Tag Archives: movie reviews

New In Theaters

Romancing the D

Leave a comment

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.

New In Theaters

Luck o’ the Irish

Leave a comment

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.

Uncategorized

Wake Up Call

Leave a comment

6:45

by Rachel Willis

Working from a screenplay by Robert Dean Klein, director Craig Singer brings us the time loop horror film, 6:45.

Bobby (Michael Reed) and Jules (Augie Duke) are trying to work through some issues, so they visit the quaint island of Bog Grove for a relaxing vacation. What the couple doesn’t know is that their visit to the island falls on the anniversary of a traumatic, unsolved murder. Because of this, the ferry service doesn’t run, and they’re stuck – or so they’re informed by the nosy, odd proprietor for the inn where they’re staying.

A slow opening that follows the couple exploring Bog Grove, its tourist shops and oddball residents, doesn’t take advantage of the opportunity to build tension. When the tragedy occurs, it comes as a relief rather than a shock.

Soon, Bobby descends into a nightmare he must relive over and over. Being forced to relive the day alongside Bobby is a horror in itself.

No one else experiences the loop, so we get to see Duke in a range of roles: some days she wishes could last forever, others see her trying to rein in an increasingly unstable boyfriend. Reed, on the other hand, is stuck playing a man who doesn’t seem to know how to handle himself each day. Every time the crucial event occurs, he seems constantly taken by surprise.

The cast of locals has little to do, often repeating lines from previous loops. They fill mostly stereotypical roles: small-town friendly and welcoming or weirdly creepy. There isn’t middle ground, and it makes for uninteresting characters.   

Rather than differentiate itself from similar time loop films through storytelling, 6:45 instead focuses on camerawork and distracting split screens. Anywhere from four to six screens will litter the frame, some focusing on banal details, others on more interesting visuals. Days are relegated to montages,

Flashbacks detailing the couple’s history sometimes punctuate the flashbacks. It’s here that Singer cleverly injects moments that help us understand why the couple has been fighting. It’s clear that the fight revolves around infidelity, but these fleeting moments offer hints of violence, which reveals something more sinister.

The film does take an interesting turn, but it comes too little, too late. It also fumbles any message it’s trying to get across. Instead of offering a strong look at a troublesome relationship, it embraces shock over commentary. In the end, we’re not shown anything new or astute.

New In Theaters

Pretty, Poor

Leave a comment

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.

New In Theaters

Tied Down

Leave a comment

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. 

New In Theaters

A Different Looking Glass

Leave a comment

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.

New In Theaters

Lacks a Punch

Leave a comment

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.

https://www.youtube.com/watch?v=O_FWx79_GNs

New In Theaters

Freshman Blues

Leave a comment

Master

by Hope Madden

Filmmaker Mariama Diallo’s episodic and short film work has explored — in comedic and dramatic form — the impact of living within a culture of micro- and not-so-micro-aggression. Her feature debut Master dives deeper, taking themes in more horrific directions.

Regina Hall plays Gail Bishop, the first Black residence hall “master” in the long and storied history of New England’s Ancaster College. In her first year on campus, she’ll meet another newcomer, freshman Jasmine (Zoe Renee), the only Black student in her dorm.

Jasmine has the bad luck of being assigned to the dorm’s spookiest room, where a student haunted by campus’s legendary witch once killed herself. As freshman year progresses, both Jasmine and Gail begin seeing menace around every corner.

Diallo sets up shop at the intersection of racism and misogyny. While her story tells of a history of racism that’s clearly alive and well, the filmmaker’s comment on institutional and historical contempt for women is more sly but ever-present.

The result for this particular position in the crosshairs is a palpable, inescapable sense of loneliness. If there’s one thing Master communicates it’s the isolation and aloneness both Gail and Jasmine face at this institution and, more broadly, in this world. The effect is poignant and sincerely scary.

It’s always great to see Hall at the center of a film. The veteran has provided reliable support, both comedic and dramatic, in films for ages. Her frustrating but sympathetic lead offers the perfect balance to Renee’s vulnerability.

Amber Grey’s turn as confidant Liv Beckman is superbly brittle and narcissistic. Likewise, a sea of white faces (Talia Balsam, Will Hochman, Bruce Altman, D.C. Anderson) hit varying degrees of condescension and hostility to create a drowning pool with little chance of escape.

Diallo struggles at times balancing allegory and horror story. On occasion, genre tropes become too obvious. At other times, the obviousness of political points overtakes cinematic narrative. But the underlying horror of reality ably depicted by Hall and a game cast make sure these minor issues remain minor.

New In Theaters

Move Over Batman, There’s a New Vengeance in Town

Leave a comment

Measure of Revenge

by Christie Robb

Life imitates art when famous Broadway tragedian, Lillian Cooper’s rock star son and his pregnant girlfriend die of an apparent drug overdose. Or is it murder?

Inspired by intrusive thoughts of revenge that manifest as visions of famous characters Lillian has portrayed on stage, the heartbroken mother stalks the streets of New York searching for those responsible and hatching a plot to make them pay for their misdeeds.

Along the way, Lillian (Melissa Leo) joins forces with young photographer/drug dealer, Taz (Bella Thorne) whose motivations may not be entirely transparent.

Like a stage performance, first-time director Peyfa’s Measure of Revenge can lean a bit toward the histrionic—sudden, jarring discordant tones of the score; dialogue that runs backward when Lillian is having a tough time emotionally; characters literally rending their clothes in grief.

But it’s a clever film, a mystery that isn’t entirely linear with an ending that doesn’t tie itself up in a neat little bow. You gotta work for the resolution and there’s room for debate (and some discussion about how forensic evidence could probably play a greater role in the fate of at least one character).

However, the film may spend too much time on its theatrical gimmick to the detriment of character development. This is especially true of the dead son and those who may have been motivated to do him wrong. 

Academy Award-winner Leo (The Fighter) is magnetic, showing an incredible range—from bubbly anticipatory delight at seeing her son return from a successful rehab stint through to wrathful avenging angel. And along the way, we are treated to snippets of some of the greatest tragic characters of all time—Hester Prynne, Hedda Gabler, Lady Macbeth, and Hamlet’s Ghost among them.

The Screening Room

Screening Room: Turning Red, The Adam Project, Fear, The Seed & More

Leave a comment
Turning Red, The Adam Project, Fear, The Seed, All My Friends Hate Me, Moon Manor, Adventures in Success, Striding Into the Wind, Heckle