Tag Archives: film reviews

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Do You Want to Pet a Snowman?

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Abominable

by Rachel Willis

Writer/director Jill Culton has crafted a sweet, magical children’s tale with Abominable.

The film opens with a man-sized yeti escaping from a laboratory at the sinister Burnish Industries. While being hunted through the streets of a big city in China, the yeti is injured. He hides on the roof of a building and seems to be safe – for the time being.

The opening scene is dark and a little scary, which explains the film’s PG-rating. This is fare for older children, which isn’t a knock on the film, but it isn’t the cute romp one might expect for the 3 – 6-year-old crowd. The opening hints at more terrifying moments to come as Burnish Industries is not willing to let its latest discovery go without a fight.

The film switches gears, and we’re introduced to Yi (voiced by Chloe Bennet), a teenage girl who rushes through life doing odd jobs to make money. She’s estranged from her mother and grandmother, who don’t understand her attitude. As we follow Yi through a typical day, we are given small pieces of information to help us understand who she is. Not only is she distant from her family, she is mocked by her peers, and her only friend is a younger boy named Peng (Albert Tsai).

On the roof of her apartment complex, Yi has a hideaway where she stows a map of China, an old violin, and a dream of visiting several places across the country. It’s here that she discovers the hidden yeti.

Reminiscent of How to Train Your Dragon (another DreamWorks production), Yi slowly forms a bond with the beast she names Everest. While the development of the bond between Toothless and Hiccup in HTTYD is a slow process, the connection between Yi and Everest feels rushed. And like Toothless, Everest has behaviors similar to a cat or dog as he navigates this new world.    

The few minor similarities aside, Culton manages to craft a film of her own that explores the value of friendships, family, and the beauty of the natural world. It’s a lot to explore in a children’s film and while some of it is handled well—particularly the friendships between Yi, Everest, and her friends—other aspects are neglected.  

The film drags a bit during the second act. As Yi, Peng, and Peng’s cousin, Jin (Tenzing Norgay Trainor) try to keep Everest out of the clutches of Burnish Industries, there are a few montage moments that slow the film’s pace and will have even the most devoted viewer twiddling their thumbs waiting for the action to resume.

However, Abominable is a film that, while predictable, has a few good laughs and plenty of heart.

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Keep the Change, Ya Filthy Animals

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Rambo: Last Blood

by Hope Madden

For those who’ve followed the Rambo franchise, Rambo: Last Blood (please, God, please say it is so) will look familiar.

Stallone is here. The deeply brutal violence is here. The one man against a depraved world is here. But in place of the broken heart of a soldier mistreated and forgotten by his government, of the prodigal son bringing US Military chickens home to roost, is something far less complex.

Rambo: Last Blood is basically Taken meets Home Alone, only racist.

No, John Rambo isn’t turning his training on the rotting center of the military industrial complex at home or in Burma. He’s actually a pretty relaxed, aging cowboy on the Rambo family horse ranch in Arizona, sharing a cordial friendship with his housekeeper and raising her teenage niece as if she were his own.

John Rambo’s teenage daughter. Oh my God, can you imagine a bigger nightmare?

Stallone can. Co-writing along with Matthew Cirulnick and Dan Gordon (who’s wearing a camo vest and AK in his imdb photo), Sly shows Gabrielle (Ybvette Monreal) exactly why adolescent girls need to squelch their own sense of agency.

Gabrielle wants to go to Mexico to find her deadbeat dad. She’ll be leaving for college soon and she just wants to clear the air. And so, against Rambo’s wishes she secretly heads south of the border. And you know what’s in Mexico?

Well, in the undulating sea of thugs, gang bangers, drug lords, rapists and sex traffickers is a lone investigative journalist who seems like very good people. She has three scenes.

Director Adrian Grunberg crafts a film that mercifully requires little attention to dialog as Stallone mumbles indecipherably through his own pages. The 73-year-old nabbed his second Oscar nomination for acting in 2016, revisiting the old war horse Rocky in a supporting role.

Every 30 years or so, Sylvester Stallone gives a good performance.

Creed was three years ago.

But you don’t go to a Rambo movie for the acting! You go for the carnage, and hoo boy, Last Blood does not skimp.

People give horror a hard time because of all the slicing, dicing, arterial spray and virgins in peril, but in nearly every instance, we are meant to recoil at the violence. In this film, we are meant to celebrate it: every decapitation, dismemberment, gutting, castration, every head blown clean off a blood-spraying, still standing body is our own vicarious victory.

Earlier this year, after another mass shooting in the US, Hollywood shelved the Craig Zobel horror film The Hunt because they wanted to send a message that gun violence shouldn’t be celebrated. This weekend, they released Rambo: Last Blood.

The Hunt is the story of wealthy Americans kidnapping poor people to hunt them down, but the tables are turned and the poor people kill all the rich people.

Rambo: Last Blood, on the other hand, is a MAGA fantasy come to vivid, bloody fruition.

Weak.

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Heart of Darkness

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Cold Case Hammarskjöld


by Christie Robb

Initially an exploration of the suspicious death of UN Secretary General Dag Hammarskjöld in 1961, Mads Brügger’s documentary Cold Case Hammarskjöld takes a sharp turn down a rabbit hole into the lengths taken to maintain white supremacy in Africa. 

In a meta move, Brügger makes himself and the process of creating the documentary as much of a focus as Hammarskjöld and the film’s elderly interview subjects. Brügger’s a bit of a fop—dressing in the same clothes affected by the “villain” of the film and occasionally sporting a pith helmet. In much of it, Brügger looms over a black female secretary explaining the twists and turns of his years-long investigation.

You are never unaware that the narrative is being shaped by a white male European.

Which, of course, is much of what the film is about—who gets to shape the story. And the story is both about what really happened to Hammarskjöld (pilot error or multinational assassination conspiracy) and the story of who gets to script the future of Africa. 

The looming is an interesting move, but tends to slow down the pace of the film. Much of the information is presented twice—in the style of a more conventional documentary and via Brügger’s pontification to the secretary. 

With such a breadth of information to cover, the film would have benefited from a bit less artifice and a bit more contextual information. Still, it’ll stay with you, prompting some serious thinking about the intersections of political and corporate interests and what people will do to maintain power.

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

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Let’s All Go to the Editing Bay

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Have You Seen My Movie?

by Matt Weiner

If the phrase “a love-letter to cinema” wasn’t clichéd by now, Paul Anton Smith’s new meta-film Have You Seen My Movie? at least sets the bar impossibly high for future directors.

Have You Seen My Movie? consists entirely of found footage from other movies. From the early silents to the latest blockbusters, Smith pieces together nearly a century of cinematic history to create a distinct and visually stunning movie about movies and moviegoing, all told through these re-cut clips.

Smith served as assistant editor for Christian Marclay’s The Clock, a 24-hour art installation that used film and TV clips featuring the corresponding time of day in their scenes. Marclay’s piece ebbs and flows throughout the day, resulting in a delirious in-person experience that questioned what film, narrative and time itself could be.

All of which is to say that Smith’s own spin on the found footage clip show builds on Marclay’s approach. While it lacks the monumental sweep of The Clock’s 24-hour marathon, Smith’s tight commitment to a feature-length film with all the attendant emotional beats makes for a similarly impressive feature experience.

Without continuity or context to rely on, Smith pieces together a cohesive — and thoroughly engaging — narrative centered on emotion instead of plot (with a big assist from the flashes of recognition that come from picking out iconic scenes and characters).

Over the course of the movie, Smith weaves in every imaginable genre and hundreds of classic films. The technical prowess stands on its own as worth a watch, but it’s clear by the end that all Smith’s clever work is in the service of something grander: yes, there are plenty of hidden delights for cinephiles with a sharp eye. (The Criterion Collection could have a field day with bonus features.)

But there’s also no denying the transformative power of film and the dominant role it enjoyed for so long in shaping the culture. It’s a convincing case from Smith, in all its sentimental and spectacular glory. And in the middle of corporate consolidation, streaming silos and our current blockbuster era, it’s also one that might be less victory lap and more requiem for a dream.



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Bird of Prey

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The Nightingale

by Hope Madden

There is a moment in George Miller’s 2015 action masterpiece Mad Max: Fury Road. The empty bridal chamber is revealed quickly. Scrawled on the wall: Who killed the world?

It occurred to me partway through Jennifer Kent’s sophomore feature The Nightingale that Miller isn’t the only Aussie director with that question on the mind.

The Nightingale is as expansive and epic a film as Kent’s incandescent feature debut The Babadook was claustrophobic and internal. In it she follows Clare (Aisling Franciosi), an Irish convict sentenced to service in the UK’s territory in Tasmania.

What happens to Clare at the hands of Leftenant Hawkins (Sam Claflin), the British officer to whom she is in service, is as brutal and horrifying as anything you’re likely to see onscreen this year. It’s the catalyst for a revenge picture, but The Nightingale is far more than just that.

As Clare enlists the aid of Aboriginal tracker Billie (Baykali Ganambarr, magnificent) to help her exact justice, Kent begins to broaden her focus. Those of us in the audience can immediately understand Clare’s mission because we witnessed her trauma in its horrifying detail. Kent needed us to recognize what British military men were capable of.

What she wants us to see is that the same thing—the worst, almost imaginable brutality—happened to an entire Australian population.

In the second act, Clare—on a higher social rung than her tracker, and just as condescending and racist as that position allows—and Billy begin to bond over shared experience. Franciosi’s fierce performance drives the film, but Ganambarr injects a peculiar humor and heart that makes The Nightingale even more devastating.

Kent’s fury fuels her film, but does not overtake it. She never stoops to sentimentality or sloppy caricature. She doesn’t need to. Her clear-eyed take on this especially ugly slice of history finds more power in authenticity than in drama.

Her tale becomes far more than an indictment of colonization, white male privilege, domination and subjugation. It’s a harrowing and brilliant tale of horror. It’s also our history.

For Your Queue

I Don’t Want to Go Out—Week of August 19

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Wow, there are a lot of movies coming home this week. Some of them are so bad. Just really, extraordinarily bad. But hidden in there are a couple of decent horror flicks you might have missed.

Click the film title for the full review.

Brightburn

I Trapped the Devil (DVD)

The Sun Is also a Star

The Tomorrow Man (DVD)

The Hustle

A Dog’s Journey

The Screening Room

Screening Room: Blinded By the Light, Good Boys, 47 Meters Down: Uncaged, Where’d You Go, Bernadette, Honeyland

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Another week chock full of movie options. Guilty pleasures to disappointments, poetic fables to fanboy riots. Check them out:

Blinded by the Light, Good Boys, 47 Meters Down: Uncaged, Where’d You Go Bernadette, Honeyland

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Queen Bee

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Honeyland

by Hope Madden

Cinematic in structure, narrative in its storytelling, all of it expressed with a visual flair that give it the sense of poetry—Honeyland is no ordinary documentary.

Filmmakers Tamara Kotevska and Ljubomir Stefanov offer a master class in fly-on-the-wall documenting with their patient, beautiful story of a lone beekeeper. Or is Honeyland actually an analogy for the human race and our relationship with this planet?

It’s both.

The Sundance winner offers no exposition, no context, no question and answer. Content to simply observe, Honeyland follows Hatidze Muratova, a Macedonian beekeeper. Loving long shots establish both the rugged terrain and the isolation of Hatidze’s days as she begins the yearly cycle of transporting a hive, caring for it and reaping the benefits of that patient, diligent work.

The filmmakers’ respect for Hatidze drives the doc, which never labels or trivializes its subject, never patronizes.

The solitude and the quiet of Hatidze’s days spent with bees and evenings with her bedridden mother soon make way for chaos and cacophony, as Hatidze’s lonesome dot of Macedonian land makes room for Hussein Sam and his nomadic family.

Kotevska and Ljubomir abandon the long shot in favor of mid-range filming and close ups crowded with jumping children, bickering siblings, chickens and cattle. The campers, the kids, the lifestock, the noise—all of it caught with affection and trepidation by both the filmmakers’ camera and Hatidze’s smiling eye.

Somewhere on the edge of this rush of sound creeps Hatidze, curious and cautious but smiling. Little by little she and this family form a community. She even becomes something of a mentor in the beekeeping tradition to one of the young sons, forming a sweet and eventually heartbreaking relationship.

Heartbreaking because rush and need, ambition and impatience all combine with selfish interests to convince the Sam family that beekeeping is also for them. Shortcuts lead to a natural imbalance and soon Hatidze faces the crisis left behind when the natural environment is used for profit rather than nurtured for balance.

Beautifully filmed with natural light to create a sort of visual lyricism, Honeyland becomes an allegory for our times. It’s hard not to be invested in Hatidze’s story, in her bees, as if our own future depends on them.