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Soul Salvage

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Emilia Pérez

by George Wolf

I’ll tell ya what, this year in movies is heading toward the finish line with some mighty ambitious swings.

In just the last few weeks, Francis Ford Coppola’s Megalopolis and Todd Phillips’s Joker: Folie à Deux brought grand, messy visions to the big screen. Such commitment is easy to appreciate, which made the results even more frustrating.

Jacques Audiard’s Emilia Pérez offers similar vision and commitment, but has more success finding the humanity and resonance to make it memorable.

And plenty polarizing too, no doubt.

Audiard, the French filmmaker known for simmering, intense dramas such as A Prophet and Rust and Bone, delivers his first Spanish language project as a transgender musical crime thriller that beats the odds. This brash clash of styles could easily bury the chance for true joy or heartbreak, but these characters will not be denied.

The always welcome Zoe Saldana is instantly sympathetic as Rita, an overworked and underpaid attorney in Mexico City who get a surprising offer from a frightening new client. Feared cartel boss Manitas Del Monte (Karla Sofía Gascón) needs Rita’s help to retire from his business, fake his death, and start a new life as Emilia Perez – the woman he has always dreamed of becoming.

Del Monte’s wife Jessi (Selena Gomez, terrifically against type) and their two young children are more obstacles for Rita to navigate. Emilia still wants them in her life, but doesn’t want them told of her life change.

After a long career as Juan Carlos Gascón, this is Karla’s first film since transitioning, and she plays the dual roles with wonderful clarity. Del Monte is sinister and mysterious, while Emilia glows from the freedom to “love myself as I am.” With Rita’s continued assistance, Emilia dedicates her life to changing her soul, and helping to solve the thousands of missing persons casualties from her former line of work.

Audiard – who also co-wrote the script and several of the original soundtrack tunes – doesn’t seem much concerned with balancing the film’s many tones. Instead, he throws melodrama, romance, lust, humor, noir, and camp at us with unapologetic zest and life-affirming music. These musical set pieces are uniquely well-staged and evocative, adding to the intoxicating nature of the film’s pull.

Gascón, Saldana and Gomez craft a fascinating triangle – one thrown into chaos with the arrival of Jessi’s boyfriend Gustavo (Edgar Ramirez), and their plan to get what Jessi feels she’s long deserved.

If you’re thinking this all sounds like a super-sized telenovela, I get it. And honestly, there’s a decent chance Audiard’s new fondness for the overt won’t let you see Emilia Perez as anything else.

But there is more here. As Emilia herself says, “I lack singing.” Give the film room enough to blend its many voices, and you’ll find some surprisingly touching, blood-soaked harmony.

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Long Way Home

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Black Cab

by Hope Madden

It’s a classic ghost story, complete with a creepy old car, winding English road and a figure in white. But who could be afraid to get in this friendly cab with affable old Nick Frost behind the wheel?

Frost plays Ian, and his fare for the night is a bickering couple: Anne (Synnøve Karlsen) and Patrick (Luke Norris). Ann doesn’t really want Patrick in the cab at all. Honestly, neither does Ian.

Writer Virginia Gilbert takes a very old timey tale—the most haunted road in England, a weeping mother who hitches a ride—and gives it some teeth. This old spook isn’t here just to relive the same ancient trauma across the centuries. She wants something. And Ian aims to give it to her.

Watching Frost (Shaun of the Dead) oscillate between jovial and deranged is a bit of fun. He complicates the character, layering desperation with menace, suggesting the film could take a psychological rather than supernatural road at any moment.

Norris manages to find some depth in the cad character, but even when he’s a one-note narcissistic gaslighter, he does it well. Karlsen struggles with a character lacking in dimension. There are flashes during heated moments with Norris, as one character clings more tightly and the other sees more clearly, but those instances are fleeting. She spends most of the film in a nameless state of unhappiness, an emotion that does not evolve as her circumstances change.

Director Bruce Goodison is at his finest when his three characters are confined to the cab, moving relentlessly away from the bright lights of the city, the squeak and slap of the windshield wipers their road tunes. But a needless side trip to an abandoned motel, coupled with unimpressive CGI creature effects, keep Black Cab from ever really grabbing hold.

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Is It the Path to a Better Movie?

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Across the River and Into the Trees

by Rachel Willis

Based on the novel by Ernest Hemingway, director Paula Ortiz’s Across the River and Into the Trees is a stunning-to-look-at film about an older man struggling with his past.

The film opens with Colonel Richard Cantwell (Liev Schreiber) receiving unpleasant news from an army doctor. However much the doctor pleads with Cantwell to check into a hospital, the colonel refuses, instead claiming he’ll do so after a weekend trip to Venice.

Along for the ride is Jackson (Josh Hutcherson) a naïve young soldier who wants nothing more than to leave the war behind and return to Kentucky.

Though based on Hemingway’s work, much of the movie’s dialogue feels like the creation of screenwriter Peter Flannery. For a film that relies on character interaction and discussion, much of the dialogue is either heavy-handed and unnatural or terribly banal. The moments shared between Jackson and Cantwell have little depth, despite the pair’s shared experiences with war.

There is also a distinct lack of chemistry between the actors, which only worsens when we met the young Italian woman, Renata (Matilda de Angelis). Though she and Cantwell are supposed to share a deep connection, the audience never feels it. And as Renata claims more of the film’s screen time, Jackson’s presence becomes even more superficial.

Of the bunch, Schreiber is the most effective, conveying more emotion with small moments of silence. Hutcherson is not without talent, but he is given so little to work with that his part is frustrating. His character’s lack of depth becomes more disappointing as we learn more about the reserved Cantwell.

As for Renata, her role in Cantwell’s story is the most superfluous. Her backstory is neither original nor compelling, and though de Angelis may be a fine actor, you wouldn’t know it from this film.

What works for the film is the setting, the costuming, and the cinematography. They’re a pleasure to behold in a film that otherwise brings nothing substantial to the table.

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Pork & Pickles

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Hitpig

by Hope Madden

Do you ever take one look at the villain in an animated film and know exactly how things will go? I don’t mean the villainy. I mean the comedy.

The second Leapin’ Lord of the Leotard (Rainn Wilson) pranced across the screen in Hitpig, spilling over his thong and tights, I knew. As flamboyant as he is round, Leapin’ Lord is comic relief wrapped in fat jokes veiled thinly beneath homophobia.

That’s just problem #1.

The film pits a bounty hunter pig (Jason Sudeikis) against an eco-criminal (Anitta) who routinely breaks animals out of their involuntary confinement. The latest escapee is Pickles the Elephant (Lilly Singh), the Leapin’ Lord’s dance partner.

The script comes in part from Berkeley Breathed, whose delightful Pete & Pickles picture book series inspires the adventure. Hitpig needs to get Pickles to Vegas for showtime, but Pickles just seems to get them into one misadventure after another.

Directors Cinzia Angelini and Davis Feiss can’t land on a tone (except when they go tone deaf with the fat jokes). The animation, basic plotting and quick scene changes would appeal to the very young. Much of the humor might entertain older kids who’d be put off by the very silly antics. Certain jokes seem aimed at adults, who are no doubt already bored into a fugue state.

Lessons are learned, stakes are low, animation style is bland, jokes go on too long and the slight story is stretched beyond breaking. A solid cast (RuPaul, Hannah Gadsby and Flavor Flav round out the voice talent) and a few charming moments can’t overcome the film’s lack of narrative cohesion or heart.

There is a moment in this film where the nasty villain slams Pickles the Elephant in a train car, only her terrified eyes visible behind the bars. This ode to Dumbo may have seemed necessary in another animated film about a mistreated show elephant. But that particular image—recalling one of the most traumatizing moments in the history of family films—serves as a startling reminder of just how mediocre Hitpig really is.

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Something Personal to Say

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Chasing Chasing Amy

by Hope Madden

Nearly 30 years ago, Kevin Smith did what he does best. He made a film so simple, so personal, so deeply human, so profoundly myopic, so densely problematic, so deeply heterosexual-white-dude that it was hard not to simultaneously hate and love it. In fact, of all Smith’s movies, his 1997 straight-boy-falls-for-lesbian romcom Chasing Amy fits that (rather lengthy) bill best.

Hell, just being the indie darling of 1997 – pinnacle Weinstein era – creates additional problems, let alone the way Smith’s script funhouse mirrors his offscreen relationship with the star (Joey Lauren Adams, who earned a Golden Globe nomination for her vivid performance).

Whew, that’s a lot to unpack, and it’s not even the primary focus of Chasing Chasing Amy. For documentarian Sav Rodgers, stumbling across Smith’s film in his parents’ stash of Ben Affleck flicks as a kid saved his life. Literally. During his toughest times, Rodgers would watch the film every day. He’d never seen queer people in a film before. And he wanted to believe that one day he would find the kind of love Holden (Affleck) expressed for Alyssa (Adams).

And yet.

For many (most?) in the LGBTQ community, Chasing Amy is nothing if not problematic. So, what begins as Sav’s odyssey through the film’s New Jersey landmarks turns into an investigation into the movie’s queer depictions, then becomes an enduring friendship with Smith himself before turning into a remarkable examination of the seedy state of independent film in 1997. And that alone would be more than worth the price of admission.

Indeed, Rodgers gets better, more insightful talking head interviews for this doc than I’ve seen in any documentary in the last several years. Guinevere Turner (who wrote 1997’s Go Fish and partly inspired the character of Alyssa), in particular, is a treasure.

But even as Rodgers’s film metamorphosizes, so does its filmmaker. Because Rodgers is himself a large part of his film – the film’s impact on his own life did inspire the documentary – the director cannot help but document his own journey. And not his journey as a filmmaker, but as a trans man.

Rodgers possesses sharp storytelling instincts and a cinematic presence so sincere and authentic it could break your heart. You come away from this film hoping genuinely for his happiness and waiting eagerly for his next film.

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Games People Play

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The Remarkable Life of Ibelin

by George Wolf

If you join me in sometimes wondering whether we all might have been better off if the internet was never invented, The Remarkable Life of Ibelin will turn your head.

It will also put tears in your eyes, so come prepared for a moving story about one young man’s very secret, very fulfilling life.

Norwegian Mats Steen was born with Duchenne Muscular Dystrophy, a rare and degenerative muscle disease that took Mats’s life at the age of 25. As his disease progressed, Mats spent more and more time online playing World of Warcraft, leaving his parents despondent that their son would never know the simple joys of friendship, community and social interaction.

But Mats was careful to leave behind his password, And with it, his family soon discovered that Mats enjoyed all they wished for him and more as Ibelin Redemore, P.I., the role he played within a WoW community called Starlight.

And because of the the online game’s extensive archive, director Benjamin Ree (The Painter and the Thief) is able to recreate the life Mats lived inside the game.

On a broader scale, the gaming community will find plenty of reinforcement here, but the real power of this film lies in its intimacy. It is a story of empowerment, and how a special young man transcended his limitations to touch people’s lives in ways his parents could never imagine.

The Remarkable Life of Ibelin is remarkable in its own right. It weaves together interviews, home movies and stylized game recreations into a journey of stirring emotion, led by one young man whose humanity would not be denied.

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Happiness Is a Warm Puppy

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Hangdog

by Rachel Willis

Though not obvious at first, it becomes apparent that all is not right with Walt’s (Desmin Borges) world in director Matt Cascella’s film, Hangdog.

Walt struggles to find work after leaving his job and moving to Portland, Maine with his smart, successful girlfriend, Wendy (Kelly O’Sullivan). Though their life from the outside seems fine, Walt doesn’t believe he’s good enough for Wendy. He often thinks she loves her dog, Tony, more than she loves him.

So, when Tony is stolen while under Walt’s care, his anxiety and desperation peak.

While the stolen dog is the centerpiece of the film, this is really an examination of how anxiety and depression affect everything in a person’s life. Walt does what he can to find Tony, hanging missing dog flyers, answering every call that may offer some piece of information.

The journey shows Walt’s declining mental health, but it also forces him to interact with others. Some of the people who reach out have no information, but they themselves need a connection of some sort.

Each character adds to the layered story, and none are without flaws. It reinforces to Walt (and the audience) that most of us are struggling or have struggled at some time in life.

Borges excels at portraying Walt as feeling very alone, even with a supportive girlfriend and others willing to reach out a hand. He skillfully conveys the isolation and depression that can make anyone feel worthless.

Cascella has crafted a touching, often funny film about the ways people deal with their personal failings and hang-ups. It’s easy to connect with Walt’s unhappiness, and feeling of uselessness. It’s impossible not to empathize with Walt.

And to make sure you don’t get too down while watching the film, there are a lot of funny people and one hell of a cute dog in the mix.

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Dear Diary: I Wanna Rock!

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Road Diary: Bruce Springsteen and The E Street Band

by George Wolf

In early 2020, Bruce Springsteen had a new album to promote, but – thanks to lockdown – no place to play. Instead, Bruce and longtime collaborator Thom Zimny filmed a very exclusive show at his New Jersey ranch, and released the Western Stars concert film.

The music was inspired by the smooth California sound of artists such as Glen Campbell and Burt Bacharach, and featured a band full of orchestral musicians instead of Bruce’s longtime road warriors.

By the time the E Streeters -Rock Hall of Famers on their own – reunited for Bruce’s current tour, they hadn’t been together for six full years. Hulu’s Road Diary digs into that reunion with joy and celebration, showcasing the creative process fueling Springsteen’s reputation as one of the greatest live performers in the history of rock and roll.

Zimny is back to direct, and though we are treated to several Springsteen bangers, the focus here is less about songwriting inspirations and more about the business of how those legendary E Street shows come together.

It starts, of course, with rehearsals, and Zimny’s access gives us fascinating insight into how Bruce gets the two things he wants from the warmups: to “shake off the cobwebs” and to assemble a set list.

Springsteen’s devotion to live performing is inescapable, as is the power of the musical unit backing him up. And while the band is getting prepared for the future, we do get some charming glimpses of their past. Home movies and band interviews bring context for these longtime bonds, and provide the opportunity for warm tributes in memory of Clarence Clemons and Danny Federici.

Obviously, the film is a must for Springsteen devotees, and a thrilling bookend to any show from this current tour. But for anyone who has only heard tell of the Bruce/E Street experience and wondered about the hype, Road Diary should provide a healthy nudge toward the next nearest concert.

Yes, Bruce just turned 75, but this film will also dispel any talk of retirement.

“It’s my job,” he says. “After 50 years on the road, it’s too late to stop now.”

One, two, three, FOUR!

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Monster Match

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Your Monster

by Hope Madden

Often, the most useful way to revisit the worst moments in a life is through horror or comedy. Genre lets us distance ourselves from the truth of a situation—that people are often selfish and even evil, and that the world can be bone crushingly lonely and cruel—with laughter or screams while still acknowledging that reality. Surviving it, even.

Writer/director Caroline Lindy navigates a blend of genres—comedy, drama, musical, romance, horror—with a clever “beauty and the beast” tale that acknowledges that each of us can be our own beauty and our own beast. Life may work best that way for everyone. Except Jacob. But Jacob’s a dick.

Lindy expertly montages us through the backstory. Laura (Melissa Barrera, Abigail) and Jacob (Edmund Donovan) are a cute couple working together on a musical. Laura will be the lead and she’s overcome with joy. Then there’s a cancer diagnosis, then a hospital room breakup that ends with Laura sobbing after a fleeing Jacob as she grips the IV stand she’s dragged to the hospital hallway.

Without Jacob’s apartment to return to, bestie Mazie (Kayla Foster) drops Laura at the house she grew up in, where she will cry her way through many boxes of tissues as she eats her way through many boxes of snacks, all alone—except for the monster (Tommy Dewey, Saturday Night’s Michael O’Donoghue) who used to be under her bed and who’s grown used to having the place to himself.

From here, Lindy does an exceptional job of disguising a brilliant journey of self-discovery as a New York romcom about a budding actress denied her Broadway debut by her gaslighting ex.

Barrera’s never been better and Dewey strikes the perfect balance between ferocious beast and supportive buddy.

The metaphor is perfect. So much so that a lot of viewers may see right past it and believe this is, indeed, the story of a woman who falls in love with a ferociously loyal monster. And that’s fine. If you want a musical theater romance, Your Monster delivers.

But it’s Lindy’s crafty subversion of all those tropes, and her game cast’s spot-on characterizations within this genre mashup, that makes the film—and, in particular, the final scene—so wickedly satisfying.