Category Archives: New In Theaters

Reviews of what’s out now

New In Theaters

Playing God

Leave a comment

The God Committee

by Rachel Willis

Based on the play by Mark St. Germain and adapted for the screen by writer/director Austin Stark, The God Committee seeks to provide insight into the fraught decisions behind who lives and who dies when it comes to organ transplants.

A new heart is recently available for the St. Augustine Hospital, a building in disrepair and under renovation, and the transplant committee convenes to decide who among three matches is the worthiest to receive the heart. The committee has a paltry 90 minutes to make their decision or else the heart will be useless.

The initial set-up alone is worthy of an entire film, but the movie isn’t satisfied to stay within the confines of a sterile boardroom. The timeline jumps forward seven years to check-in on our committee, primarily Dr. Andre Boxer (Kelsey Grammer), and how the implications of their decision on that fateful day have affected them.

By moving back and forth between the past and present, the tension of those crucial 90 minutes is often interrupted. However, by weaving the present into the past, we get to know the people behind these decisions.  

Grammer excels on screen as the pragmatic Boxer, basing his judgments on the medical data rather than emotion. As his foil, Dr. Jordan Taylor (Julia Styles) relies on her heart to guide her decision-making. Unfortunately, Styles can’t quite match the passion of Grammer. The other members of the committee, which include Janeane Garofalo and Colman Domingo, aren’t given as much to work with and don’t resonate on screen in the same way.

The play lends itself well to film, and Stark handily adapts the source material. There are a few moments that remind us this is an adaption of a play – mainly, characters who talk to the screen. This might have worked better had it been transitioned from audience-directed monologue into character-driven dialogue, as it would have heightened the conflict inside the boardroom.

The film touches on numerous thematic issues: the ethics of deciding who is worthy of a transplant, the conjunction of corporatism and life-saving medical research, the inequity of medical care across racial and class lines, black market trade in organs, etc. Unfortunately, The God Committee never settles on any of them, careening across multiple threads without any direction.

If the movie had stuck to a theme and a timeline, it might have been more impactful.

New In Theaters

A Question of Innocence

Leave a comment

The Phantom

by Brandon Thomas

In February 1983, Corpus Christi, Texas, gas station employee Wanda Lopez was murdered by a knife-wielding assailant during a robbery. Witnesses saw a man flee the scene, and police eventually caught Carlos DeLuna – shirtless and holding a wad of cash – hiding under a car. After a whirlwind trial, DeLuna, who always claimed his innocence, was convicted of murder and sentenced to death. The execution itself was carried out on December 7, 1989.

During his trial and subsequent incarceration, Deluna maintained that a Carlos Hernandez was the man responsible for Wanda Lopez’s murder. Local police and prosecutors looked into DeLuna’s allegations but claimed to have never found any existence of the Carlos Hernandez described. Nearly a decade later, a private investigator was able to prove that Carlos Hernandez did exist and that he bore a striking resemblance to Carlos DeLuna. What happened next convinced many in the Corpus Christi region that a severe miscarriage of justice had taken place.

With The Phantom, director Patrick Forbes (The Widowmaker) doesn’t waste any time digging into the particulars of Wanda Lopez’s murder, and its seemingly neat resolution. Like any good true crime doc worth its weight in gold, The Phantom is chock full of interviews with the investigators involved, and the family members impacted most. The approach is clinical in nature, with nearly everyone involved getting a chance to speak their piece about what happened. 

The second half of the film is where things get really interesting, and the focus of the movie shifts. Miscarriages of justice aren’t new topics in crime docs – and especially crime docs set in Texas (The Thin Blue Line anyone?). More questions are presented than are answered, but answers don’t seem to be Forbes’s objective anyhow. There are more than enough questions surrounding DeLuna’s guilt, but The Phantom’s ultimate goal seems to be to comment on the morality surrounding capital punishment. 

As the end credits start to roll, the lasting feeling from The Phantom is that of freshness. So many modern-day crime docs editorialize to the point of denying the audience a chance to think for themselves. Sometimes it’s nice to spend 80 minutes with a fascinating story and walk away with a lingering “What if…?”

New In Theaters

Diaper Dandies

Leave a comment

The Boss Baby: Family Business

by George Wolf

What happens when The Boss Baby we met in 2017 gets all grown up?

Well, when we catch up with Theodore “Ted” Templeton (voiced again by Alec Baldwin) in the Dreamworks sequel Family Business, he’s a hedge fund honcho who now has a statue in his honor at Baby Corp. But Ted works all the time, doesn’t see much of his family, and has a strained relationship with his brother Tim (James Marsden).

Tim and wife Carol (Eva Longoria) are parents of Tabitha (Ariana Greenblatt), a whip smart but increasingly distant second grader at the Acorn School, and Tina (Amy Sedaris), a new baby with a familiar secret.

Yep, Tina’s an agent from Baby Corp, and they need the Templeton boys to mend fences and work together. It seems Acorn headmaster Dr. Erwin Armstrong (Jeff Goldblum) is cooking up something nefarious at the school, so Ted and Tim need to drink the formula that will – to the tune of “Time Warp” – turn them back into a baby (Ted) and a schoolboy (Tim) for 48 hours. Then they must use that time to derail Dr. Armstrong’s plan for a baby revolution (“cake for everybody!”)

Director Tom McGrath and writer Michael McCullers return from the first film, where they struggled to expand Marla Frazee’s book to feature length without leaning on excess filler.

But this new installment comes together as a more independent, fully formed adventure. The pace is buzzing with often frenetic activity that should keep the kids interested, and though the laughs aren’t hearty LOLs, McGrath and McCullers score with several well-placed and understated asides that parents will appreciate.

Baldwin’s buttery sarcasm is again perfect for the little bossman (“I have a beautiful voice!”), while Sedaris and Goldblum bring some zany Sedaris and Goldblum (both always welcome) to the voice ensemble.

Can the Templeton brothers form a new bond while thwarting Armstrong’s plan? Can Tim return to adult form in time to see Tabitha sing in the Holiday pageant (which also features a song about global warming called “We’re Doomed”)? Is the head on Ted’s statue big enough?

Yes, answering these questions does get both predictable and convoluted, but Family Business stocks just enough inspired nuttiness and warm fuzzies to finish in the black.

https://www.youtube.com/watch?v=N8BZfBxTukc

New In Theaters

What Might Have Been

Leave a comment

The Forever Purge

by Hope Madden

Now, I’m not suggesting any of the Purge films were subtle. Creator James DeMonaco wielded a blunt political instrument from the start.

Quick recap: In the near future, a far-right government, the New Founding Fathers, establishes a single night of lawlessness to encourage Americans to purge themselves of all their hate and anger. And, you know, take their frustrations out on the homeless, the poor, and the otherwise generally oppressed.

So, a pretty easy metaphor to figure out, although most installments contained an interesting idea here, some memorable imagery there. Gerard McMurray’s 2018 The First Purge was impressively topical and prescient, and genuinely angry. In it, the filmmakers essentially looked at Trump’s America and asked: How did we get here?

In a way, all of these films have led organically to The Forever Purge, a film with a premonition of what would have happened if Trump’s America had been allowed to – or would ever again – continue on its natural course.

It’s hard to blame filmmakers for losing optimism in the face of the national shame of January 6. In this installment, entitled, angry white people have decided that one night is not enough, so they organize online and just take over the country.

DaMonaco returns as writer, while Everardo Gout directs. Gout’s sensibilities lean heavily toward action. The Forever Purge is essentially an action thriller with a social conscience (and about as much subtlety as you’ve come to expect from the franchise).

There is no forgiveness in this installment, and maybe there shouldn’t be. But The Forever Purge loses the humanity of the better episodes in the series. At its worst, it’s a political outcry by way of a predictable horror film that’s pretty light on horror. At its best, it’s a poignant upending of this country’s fundamental, foundational racism.  

New In Theaters, Slider

Florida Project

Leave a comment

Zola

by George Wolf

Is it surprising that movies are now born from Twitter threads? Maybe, for a minute. But you’ll find good stories on Twitter, and Zola tells a ferociously good story, even if some of it may not be exactly true.

In 2015, A’Ziah “Zola” King took to her Twitter account, and in 148 tweets told a jaw-dropping yarn about meeting Stefanie, traveling south with her to dance in Tampa strip clubs, and quickly regretting it all.

Director/co-writer Janicza Bravo adapts David Kushner’s Rolling Stone article with an undeniable vision. She brings a vital, in-your-face aesthetic that succeeds in putting the tale’s social media roots right up on the screen without a hint of pandering or desperation hipness.

Anyone who’s seen Taylor Paige in strong supporting roles (Boogie, Ma Rainey’s Black Bottom) knew her breakout was coming soon, and now here it is. She owns every frame as Zola, guiding us through this mashup of hilarity and horror show with captivating bursts of sass, shade and poignant vulnerability.

Riley Keough has a tough job finding the soft spots in the outlandish Stefani, but she lands them repeatedly. Is the offensive Stefani we’re seeing just a cartoon villain from Zola’s memory, or is she also a victim? Keough give us important glimpses that make us care enough to wonder.

Bravo, Paige and Keough (with solid support from Colman Domingo, Nick Braun and Jason Mitchell) each brings indelible talent to Zola, and the sheer buzz of this wild ride becomes irresistible.

Is it truth? Fiction? A bit of both?

It matters only in that it doesn’t matter at all. Because whatever truth still exists in the digital age, Zola speaks it.

New In Theaters

Floating in a Most Peculiar Way

Leave a comment

I Like Tomorrow

by Hope Madden

Need one more reason to be thrilled that the Wexner Center for the Arts is reopening to the public? A new collaboration between filmmakers Jennifer Reeder and Nancy Andrews—the delightfully spacy I Like Tomorrow—plays through July and August in The Box.

The 11-minute short showcases Andrews’s animation prowess, as well as the versatility of performer Michole Briana White, who delivers three roles in one.

White plays Captain Regina Lamb, a lone astronaut who’s been in orbit a while. Maybe a really long while. And at the moment, she’s working through some relationship issues. With herself. Specifically, she’s navigating her commitments to her past self (White again, as Reggie) and her future self (White as Rae).

The I Like Tomorrow aesthetic is MST3K meets Bowie, and who wouldn’t be wild about that? White’s performance is lonesome, slyly insightful and very funny. She makes excellent use of Reeder and Andrews’s nimble dialog, using space exploration to mirror relationship communication, then focusing everything inward.

Captain Lamb’s journey toward appreciating who she is today, this moment, is as charming as it can be. White gives each of the three versions of Lamb age-appropriate personalities and the interplay among the three is priceless.

As layered and insightful as the film is, Andrews and Reeder never abandon their playful attitude. In fact, the comic in this cosmic episode only increases as Captain Lamb’s journey wears on.

Musical interludes and animation, set design and costumes all work together to create a mood that’s simultaneously lonely, hopeful, and weirdly funny.

New In Theaters, Slider

John Cena’s In This One

2 Comments

F9: The Fast Saga

by George Wolf

So if this is the ninth installment, that means all laws of physics went out the window 7.5 Fast films ago. Just remember that when there’s a Plymouth Fiero in space for reelz.

Dom (Vin Diesel) and Letty (Michelle Rodriguez) have been trying to live a quiet life in the country with little Brian, but they’re going to need a sitter.

Seems Mr. Nobody (Kurt Russell) sent the gang an S.O.S. not long after he captured Cipher (Charlize Theron). Now Mr. N. is missing, Cipher’s on the loose, and everybody’s trying to get their hands on both halves of a device that, when made whole, will take control of every weapons system in the world.

And you know who already has one half? Dom’s bigger little brother Jacob (John Cena). We haven’t heard about Jacob until now because the boys have serious beef about who was to blame for their father’s death in a 1989 stock car race.

So Dom’s ad nauseam mantra of “family” has its limits.

Lighten up, right? Don’t take it so seriously, this franchise is about the action! I get it, and when the tone is right (like it was with director James Wan in Furious 7) I’m right there with you.

But this film takes itself waaay too seriously. Director/co-writer Justin Lin is back for his fifth go ’round, and after an opening filled with the usual auto gymnastics, settles into a story surprisingly heavy on the spy game.

Cena gets no chance to flash his charismatic mischievous side, as he and Diesel seem intent on making steely stares and jaw clenching an Olympic sport. Roman and Tej (Tyrese Gibson and Chris “Ludacris” Bridges) try to fill the playful void left by Hobbs and Shaw, but their hi-jinx seldom rise above silly wise cracking.

Plenty of familiar franchise faces return (Lucas Black, Shad Moss, Helen Mirren, Jordana Brewster and Sung Kang), often bringing with them a good amount of exposition explaining what their characters have been doing or why they aren’t really dead.

There’s so much nostalgia, you’d think they were actually trying to put a bow on this whole thing if the film wasn’t simultaneously inventing new threads. And as the running time keeps running, it all starts to feel pretty tedious.

But if you want your flying cars and electro-magnet explosions on the biggest screen possible, F9 will eventually give that to you (even in IMAX where available). Just don’t expect the self-awareness to realize how close they are to self-parody.

Also, hang through the credits and you’ll get a stinger with a big clue about what’s coming in the tenth round: a Prius on top of Mt. Everest.

Not really. But at this point, why not?

New In Theaters

Pregnant Pause

Leave a comment

False Positive

by Hope Madden

You’ll find real horror in False Positive. There’s the plot, sure—a woman desperate to conceive, in the hands of a nefarious physician with a God complex—and all the body horror and helplessness that go along with it. But that’s not the scary part.

Indeed, co-writer/director John Lee levels a more comedic tone to the by-the-numbers premise. Where he and co-writer/star Ilana Glazer mine unnerving dread is in their observational honesty.

Glazer is Lucy, and she and her husband Adrian (Justin Theroux, slyly wonderful) have been trying to get pregnant for two years. As much as she wants to do this naturally, she finally caves in to Adrian’s suggestion that they visit his med school mentor, Dr. Hindle (Pierce Brosnan – perfection).

Lee’s intention is not to make you wonder whether something sinister is afoot. The Stepford-esque nursing staff and eerily meticulous clinic proclaim it. The sheer number and variety of phallic instruments to be inserted, and the volume of lubricant so very lovingly applied, plays like SNL by way of Cronenberg.

If you’ve ever seen Broad City, Glazer’s groundbreaking Comedy Central sit-com, you may not recognize the performer’s dramatic skills, but you will recognize the writer’s keen eye for everyday absurdities.

Here’s where False Positive’s horror kicks in. It’s the authenticity, the banal realism of Lucy’s daily condescending, dismissive, patronizing, smothering, gaslighting humiliations that really eat at you. The low-key accuracy of it all—from the male colleagues who swear you are glowing as they leave their lunch orders next to your laptop, to your nurse’s reassuring caresses and terms of endearment, to your husband’s reminder whenever you’re feeling down that we’ve been through a lot with this pregnancy.

Tensions escalate as the storyline itself dictates, although the film is far more surefooted in its observational horror than it is in its plot. Lucy’s pre-pregnancy character is ill-defined, which makes her descent less satisfying. The climax is played for comedic value and the final act’s weirdness, though welcome, holds no real meaning.

Worse of all is the under-developed character of a midwife played imposingly by Zainab Jah. Lee clearly hoped to use this character as a statement on the genre itself but the whole affair feels wrong-headed.

Those are some serious misgivings, I grant you, but there really is something subversive, honest, and horrifying worth witnessing in this movie.

https://www.youtube.com/watch?v=5WtWjH8GGqE

New In Theaters

On the Record

Leave a comment

Lansky

by Rachel Willis

You might not be familiar with the name Meyer Lansky, but chances are you’re familiar with some of his known associates: Bugsy Siegel and Lucky Luciano. Writer/director Etyan Rockaway decided the time was right to focus on one of the Mafia’s most infamous but un-famous gangsters.

There are quite a few gangster movies, both good (Goodfellas, The Godfather) and bad (Gotti, The Family). Lansky falls somewhere in the center. Never overly imaginative, Rockaway plays it safe with a middling film about a narcissistic mob figure who wants to control the narrative. To do this, an aging Lansky (Harvey Keitel) hires a broke writer, David Stone (Sam Worthington), to pen his tale.

Told in flashbacks within a 1980s framing story, Lansky regales Stone with stories from his childhood, learning to hustle on the streets of – where else? – New York City. However, as Lansky enters adulthood, the tales become violent.

Portraying the Lansky of the past is John Magaro, who makes the character his own while still embracing the inflections and mannerisms of Keitel’s older wise guy. Magaro brings a sinister element, while Keitel embraces the role of a man mellowed by age. It’s a dynamic casting job, and the film’s standout element.

Rockaway’s script glosses over much of Lansky’s past, with large jumps in time, allowing the film to devote equal time to the framing story. Here is where the film tries to carve some new ground. Stone’s story is, in some ways, the more interesting of the two. There’s a moral line Stone must cross to listen to the brutalities in Lansky’s past – especially as he’s bound to secrecy until Lansky has died.

Unfortunately, rather than centering the focus on the ambiguous morality of Stone’s situation, Rockaway’s film instead tries to convince you Lansky is an ‘angel with a dirty face.’

It’s not unheard of to root for the bad guy – Scarface is one of the ultimate examples of this in the genre – but Lansky is not a fictional character. His history is bloody, and his few good deeds hardly outweigh the bad. It’s an odd choice when the true moral crux lies with Stone.

Lansky runs itself ragged trying to cover as many bases as possible, and we’re left with a messy film about one of the most notorious men in Mafia history.

New In Theaters

Killer Set

Leave a comment

Too Late

by Brandon Thomas

Horror comedy is the cinematic equivalent of chocolate and peanut butter. It makes so much sense that they go together. And every subgenre of horror has been touched. The slasher? Multiple times! Zombies? Oh yeah. Podcasters turned into sea creatures? Umm…that too. With Too Late, director D.W. Thomas adds bad bosses to the mix, and also the world of stand-up comedy.

Aspiring comedian Violet (Alyssa Limperis) has what seems to be a great gig as the assistant to comedy great Bob Devore (Ron Lynch). Devore’s weekly variety act Too Late is legendary, and Violet’s job makes her the envy of her comic friends. The problem? Bob is a literal monster, and Violet is in charge of bringing young, fresh-faced comics to satisfy his hunger. 

Thomas leans harder into the comedy than she does the horror. The tone is kept quite light throughout, and Bob’s more ghoulish moments are hidden off-screen (probably due to budget concerns). The make-up effects used on Lynch are quite good, but never come across as too grotesque. It’s just enough to get the point across and let Lynch’s performance shine through.

Too Late draws a lot from the real world in constructing its story. For years, Lynch hosted a variety show of his own in L.A. called Tomorrow! The film also peppers in real-life comedians who help with authenticity. And authenticity is key here. The strength of Too Late is how natural everything feels. Some of the more elaborate digs at the stand-up world might be a little too “inside baseball” for most of the audience, but it’s still relatable enough to be more of a winking satire. 

The cast is universally good. Limperis is fantastic as the long-suffering Violet. It’s the kind of role that could’ve easily gotten bogged down with “woe is me” speeches and attitude, but Limperis, like the film itself, keeps things light and snappy. You can see the burgeoning comic underneath the stressed-out and overworked assistant. Likewise, Lynch is an absolute delight as Bob Devore. He never hams it up during Bob’s transformation. Bob is as much of a monstrous asshole when he’s a regular person as he is when he’s in his creature form.

SNL alum Fred Armisen and notable stand-up Mary Lynn Rajskub show up in small parts as the “names” of the film. Rajskub’s appearance is more of a glorified cameo with Armisen having a more significant role. Neither makes much of an impact on the overall film, but it’s nice to see them, both adding value to an already wonderful film. 

Through charming performances and a look at a more niche part of the entertainment industry, Too Late stands out as one of the better horror comedies in recent memory. It’s not a gut buster, but you’ll have a smile on your face the entire time.