Category Archives: New In Theaters

Reviews of what’s out now

New In Theaters

In Sickness and in Health

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7 Days

by Matt Weiner

We likely have years of pandemic-related movies ahead of us. And while 2022 may seem a bit soon to look back on the early days of Covid-19 (much as this country seems ready to declare mission accomplished no matter what), here’s some good news: You’ll be hard-pressed to watch anything more winsome and heartening than Roshan Sethi’s 7 Days.

A pre-arranged first date in March 2020 between Ravi (Karan Soni, who also co-wrote the screenplay with Sethi) and Rita (Geraldine Viswanathan) goes for much longer than either one was expecting when Covid grinds the country to a halt. Unable to get back out of town right away, Ravi hunkers down with Rita.

As the world outside Rita’s house falls apart, the two opposites—traditional, marriage-minded Ravi and freewheeling, drinking and partying Rita—slowly get to know each other on a deeper level than their disastrous first meet-up.

Sethi’s romantic comedy might be the first to use shelter in place as a meet cute, but the film earns its medical bona fides. This is Sethi’s feature debut, perhaps because he is also a practicing oncologist who wrote on medical dramas while finishing Harvard Medical School.

The film is set not only in quarantine but almost entirely within the confines of Rita’s house—save the occasional video call for Ravi, who keeps to his arranged dating schedule even with Rita sitting just feet away. So it falls entirely on Viswanathan and Soni to make these people we genuinely want to be trapped with, even as their perfectly opposite foibles drive each other mad.

And sure, their relationship follows the usual romcom course. (No spoilers, but you will get an answer to the question of whether opposites attract.) But both leads bring an impressive level of charm and depth to their roles, with a chemistry that feels natural and earned even within the formula.

Ravi and Rita have more in common than they first think—not just their traditional families urging them to settle down, but also the struggle of forging their own identities and paths in life.

Of course, the shadow of Covid looms over all of their conversations, especially the early days when so much was unknown and a cough could be the harbinger of weeks on a ventilator—or worse. The way the film works these concerns into the third act is inevitable but no less affecting.

Nothing about the phrase “Covid romcom” should play out as well as everything does with 7 Days. For that alone, the movie is a surprising gem. But to also get an incisive look at love and dating, thoughtful cultural commentary and genuine laughs is a pandemic miracle.

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Romancing the D

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The Lost City

by Hope Madden

A romance novelist who’s really a bit of a hermit becomes a reluctant adventurer looking for legendary jewels in a far-off land, with a roguishly handsome man—part hero, part heartthrob—at her side.

No, it isn’t Romancing the Stone. It isn’t even Jewel of the Nile. Aaron and Adam Nee’s romantic adventure comedy The Lost City offers less adventure, more screwball comedy. And more sequins.

Sandra Bullock is Loretta Sage, whose romance novels are known less for their anthropological mysteries than their hunky hero. That hero has been depicted over many book covers by Alan (Channing Tatum).

Promoting their latest effort, The Lost City of D, Loretta gets nabbed by a wealthy villain (Daniel Radcliffe, playing delightfully against type), who believes she can decipher a map leading to untold riches.

The real gem in this film is Brad Pitt in an extended cameo as the tracker hired to find Loretta. The Oscar winner and veteran leading man is just so much fun when his only goal is to be funny, and in this movie, he’s a riot. (It helps that he gets to deliver the film’s single best line.)

Bullock and Tatum are both solid comic performers, but neither is given much to work with in this odd couple romance. A grieving widow given up on love, Loretta doesn’t offer Bullock a lot of room for hilarity. Instead, she becomes a rather dour anchor for the project.

Tatum’s dunderheaded beefcake is appealing enough, but can’t quite keep the film afloat. A side plot featuring Da-Vine Joy Randolph (Dolemite Is My Name) feels like filler, which this 2-hour film did not need.

There are some chuckles, especially when Pitt’s onscreen. Bullock and Tatum share enough chemistry, deliver physical comedy well enough, and generate enough charm between them to keep the breezy entertainment enjoyable.

The Lost City offers pretty, lightweight fun, not unlike a romance novel.

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Queen of the Mountain

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Infinite Storm

by George Wolf

Just last month, The Desperate Hour showcased Naomi Watts in an almost one woman show. Infinite Storm adds a few more cast members, and this time Watts isn’t just figuratively carrying a film on her back, she’s literally carrying another human.

Based on the true life adventure that found search and rescue climber Pam Bales trying to descend New Hampshire’s Mt. Washington before a storm hits, the film leans heavily on Watts to make a rescue infinitely more emotional.

On her way down the mountain in Oct. 2010, Bales encountered a lone climber she called “John” (Billy Howle) immobile and unprepared for the bitter cold and biting, 50 mph winds. Risking her own life, Bales’s extensive training was often rebuffed by the uncooperative John as she tried to get them both safely home.

First-time screenwriter Joshua Rollins adapts Ty Gagne’s New Hampshire Union Leader article with added layers of sympathy designed to quicken our emotional attachment. Pam’s chosen to ignore the weather forecast and climb because it’s the anniversary of something traumatic in her life, and climbing “is cheaper than therapy.”

This isn’t a documentary, so bulking up the narrative is a smart play by Rollins and director Malgorzata Szumowska (whose excellent The Other Lamb was woefully underseen). Szumowska employs onscreen digital timekeeping to keep the pressure on, while deftly weaving Pam’s flashbacks into the harrowing, well-crafted set pieces filmed in the Slovenian Alps (cheaper than N.H.). Yes, we do eventually get to the source of Pam’s trauma, but the reveal is just slightly askew from what we’re expecting, which is welcome.

Watts again proves she’s more than capable of handling a film’s heavy lifting. She’s rugged throughout the physicality that’s required, and effortlessly human within the ordeal. Pam may not understand why John is acting the way he is, but her commitment never feels false or convenient.

And even if John is sometimes unresponsive, Watts has someone to talk to this time, helping Pam’s expressed inner thoughts feel more organic.

The common challenge for adventure films like this is to make an individual experience speak in universal terms. Watts pushes Infinite Storm past some by-the-numbers moments for a worthy reflection on struggle and healing.

Not to mention the value of a dry pair of socks.

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Luck o’ the Irish

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You Are Not My Mother

by Hope Madden

It’s March. At our house, that means it’s time for Irish horror movies. The Hallow, A Dark Song, The Hole in the Ground —the films that tread that fertile island’s folktales are always among the best.

Writer/director Kate Dolan’s You Are Not My Mother does just that. Her opening sequence will leave you on edge, wondering what you may have gotten yourself into. After that, she settles into a family drama twisted around the kind of visitors that have been scurrying off with Irish folks and tormenting families for centuries.

Hazel Doupe is Char, an unpopular high school girl with serious problems at home. Her ma, Angela (Carolyn Bracken), barely gets out of bed and Granny’s (Ingrid Craigle) gout keeps her sidelined. Things aren’t much better at school, where she’s the object of bullying.

Plus, there are the nightmares.

The film is a blend of dysfunctional drama and folk horror. At times the story seems allegorical of mental illness — bipolar disorder, in particular. Dolan and a game cast explore the specific pain and yearning that goes along with wanting so badly to save a person you love from themselves.

At the same time, they dig into the horror of looking into familiar eyes and finding no one you recognize, but maybe someone who means you harm.

Dolan’s equally invested in spinning an Irish folk horror yarn, and Bracken is entirely on board here. As Angela transforms bit by bit, Bracken embraces the vitality of the new presence Mom has become. She makes the most of some terrifyingly intimate horrors, and one particular dance sequence is enough to leave a mark.

Doupe leans toward listlessness as the central figure, essentially trying to be invisible until she can escape her adolescent hell. The performance style often works, but at times leaves the film wanting for a little charisma.

But it’s a small criticism of a film that so cleverly points toward Ireland’s pagan mythology as not the evil nor the good, but the truth that’s working under everybody’s noses whether they admit it or not.

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Pretty, Poor

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Shepherdess and the Seven Songs

by Cat McAlpine

“Beauty is a curse when you’re born into a poor family,” muses Laila’s new husband. This is her curse. Laila (a fantastic Navjot Randhawa) is beautiful and poor, and there’s nothing she can do about either ailment.

When Tanvir sets eyes on Laila and decides to marry her, all he has to do to win her hand is complete a feat of strength and gain her brother’s approval. Laila has no say in the matter, and soon she is migrating to a new county. In the disputed territory of Jammu and Kashmir, Laila is targeted by the men of local law enforcement for her beauty and minority status.

Writer/Director Pushpendra Singh paints his fable beautifully, with long atmospheric shots in moody forests. Paired with a gorgeous score The Shepherdess and the Seven Songs is a cinematic triumph in style. As Laila goes out into the world to fight her own battles against the men that dog every step, the traditional songs of her culture, the bleating of goats, and even sometimes the thunderous silence of the forest all become a haunting soundtrack to her own introspection.

Singh doesn’t shy away from dissonance though. One of the chief conflicts of his tale is that “Times have changed.” The Bakarwal herders can no longer freely migrate without proper paperwork, and they are constantly under the eye of government officials. We watch Laila herd her flock along a paved road with cars in the distance. Rich campfire scenes are brightly punctuated with flashlights. Contemplative moments are underscored with quiet radio broadcasts that remind you this is a land of tension and conflict.

Laila’s true trial doesn’t begin until she catches the eyes of local officer Mustaq (Shahnawaz Bhat, effortlessly charming and suspicious). The power struggle between the tribe and the local police becomes hyperfocused on who will possess Laila. Local officers ceaselessly pursue her, even though she is already married, a testament to how little the Bakarwal are respected or given autonomy.

Singh empowers Laila with her repeated manipulations of the men in her life, desperately trying to show them her boundaries and needs. But the story begins to lose steam as Laila’s circumstances fail to improve. Finally, she asks herself “Perhaps it is my skin that is the problem” while admiring a shed snakeskin.

It is the circumstances she was born into that she cannot escape. She is a woman, she is poor, she is a minority. What was a story of a fiery woman in difficult circumstances becomes an exhausted lament. And while women’s stories don’t need to be fierce or triumphant to hold value, The Shepherdess and the Seven Songs disappoints some with its meandering end and lack of resolution.

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Tied Down

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Tethered

by Tori Hanes

Another “beware the beast in the woods” tale, Tethered (the first feature film for director/co-writer Daniel Robinette, expanding his short from 2017) attempts to make its mark on the genre utilizing a unique leading man- a blind, recluse teenager.

Abandoned by his mother (Alexandra Paul) at an early age, Solomon (Jared Laufree) makes due in his secluded wooded home before befriending a lost hunter (Kareem Ferguson). Solomon lives by the rules his mother left before her unceremonious departure, the most important of which being: always keep a hold of the rope. 

Connected to the home, Solomon ties the titular rope to his waist any time he ventures outside of its walls- partially for guidance due to his blindness, and primarily to keep away from the monster lurking in the forest.

The directing is competent and the film well shot, creating an aesthetically pleasing piece. The dull gray scale that has become all too common with modern horror is present but not suffocating, playing well into the earthy tone. The visual aesthetic created through production design and costuming is perhaps the strongest aspect of the film- the ever-present feeling of unease is visually palpable.

From top to bottom, the piece is plagued by uneven acting performances. The characters feel awkward and confusing, lacking in any interesting development.  Whether these character issues are caused by stilted performances or an unbalanced script is hard to say, but can most likely be chalked up to a bit of column A, a bit of column B. 

A blind teenager tethered to his home is an inherently interesting idea, but not interesting enough to carry the entirety of a film. Tethered seems to rely on novelty instead of investing in uniqueness. The themes it leans into- generational trauma, loneliness, parental abuse- are lightly grazed. The opportunities director Daniel Robinette had to explore these themes and transform this piece to a level similar to The VVitch or Hereditary seem visualized, but unfulfilled. 

Much of the film is spent indulging in the visuals- which, again, is the strongest aspect. But paired with the slow, staggered pacing and the lack of character development, one can’t help but wonder if the film’s 88 minutes could have been used more wisely.

In the case of Tethered, sometimes the beast in the woods can become your own unfulfilled ambition. 

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The Baker Bunch

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Cheaper by the Dozen

by George Wolf

By now, you’re probably pretty familiar with the premise of Cheaper by the Dozen. But really, the best way for adults to enjoy this new Disney version is by using it as a way to gently introduce small children to more grown up issues.

Otherwise, it’s pretty insufferable.

This time, the heads of the blended brood are Zoey and Paul Baker (Gabrielle Union and Zach Braff), who first meet cute at the L.A. breakfast joint he owns. Their marriage and eventual offspring create a blended family full of diverse and seriously precocious siblings, step-siblings, and later a wayward cousin in need of some guidance. Throw in two ex-spouses (Erika Christensen and Timon Kyle Durrett) who are never far from the shenanigans, and that’s the way they become the Baker bunch.

Director Gail Lerner and the writing team of Kenya Barris, Jenifer Rice-Genzuk and Craig Titley all have extensive credits in series television, which would be a good reason why everything about this film screams “TV sitcom.”

Plot points are hastily introduced and heavily contrived, while any conflicts are soft-peddled and quickly worked through with barely a bad mood or sass mouth in sight. One thing you will see is some surprisingly modest set design (especially for those high school basketball games, yikes) that too often seems fit for an afterschool special.

The Bakers get a corporate offer to franchise the diner and market Paul’s special cooking sauce, so the gang moves on up to a sprawling house in Calabasas that requires just one afternoon to completely move into.

But settling into a new home brings some challenges for everyone. There’s bullying, peer pressure, and dating drama for the kids, while the parents face bless-your-heart prejudices and questions about mixed-race parenting.

Union and Braff are both likable actors, and that’s all they are asked to be, because no one in the film comes anywhere close to resembling a real person. And much like these characters, all the worthy issues raised are treated with a “we got 23 minutes minus commercials” mindset and wedged in between telegraphed attempts at humor and constant mugging.

The PG rating is a bit surprising, because despite the warning of “thematic elements, suggestive material, and language,” everything here is as sanitized as a freshly minted urinal cake.

Cheaper by the Dozen, yes. And you get what you pay for.

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Clothes Make the Man

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The Outfit

by George Wolf

The opening minutes of The Outfit give us a master tailor named Leonard (Mark Rylance) describing his process. We see him measuring fabric, cutting and sewing while he outlines his skill in sizing up customers to give them what they most deserve.

Wait..is he still talking about suits?

Maybe, maybe not.

The setting is Chicago in 1956, where Leonard and his dreaming-of-a-better-life secretary Mable (Zoey Deutch) conduct business while local mobsters use Leonard’s shop to retrieve messages from a nationwide crime syndicate known as the Outfit.

One night after a shootout with a rival mob, gangsters Richie (Dylan O’Brien) and Francis (Johnny Flynn) barge into the shop in need of help and refuge. Richie, the son of local boss Roy (Simon Russel Beale) has been shot, and soon most everyone involved will have to fight to survive the long night.

Oscar-winning screenwriter Graham Moore (The Imitation Game) adds directing duties this time as well, for a nifty big screen debut that often homages early Kubrick and classic Hitchcock.

Essentially a two-room chamber piece, the film leans on a terrific ensemble to roll out a steady stream of delicious twists, relishing the nimble noir wordplay and skillfully keeping Moore’s sleight-of-hand from tipping its hand too early.

Fellow Oscar-winner Rylance (Bridge of Spies) is the perfect choice to bring Leonard to life, displaying a seemingly casual excellence right in line with who Leonard seems to be. Will underestimating the quiet shopkeeper prove to be a deadly mistake? Or is it Leonard who will learn a painful lesson tonight?

Rylance peels back the layers slowly, and Moore has good instincts for the pacing that allows for maximum fun. Deutch proves again that she’s a natural, making the most of a more limited role that still boasts an impressive ratio of secrets-to-screen time.

Despite getting a little too cute for the room come finale time, The Outfit is a solid directing debut for an acclaimed screenwriter. And while you can’t help feeling that this salute to the brainy introvert may be a personal one for Moore, it’s artful and engaging enough to rope in anyone who loves untangling a well-fitted suit of clues.

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A Different Looking Glass

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Alice

by Hope Madden

Long after slavery was abolished, Black families were still held against their will in the rural American south, and through lies and isolation were convinced that they belonged — like slaves — to the white families whose land they worked for free.

It was incredibly uncommon, but it was Mae Louise Wall Miller’s life until 1960.

1960!

Miller’s story inspired first-time writer/director Krystin Ver Linden to make Alice, a testament to knowledge, representation, and the power of Pam Grier.

Alice (Keke Palmer, who also produces) has lived her entire life on an isolated Georgia plantation as a “domestic” (code for slave) to Paul Bennett (Johnny Lee Miller). Cruelty, rage and fear finally spur her to run, and she winds up on a highway with no context for the world of 1973.

1973 has very little context to understand Alice, either.

There’s no avoiding comparisons to Gerard Bush and Christopher Renz’s 2020 film Antebellum. Where that uneven Janelle Monáe-led vehicle raged with modern horror, Ver Linden’s film takes a decidedly blaxploitation direction.

Bennet had taught Alice to read, but only so she could read to him for his enjoyment. This one gift is enough to fuel a passion for knowledge. Pair that with the inspiration of Pam Grier in Coffy, plus the encouragement of truck driver and one-time activist Frank (Common) – who nearly ran her down as she escaped to the highway – and Alice is ready to return for her family and some tasty revenge.

Palmer finds a true north for her character, and she never leaves that course. Alice’s grief, pain, confusion, fear, and finally righteous rage are never showy, always authentic. Frank’s arc is a little more superficially drawn, but Common gives the character tenderness that brightens the film.

No psychotic plantation owner will ever live up to the unfathomable evil of Michael Fassbender’s Edwin Epps in 12 Years a Slave. Still, Miller’s brand of cowardly, narcissistic villainy is chilling.

Period detail and visual storytelling are both strengths for Ver Linden and her cinematographer, Alex Disenhof. But the film — this year’s Sundance winner for dramatic feature — has some pacing problems it can’t entirely overcome.

Alice falls into three very distinct acts, none of which move. The story itself is very deliberately built, but the way scenes are stacked offers no sense of momentum or urgency. This meandering quality robs the film’s climax of some of its power. But Alice mainly overcomes this weakness by telling the truth about the power in knowing who you are.

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Lacks a Punch

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Panama

by Brandon Thomas

There’s been a lot of talk lately about the “Geezer Teaser” subgenre. What’s a Geezer Teaser you might ask? Well, it’s typically a cheaply made action movie or thriller that has a semi-recognizable young lead (usually Scott Eastwood or Devon Sawa), and a much more famous older actor that shows up for a solid 10 to 15 minutes tops. A lot of action movie heavy-hitters have done these. Bruce Willis, Sylvester Stallone, John Travola, and Mel Gibson have all done their fair share.

I guess the big question is “Are these movies any good?”

The answer? 

No, not really, and Panama, Gibson’s latest in this subgenre, is particularly sleep-inducing. 

Ex-marine James Becker (Cole Hauser of 2 Fast 2 Furious) is recruited by Stark (Mel Gibson) to negotiate an arms deal in the country of Panama. As the American invasion of Panama looms over the country, Becker becomes more embroiled with the corrupt government and a shadowy local (Kiara Liz).

From the get-go, Panama is a chore to sit through. Director Mark Neveldine (Game Over, Ghost Rider: Spirit of Vengeance) tries hard to craft a sexy, tropics-based thriller, but nearly every beat is a re-heated moment from infinitely better movies. It’s not a matter of budget, as Daniel Adams’s and William Barber’s script fails on even an entertainment level. The twists lack surprise and a coherent story or character motivation seems to have been an afterthought.

That Panama is so inert is a shame as Neveldine and former directing partner Brian Taylor made two of the wildest action movies with their Crank series. Panama – while not trying to be anything that zany – lacks even a tenth of Crank’s macabre sense of humor or electric visual style.

Cast wise, the bulk of the heavy lifting is put on the shoulders of Hauser. Hauser has rarely been a leading man, and his work in Panama does nothing to show that this should change. Supporting turns in Dazed & Confused, Good Will Hunting and Pitch Black allowed the actor to play second, third or even eighth banana in some really good films. For a character that’s supposed to be charismatic and suave, Hauser brings nothing to the role. His constant stoic and dry delivery conveys the opposite every single time.

At this point, Gibson is just doing his traditional thing. He shows up, kicks a little ass, delivers a few cool lines and heads off into the sunset. It’s the kind of role Gibson could do in his sleep, but doesn’t offer anything we will remember even five minutes after the credits begin to roll.
As far as Geezer Teasers go, Panama is hardly the worst. Still, with weak action, a “been there, done that” story, and a phoned-in cast, it’s still one to skip.