Outtakes

Time to Be Funny

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Time Travel Is Dangerous

by Brandon Thomas

Mockumentaries may not have enjoyed the same rise in popularity as found footage did – at least in the feature film world – but this subgenre still holds a special place in the hearts of many filmgoers. Comedy is where the mockumentary especially took hold. Films like Borat, This is Spinal Tap, What We Do in the Shadows, and the groundbreaking oeuvre of Christopher Guest not only rank as some of the best mockumentaries ever made, they are also seen as some of the best comedies ever made. While Time Travel is Dangerous doesn’t meet the level of these particular films, it is a quirky and fun addition to the genre. 

Best friends Ruth and Megan run a relatively successful vintage shop in the London suburb of Muswell Hill. After finding a time machine near a dumpster, the two begin using it to travel into the past to find items to sell in their shop. Unaware of the “rules” of time travel, their journeys to the past begin to unravel space and time. 

Time Travel is Dangerous isn’t the ornery variety of comedy, like Borat or What We Do in the Shadows. There’s a sweet silliness to the film that wraps you in a warm blanket but also doesn’t treat the audience like a group of blockheads. The science behind Time Travel is Dangerous isn’t the most important aspect of the film, but director Chris Reading isn’t interested in pushing it aside to make the film more digestible either. Unlike many time-travel-related films, viewers won’t need a diagram to follow along. I’m looking at you Primer.

Instead of falling headfirst into a complicated plot, Time Travel is Dangerous puts the characters front and center. Actors Ruth Syratt and Megan Stevenson bring the identically named characters to life with a world-weary familiarity. Their decision to use the time machine to travel into the past to collect merchandise for their store is exactly the dumb thing most people would do with such power. Ain’t no one going back to stop the assassination of JFK or see Dinosaurs. 

Reading wisely doesn’t let the film get too “big” for its budget or the winky tone. The mix of practical effects and CGI keeps with the overall silliness of the film without just looking cheap. If you can’t do a great-looking flying DeLorean, then a modestly looking flying van will have to do.

Time Travel is Dangerous isn’t full of belly laughs or tear-inducing howls. What it does do, though, is keep a smile on your face for a full 99 minutes.

The Screening Room

Screening Room: Wicked: For Good, Sisu: Road to Revenge, Rental Family, Jay Kelly & More

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Hope & George review this week’s new releases: Wicked: For Good, Sisu: Road to Revenge, Jay Kelly, Rental Family, Sentimental Value, Peter Hujar’s Day, Reawakening, Altered, and Time Travel Is Dangerous. Plus, movie news & notes from The Schlocketeer Daniel Baldwin!

Outtakes

Undercooked Allegory

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Altered

by Daniel Baldwin

Socio-political allegory and science fiction storytelling go together like peanut butter and chocolate. One can enjoy their tastes separately, but when combined in the right portions, they taste even better together. The trick, of course, is in getting that mixture right. Making sure that the visuals, themes, world-building, and characters are all executed at a high level. When that’s done, we are handed gems like RoboCop, Children of Men, They Live, Nemesis, Gattaca, or any number of Twilight Zone episodes.

Writer/director Timo Vuorensola (Iron Sky) gets a lot right with Altered. This film posits a post-apocalyptic society that outwardly seems like a utopia but is anything but for anyone who is not deemed genetically perfect by its leaders and culture. Those “unblemished” by genetic “deficiencies” are referred to as the Genetics. They are the “pure” ruling class.

Anyone deemed imperfect – those who are disabled in any way – are called the “Specials”. They are allowed to contribute to society, but generally only through manual labor and menial jobs. Platitudes of equality and unity are dished out in public speeches by the Genetics, but inequality is the true atmosphere of this world. Something that the Specials would like to change.

The world-building is effective, and the themes are relevant. The execution? Not so much. One can see what the film’s core message is meant to be – that we are all important and have worth to society – but these themes are frequently muddled by character and storytelling choices that undercut them throughout. Brief bursts of sci-fi action involving a (pretty silly) plant-powered super suit help to paper this over in bits, but it’s never enough to offset the often undercooked writing.

New lower-budget sci-fi movies roll out by the dozens each and every year. Given that Altered is on the higher end of those in terms of production value and cast (Tom Felton, Elizaveta Bugulova, Richard Brake, etc.), hardcore sci-fi fans may still find a bit to enjoy here. Casual viewers will find far less within to hold their attention. It’s a film that does have at least something going on under the hood, but there’s not enough gas in the tank to get it across the finish line.

New In Theaters

Best Supporting Actor

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Rental Family

by George Wolf

For the first few minutes of Rental Family, you’re not quite sure what it’s trying to be. Phillip, an American actor, is living and working in Japan, wearing funny suits in commercials to get by.

So, maybe fish-out-of-culture screwball comedy.

But then Phillip (Brendan Fraser) starts working at a company that “rents” whoever you need to make you feel better in a certain situation. The “Rental Family” firm needs a token white guy, and Phillip’s first assignment is playing a sad American at a funeral that results in a good laugh.

Still, maybe goofy comedy?

But at twenty minutes in, director and co-writer Hikari puts Phillip in an absolutely lovely human moment. As Phillip sees how good his work can make people feel, a possible warm drama of human connection comes into focus.

Hikari (Beef) and her writing partner Stephan Blahut base the film on real services for hire in Japan. To combat the stigma of mental health, the Japanese can “rent emotion” through actors playing roles in manufactured situations that make the clients seem more contented.

That is a sad necessity, for sure, and Fraser’s caring eyes and frequently furrowed brow speak loudly through various assignments. But as Phillip plays the father of a young girl trying to ace a school entrance exam, and then a reporter interviewing an aging actor who worries he’s been forgotten, the lines of fantasy and reality begin to blur.

Boundaries are crossed, secrets come to light and Phillip’s employer (the renowned Takehiro Hira) finds his entire business suddenly in jeopardy.

Hikari’s big heart is certainly in the right place here, but the film hits its highpoint with that early twenty minute moment. From there, the Oscar-winning Fraser is mainly held to one mopey note, and the emotional tone of the movie begins to feel a bit manipulative.

Mainly, Rental Family lands as a missed opportunity. There is potential here to spotlight a fascinating cultural commodity that parallels the manufactured reality of our social media age. What we get isn’t bad – in fact, it’s very nice – as long as you’re content with broad brushes and greeting card sentiments.

New In Theaters

Historical Portrait

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Peter Hujar’s Day

by Hope Madden

Linda Rosenkranz blurred lines between fiction and nonfiction, turning conversation into a microcosm of Chelsea Hotel-orbiting 1970s society. Peter Hujar—one artist in that orbit—provided photographic evidence of the same.

Writer/director Ira Sachs attempts to trap that same lightning on screen with Peter Hujar’s Day. Sachs adapts a transcript, part of a planned book by Rosenkrantz in which her artist friends simply dictated, in detail, every event of the previous day. We catch Peter Hujar on December 18, 1974.

Ben Whishaw is Hujar, dutifully detailing his previous day to a prodding, intimate Rosenkranz (Rebecca Hall). Theirs are the only faces you see, the only voices you hear, for the film’s brisk 75-minute run time.

The two fall into a delightfully familiar chemistry, Linda a little protective, Peter a tad vulnerable, but certainly committed. Every detail—from sleeping through his alarm and being awakened by a phone call, through all the phone calls, naps, liverwurst sandwiches, right up until being awakened in the middle of the night by the prostitutes talking business under his window—is recounted.

Faithful to the tone of Rosenkranz’s body of work, Sachs spotlights the fiction structuring the nonfiction, blurring lines while drawing attention to them. The banality of the exercise—forcing himself to remember every forgettable detail of a day—strips the conversation of ego or pretention, unveiling introspection and struggle.

Whishaw is exceptional, the rote and self-consciousness at the beginning of the conversation evolving into self-effacing humor and, eventually, raw bursts of personal reflection touched by lilting melancholy.

Hall is a gift in this role, the personification of the absolute joy in simply giving your attention, listening and being with a person.

Set design and cinematography befit not just the time period but the portraiture Hujar is known for. Sachs captures kindship and camaraderie among artists.

Peter Hujar’s Day is a peek inside a lost and treasured time, an era of punk rock artistic and literary revolution. It’s also a bittersweet dance with an artist underappreciated in his time, whose work and words pack a punch 50 years on.

New In Theaters

Pieces of Time

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Jay Kelly

by George Wolf

Oh, jeez, here we go. Just in time for Awards Season, it’s another group of Hollywood elites making a big Netflix movie about how great movies are, and how great the people making movies are and how hard those people work.

Cue the eye-roll. Can the Oscar-baiting get any more shameless?

Hang on there, hot-taker. Why can’t veteran movie-makers write what they know? Like any other story, it comes down to how well you’re telling it, and how much we’re invested in what’s happening to the characters.

Turns out, it’s pretty easy to care about Jay Kelly, about the people in his orbit, and the commitment required to make cinema feel like “pieces of time.”

George Clooney wears the title role like his most broken-in leather jacket. Jay Kelly is a veteran movie star, enjoying the comforts of his status while slowly realizing what he has given up to get it.

And it’s not just Jay. From his loyal manager (Adam Sandler) to his publicist (Laura Dern), old roommate (Billy Crudup) to first mentor (Jim Broadbent) and beyond, their is no shortage of people holding a to-do list that starts with making Jay Kelly comfortable.

Director Noah Baumbach and co-writer Emily Mortimer (who also takes a small role in a large ensemble) seem very committed to writing what they know and live. The script does get talky, but never preachy, and we do see the daily anxieties and the juggled priorities, plus the fun of often watching someone else get the glory.

The film’s pool isn’t deep and its claws aren’t sharp but easygoing humor and poignancy reign. As Jay prepares for his career tribute in Tuscany (where else?), Baumbach’s breezy structure often feels like an adaptation from some unknown Sondheim musical. Characters hustle in and out of the periphery while Jay enters rooms that let him visit scenes from his life, reflecting on past choices and strained relationships with his two daughters (Riley Keough and Grace Edwards).

The cast is littered with talent (including Greta Gerwig, Patrick Wilson, Isla Fisher and Stacy Keach), and Sandler may finally earn that Oscar nod he was robbed of in 2019’s Uncut Gems. But in the end, you may as well just pronounce the title as “George Clooney.”

His modern-day Cary Grant persona is so effortless (just look at him charming that trainload of fans!), it’s nearly impossible to imagine the film working without him. And by the time Jay is seated for a very recognizable career tribute, the line where Clooney stops and Kelly starts becomes pretty damn thin.

Do you appreciate movies? You like Clooney? Say hello to Jay Kelly.

New In Theaters

Which Witch

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Wicked: For Good

by Hope Madden and George Wolf

The lights are flickering, intermission is over, and Wicked: For Good brings us all back to that good problem Glinda and Elphaba have always had.

How do you match the high from part one?

Well, director Jon M. Chu and his magical cast return to do much of what they just did, for a grand, satisfying conclusion that comes about as close to last year’s Wicked as the material allows.

Did I say grand? Make that Grande.

As Glinda, Ariana takes more of the lead this time, in another pitch perfect turn that leans on the wonderful harmony with Cynthia Erivo’s amazing Elphaba.

After embracing the black hat and broom, Elphie is now on the run. The Wizard (Jeff Goldbum) and Madame Morrible (Michelle Yeoh) have opened the yellow brick road and ratcheted up their propaganda campaign, convincing the Ozzians of Elphie’s wickedness and the need to crack down on both animals and munchkins.

Glinda has become an official goodwill ambassador, putting on fake displays of magic and prepping the kingdom for her lavish upcoming wedding to Prince Fiyero (Jonathan Baily).

But Glinda and Fiyero know Elphie is not evil. If they help broker a truce and bring her home, can The Wizard be trusted?

The layers of state-sponsored disinformation, discrimination and cruelty are – surprise! – even more relevant this time, but become less of a focus. A promised romance finally emerges, along with the need to connect the narrative with legendary story beats from The Wizard of Oz.

Baily doesn’t squander his limited screen time. And while the romance has always been secondary to the friendship in jeopardy, it’s still fun to see Elphie decide there’s something to enjoy in being wicked.

Nathan Crowleys’s production design, Paul Tazewell’s costuming and the cinematography from Alice Brooks continue to dazzle, each environment and ensemble styled to emphasize the individuals Elphie and Glinda are becoming. Erivo embraces Elphaba’s maturity and resolve, and she’s never sounded better.

But Grande is the belle of this ball. Glinda trades in her rose colored glasses for clarity, and Grande wields the character’s vulnerability in ways that make the transformation heartbreakingly lovely.

Chu’s commitment to the source material—both the stage musical and Gregory Maguire’s novel—again delivers a compelling, resonant spectacle. But, as was true with the stage production, “Defying Gravity” is the high point of this show. Despite two original tunes, this second half contains fewer truly memorable songs, and ties to the events of The Wizard of Oz feel a bit forced.

And though Chu and returning writers Winnie Holzman and Dana Fox make some course corrections along this yellow brick road, the subtext and emotional depth of storytelling fall just a clock tick below the sublime fantasy of part one.

That’s really been the case since the original show’s opening night. The first half is just stronger, and there is no shame at all in this second place. Far from it. Wicked: For Good is thrilling, impeccably crafted and wonderfully performed. And after all these years and impossibly high expectations, for the complete adaptation of Wicked to be this satisfying may be the most impressive gravity-defying feat of them all.

Outtakes

A Sort of Homecoming

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Reawakening

by Rachel Willis

It’s generally a good bet that if Jared Harris is in your film, it will be worth watching.

This is certainly the case for writer/director Virginia Gilbert’s Reawakening, and the cast surrounding Harris help elevate the entire film.

On the tenth anniversary of their daughter Clare’s disappearance, John (Harris) and Mary (Juliet Stevenson) make a renewed plea to the public to help them in their search for their daughter. It’s made known through subtle pieces of conversation that Clare wasn’t kidnapped but ran away from home at the age of 14.

Brief flashbacks show pieces from the past that help to explain the events leading up to Clare’s departure, but these moments never overshadow the present narrative. We frequently see how her disappearance continues to affect her parents. Mary’s grief is overwhelming. John looks for his daughter in the faces of every young woman he passes. Both have continued with their lives, but it’s clear they will never move on from their loss.

This is a subtle thriller, as the twists and turns play second fiddle to a poignant character study. Harris takes center stage as first a grieving father, then a skeptical one as a woman claiming to be Clare (Erin Doherty) enters their lives. It’s not hard to understand why Mary and John have such divergent reactions to the return of their daughter. Their reactions underscore both blind hope and stunning disbelief.

The film’s subtlety sometimes works against it. There are small moments that are easy to miss even though they play an important role in the overall narrative.

But what works for this film is the veracity of this small family as they seek answers and struggle to reconnect. Harris, especially, sells his role as a father who just wants to know what really happened to his beloved daughter.

It’s a moving analysis of family trauma that resonates long after the credits roll.

Fright Club

Fright Club: Kidnapping Horror

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The idea of being kidnapped is one of those primal fears, one of the first worries we have as children. No doubt those fears have inspired many of these horror movies, and our own connection to those same anxieties the reason why so many of them hit home. From Hounds of Love to Split, Don’t Breathe to Misery, Last House on the Left to Prisoners and so many more, movies centered on kidnapping can leave you breathless and scarred. That must be why we had such a tough time landing on our five favorites. But here they are, live from the Gateway Film Center on Ohio State University campus.

5. The Woman (2011)

There’s something not quite right about Chris Cleese (an unsettlingly cherubic Sean Bridgers), and his family’s uber-wholesomeness is clearly suspect. This becomes evident once Chris hunts down a feral woman (an awesome Pollyanna McIntosh), chains her, and invites the family to help him “civilize” her.

The film rethinks family – well, patriarchy, anyway. You know from the opening, sunshiny segment that nothing is as lovely as it seems, but what lurks underneath this wholesome facade begins with some obvious ugliness—abuse, incest—but where it leads is diabolical.

Nothing happens in this film by accident – not even the innocent seeming baking of cookies – nor does it ever happen solely to titillate. It’s a dark and disturbing adventure that finds something unsavory in our primal nature and even worse in our quest to civilize. Don’t even ask about what it finds in the dog pen.

4. The Loved Ones (2009)

Writer/director/Tasmanian Sean Byrne upends high school clichés and deftly maneuvers between gritty drama and glittery carnage in a story that borrows from other horror flicks but absolutely tells its own story.

Brent (Xavier Samuel) is dealing with guilt and tragedy in his own way, and his girlfriend Holly tries to be patient with him. Oblivious to all this, Lola (a gloriously wrong-minded Robin McLeavy) asks Brent to the end of school dance. He politely declines, which proves to be probably a poor decision.

Inside Lola’s house, we’re privy to the weirdest, darkest image of a spoiled princess and her daddy. The daddy/daughter bonding over power tool related tasks is – well – I’m not sure touching is the right word for it.

The Loved Ones is a cleverly written, unique piece of filmmaking that benefits from McLeavy’s inspired performance as much as it does its filmmaker’s sly handling of subject matter.

3. I’m Not Scared (2003)

Director Gabriele Salvatores (Mediterraneo) crafts a perfect, gripping, breathless thriller with his Italian period piece. In a tiny Southern Italian town, kids run through lushly photographed fields on the hottest day of the year. They’re playing, and also establishing a hierarchy, and with their game Salvatores introduces a tension that will not let up until the last gasping breaths of his film.

Michele (Giuseppe Cristiano) sees a boy down a deep hole on a neighboring farm. The boy, Filippo (Mattia Di Pierro), believes he is dead and Michele is an angel. But the truth is far more sinister. I’m Not Scared is a masterpiece of a thriller.

2. Oldboy (2003)

A guy passes out after a hard night of drinking. It’s his daughter’s birthday, and that helps us see that this guy is a dick. He wakes up a prisoner in a weird, apartment-like cell. Here he stays for years and years.

The guy is Dae-su Oh (Min-sik Choi). The film is Oldboy, director Chan-wook Park’s masterpiece of subversive brutality and serious wrongdoing.

Choi is unforgettable as the film’s anti-hero, and his disheveled explosion of emotion is perfectly balanced by the elegantly evil Ji-tae Yu.

Choi takes you with him through a brutal, original, startling and difficult to watch mystery. You will want to look away, but don’t do it! What you witness will no doubt shake and disturb you, but missing it would be the bigger mistake.

1. The Vanishing (Spoorloos) (1988)

Back in ’88, filmmaker George Sluizer and novelist Tim Krabbe adapted his novel about curiosity killing a cat. The result is a spare, grim mystery that works the nerves.

An unnervingly convincing Bernard-Pierre Donnadieu takes us through the steps, the embarrassing trial and error, of executing his plan. His Raymond is a simple person, really, and one fully aware of who he is: a psychopath and a claustrophobe.

Three years ago, Raymond abducted Saskia (Johanna ter Steege), and her boyfriend Rex (Gene Bervoets) has gone a bit mad with the mystery of what happened to her. So mad, in fact, that when Raymond offers to clue him in as long as he’s willing to suffer the same fate, Rex bites. Do not make the mistake of watching Sluizer’s neutered 1993 American remake.

Hope Madden and George Wolf … get it?