festival, Hannah Barlow and Kane Senes’s Sissy is a confused film. Part social media satire and part slasher flick, the film can be divided pretty clearly into two halves, neither of which works particularly well. The film follows two childhood best friends who reunite after a decade apart, leading them to a trip together in a remote cabin where some long-dormant tensions arise again. And if the tonal issues weren’t enough, the film is sunk by the fact that the characters aren’t likable whatsoever.
This Much I Know To Be True
Nick Cave and Warren Ellis. | Credit: Charlie Gray.
Filmmaker Andrew Dominik and musician Nick Cave’s previous concert film collaboration, One More Time With Feeling, was met with widespread acclaim, and their newest outing, This Much I Know To Be True, will be received with equal warmth. Poetic and beautiful, this isn’t going to be a film for audiences who can’t get behind Cave’s idiosyncratic musical style, but those who appreciate his unique brand will be absolutely enthralled. It definitely meanders a bit, but its observations are so profound that it works.
Self-Portrait
Credit: Joële Walinga.
Several documentaries have used footage in a very abstract sense with little in the way of a traditional narrative, but are still compelling nevertheless. Joële Walinga’s Self-Portrait will not join those ranks, as this mosaic of surveillance camera footage taken over the past four years is not all that interesting. Supposedly offering a peek deep inside the hearts of humanity and an exploration of the things that we value, there are some thematic threads here about connection and greed, but they don’t develop into anything that is insightful beyond the level of a college-level sociology course.
Pirates
PIRATES featuring Elliot Edusah, Reda Elazouar, Jordan Peters. | Credit: Charlotte Croft.
Reggie Yates’s Pirates is a charming little hangout film, although it does feel derivative of so many other films of the genre that have come before. It’s a fun time, and at less than eighty minutes, it’s hard to really hate anything about this, but it becomes clear after about twenty minutes that all it is dealing in is good vibes. The thing that makes it so watchable is the extraordinary chemistry of the main three actors: Jordan Peters, Reda Elazouar, and Elliot Edusah.
A Vanishing Fog
Credit: @ Schweizen.
The Colombian film A Vanishing Fog is certainly going to be one of the more original films in this year’s film festival lineup, but it comes across as more idiosyncratic and eccentric rather than imaginative. The film is about a guardian of the mountains who spends his time caring for the ecosystem and his ailing father. It meanders quite a bit, and while there are some occasional moments that offer some genuine insight, it mostly feels like an imitation of better, more poetic Latin American filmmakers. Augusto Sandino’s visual style is impressive, but the script leaves something to be desired.
The Blind Man Who Did Not Want To See Titanic
Teemu Nikki’s The Blind Man Who Did Not Want To See Titanic is a rare film, the sorts of which are hard to find outside of the festival circuit. It follows a blind man who sets out on an impulsive quest to unite with a woman he has never met face-to-face but talks on the phone with regularly, with the hitch of him not having an aide to help him find his way. An unorthodox mix of romantic comedy and thriller, the biggest strength of this film is in how well-written and endearing the protagonist is, making this a powerful watch.
The 2022 SXSW Film Festival runs from March 11-19.
By Sean Boelman
Throughout the year, Film at Lincoln Center offers several festival programs highlighting specific aspects of world cinema to pique the interest of cinephiles. Their Rendez-Vous With French Cinema program showcases some of the most exciting French features to have played on the festival circuit in the past year, from voices both acclaimed and up-and-coming.
One of the higher profile films screening in this year’s lineup is Between Two Worlds, which debuted at last year’s Cannes Directors’ Fortnight. Based on Florence Aubenas’s semi-autobiographical work, the movie is a sharp commentary on class issues in France. But it is veteran actress Juliette Bincoche’s performance that is the main draw of this film, and she delivers work here that is as extraordinary as always. Another star-driven movie to see is Constance Meyer’s Robust. In the film, Gérard Depardieu plays an aging film star who forms an unexpected friendship with his bodyguard (Déborah Lukumuena). As a whole, the film is solid, but it is the extraordinarily humane chemistry between Depardieu and Lukumuena that makes this something special. Debuting at Cannes to a divisive reception, Arnaud Desplechin’s steamy romance Deception is one of the more complex films to screen at the festival. It’s always tricky to adapt Philip Roth’s works to the screen, and there are a few points in which this misses the mark, but there are more than enough interesting questions posed here for it to work. And with strong performances from Denis Podalydés and Léa Seydoux, it’s at least intriguing. 
Rachel Lang’s Our Men is the type of movie made with such a noble intent that it’s hard to dislike. Exploring the lives of a series of individuals who are connected to the French Foreign Legion, the portions of this film about the actual servicemen are solid, but those about their families are extraordinarily compassionate. It’s a tad sentimental, but it’s a crowd-pleaser first and foremost.
For the music lovers, Rendez-Vous offers two great options: Magnetic Beats and Authentik. The former follows a kid who is called up for service, finding an unexpected opportunity to pursue his love of being a radio disc jockey. It’s a conventional film at times, but a well-made one at that. Authentik is a biopic about the formation of rap group Supreme NTM, and while it may not be as unconventional as the artists deserve, it’s a very fun time. Those who are looking for something a bit more edgy may want to check out Bruno Reidal: Confessions of a Murderer. A tremendously bleak film with brutal violence and graphic sexuality, this definitely won’t be for everyone, but those who are able to dial into its tragic wavelength will find themselves tremendously moved. It’s a complicated film that somehow manages to be both ambiguous and unsubtle, allowing it to be perplexing in all the right ways. Embrace your inner Francophile and check out some cinema at this year’s Rendez-Vous With French Cinema. The festival lineup has several great flicks, from high-profile films screening before their full release in the US to new discoveries you may not have seen otherwise. And with such a wide span of genres, there is something to satisfy everyone. The 2022 edition of Rendez-Vous With French Cinema runs March 3-13.
Review by Sean Boelman
It's been nice to see horror films become a major moviegoing event again, but at what cost does that come? There is no better feeling than sitting in a packed house with a crowd of (respectful) fans waiting to be scared. But these days, horror is the only genre of film that relies more on franchise goodwill than superhero flicks. Why does it work in this genre and not others?
The first attempt to kickstart some sort of legacy horror was in the 1990s. Wes Craven's 1994 film New Nightmare was exceptionally ahead of the curve for meta-commentary and following up a widely-beloved original. Featuring the actors from the original A Nightmare On Elm Street playing both fictionalized versions of themselves and their characters, the film was well-received by critics. Still, being the lowest-grossing film in the franchise implies audiences weren't quite ready for its unique brand of weirdness. Just four years later, the Halloween franchise would have Halloween H20, which would be much more of a financial success. After a string of sequels that took the canon in unusual (and generally maligned) directions, it was nice to see a film that brought back the original film's main star, Jamie Lee Curtis. But then its sequel, Halloween: Resurrection, didn't do as well, seemingly killing nostalgia-driven horror sequels. But how did we get to a point where every franchise now seems to be doing a nostalgia sequel? Blumhouse managed to pull off a massive hit with David Gordon Green's 2018 Halloween — fitting given that the same franchise was one of the initial ones to try to cash in on series nostalgia. And now audiences are stuck in a perpetual cycle of horror films trying to one-up their predecessors while still paying homage. The first two months of 2022 alone have seen two legacy horror films. First was Scream, a new entry in an already self-aware series that attempts to be even more self-aware. But it doesn't seem to be aware that the franchise's late creator Wes Craven had already done the same gimmick twice before (the aforementioned New Nightmare and 2011's Scream 4). Netflix's legacy sequel Texas Chainsaw Massacre is one of the few that has genuinely one-upped its predecessor. Considered by many to be a pinnacle of low-budget filmmaking, Tobe Hooper's original slasher film is relatively tame in retrospect. The new movie doubles down on the gore with an insane body count, and while it isn't without its fair share of flaws, it actually feels like it has a reason to exist beyond the nostalgia. So is this trend one that is worth continuing? Few, if any, of the legacy horror movies that have come out are unwatchable, but one must wonder why Hollywood won't take any chances on big-budget original horror. A Quiet Place was a huge hit, spawning a franchise of its own. Was that just lightning in a bottle? There aren't many horror franchises left to be revived.
By Sean Boelman
Today at the Berlin Film Festival, the Golden Bear was given to Carla Simón for her film Alcarràs, but at Berlinale in 1972, Pier Paolo Pasolini collected the award for his film The Canterbury Tales. A characteristically idiosyncratic and angry adaptation of Chaucer’s iconic work, it’s still very relevant fifty years later.
In the film, Pasolini liberally adapts eight of the twenty-four stories in Chaucer’s collection that take the form of stories being told by a group of pilgrims on a long journey. As always with Pasolini’s films, there is an abundance of sexuality and nudity, but it’s used in a way that is more than just titillation or shock. Many of Pasolini’s films explore the idea of morality and that is certainly the case with this. Pasolini and Chaucer make an exceptional match because both of them critique society very aggressively in their work. The tongue-in-cheek excess with which Pasolini approaches this story works quite well. Another interesting thing about Pasolini’s style is how he blends the elegant with the carnal, much like how Chaucer mixed the high and the low. It’s a very upscale, well-shot film, but some of the content that is being depicted is absolutely absurd and even sometimes blasphemous. It’s sure to upset some, but will earn a good deal of fans. 
The second segment, based on The Friar’s Tale, is one of the more memorable in the film because it has the most direct approach. This tale of a tax collector and the devil has stood the test of time since when it was first written in the 1300s. And the way the dialogue is written in the film is just brilliant.
But unlike most anthologies, there isn’t a weak link to be found in Pasolini’s film. There are some segments that are on the short side, but even those have a very good reason for existing. Every section will leave the viewer either laughing or upset, allowing it to get its point across consistently and effectively. The Canterbury Tales is in the Criterion Collection as part of a box set containing Pasolini’s Trilogy of Life. And the Blu-Ray restoration is absolutely gorgeous. It’s rare that you see a film from the 1970s preserved and restored this well, but the folks at Criterion have set an exceptional standard and always live up to it. Pasolini’s The Canterbury Tales isn’t going to be everyone’s cup of tea, but it’s a truly unique film that deserves to be seen. Although the director’s more shocking work may get more of the attention, one shouldn’t ignore his other films.
By Sean Boelman
When cinephiles think of January film festivals, the first one that comes to mind is obviously Sundance, but it’s important to also remember its more indie, also Park City-based cousin Slamdance which runs concurrently and focuses exclusively on films without distribution. Slamdance is always an exciting showcase for new, independent talent, with a majority of the films playing there being directorial debuts.
We at disappointment media will be covering the 2022 virtual edition of the Slamdance Film Festival, and we will be bringing you our reactions to some of the films we see throughout the festival. Be sure to check out this article to read our thoughts, as we will be updating it throughout the week as we watch more films! Retrograde
Adrian Murray’s Retrograde is the type of movie that one wonders why they are watching it, and they are profoundly uncomfortable doing so, but it’s a satisfying experience nonetheless. Following a woman who receives a (purportedly) senseless traffic ticket and decides to fight it out of principle, there are some interesting things going on in the film thematically, but it’s so ambiguous in its approach that it doesn’t always pay off. Still, despite the somewhat mundane nature of the story and the annoying central character, it manages to be a surprisingly compelling watch.
Ultrainocencia
The international films that play in the Slamdance lineup are always a trip, and Ultrainocencia definitely lives up to the wild factor of things. Following a quirky duo who sets out on a series of experiments to prove the existence of God, this is a fascinating premise, but the film doesn’t make much more of it than a series of wacky and vaguely philosophical scenes. There are definitely some very memorable bits that will stick with viewers (espipi-espipi-espipi-piritual!) but it far from lives up to the tremendous amount of potential it had.
Therapy Dogs
The youngest film in the Narrative Feature lineup, Therapy Dogs follows two high school friends as they set out to make the ultimate senior video before they graduate. As an ode to youthfulness and doing stupid shit with your friends, it’s charming. There’s not much of a clear narrative here, and it’s definitely rough around the edges, but the imperfections are a lot of what make the film feel so authentic and lovable. Yet despite the issues with the film, it’s nice to see something as unfiltered and raw as this getting made by voices as real as Ethan Eng and Justin Morrice.
Actual People
Kit Zauhar writes, directs, and stars in Actual People, a charming little dramedy that sets out to reinvent mumblecore for a younger, more diverse generation. It’s not a perfect film by any means, but Zauhar’s script is genuinely insightful at times, and legitimately funny at others, making it a mostly enjoyable watch. It almost falls apart with a climax that is contrived and over-the-top to the point of feeling melodramatic, and probably would have been better off with someone other than Zauhar in the leading role, the film works well as a whole.
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