One Movie Punch

Hi everyone!

It's Friday, so Andrew's back with another Fantastic Fest feature, the best crocodile movie you'll see this year. Now, I know what you're thinking: What about CRAWL (Episode #563)? See, that's an alligator film, and you can tell from the snout, but that's not really why you're here, is it? For a few other films from Andrew, however, check out his recent reviews for KNIVES OUT (Episode #652), DOLEMITE IS MY NAME (Episode #649), and FRACTURED (Episode #642).

Before the review, we'll have a promo from our good friends at the Seeking Human Victims podcast. Every episode, Dan from One Good Scare Productions covers a horror film in depth. You can catch their podcast on Twitter and Facebook @OGScare, and on Instagram @dragonsrejects.

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Here we go!

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Hello film fans!

Andrew here. Back with the blackest of unintentional comedies for your Black Friday enjoyment. This one is best enjoyed with a group, so when everyone gets home from shopping throw this one on and get ready to yell at the screen.

The premise of this movie was just too simple to pass up. I like a nice basic story as an antidote to some of the heavier films programmed by Fantastic Fest and you're not going to do much better than a guy trapped in a pool. That said, I did not get the chance to check out a film at this year's fest called 4X4 about a guy trapped in a, uh, 4x4. But early next year I promise I will bring to you a film I did see called THE PLATFORM, about a guy trapped... in a towering prison. You thought I was gonna say "platform". He's more, um, platform-adjacent.

Today's movie is THE POOL, written and directed by Ping Lumpraploeng. THE POOL made its Texas premiere at the 2019 Fantastic Fest by way of Thailand. The film stars Theeradej Wongpuapan as Day, a twenty-something scraping by as a freelance technician in the film industry. Today, he's assisting with the underwater production of an advertisement for some unspecified high-end product with a woman dressed as a clown floating around on a posh sofa at the bottom of a 20-foot diving pool. The set keeps it loose with Day's girlfriend dropping by to hang out and his own massive sheep-like dog playing some role in the commercial. Day and a colleague are tasked to return to the pool the day after shooting wraps up to clean up and drain the pool. He gives his buddy the go-ahead to leave a little early before taking a break to float on a raft and catch some sunlight. Unfortunately, Day nods off for a bit only to awaken and realize that the water level has already dropped by 10 feet... and there's no way out. Also, the film earlier went to great pains to show us a newspaper article about a crocodile escaping from the zoo, so I'm sure we'll have to contend with that, too.

This film is basically the PG-13 version of a torture porn horror film. Think of every possible obstruction that could stop a guy from getting out of a massively deep pool with the water level dropping by the minute, increasing the distance between him and safety. The movie walks a razor's edge, cruelling teasing both Day and the viewer with implausible means of escape that look like they might work out until evaporating. As things get more and more ridiculous the tension continues to build even beyond the point where you can no longer take things seriously... which admittedly happens fairly early on.

The aforementioned crocodile is probably the best example of this. I'm sure the budget on this film was small and I don't know much about the overall strength of Thailand's computer-generated graphics industry, but *oof* this creature takes some time to get used to. The muted reptilian color-palette doesn't seem to match the surrounding environment making it look like a refugee from a PS2-era Tomb Raider game. Even crazier are the antics of the crocodile who thwarts our hero multiple times, basically winking at the crowd instead of just eating the guy whole.

THE POOL has just a handful of problems that, while not ruining the picture, will likely see it left off the Oscar ballot.

First, the setbacks that are soon to befall Day are established with such a blatant disregard for subtlety that its akin to Kevin McCallister setting up his traps in HOME ALONE. OK, this is still an easy one to overlook.

Secondly, and I'm going to throw up a trigger-warning spoiler alert here, so bail out now if you're already sold on the film. 3... 2... 1... the dog dies. I get that many people are very sensitive to this, even people that worship mass murderer John Wick. Here the dog's death serves a clear purpose, but if you don't have a high tolerance for canicide, steer clear.

Lastly, the film has some bizarre anti-abortion messaging, but uh... you know... it's a different culture than our own.

What makes THE POOL fantastic?Um, everything. I am not one of those "this movie is so bad it's good" kind of guys. I am never going to throw on the intentionally awful SHARKNADO, and I don't enjoy dunking on earnest cinematic disasters like BATTLEFIELD EARTH. THE POOL tries so hard to be a straight action-adventure that you have to root for both Day and the filmmakers. You're not laughing at it, you're mostly laughing with it.

I knew the screening I attended was going to be something special before the film even got started when the fourth production card appeared on screen and that producer was none other than Pizza Hut. This brought forth the first of many waves of raucous laughter and, thankfully, foretold of some heavy-handed Pizza Hut product placement yet to come.

THE POOL is pulse-pounding escapist escape cinema that the American film market could never produce. Fans of single-location suspense thrillers such as CRAWL or DON'T BREATHE will love this film.

Rotten Tomatoes: 100%

Metacritic: NR

One Movie Punch: 8.0/10

THE POOL (2018) is not rated (but profiles as PG-13) and is now streaming on Amazon Prime.

Come back next Friday for LITTLE JOE, a stylish European production about a woman developing a new species of genetically engineered houseplant designed to release spores that bring happiness to their owners. I'm sure nothing will go wrong.

See you then!

Hi everyone!

Welcome back for another review, this time for a documentary about a farm in our backyard here in Ventura County, CA. This week has been heavy with documentaries, as I get caught up on the potential Oscar nominees for this year. Check out my review earlier this week for ONE CHILD NATION (Episode #651) and come back later this week for Saturday's review of BE NATURAL: THE UNTOLD STORY OF ALICE GUY-BLACHÉ, in our ongoing series, "Under the Kanopy".

Before the review, we'll have a promo from our good friends at the BiCurean podcast. Every episode, Erik and Aicila find new perspectives on a variety of mainstream and obscure topics. Don't miss their recent guest review for IT FOLLOWS (Episode #608), and their helpful advice as I endure Reign of Terror 2019. You can find them on Twitter, Facebook, and Instagram @bicurean.

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Today's movie is THE BIGGEST LITTLE FARM, the Neon documentary directed by John Chester and written for the screen in collaboration with Mark Monroe. The documentary follows the eight-year journey of John Chester, Molly Chester, their dog Todd, and their advisor Alan York, as they left Los Angeles metro for Apricot Lane Farms in Moorpark, CA. The film has won multiple awards in the past year and is perhaps one of the most important documentaries for reclaiming our farm systems from the monoculture destroying them.

No spoilers.

I know a lot about farming. I grew up in a small corn town in Northern Illinois, surrounded by massive monoculture fields of corn and soybeans, along with a few hog farms. I lived half my childhood in a rental home on someone else's farm, mostly growing corn, but also raising a few hogs and other animals, and had plenty of friends who lived on farms. I did a few reports on farming, although I could never get a handle on whatever a futures market might be. And my great-grandmother grew an acre of her own crops, canning and freezing like a boss before she was unable to keep it going. I didn't want to be a farmer, but I knew enough about farming as it was done in the 1980s and 1990s to feel like I understood everything.

It wasn't until I went to college, and afterwards as I was learning about modern food systems, that I realized what an anomaly the farm I grew up on actually was. Sure, it was anchored with corn as a cash crop, but it still had a modicum of the diversity you expect from traditional depictions of farms. But what I didn't realize was that they were forced to monoculture to pay off drastically overpriced equipment, and the necessary fertilizer supplements for the soil, and the fewer and fewer subsidies going to small farmers. I didn't realize giant agribusinesses were slowly scooping up farms and lands, either exploiting farmers, and cornering them into monoculture or nothing. I also learned about farms raising middle fingers to big business, rediscovering integrated agriculture, or permaculture, that works with environments, instead of exploiting them. My good friend in San Diego is involved in urban farming, and we have multiple community gardens. Everything's changing, and THE BIGGEST LITTLE FARM is one example of the larger change happening within our food systems.

THE BIGGEST LITTLE FARM is a documentary that both tells and teaches and does both very effectively. The story of Apricot Lane Farms is also the story of Molly and John Chester, a middle-class couple on autopilot until an eviction notice because of their adopted dog Todd serves as the impetus to develop a farm using permaculture techniques. It's also the story of Alan York, their permaculture advisor, the volunteers and farmers that join their ranks, and the animals they bring to farm, as well as those attracted to it as it flourishes. Viewers will connect to at least one character, human or otherwise, which helps with the overall narrative for the eight-year journey. However, the most important character within the film is the farm itself, which we get to see develop from a desert wasteland into an integrated ecosystem.

The story isn't nearly as fascinating as the effective introduction to understanding permaculture, both its implementation and its benefits. When we talk about modern farming, as I learned in my education, it's often with a belief that older farming ways were somehow ineffective, which I later learned meant unprofitable. It's a unique form of American hubris, born from the educational videos of our childhood before the Internet, and wholly ignoring the very real problems caused by "modern" farming method. THE BIGGEST LITTLE FARM walks us through all the steps needed to transform dead ground into fertile soil, through the use of smart composting, water management, cover crops, and some exciting discoveries about the purpose of animals on a farm along the way. While modern farming method look to eliminate waste in the growing process by standardizing the seed to harvest system, permaculture looks to create diversity that attracts and produces more from the same amount of land. I found myself having multiple epiphanies along with John and Molly Chester, as they turned every problem into an opportunity, and closing every loose end that appears as they turn dead land into something amazing.

THE BIGGEST LITTLE FARM also walks through a number of challenges facing farmers, especially in our particular region of the world. Ventura County is subject to bouts of the Santa Ana winds, very hot winds that blown in from the Mojave Desert with gusts up to 60mph, along with sometimes torrential rains that can cause flash floods. We discover the very real reason for cover crops to keep topsoil in place from both issues. We also see how Apricot Lane Farms managed the wildfire threats of 2017 to 2018, including the massive Thomas Fire in Ventura County, which opens and closes the film. In each case, the farm's permaculture model actually protects it more from wildfires than their monoculture neighbors, although it by no means makes them immune.

The biggest little criticism I have for the film are the mysterious investors. Apricot Lane Farms is 130 acres large in Moorpark, CA. It would take a small fortune to purchase and develop the land into the farm it is today, and that was only possible through the mysterious investors that supported Molly and John's dream. So, it would be perfectly acceptable to say that this is an incredibly privileged journey that they are able to make, whereas many other would-be farmers, particular those in urban farming, can't get the zoning, grants, or subsidies to embark on similar efforts. However, just because it is privileged doesn't mean that it isn't a workable model, or a perfect proof-of-concept for future grants to be made available for smaller scale, biodiverse farms for aspirational farmers. Localizing and regionalizing our food systems is part of the transformations needed to make them more accessible and democratic. I can forgive two people's privilege in lieu of the incredible work they've done.

THE BIGGEST LITTLE FARM is a heartwarming, educational documentary about permaculture farming, as implemented on Apricot Lane Farms in Moorpark, CA. While the means to start this farm are extraordinary, the successful implementation of a permaculture farm provides an accessible and necessary documentary for our future. Documentary fans, and farmers of all levels, should definitely see this film, but so should everyone else who cares about where their food might come from.

Rotten Tomatoes: 91% (CERTIFIED FRESH)

Metacritic: 74

One Movie Punch: 9.0/10

THE BIGGEST LITTLE FARM (2018) is rated PG and is currently playing on Hulu.

Hi everyone!

Against my better judgment, we're welcoming back Shane Hyde to the podcast for another horror movie review, this time hopefully one he enjoys a bit more. After last week's review for "Nightmare Cinema", I'm sort of surprised he came back for more. For a few other reviews from Shane, check out "Nightmare Cinema" (Episode #647), "Starship Troopers" (Episode #447), and his incredible narration duties as part of Reign of Terror 2019.

Before the review, we'll have a promo from our good friends at the Moviedrone podcast. Every episode, Marc and Steve sit down to discuss films, including a main feature, some homework for each other, a question from the audience, and my favorite segment, Marc's Movie Impressions. Don't miss their guest review here for Reign of Terror 2019, covering the indie darling, "Terrifier" (Episode #606). They weren't much help, though, to be honest. At least not for me. You can find them on Twitter and Instagram @movie_drone and on Facebook @Moviedronepod.

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Kia ora!

I'm Shane Hyde. I'm a Kiwi living in Australia. Everything's on fire here so I'm staying inside, reviewing movies, and to Joe's annoyance, frequently missing deadlines. Today I'm here to review 2019's RUST CREEK.

Let's go!

Today's movie is RUST CREEK, a thriller directed by Jen McGowan, written for the screen by Julie Lipson from a story by Stu Pollard. RUST CREEK is a thriller, cut from the grim cloth of Kentucky. In a similar style to WRONG TURN, Sawyer, outstandingly played by Hermione Corfield, finds herself face to face with the worst that Rust Creek has to offer.

Stand by, because I ain't spoilin' shit.

Lost and seeking directions, Sawyer encounters O'Doyle and Buck, two of the locals who you GOTTA know are already up to no good. This encounter sours quickly, and before you know it, Sawyer is quite literally cutting and running for her life into the woods.

And let's have a word about those woods. Set in the forests of Kentucky, RUST CREEK imparts a grimy peacefulness, in concert with the soullessness of the hillbillies living there. The environment leaves you with a sense of hollow claustrophobia, even distant dread. Michelle Lawler's cinematography makes the most of this and marks her as someone to watch in the future.

I like this film. Finally we get Sawyer, a strong female protagonist making what are really the right decisions. While technically she's the "Last Girl", not once does she loses her agency, her curiosity, or her intellect. Sawyer is a stronger female lead than you might expect in a film like this.

The other standout is Lowell, played with bright-eyed intelligence by Jay Paulson. The mysterious and intelligent hillbilly who lacks in book learning more than makes up for it with keen insight and perception of a situation. As a character, he supports Sawyer's strength with a quiet watchfulness.

Production in this film is as tight as the budget must have been, which means the work falls to the shoulders of the actors who each deliver a strong performance. Pacing suffers a little near the middle, but interest is maintained as characters interact. And as they interact, the twists and turns of the plot are revealed, and there's something quite satisfying with the way that RUST CREEK plays out. Lowell tells the story of how Rust Creek got its name. At the end the waters run red once again.

RUST CREEK is an edge of your seat thriller with a strong, capable female lead. Not a horror, but bloody nonetheless.Take a trip to Kentucky and explore Rust Creek with Sawyer. Worth it for her character alone.

Rotten Tomatoes: 84% (CERTIFIED FRESH)

Metacritic: 59

One Movie Punch: 7.5/10

RUST CREEK (2018) is rated R and is available on most USA streaming services, and SMOKE ME A DINGO! It isn't yet available here in Australia!

Hi everyone!

One of the filmmakers that turned me back on to film was Rian Johnson. It happened about a third of the way into BRICK, when I found myself totally engrossed with no idea where the film was heading. After a brief jaunt within the Star Wars universe for THE LAST JEDI, he's back with another excellent film, this time a murder mystery like no other and every other. Andrew will be up in a minute with his thoughts, as this was a Fantastic Fest feature, but I can't recommend it enough.

Before the review, we'll have a promo for our good friends at the Comics in Motion podcast. Every episode, Dave and Chris review a film based on a comic book, providing a lot of key backstory for appreciating the subtler elements. Don't miss their guest reviews as part of Reign of Terror 2019, first for ALIEN VS PREDATOR (Episode #605), then later incognito for 30 DAYS OF NIGHT (Episode #626). I certainly appreciated their help. You can find them on Twitter and Instagram @ComicsInMotionP and on Facebook @ComicsInMotionPodcast.

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Here we go!

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Hello film fans!

Andrew here. Pinch-hitting on Matinee Monday to bring you perhaps the most mainstream film to premiere at this year's Fantastic Fest. You just might be familiar with director Rian Johnson's previous film STAR WARS: EPISODE VIII- THE LAST JEDI. So, there are three major films releasing around Thanksgiving. FROZEN II is already killing it at the box office and we haven't even hit the holiday weekend. A BEAUTIFUL DAY IN THE NEIGHBORHOOD with the obvious casting of Tom Hanks is capitalizing on the Mr. Rogers renaissance sparked by last year's all too similarly titled WON'T YOU BE MY NEIGHBOR?. Today's film is the third of the trio. And what to do they all have in common? Near-universal critical acclaim and, in my mind, they're all family films.

Today's movie is KNIVES OUT, written and directed by Rian Johnson. KNIVES OUT was a "Special Screening" at the 2019 Fantastic Fest, attended by the director and his personal muse, Noah Segan. Segan is an actor you may recognize as he shows up in small roles in tons of films but is most known for his work with Rian Johnson who cast Segan in his knockout directorial debut BRICK in 2005 - a neo-noir detective thriller set in a high school and led by Joseph Gordon-Levitt. Johnson and Segan struck up a friendship and Johnson's been casting him ever since, appearing in THE BROTHERS BLOOM and LOOPER; even sneaking him into an episode of BREAKING BAD and casting him in THE LAST JEDI as X-Wing pilot Stomeroni Starck. What I'm getting at is that everything Rian Johnson and Noah Segan touch is gold and they team up again with KNIVES OUT. What more do you need to know?

KNIVES OUT stars Daniel Craig going all-in with a deep southern accent as private detective Benoit Blanc, brought in by local police after the suspicious death of Harlan Thrombey, the patriarch of family made wealthy by his prolific career as a mystery novelist. With a vast fortune at stake, everyone is a suspect.

Eldest daughter Linda (played by Jamie Lee Curtis) is the most successful of Harlan's offspring, running her own real estate empire. Her son Ransom (an out-from-the-shadow-of-Captain-America Chris Evans) is a playboy, drifting in and out of the family when his coffers need replenishing. Harlan's son Walt (played by Michael Shannon) runs his dad's publishing company in a clear case of nepotism as the empire still manages to grow despite his mismanagement. Toni Collette portrays Joni, widow of Harlan's deceased son, a lifestyle guru who depends on family money to maintain her own posh lifestyle. And serving as the film's emotional core and audience surrogate is Harlan's nurse Marta (played by Ana de Armas) who has the peculiar quirk of vomiting whenever she lies, a trait used to comedic and plot-driving effect.

Is that all the characters? No, not even half, but that's enough to get you started.

KNIVES OUT is a modern update on the classic Agatha Christie whodunnit. Kenneth Brannagh dusted off the genre in 2017 with Christie's MURDER ON THE ORIENT EXPRESS in a pleasant, by-the-numbers take on the story that failed to bowl over the critics or provide much of an update on the dated source material. (That said, I will be there opening weekend for his sequel DEATH ON THE NILE next October.)

With KNIVES OUT, we essentially get the Roy family from HBO's SUCCESSION, toned down a bit from the farcical levels of that show, bumping heads as they search for the truth about Harland's death and, far more importantly, his last will and testament.

The best and worst aspects of the film are tied in closely together. The cast is sensational with a bevy of talent fully unshackled to bring maximum energy to these theatrical characters. Everyone gets a few killer lines, though Rian Johnson does save some of the finer repartee for his buddy Noah Segan as Trooper Wagner. Strangely, one of my favorites Lakeith Stanfield feels totally underutilized as Wagner's superior. The script carries out a complex and shifting mystery laden with non-stop dialogue such that you may want to lay off the soda - because there's no bathroom break built into these fast 130 minutes.

All told, the only place the film stumbles is that it may try to do a little too much. It is so relentless with its pacing and the complex interrelationships of the family, that it can be a challenge to follow. I had not only mentally prepared myself for a dense film, but I was also taking notes throughout the movie like I was auditing an anthropology class. And there were still several moments of confusion where I felt as if I had completely lost the plot. The film may end up being a little overconfident for holiday audiences and may come off just as smug as many of the characters. Still, I kinda loved it.

What makes KNIVES OUT fantastic?Rian Johnson has written and directed five films and not only are they all immensely entertaining, but he's proven himself a more than capable filmmaker in any genre. This a wild ride that you can watch with the whole family. There's really not much objectionable for kids under 13, they just may have a tough time comprehending it. Fair warning, this movie will continue to stoke all of your Thanksgiving table political arguments as it goes right after the wealthy and immigration policy.

KNIVES OUT is a showcase for some of today's finest actors making the most of an intelligent script replete with razor-sharp wit and humor. Fans of comedic or light-hearted mysteries featuring ensemble casts such as the aforementioned MURDER ON THE ORIENT EXPRESS, CLUE, or the 1976 film MURDER BY DEATH will enjoy this film.

Rotten Tomatoes: 97% (CERTIFIED FRESH)

Metacritic: 84 (MUST SEE)

One Movie Punch: 9.2/10

KNIVES OUT (2019) is rated PG-13 and opens wide on Wednesday, November 27th.

Come back on Friday and we'll dip our toe into THE POOL, which I promise is the perfect blackly comic survival film to get your heart-pounding and burn off those Thanksgiving calories. It's a guy. Trapped in an empty pool with 20-foot walls. There's a crocodile. There's lots of rain. There's a shaggy dog. And there's Pizza Hut. This film is absolutely bonkers. I'll see you then.

Hi everyone!

Welcome back for another week of reviews! We're continuing our Streaming Sundays series with a review of the Amazon Original documentary, ONE CHILD NATION, which was released in theaters earlier this year, and is now exclusively available on Amazon Prime. It's a strong contender for the award season and offers us a rare opportunity to examine the results of a grand social experiment. We'll be back next week with a review of the second Scorsese film from Netflix this year, THE IRISHMAN, another great Oscar contender, but one I waited to watch after it was available at home. Because three and a half hours.

It's Sunday, so that also means there's another Patreon exclusive episode available at patreon.com/onemoviepunch. This week, I decided to re-cut and re-master a series of audio essays and dramas from last year, collectively entitled "Stories from the Fire". It was one way that helped us process our wildfire evacuation last year, the second time for our family since moving to California. While you're over there, please consider contributing monthly at any level. All contributions go to help paying our expenses and to help us grow with our audience.

Before the review, we'll have a promo from our good friends at the Top 5 For Fighting podcast. Every week, Greg and Mike cover a host of topics, and when they disagree, you know they're going to fight about it. Don't miss their guest review here at One Movie Punch for ALIENS (Episode #604), where we tried to figure out what was going on, with mixed results. You can catch their podcast on Twitter, Facebook, and Instagram @Top5ForFighting.

Subscribe to stay current with the latest releases.

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Today's movie is ONE CHILD NATION, the Amazon Studios documentary directed by Nanfu Wang and Jialing Zhang. The documentary follows Nanfu Wang as she examines the history and effect of China's one child policy after becoming a first-time mother herself. The film examines the reasons, benefits, drawbacks, horrors, and lasting effects of this grand social experiment.

No spoilers.

However, content warnings for violence against women and children, including some very difficult stories.

ONE CHILD NATION deals specifically with the implementation, enforcement, abolishment, and lasting effects of the one child policy in China, which lasted from 1979 through 2015. The policy was enacted after the previous and now current two child policy, with the aim at slowing population growth to prevent starvation and to raise overall standards of living across the country. 36 years later, widespread famine has been avoided and the overall standard of living has been raised across the country, but many sociological experts and political pundits question the link between China's birth rate policies and the results later.

ONE CHILD NATION also seeks to question this correlation, from the perspective of Nanfu Wang, who was a second child born under the one child policy, exempted under one of the many loopholes that allowed roughly half of all families to have a second child. Nanfu Wang has since relocated to the United States, but returns to China to examine this policy from a number of different perspectives, and from her own perspective of being a mother to her first child. As such, ONE CHILD NATION is as much about Nanfu Wang discovering her own history and culture as much as it is about the policy itself, which is part of the reason ONE CHILD NATION is so effective as a documentary.

You can't talk about the one child policy without talking about propaganda. My initial understanding of China's one child policy was shaped largely by propaganda, in the form of mainstream media reports focused on forced abortions and sterilizations, and babies left in the markets to die, all shocking events that Nanfu Wang verifies and validates within her documentary. And it's true, the government did send public health crews to communities for sterilizations and abortions, but the number of forced procedures is hard to calculate outside of anecdotal evidence from two different workers Nanfu Wang interviews, particularly when the policy itself had high support among the population. In fact, both workers look back on their efforts with very different points of view.

ONE CHILD NATION helps us understand the level of social acceptance of the policy, even from Nanfu Wang's own family and community, citing the reasons for the policy almost universally. Stories of babies left in markets to die are definitely horrific, but only possible if entire communities walk past, not much different from folks who walk past the homeless in the United States, a situation China was trying to avoid. Or for that matter, the shocking number of "dumpster babies" that happened in the United States by women without access to safe abortion. But attempting to avoid one problem through social policy also lead to a host of other social problems, like sex-selective abortion, birth tourism, and hidden children living on the margins. Each of these negative effects is covered well by Nanfu Wang, with some surprising stories along the way, including one health worker's self-guided attempt at social redemption.

I think the hardest thing for me to reconcile with the one child policy is its basis on some questionable science. Thomas Robert Malthus drove this fear of overpopulation in his 1798 work, "An Essay on the Principle of Population", which basically says populations grow exponentially while food grows linearly, and when population outgrows food, we arrive at famine. It's a simple principle that's easy to communicate, but much more complex to understand. Malthus' views require modification, given the rise of contraceptive practices, agricultural advancements in food production and distribution, and roughly two hundred years of data challenging that theory. I have no doubt that there is a connection between population and food consumption, but I also know there are other social and political factors that affect that relationship.

My one criticism of ONE CHILD NATION is that it doesn't address this particular underlying idea, at least not directly. Malthusian ideas of overpopulation are also alive and well within so-called Western countries, often argued from positions of extreme privilege at best, and from positions of extreme racism at worst. Most of the concerns with overpopulation today have little to do with food and famine, and more to do with environmental degradation and economic hardship. Each person adds to the carbon footprint of the world through consumption, even if there are technologies to make consumption much cleaner and more efficient. Each person adds to the economic hardship for a family, especially in urban communities divorced from the ability to grow food, a key advantage of large, rural families.

I want to close with a generational look at a one child policy. After I saw this film, I spent the next couple of days sorting through it, sometimes in the car with my family on the way to school. My daughter, whose generation faces environmental devastation and perhaps the breakdown of economic systems, supports the idea of a one child policy, from a standpoint of long-term practical survival. ONE CHILD NATION is focused almost exclusively on whether anyone has the right to as many children as they want, which was also the focus of the propaganda in the United States about the policy. But what the film lacks is a focus on the responsibility that comes with bringing children into the world, which is also ignored in the debates about abortion in the United States. It's also why I support a one-child policy, even if both my daughter and I are vehemently against the way it was implemented in China, while also having no social or moral judgment about multi-child families elsewhere. It's a complicated issue, more complicated than the initial reasoning for a one child policy in China, but necessary for surviving on a planet with limited resources.

ONE CHILD NATION is a personal and social journey into the history and effects of China's one child policy. Nanfu Wang explores her own upbringing under the policy and her new perspectives as a recent mother, focused mostly on the more horrific effects of the policy, but without diving too deeply into the underlying reasons for the policy. Documentary fans, or anyone curious about the effects of China's one child policy, should definitely check out this film, but please heed all the content warnings.

Rotten Tomatoes: 99% (CERTIFIED FRESH)

Metacritic: 85 (MUST SEE)

One Movie Punch: 8.7/10

ONE CHILD NATION (2019) is rated R and is currently playing on Amazon Prime.

Hi everyone!

Welcome back for our next entry in our series Under the Kanopy, exploring the critically acclaimed, if not commercially viable offerings on Kanopy, a library and university funded streaming service that offers six free streams with nothing more than a library card. While other streaming services feature blockbusters and microbudget works, Kanopy delivers classic content from years past, along with modern films from partnerships with A24, Kino Lorber, and more. Today's film is an independent feature from Alex Ross Perry, looking at the riot grrl scene, and the double standards of women rockers. Check out the last three installments in the series with "The Image Book" (Episode #629), "3 Faces" (Episode #636), and "Ash is the Purest White" (Episode #643).

Before the review, we'll have a promo from Daniel Shaw of The History of Violence podcast. Every episode, Daniel takes a look at how violence has impacted our world, from obvious and unique perspectives. Also, be sure to catch his guest review for "Alien" (Episode #603) as part of Reign of Terror 2019! We were so happy to have him on the show! You can find the podcast on Twitter @ViolencePod and on Facebook @TheHistoryOfViolence.

Subscribe to stay current with the latest releases.

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Here we go!

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Today's movie is "Her Smell", the independent drama written and directed by Alex Ross Perry. The film centers around punk rocker Becky Something (Elisabeth Moss) and the destructive wake she leaves in her passing, as she struggles with sobriety and to recapture the magic of her initial success. The film also stars Cara Delevingne, Dan Stevens, Agyness Deyn, Gayle Rankin, Ashley Benson, and Dylan Gelula.

No spoilers.

The film industry is awash with documentaries and biopics about the almost stereotypical story of young, famous musicians. Unexpected success leads to self-destructive behavior that either leads to dire consequences or a heartfelt recovery, usually through a string of very awful, tragic events. Nearly all of these stories are about men, who are granted license for certain kinds of bad behavior, at least until someone gets hurt in ways that money can't fix.

However, there aren't nearly as many dramas made about the aging female rocker, a combination of a male-dominated music industry and the double standard that women aren't allowed to engage in bad behavior, or somehow operate differently given unlimited access to booze, cocaine, and the passion of youth. And it's true, the female rocker, female punk, and riot grrl scenes tend to be more politically and socially aware, but that doesn't mean they can't trudge down the same path. "Her Smell" gives us an interesting look at that particular scenario, what double standards would be on display for the character, and in watching it, what double standards we apply as the viewer.

I haven't heard much about "Her Smell" aside from a general praise for Elisabeth Moss' performance as Becky Something, which definitely anchors this entire film. The viewer gets roughly five contemporary acts in the life of Becky Something, the first of which is set after their initial success, and after the birth of her daughter, as she's clearly in the midst of a downward spiral, and each act after that follows her life, and the lives of those around her, who struggle to help and end up being hurt often in the process. Moss' performance is as dynamic and chaotic as the character, bringing her talent and star power to each contemporary scene, and the flashback scenes between acts that show how things used to be.

The story is just as much about the people around her, however, and the rest of the cast does a great job. Initial bandmates Marielle Hell (Agyness Deyn) and Ali Van Der Wolff (Gayle Rankin) show us the toll on the bandmates when success inflates egos and destroys band cohesion. Danny Something (Dan Stevens) shows us the toll on marriage and family. And the Akergirls, which include Crassie Cassie (Cara Delevingne), Roxie Rotten (Ashely Benson), and Dottie O.Z. (Dylan Gelula), represent what happens when rising artists learn about the real struggles of their heroes and the hope to still work with them. Every cast member puts in a great performance, often setting the stage for dealing with Becky and working to clean up the mess as well.

The female-driven cast definitely succeeds in highlighting all those aforementioned double standards for women. Behavior the viewer might forgive in men feels shameful for Becky, part viewer expectation and part Alex Ross Perry framing each moment to highlight that double standard. Different generations of female musicians represent different notions of women in the music industry, especially punk rock and alternative, how they compete for press and how they also collaborate and bond in different ways. Even if the film doesn't tell a new story, it does provide new perspectives on the same story, critically missing perspectives at that.

The biggest concern for viewers will be the length and style of the film, an extensive mix of multiple long-take scenes, which work really well to create discomfort for the viewer during tragic moments, but sometimes fail to engage during other moments. I definitely connected differently to each of the main five acts, sometimes engaged and impressed by the composition, sometimes just waiting impatiently to see what was next. If you don't like punk rock, or music industry drama, or these kinds of stories, then finding a connection may be more difficult than expected, a self-limiting feature of telling this particular kind of tragic story.

"Her Smell" is an epic drama about a middle-aged female punk rocker, struggling with herself and hurting those around her, as she tries to understand the changing world around her. Elisabeth Moss is excellent in the lead role, supported by another excellent, women-driven cast that challenges viewer and social expectations. Punk rock fans, or fans of stories about the underbelly of the music industry, should definitely check out this film.

Rotten Tomatoes: 83% (CERTIFIED FRESH)

Metacritic: 69

One Movie Punch: 8.2/10

"Her Smell" (2018) is rated R and is currently playing on Kanopy.

Hi everyone!

Andrew's back this week with another Fantastic Fest feature, a film starring one of the greatest comedians of all time, Eddie Murphy. I'm excited to hear his take on this film, as blacksploitation films are a personal favorite of mine, especially the films of Dolemite. He'll let you know his thoughts in a minute, but for a few recent reviews from Andrew, check out "Fractured" (Episode #642), "In The Shadow Of The Moon" (Episode #635), and the absolutely amazing "Jojo Rabbit" (Episode #631). You definitely won't regret that last one.

Before the review, we'll have a promo from our friends at the Good Game, Great Game podcast. Every episode, the crew talks about the video games they've been playing, along with any related and unrelated topics. Be sure to check out Andrew Orsie's guest review for "Scream 3" (Episode #600) as part of Reign of Terror 2019! You can find them on Twitter and Instagram @GoodGreatGame.

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Hello film fans!

Andrew here. Back this week with the fourth and final Netflix production to debut at the 2019 Fantastic Fest. There were two secret screenings at this year's festival and unlike last year, the secrets stayed under wraps. In 2018, it was known that the SUSPIRIA remake was scheduled for release shortly after the festival and there weren't many other likely contenders for the one mystery movie slot. The rumor mill proved right and the audience was neither surprised nor disappointed when they introduced SUSPIRIA (Episode #418) which garnered generally positive reviews. This year proved far more exciting with the two secret screening slots and a plethora of possible pictures, including JOKER, DOCTOR SLEEP, UNCUT GEMS, ZOMBIELAND: DOUBLE TAP, THE LIGHTHOUSE (which ended up being one of the two) and...

Today's movie is DOLEMITE IS MY NAME, the 2019 biographical comedy written by Scott Alexander and Larry Karaszewski and directed by Craig Brewer. The film stars Eddie Murphy as Rudy Ray Moore - nightclub MC, stand-up comic, rhythm & blues singer, and all-around entertainer. The year is 1970 and Moore, now in his late 40s, has seen some modest success as a local act in Los Angeles, but still spends his days clerking at a record shop to make ends meet. Moore is inspired by a swaggering vagrant carrying on about the legendary and entirely fictional character known as Dolemite. Moore ends up lifting much of the Dolemite persona, borrowing and embellishing on the original material, before performing in character at a comedy club. Delivering raunchy stories in the style of a beat poet, Moore becomes a sensation, self-releasing several comedy albums recorded in his living room. Before long, he sets his sights on bringing Dolemite to the silver screen.

Spoiler Alert: DOLEMITE made it to the big screen in 1975 and was an absolute box office smash. DOLEMITE IS MY NAME is about Moore's quest to make it all happen. Going in, I assumed I would be at a disadvantage, having only a passing familiarity with the original DOLEMITE as a lesser member of the blaxploitation pantheon - up there with characters such as SHAFT, FOXY BROWN, SUPER FLY and TRUCK TURNER.

Fortunately, this was not the case. The story here is a universal message of the power of positivity and believing in one's self, as cheesy as that may sound for a comedy that sports a hard R-rating. Rudy Ray Moore may have been a shameless self-promoter in his quest for fame, but he also labored hard for representation in the arts. His backers were primarily his family and friends, who frequently gave of their time and lent him money. An organizer and a motivator, Moore was by all accounts the hardest working man on set, involved in every aspect of the low-budget production.

DOLEMITE IS MY NAME is so fun-loving that it's almost overwhelming in its earnestness. Sure, there are struggles along the way, mostly when it comes to finances or minor differences in creative opinion. My one gripe is that it's such a feel-good movie that the lack of conflict undersells what must have been an incredibly fraught time for Moore and his crew as they filmed a motion picture with a cast and crew largely made up of amateurs.

While the film may lack tension, it suffers from no shortage of lewd humor and bawdy physical comedy. Moore was not afraid to press the boundaries of good taste, another reason why he would often struggle to find financial backing. Much of the humor is decades out of touch with modern standards of political correctness, but it can all be appreciated for its place within the time period. The moments in between the reenactments of old jokes are filled with real humor and wit - and that's where the heart of the film resides.

What makes DOLEMITE IS MY NAME fantastic? This magic of this movie is in the performances. Eddie Murphy is as electric as he was prior to the turn of the millennium. With multiple massive-paycheck Netflix stand-up specials in the works along with BEVERLY HILLS COP 4 and COMING 2 AMERICA (you hear me saying the number "2" there, right?), this may be the film that sparks his renaissance. You get Keegan-Michael Key playing it straight as refined screenwriter Jerry Jones. Wesley Snipes signs on as D'Urville Martin, Hollywood actor and DOLEMITE director, slumming it with the shoestring production. Throw in performances by Mike Epps, Craig Robinson, Tituss Burgess, and Chris Rock, as well as newcomer Da'Vine Joy Randolph as Lady Reed and this film has almost too many weapons.

DOLEMITE IS MY NAME (2019) is a captivating, soulful comedy, affirming the power of the human spirit, and one that you absolutely must not watch with your parents or your kids. Fans of other true-life comedies about off-beat creative visionaries such as THE DISASTER ARTIST (Episode #153) or MAN ON THE MOON will enjoy this film.

Rotten Tomatoes: 97% (CERTIFIED FRESH)

Metacritic: 76

One Movie Punch: 8.4/10

DOLEMITE IS MY NAME is rated R and streaming on Netflix.

Come back after the weekend and to catch me pinch-hitting for Joseph on Matinee Monday. I'll be talking KNIVES OUT. Writer-director Rian Johnson already had an eclectic filmography, so why wouldn't he follow up THE LAST JEDI with an Agatha Christie-inspired mystery with one of the most ridiculous all-star casts ever assembled? KNIVES OUT hits theaters for Thanksgiving so we'll keep it spoiler-free. See you then.

Hi everyone!

Just me today, as I continue taking a deep dive into documentaries, a semi-revival of our Documentary Thursdays segment from last year. This week, I'll be tackling "Framing John DeLorean", a film that promises a lot more than it delivers, much like the car of the same name. You'll find out what I mean in a little bit, but for two other recommendations, definitely check out "Meeting Gorbachev" (Episode #641), last week's documentary feature, and "Casting JonBenét", a 2017 Netflix documentary that actually delivers what this film promises.

Before the review, we'll be showing more love for our friends at the Ocho Duro Parlay Hour. Every week, the whole crew sit down and go over a bunch of topics, from sports to comics to television and movies. Huge shoutout to the ODPH crew for all their support during Reign of Terror 2019. You can find them on Twitter and Instagram @ODParlayHour and on Facebook @ochoduroparlayhour. Lots of great content on a variety of topics!

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Today's movie is "Framing John DeLorean", the Sundance Selects documentary directed by Don Argott and Sheena M. Joyce and written for the screen by Dan Greeney and Alexandra Orton. The documentary tracks the rise and fall of pathological businessman John DeLorean, with a combination of actual footage and contemporary interviews, along with a series of re-enactments by well-known celebrities who give their thoughts in-between filming scenes.

No spoilers.

I'm starting today's interview with how a majority of people will learn about this documentary – the marketing campaign. The trailer bills "Framing John DeLorean" as a revolutionary new kind of documentary, one that will change the way we look at documentaries forever, some new blend of documentary, re-enactment, actual footage, and commentary. Of course, this kind of experience definitely intrigues me, a new take on a standard film process. A similar promise was made and delivered in the 2017 documentary film "Casting JonBenét", which examined the case of JonBenét Ramsey through the eyes of families auditioning for parts in a dramatization of the infamous events. If you want to see a film that actually pushes the boundaries, then check out that film, because "Framing John DeLorean" definitely does not deliver on its promise.

Of course, it's only as I sat down to write this review that I began to appreciate the wry irony of such a marketing campaign for this particular story. When it comes to the career of John DeLorean, perception always outweighs reality, from his invention of the American muscle car in the Pontiac GTO at General Motors, through his failed attempt to sustain a fledgling car company through a series of mistakes. I went into this film much like the buyers of the DMC, sold a new kind of documentary that would stand out amongst the competition, and ending up with a mildly unique documentary about a slightly extraordinary figure.

I'm not sure whether to be angry or disappointed or impressed, and maybe that is the best way to approach the documentary. "Framing John DeLorean" is structured pretty much like any other documentary that relies upon dramatizations to recreate pivotal moments. John DeLorean is played by Alec Baldwin, supermodel wife Cristina Ferrare by Morena Baccarin, former business partner Bill Collins by Josh Charles, and other roles by Dean Winters, Michael Rispoli, Jason Jones, and others. The only slightly revolutionary move here is some behind-the-scenes interviews with Baldwin and Baccarin, which would normally be played in the special features portion of a DVD, but instead are inserted throughout the film. Aside from one story about DeLorean calling Baldwin to have him consider playing DeLorean in a movie, there's really not much insight brought into DeLorean's story. I think it also lessened the impact of the dramatizations themselves, having to switch between actors as themselves and actors as their roles, perhaps another wry, unintentional similarity to DeLorean's private and public personas.

"Framing John DeLorean" might not be revolutionary, but the documentary itself is well-made. Dramatizations aside, the standard documentary portions have a great selection of media assets, including still frames, varying qualities of video from his decades-long career, and audio recordings, especially surrounding the famous attempt by the FBI to frame him for a cocaine deal. Well-chosen assets help tell the rise of John DeLorean, but the interviews with his kids, Zach DeLorean and Kathryn DeLorean, shows the real contempt for the effects of DeLorean's actions, from the destruction of his family, to the massive disruptions to the economy of Northern Ireland after the closure of the DeLorean plant due to financial maleficence. In fact, by the end of the documentary, I had kind of wished Zach had narrated his father's story the whole way.

Two asides. First, the story of the DeLorean Motor Company is frighteningly similar to the troubles in the rise of Tesla, which also only survived after an injection of cash from the government to continue operations, and shows another executive learning the hard way that starting a company takes a lot more than money or investors. You can see some of those similarities in 2011's "Revenge of the Electric Car" that tracked the recent rise of the modern electric car at Tesla, Nissan, Chevy, and independent converters. Second, they most definitely have a segment about featuring the DeLorean in the "Back to the Future" franchise and speculate about the potential for the DeLorean car itself if it had survived to see the film. I certainly wanted one as a kid, knowing nothing about the disappointment in the cars by actual owners.

"Framing John DeLorean" is a documentary that promises a lot more than it delivers, quite similar to the DeLorean Motor Company. However, instead of a failed product, Argott and Joyce deliver a well-made, mostly standard documentary complete with re-enactments, and perhaps too-intrusive commentaries from the actors involved. Documentary fans, or folks interested in learning more about John DeLorean, should absolutely see this film. Just be ready to have a few reservations when you're done.

Rotten Tomatoes: 91% (CERTIFIED FRESH)

Metacritic: 67

One Movie Punch: 7.8/10

"Framing John DeLorean" (2019) is not rated and is currently playing on Hulu.

Hi everyone!

Welcome back for another review. It took some negotiations mediated by One Movie Spouse, but we're allowing Shane Hyde to return to the podcast with a new series of reviews covering contemporary horror films. We figured it was the best place to put him after his extensive role in Reign of Terror 2019. Expect to see Shane around here a lot more often in the coming weeks, and especially next year, starting with today's review of a critical darling. Although, he proves results may vary. And for a few other reviews form Shane, check out "Polar" (Episode #412), "They Shall Not Grow Old" (Episode #426), and the collaboration that inspired part of Reign of Terror 2019 during his review for "Starship Troopers" (Episode #447).

Before the review, we'll have a promo from our friends at the Donna Martin Graduates podcast. Every episode, Kelly Senatra breaks down an episode of the pop-culture sensation, "Beverly Hills 90210". Subscribe and get caught up as they continue their journey through season one. And definitely check out their guest appearance for Reign of Terror 2019 in Episode #599, with her review of "Scream 2". You can find them Twitter @graduatesdonna, Facebook @donnamartingraduatespodcast, and Instagram @donnamartingraduates90210.

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Kia Ora!

I'm Shane. When I'm not the villain of the podcast, I'm also providing some really late reviews for your listening pleasure. Apologies to Joe.

Today's movie is "Nightmare Cinema", 2018's horror anthology film, all tied together around a loose premise of people being bought together in a cinema to view their worst fears. And there are some names attached here! There's Mickey Rourke, John Chamberlain, Elizabeth Reaser (who's from "The Haunting of Hill House", you'll know her when you see her), David Slade, and even frickin' Joe Dante of "The Howling"! But, like all recipes, the whole isn't necessarily the sum of its parts.

Shall we take a look?

And there will be spoilers ahead. Warning you now.

Now first up, I'm not going to say I wasn't entertained. I really was. Of the segments, 'The Thing in the Woods' was almost comical in the way it satirized the slasher genre, and then knocked that on its ear with 'Alien Spiders' of all things. 'Mashit' tried to take itself a little seriously, but with some dodgy green screen, and some questionably hilarious special effects, it let itself down somewhat. And while watching that, I couldn't help but think of what was an homage (homage?) to Peter Jackson's "Brain Dead", or "Dead Alive" as its known in the United States.

For me, the best segment was the middle one: "This Way to Egress". It was effectively filmed in black and white, which left you questioning reality or sanity in a similar manner to say, 2006's "Silent Hill". This segment I LOVED! It was directed by David Slade and starred Elizabeth Reaser from "The Haunting of Hill House". It was quick, to the point, and conveyed the horror of lost control so demonstrably. Yeah, the mood was something else.

A lot of what we see here, though, can be seen in last year's "Twilight Zone" or "Channel Zero" or "Two Sentence Horror Stories", all of which are just as effective as this film. But, as it's a film, we do need to touch on the connective tissue. The cinema, the projectionist, because this is where the film was at its weakest. A segment would start with the protagonist seeing their name up in lights outside the cinema, walk on in, and then be shown their worst fears. The Projectionist didn't even appear until halfway through the film – and Mickey Rourke was terribly, terribly underutilized.

2018's "Nightmare Cinema" felt a little more like a showpiece. Like someone saying, 'Look at what we can bring together!' with the cinema component being something of an afterthought. But don't take that as me crapping on it, I'm really not. From the campy humour of "The Thing in the Woods" to the existential dread of "This Way for Egress", and even the wackiness of "Mashit", it has a bit for everyone.

Rotten Tomatoes: 77% (CERTIFIED FRESH)

Metacritic: 60

One Movie Punch: 7.0/10

"Nightmare Cinema" is like a bag of jelly-beans. Someone will find something they like and leave me with the black ones, because clearly black jellybeans are the best.

"Nightmare Cinema" is likely available on most streaming services.

And that's it from me. Be kind to one another and I'll be back in a week with another review. I really do have to ask: How hard can it be to see at nighttime wearing a welding mask?