Tag Archives: Screen Wolf

A Good Day to be Clean

Union County

by George Wolf

Union County is an absolutely stunning feature debut from writer/director Adam Meeks. Expanding his short from 2020, Meeks delivers a film that feels like a persistent memory, one with a deceptively subtle grip not easy to shake.

Gripping performances from Will Poulter and Noah Centineo blend seamlessly with a supporting cast of predominantly non-professional actors, imbedding us within a rural Ohio community struggling to escape the opioid epidemic.

Cody Parsons (Poulter) and his brother Jack (Centineo) are both addicts, but they navigate the court-mandated drug rehabilitation program is strikingly different ways. Jack is upbeat and smiley, charming girls at a local bonfire with an aura of positivity. But Cody, from his first day in the 18-month program, is reserved and quietly intense.

The heart and soul of the recovery program – and of the film – is Annette (Annette Deao). She is a tireless anchor of hope for the addicts, picking up the phone at all hours and absorbing their anger and frustration with the patience of a sage who knows there can be better days ahead.

Meeks, an Ohio native, goes straight to the frontlines of this national crisis, but he is careful to show us more than the grim, barren landscapes that so often characterize the Midwest. From the blooming of greenery to the changes in wardrobe to the rebuilding of a wrecked car, Meeks finds understated metaphors that gracefully mirror the journeys in play. His pace is led by a compassion that never wavers, no matter the tragedy or roadblock.

Poulter, who has been compiling a litany of standout performances since his teens, has never been better. We feel Cody’s struggle even in his quietest moments. And when he finally allows himself enough joy to smile, Poulter makes it a moment of internalized triumph. It’s a towering, award-worthy performance.

With more limited screen time, Centineo finds the wayward, fractured heart of a man whose more frequent moments of celebration may be misplaced, given the never-ending road he’s traveling. Jack is the loose family cannon, but Centineo makes his relationship with Cody, and their cautious sister Kat (Emily Meade, also terrific), both sympathetic and heartbreaking. 

And Deao? She’s a revelation. As a fictionalized version of herself, Annette (who did study acting years before her current career) consistently grounds the film with the unwavering commitment to all those – like herself – who are a daily lifeline for their community members just struggling to see another one. One of the film’s most pivotal moments comes from Deao’s real experience in the program, and it’s just one reminder of the life-and-death work being done in these American trenches every single day. 

The struggle is indeed real, in rural Ohio and so many other areas like it. But the hope, the humanity and the steps forward are equally real. Union County doesn’t rest until you feel every bit of all of it, and feel thankful for the time you spent here. 

Fright Club Bonus: Author/Publisher Billy Graves

Thrilled to get a peek behind the indie publishing curtain with Lacandon Jungle Press founder and author of Seams of the Infinite, Billy Graves! We talk publishing, indie horror, and George lets us in on recording an audio book!

ljpbooks.com

lacandonjunglepress@gmail.com

Screening Room: One Night Only, Cookie Queens, Ice Cream Man & More

Hope & George review this week’s new releases: One Night Only, Super Troopers 3, Ice Cream Man, Cookie Queens, Tinsman Road, Big Baby and The Yeti. PLUS! News & Notes from The Schlocketeer Daniel Baldwin!

Always Be Cookie-ing

Cookie Queens

by George Wolf

Did you ever look at the girl selling you Thin Mints and think, “she’s going to be a Supreme Court justice some day?”

You might start, once you meet the youngsters of Cookie Queens, a triumphant look at goal setting, upselling and the fleeting years of girlhood.

Writer/director Alysha Nahmias travels to North Carolina, Texas and California to immerse us in the frenzied weeks of cookie season with four budding entrepreneurs. There’s Ara in San Diego, an impossibly cute and precocious 5-year-old who hopes to be strong enough to pull her own wagon of treats. 8-year-old Shannon Elizabeth is in El Paso, practicing karate and trying to make sure her parents don’t have to skip a mortgage payment to pay for unsold cookies. Nikki is a 9-year-old in Chino, who has a family tradition to uphold while she’s chasing enough sales to earn a trip to Europe. And then there’s 12-year-old Olive, the future Supreme who sets sales records, schools her troop on upselling, and already frets about disparities in the relationship between management and labor.

With a week-by-week countdown and some helpful onscreen stats, Nahmias builds a subtle layer of sales tension while letting us glimpse how these girls, their families and friends are navigating life. It’s all endlessly engaging, full of inspiration, frustration and some way-too-early hints about the ways of the world.

We see older teenage sisters pine wistfully for the carefree days of youth, while those younger ones are already wondering about their purpose in life and learning that success can hinge on their appearance.

Yes, some parents can Cookie vicariously, but Cookie Queens never lets the focus stray from these wonderful young ladies. Even with all they are juggling during the height of selling season, their sparks of joy and enthusiasm can’t be denied.

And for us grown-ups, the film might make you sorry about the world we’re leaving these kids. But would I bet against them growing up and changing it?

Not a chance.

Fright Club: Interview with The Withering Actor Gareth Tidball

Gareth Tidball wowed the two of us a few years back taking on the role of Stephanie in our film Obstacle Corpse. Since then, she’s gone on to star in about a dozen feature films, and even shared a scene with Tom Hardy in Havoc. In this bonus Fright Club, we’re delighted to check in with Gareth about her latest feature, The Withering.

Carnal College

I Want Your Sex

by George Wolf

Even when a Gregg Araki film does not work for me at all (hello, Kaboom), I’m interested in his next move. Whatever he’s up to, you can make a safe bet it will be audacious, horny and pretty damn fearless.

I Want Your Sex is all that and a bag of charming.

Cooper Hoffman is a damn delight as Elliot, an affable, mop-headed goofball who’s thrilled to get a job working for Neo-pop artist Erika Tracy (Olivia Wilde, fantastically self-absorbed smoke show). Erika deals in frank sexuality, and waits a full week before giving her new assistant a no-nonsense, carnal proposition.

What’s Elliot to do? Yes, the studious Minerva (Charli XCX) is his girlfriend, but to her sex is an uninteresting chore, so….it’s DTF time!

Erika gets a new sexual muse, and Elliot gets to broaden his, ahem, horizons in various kinky ways. Though co-workers Vikktor and Zap (Daveed Diggs and Mason Gooding, respectively letter perfect) consistently roll their eyes at Elliot’s naïveté, he’s pretty okay with Erika’s benefits package.

That is, until there’s blood, a body, and two detectives (Margaret Cho, Johnny Knoxville) wanting answers.

Araki, who also co-writes with Karley Sciortino, crafts much of the film as a mystery told via shifting timelines. But each step in the Elliot/Erika relationship is so engaging you forget there are two cops ready to pop in with more questions. They can wait a hot minute, because Araki and company are having too much fun with this neon-colored tapestry of sexual mores, hipster sweat shops, Harold Robbins novels and penis rugs, all wrapped around frisky exclamations and hilariously droll asides.

Hoffman and Wilde are a down and dirty joy together, and their natural, committed chemistry gives the film a sweet, dare I say even sentimental layer I wasn’t expecting.

I was expecting the sexcapades, and all the usual Araki flourishes. But even while pushing all of these fetish boundaries, I Want Your Sex may be his most accessible film. And most thoroughly enjoyable.

Good Sized Potatoes

Spider-Man: Brand New Day

by George Wolf

Looks like our boy has gone and grown up. It happens.

When Tom Holland stepped into the Spider-Man suit nearly a decade ago now (!), he was 21 but looked 15, which was perfect. Peter Parker was a kid again, and that fact alone grounded the new franchise with a freshness and naïveté that was utterly charming.

It also gave the young man and his super alter ego plenty of room to grow. Spider-Man: Brand New Day raises the stakes with both familiarity and surprise, delivering a more adult-themed adventure that will thrill , satisfy and occasionally frustrate.

Peter has settled into his life as a friendly neighborhood hero, helping Detective DeWolff (Liza Colon-Zayas) bust bad guys even as she advises him to take some time off and quit being married to his job as a super friend. But, of course, the work takes his mind off of the fact that girlfriend MJ (Zendaya) and BFF Ned (Jacob Batalon) don’t even know him anymore.

And much like plenty of Superheroes before him, Peter begins to show sides of himself that even he doesn’t recognize. Severe headaches grow more frequent, and parts of his high-tech spider suit begin to malfunction as a very dangerous, and very elusive new villain emerges. And just when Peter needs to know who he can trust, everyone from Frank Castle/Punisher (Jon Bernthal) to Bruce Banner/Hulk (Mark Ruffalo) to a couple other recognizable names I won’t mention may have conflicting loyalties.

Director Destin Daniel Cretton (Shang-Chi and the Legend of the Ten Rings, Short Term 12, Just Mercy) takes the franchise helm from Jon Watts, providing a winning pace and engaging visual style. After some well-placed nods to the youthful Spider-Verse aesthetic early on, Cretton buoys the maturation of the character with a more streamlined, focused approached to some really terrific action sequences. And while plenty of the CGI is appropriately super, Hulk’s facial features seem to have taken a curious step back.

Franchise screenwriters Chris McKenna and Erik Sommers return, giving credible weight to the introduction of themes that should be plenty familiar to superhero fans. Yes, some of the dialog banter lands as a bit forced and the humor is understandably downplayed this time out, but a few good moments of laughter find their mark – including a turn of the phrase “meager potatoes” which I now plan to work into daily conversation.

Holland still provides the heroic anchor, and he’s just so good with this character it appears effortless. His chemistry with Zendaya (duh) and Batalon is warm and real, and he makes Peter’s journey to becoming his own hero an organic and rewarding one. He’s still friendly, but now there’s a sense of loss and inner turmoil that makes the victories more sweet and well-earned. With Brand New Day, calling him Spider-Man doesn’t feel like a kid playing dress up anymore.

And those are good-sized potatoes.

Screening Room: Motor City, Hadestown, Her Private Hell & More

This week, Hope & George review Her Private Hell, Hadestown: The Musical, Motor City, The Dink, Cruel Hands, and What Tomorrow Brings, PLUS News & Notes with The Schlocketeer Daniel Baldwin!

Shut Up and Plot Your Revenge

Motor City

by George Wolf

Man, if you can hang with Motor City for about an hour and fifteen minutes, you’ll get one damn fine action sequence. Suddenly violent, increasingly bloody and eventually downright grisly, it’s an impressively choreographed and well shot set piece.

It’s also curious, considering the film surrounding it is a pretty tedious exercise in navigating a needless hurdle of its own making. And needle-dropping some sweet 70s hits.

The theme is simple enough: revenge. Ex-con John Miller (Alan Ritchson) is on probation and trying to toe the line in 1977 Detroit. He pops the question to his honey Sophia (Shailene Woodley) and things are looking up. But then Sophia’s gangster ex-boyfriend Reynolds (Ben Foster) frames John with a staged drug bust, and back to the slammer he goes.

So how does director Potsy Ponciroli (Old Henry) refresh the familiar idea from writer Chad St. John? By crafting Motor City as a nearly dialog-free thriller propelled by mood and music.

That “nearly” is the first curious bump in John’s long road to payback.

The few bits of dialog that are here just end up drawing attention to how hard the film is trying to get credit for telling most of this story without words. And it just isn’t necessary. Scenes that should naturally have organic conversation do not, and the strain of keeping the silent device intact is just too obvious.

I mean, do it or don’t. Since there is some dialog, Ponciroli’s commitment to visual storytelling ends up feeling more gimmicky and forced.

Foster and Woodley are customarily fine, Ritchson continues to show raw talent and real charisma, and Pablo Schreiber makes a perfectly menacing henchman. The soundtrack choices from Jack White (who also has a cameo) are on point, too, which helps keep the boredom at bay when the story just takes too long getting down to business.

And though revealing just what derails the finale would be too much of a spoiler, the result is anticlimactic and just plain silly.

But man, that one elevator scene shows just how much action potential is wasted in Motor City.