Tag Archives: indie

The Broken Hearts Gallery

[3.5 stars]

Every once in a while a pure, sweet escape is just the thing. And there is something about romantic NYC fantasies, especially when loaded with good comedy, that makes them infectious. And I mean that in a good way. Like the earlier romcom surprise of Palm Springs, Natalie Krinsky (Gossip Girl) doubled down on all the old tropes and found something new in them.

Geraldine Viswanathan (Miracle Workers) is a ball of energy and wit that never stops. She holds together this movie and manages to keep it grounded even when she’s delivering mile-a-minute monologues. Opposite her, Dacre Montgomery (Stranger Things, Power Rangers) redeems himself nicely from all of his previous pretty-boy, obnoxious characters with a soulful guy who just needs to relax and get on with his life.

You can tell how good the flick is by the fact that the supporting performance by Bernadette Peters (Mozart in the Jungle) ends up more a distraction than adding to the whole. She’s a fine choice, especially given the backstory, but she’s too recognizable amid the rest of the cast who hold their own just fine.

And, speaking of, the supporting cast are all a hoot. From the silent Nathan Dales (Letterkenny), the befuddled but self-centered Utkarsh Ambudkar (Blindspotting), and best-friend Arturo Castro (Billy Lynn’s Long Halftime Walk), to the girl power collection of Molly Gordon (Life of the Party), Phillipa Soo (Hamilton), and Megan Ferguson (Upload) they all deliver in slightly over-the-top-but-believable ways. And two smaller roles by Suki Waterhouse (Pokémon Detective Pikachu) and Sheila McCarthy (Umbrella Academy) are expertly tipped over the net for impact.

When you’re ready for an escape with lots of belly laughs and even moments of sweet emotion, this is a wonderful choice alone or to share.

The Broken Hearts Gallery Poster

 

Boss Level

[3 stars]

It’s  been a long while since we’ve had a Joe Carnahan (The Grey) directed film to enjoy. His last two major credits were just his scripts: Bad Boys For Life and Death Wish. The man knows suspense and action. I do wish he knew how to cast and direct actors a bit better, but you can’t have everything. Boss Level is a high-octane ride from start to finish, delivering a sort of Scott Pilgrim vs. The World meets Palm Springs.

The base weakness of the film is its lead, Frank Grillo (Disconnect, Avengers: Endgame). While Grillo is a great action actor, he doesn’t quite have the charisma and rakish charm necessary to be the leading man in a flick, even when that flick is mostly gritty action. It’s not a slam so much as a simple reality: some actors have “it” and some don’t. More the problem, after other darker anti-heroes like Deadpool, expectations are pretty high on how the character has to control the screen.

But the story is fun. Carnahan shares credit with Chris and Eddie Borey for the script. And it is nicely constructed, if a little late to the party on time-loop action tales. A shame, really; if it had come out sooner, it would have felt more unique.

Fortunately, with Naomi Watts (Ophelia) and a, surprisingly, contained and menacing Mel Gibson (The Expendables), there are some solid framing performances to hold it all down. Additional roles with Will Sasso (Klaus) and a much under-utilized Michelle Yeoh (Star Trek: Discovery) help things along as well.

Boss Level was originally intended for a feature release. I think the shift to stream will actually gives it a better and longer life in the movie firmament. On screen it would have bombed, but as a stream, it better meets expectations and certainly entertains.

Boss Level Poster

Proxima

[3 stars]

I honestly wanted to like this movie more than I did. It has a lot going for it, but it also has some uncomfortable flaws for me.

On the high side, it was nice to be reminded that science fiction simply means that the story cannot happen without an aspect of science holding it together. Proxima takes some of the themes we’re seeing now in tales like Away and Gravity and really focuses on the personal challenges of space travel without disaster as the background to drive it forward. It even takes place almost entirely before the mission rather than during it.

And, also on the plus-side, Eva Green (Dumbo) makes a relatively credible astronaut in training…relatively. And here is the turn. Some of her decisions would seem to make her psychologically unfit for the position, but her effort and focus in the face of the training and toxic male attitude from colleagues like Matt Dillon (The House that Jack Built) are impressive.

Then again, the problem is primarily with Alice Winocour’s (Mustang) script more than her direction of the story. Green is even saddled with an asshole of an ex-husband in Lars Eidinger (Dumbo, High Life) as the father and Zélie Boulant as the over-indulged and petulant daughter. If I sound judgmental on this, I am. I understand the desire to create tension for the characters, but given that this is a tale intended to be in our future rather than the past, the issues feel both forced, and Green’s reaction too accepting of the situation, rather than pushing against them. And, honestly, the character needs some serious parenting skills and a better divorce attorney.

And then there were the penultimate scenes leading to the finale, which really is more of a coda. I can’t say I was entirely comfortable with the story as it was finally laid out. It was effective narratively, but bordered on the absurd.

Ultimately, the story tries to look at the conflict between dreams and family, as well as the cost of space travel and the kind of people and commitment it takes for it to happen. But what we get is a questionable statement of what it is to be a woman generally, let alone in a male dominated industry. We get no counterpoint or balancing commentary. The tension of motherhood versus career has been around for centuries, but some careers do have particular requirements, and any story that tackles those spaces should get it a bit closer to accurate.

All of my frustrations aside, again mostly focused on the end rather than the journey, Winocour does create an interesting tale. And Green delivers a smart, driven character (again, with certain qualifications). Given her previous efforts, I actually am a bit surprised by Winocour’s choices. Still, this film is worth seeing for a number of aspects, and your reaction to the resolution may be less intense than my own.

Proxima Poster

Mortal

[3 stars]

Unexplained super-powers is becoming an overdone trope, which is why when you find one that tries to do something new, it’s a particular delight. André Øvredal (Scary Stories to Tell in the Dark) returns to his Nordic, Trollhunter roots to bring us a slow but intense tale of a young man, Nat Wolff (Admission), who suddenly acquires powers he can’t control or explain.

Iben Akerlie (Little Drummer Girl) plays opposite Wolff and balances him out well. In fact, she and Per Frisch are about the only clear-headed folks in the movie while Priyanka Bose (Lion) serves to remind the world of why Americans just shouldn’t be trusted. A sad cliché, but she navigates it relatively well within the bounds of the script.

As you can imagine, tragedy and stupid government decisions begin to occur. But this isn’t quite the story you expect, nor does it unfold exactly as others of its ilk. Sadly, it also doesn’t quite get to a conclusion so much as a beginning. Whether the tale will continue I imagine is still in flux, but the path is certainly there. In the meantime, if you can handle being left hanging (think a Brightburn kind of ending in style, though not in content), give it a shot. Definitely something a bit more interesting than the typical version of these tales.

Mortal Poster

Minari

[3 stars]

There is something very sweet and true about Minari, Lee Isaac Chung’s latest tale. It has also been massively lauded out on the circuit. I can’t say, however, that I was as enthralled, though I wasn’t unimpressed.

Minari is a tale of an immigrant family. And there is a lot going on in Steven Yeun (Sorry to Bother You) and Yeri Han’s transplanted unit. While both of these actors deliver on their tightly wound and fraying relationship, it is Alan Kim, as their son, and Yuh-jung Youn (Sense8) who you’ll remember best. And I say that even with Will Patton’s (The November Man) truly off-beat, affable, bible-thumping intensity filling in the background. But unlike, say, The Farewell, it never quite acquires a full shape.

The experience of the Ye family is provided at an historical distance. We’re dropped into Arkansas of the early 1980s. Mind you, other than the clothes, cars, and some background news you probably can’t tell what era it is, and perhaps that is part of the point. But I wish it had been a bit more contemporary. It isn’t that bad things happen from a community point of view; this story is focused on the internal struggles of the family rather than society. In fact, the neighbors are relatively accepting and open to their new residents. And the Ye’s are not breaking any ground by arriving either. Because of all that I question the choice of era as it only serves to distance us from the events and provides no useful frame to the story.

That said, it is a beautiful and subtle film about the relationships. A father attempting to achieve his dreams at all costs. A mother trying to support her family and protect those around her. A grandmother overflowing with sass and love. And two children trying to figure out where they fit in the family and trying to buffer their parents. All relatable and all delivered with amusing and, sometimes, painful honesty.

There is a lot to be said for Minari and it should be seen. Compared to the rest of the field out there, I do think it is being more than a little over-hyped. Go into it with a moderated expectation for an insightful look at a family struggling to survive the challenges that come at them, and those that they bring with them.

Minari Poster

The Father

[4.5 stars]

Let’s talk about POV. Like the recent Bliss, Florian Zeller’s freshman outing relies heavily on character point of view and editing to provide the necessary information for navigating the story. By watching very carefully, you can tease apart most of the truth. Most of it. Unlike Bliss, Zeller’s adaptation of his play, with help from Christopher Hampton (Adore), the truth can still elude you; but that’s ok. Unlike previous stories, like Still Alice, the film tries to recreate what it’s like to live with Alzheimer’s from the inside rather than primarily from outside. How they go about that is something you just need to experience, but to say you’ve got unreliable narrator is an understatement. But the threads are (mostly) there for the watcher to stay relatively grounded. Honestly, I’m still discussing it with people trying to pull it all apart.

Anthony Hopkins (The Two Popes) delivers a wonderfully mercurial performance as his character is buffeted by his confusion and frustration. But while he is the primary POV, his daughter provides a second, which is another way Zeller helps you along. Olivia Colman (The Favourite) delivers a heart-wrenching performance as she navigates her father’s illness, giving us glimpses into the emotional and physical realities and a small touch of what must have been their past.

The rest of the supporting cast is equally capable and storied. Olivia Williams (Maps to the Stars), Mark Gatiss (Locked Down), Rufus Sewell (The Pale Horse), and Imogen Poots (That Awkward Moment) perform a wonderfully seamless dance filling out the story.

This is also a movie where the production designer Peter Francis (Rocketman) and editor Yorgos Lamprinos have had huge impact on the story-telling and need to be called out. Pay attention to the details in the sets and how the sequences are put together. Truly amazing work all around.

My only issue with the film comes near the end where it felt a little forced and rushed. It isn’t necessarily an untrue depiction, but my gut is that the events could have remained while the dialogue could have been a little more finessed. That minor criticism aside, The Father has already garnered a lot of nominations and wins, with more sure to come. This is one movie who’s odd ride is worth every moment you spend with it, and it’s a wonderful class in perspective and humility.

The Father Poster

Nomadland

[3 stars]

Nomadland asks two fairly simple questions: What is home? What is family? The answers, as we all know, aren’t that simple. Director and writer Chloé Zhao tackles the concepts in a quiet, but compelling exhibition that is primarily populated by real Nomads. The result has garnered a mountain of praise and awards notice.

Holding the various talking head segments together is Frances McDormand (Isle of Dogs), whose journey into the nomad life is told with barely an initial explanation. With David Strathairn (Fast Color) as a catalyst, we watch McDormand struggle inwardly until near the end when details are expressed. Though, to be fair, most of those are already understood by the audience, just not by her character.

For all its lauds, and its craft at pulling you along, Nomadland isn’t as good a film as I was expecting. I think McDormand has had better and more challenging roles. Strathairn is a somewhat unfinished and empty character. The stories and ideas we hear are interesting, but they feel like a documentary invaded the story-telling. Somehow it does come together, but it is best to watch this with no expectations, despite the hype that has been building around it over the last year. You’ll find it satisfying, but for a two hour narrative I think Zhao could have been more focused in her script.

Nomadland Poster

Don’t Let Go

[3.5 stars]

You have to love a film that can suck you in early and then drag you along, guessing, right till the end. Writer/director Jacob Estes (The Details) delivers a driving suspense thriller that keeps going right up to the final credits. And that’s what you want from a ride like this. No time to really think. No slow moments to lose the momentum.

David Oyelowo (The Midnight Sky) is the primary driver of the story. His ability to give us a tough cop with a heart and screwed up family is really wonderful. He’s propelled through the story by his niece, Storm Reid (A Wrinkle in Time), who’s entertaining, but not entirely on the same level. Some of that is the writing and some the directing, but a good portion of it is on her. It’s a subtle role and she doesn’t always have the levels under control. Still, their relationship is compelling enough to keep it all going.

When you need a solid distraction of a good mystery with a bit of woo-woo mechanics, this one is definitely worth the time.

Don't Let Go Poster

Earwig and the Witch

[2.75 stars]

There’s 2/3’s of an entertaining movie here. Sadly, that last act is missing. Honestly, what you get is really just the first installment of a series…but there doesn’t seem to be another one in the works. And, besides, it’s a cheat to end mid-tale rather than to have a coda that can expand the story for later. In other words, every movie needs to stand on its own, even if it feeds into a bigger arc. Director Goro Miyazaki (From Up on Poppy Hill) knows this, so I don’t quite understand the choices, unless they were driven by cost or other factors.

Added to the challenge is that Studio Ghibli is clearly trying out new tech with this film. The result is very cold, losing all the warmth and subtle artistry the group is famous for. The look of the characters is very plastic-y and the lips don’t sync well at all. Some of that may have been the voice talent, but it was more noticeable than I’ve seen before in a Ghibli release.

And the voice direction was only middling. So much so that only a couple of the smaller characters really stood out. Neither of them were the women at the heart of the tale. Richard E. Grant (Can You Ever Forgive Me?) and Dan Stevens (Colossal, Legion) were either given more leash or put in more effort, but it was their deliveries that were the most memorable.

Goro’s father, Hayao Miyazaki (The Kingdom of Dreams and Madness), apparently helped with the planning of this story. You can see his influence in some of the interesting flows and the general joy and humor of the film, but I can’t believe even he was happy with the ending.

Ultimately, assuming the story is continued, this will be an intriguing first installment. But if it ends up just standing on its own, it is somewhat pointless. Frankly, I’d hold off till there is the promise of more, or you’re either prepared to be left hanging, or know the original books enough to know what’s going on.

Earwig and the Witch Poster

Synchronic

[3.5 stars]

Some writer/directors have a signature to their work; a flavor that identifies their efforts but that can be executed in many different ways. Justin Benson and Aaron Moorhead are such a pair. They have returned with another brainbender in Sychronic. Their previous couple of movies, Spring and The Endless, were solid proving grounds for pulling together this much more mature piece of film. They keep learning with each release how far they can push ideas and how much they can leave unexplained. They also managed to snag a talented cast to pull it off.

In the primary role, Anthony Mackie (Outside the Wire) drives the story. Mackie has had wide-ranging taste in his recent roles, but they’re always characters with an inner strength and sense of morality. Synchronic, despite its dark overtones, is no exception to that list. And, in this case, the script and story are actually a match for his efforts. Opposite him is Jamie Dornan (A Private War) who anchors the story, quite literally, for the drifting Mackie. The two long-time friends and co-workers butt heads but they are a solid pairing against the dark and seedy life of being New Orleans EMTs.

The story, like Moorhead and Benson’s previous offerings, slowly reveals itself, though not in a straight line. It teases and plays with you. And, more importantly, it tries to cover all its bases as it goes. We learn with the characters what the issues and possibilities are. And, in the end, we are left with a sense of wonderfully incomplete completeness that is sure to generate conversations while the credits roll. It also has to be called out that the cinematography and edits are in beautiful support of the story.

I wasn’t sure what Synchronic would be when I started it. And that is probably the best way to go into it. Just enjoy the ride. The road is dark, but the destination holds  warm fire, friends, and family at the end, even if in unexpected ways.

Synchronic Poster