One Movie Punch

Hi everyone!

It’s Friday, which means it’s time for another Fantastic Fest feature review from our good friend Andrew Campbell. He has recently gotten super fancy press credentials for this year’s Fantastic Fest, and will be taking in as many films as his eyeballs and bladder can manage. I’m so jealous of his opportunity, but happy knowing we’ll all profit from his endeavors here on the podcast. For a few other reviews from Andrew, check out “Dogman” (Episode #565), “The Wind” (Episode #572), and “Holiday” (Episode #579).

Before the review, we’ll have a promo from the Comics in Motion Podcast. Every week, Dave and Chris tackle a film based on a comic book. Don’t miss their recent episode looking at Amazon Prime’s runaway hit, “The Boys”! You can connect with them on Twitter and Instagram @ComicsinMotionP and on Facebook @ComicsInMotionPodcast. Be sure to subscribe so you don’t miss a single episode. 

Subscribe to stay current with the latest releases.

Connect with us over social media to continue the conversation.

Here we go!

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Hello film fans!

Andrew here - back this week with a Fantastic Fest rarity... a comedy. If you set aside the comedic horror films, perhaps only three of the 70 or so films that played the 2018 festival can be classified as comedies. Remarkably, this includes two little seen films that currently sit at 100% on Rotten Tomatoes. “Slut in a Good Way” is a stylish black & white French-Canadian teen comedy-drama available on VOD. “Keep an Eye Out” is a terrifically absurd French crime comedy from Director Quentin Dupieux, best known for 2010’s “Rubber” about a car tire that uses its psychic powers for murder. This film is still not available stateside in any format, but I loved it so I’ll, uh, keep an eye out and I’lllet you know when it’s released. Setting those aside, let’s discuss a film that did not fare so well with critics 

Today’s movie is “An Evening with Beverly Luff Linn”, the American-Scottish crime comedy written by Jim Hosking and David Wike, and directed by Hosking. “Luff Linn” stars Aubrey Plaza as Lulu, a waitress married to her overbearing boss Shane Danger (Emile Hirsch). Lulu feels trapped in her domestic life until she spots her former lover Beverly (Craig Robinson) on a television ad for “An Evening with Beverly Luff Linn: For One Magical Night Only”. Through a madcap series of events, she ends up fleeing to the hotel hosting the event with an infatuated drifter Colin (Jemaine Clement), where they get to know one another in the days leading up to the show. 

On its surface, the plot isn’t too far out in left field for a comedy, but it doesn’t take more than five minutes of this film to know whether or not it’s for you. Jim Hosking’s only previous film, “The Greasy Strangler”, was a stomach-churningly vulgar horror comedy that I couldn’t look away from... but would be embarrassed to recommend. On the heels of that film, it’s remarkable that Hosking was able to pull together such a cast for a follow-up that would clearly not connect with mainstream audiences. Plaza does her pouty, sarcastic routine to great effect, while Clement gives a career-highlight performance playing his typical lovable loser character, with the ham-factor cranked to its limits. Hirsch nails the role of the villain, complete with two idiot henchmen. 

Where the film may lose some people is the rest of the cast. Craig Robinson in the title role (Beverly is a man’s name!) speaks only in grunts, an affectation that grates on the viewer while muting Robinson’s comedic chops. Then we get the side characters, who, like in Hosking’s previous film, are portrayed by a motley crew who rank many steps below the level of “non-professional actor” as they cough, wheeze, shout, and mumble their way through the peculiar script. If you can tolerate the cast, the film is very rewarding. 

What makes “An Evening with Beverly Luff Linn” fantastic?The characters in this film are unique unto themselves, all while fitting perfectly together in Hosking’s well-crafted alternate reality, where human behavior is just a little different. Second to the characters, and well ahead of the plot, what makes this film so enjoying are the bizarre bits of inessentials hidden along the way, such as Clement as Colin scarfing down an appalling plate of cheesy onion rings, and repeatedly ordering a decadent chocolate cocktail called “a rum and a ramble”. We also are treated to Colin’s stories about the thrilling origin of his name, as well as how his grandma used hard candies as incentive to get him to stop pooping in the woods.

“An Evening with Beverly Luff Linn” (2018) is the very definition of a polarizing cult comedy, featuring bizarre characters acting poorly, portrayed by an eclectic cast intentionally acting poorly. Fans of farcical comedies starring Jemaine Clement, such as “Gentlemen Broncos” or Taika Waititi’s “Eagle vs Shark”, will enjoy this film.

Rotten Tomatoes: 51%

Metacritic: 54

One Movie Punch: 8.4/10

“An Evening With Beverly Luff Linn” (2018) is rated R and is available everywhere on VOD.

Well, if you thought today’s film was a little out of place, come back next week for the newest film from... Jean-Claude Van Damme? That’s right, JCVD has returned to Fantastic Fest ten years after the bizarre and beloved, semi-autobiographical film called “JCVD” debuted there. Have your ID ready for “The Bouncer” and we’ll see if this new action-thriller is worth waiting in line for.

I’ll see you then!

Hi everyone!

This is the second of two Certified Fresh documentaries I’ll be reviewing this week. Yesterday, I reviewed “Hail Satan?” (Episode #584), which looked, in part, at a culture clash between two religions, or more accurately, one religion and one quasi-political organization promoting religious pluralism. Today, I’ll be looking at a different kind of culture clash, this one a look at Eastern and Western culture, busting some myths and giving new insights. For a couple other documentaries looking at culture clashes, check out “Abacus: Small Enough to Jail” (Episode #025), “Feminists: What Were They Thinking?” (Episode #291), and “Knock Down The House” (Episode #497).

Before the review, we’ll have a promo form Common Clay of the New West. Every Monday, CCOTNW gives you weird news and pop culture, or in their words, “the same things all the other podcasts do but worse”. You can decide for yourself on Twitter @CommonClayPod and on Instagram @commonclayofthenewwest. Check out their recent episode discussing the Spider-Man controversy and Amazon Prime’s “The Boys”. And some other stuff that will probably gross you out. 

Subscribe to stay current with the latest releases.

Connect with us over social media to continue the conversation. 

Here we go!

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Today’s movie is “American Factory”, a Higher Ground Productions documentary directed by Steven Bognar and Julia Reichert. The documentary follows the story of a Chinese company named Fuyao opening an auto glass factory in an abandoned General Motors plant in Ohio. Over the course of its initial years, American and Chinese workers work to get the company off the ground, and deal with cultural conflicts in the workplace. This is the first film to be distributed by Higher Ground Productions, founded by former President Barack Obama and First Lady Michelle Obama.

No spoilers.

“American Factory” is one of those documentaries you can tell if someone has watched by the way they talk about it. In many ways, the story plays out much like one might expect. An Eastern company, with a different ethos about work and the working environment, attempts to open a factory in a Western community. Both communities learn from each other, not just how to work better, but how to socialize with one another, including a group of American supervisors being taken over to China to see how efficient the same operation can be, and what it takes to make that happen. There’s a lot to learn from each other, and possibly an even better synthesized solution, but it turns to conflict in the form of a labor organizing campaign, throwing those hopes out the window. 

You can also tell how much someone understands the documentary by how they talk about it. For anyone who has lived in a post-industrial community, the story of Fuyao has happened with every economic downturn. A wealthy investor secures tax breaks to open or re-open a plant to bring in jobs. An initial boom is met with cost-cutting measures to maintain profits, and eventually only a fraction of the jobs remain, at much lower pay. It’s not really a story about East vs. West, or at least not just a story about that. It’s about how communities, and the workers within those communities, are exploited by the wealthy for profit. 

What I admire most about “American Factory” is that it covers a lot of ground in real-time for the story of Fuyao, over the course of three years. Bognar and Reichert has earlier produced “The Last Truck: Closing of a GM Plant”, a 2009 short covering the last truck to roll off the line at the same plant later occupied by Fuyao. Living in the area, they could periodically drive over to capture footage, in cooperation with the company, and I’m sure with a little discussion with producers Barack and Michelle Obama. 

We get the unvarnished, real-time outlook from the participants, avoiding the inevitable revisions that come from reflections after the fact. The essence of every person is captured on camera, with as much candor as a camera allows, and we see not only the differences between the cultures, but also the many similarities the working class faces worldwide. We see the immense sacrifices that Chinese workers make to maintain their jobs, which only differs in degree to the immense sacrifices that American workers make for jobs that don’t pay living wages. We also see the similarities between Cao Dewang, the founder of Fuyao, and any American billionaire opening a factory paying substandard wages across the country.

Bognar and Reichert strike documentary gold when the factory goes through a union organizing campaign, and the workers having to suffer through the anti-labor speeches provided by management, and the half-truths that come from that. I’m a former labor organizer, so this is all old hat to me, but for folks who’ve never seen an organizing campaign, this documentary does a passable job, perhaps with a little too much false equity between unions and management, especially for an Obama-produced documentary. I’m in favor of unions as long as we have inadequate laws to protect workers from being exploited or harmed, even if I probably know more about their weaknesses than most.

One last lesson this documentary serves is an example of the future of American industry, fueled by foreign investment and driven by sub-standard wages and opportunities. It doesn’t really matter if we’re talking about the hierarchical communist model within Chinese industry, or the corporate capitalist model within American industry. Both countries run their businesses as dictatorships with regards to the workers, where the owner or investor has almost unlimited control over their employees, at least when compared to the public sphere. If we don’t want this future, then we need to consider true bottom-up ownership, where the workers own the means of production and run things democratically. No bosses. No oppositional forces or hierarchical positioning. I would like to see this documentary to present a possible alternative to the current dead-end of workplace dictatorships.

“American Factory” is a brilliant documentary that picks up where Bognar and Reichert left off with “The Last Truck”, telling the story of a Chinese company opening an auto glass plant in same plant in Dayton, Ohio. The story acts as a lens looking at one possible future for American industry via foreign investment, and shows the very real effects on working class communities. Fans of documentaries about communities and changes in modern industry should definitely check out this film.

Rotten Tomatoes: 96% (CERTIFIED FRESH)

Metacritic: 86 (MUST SEE)

One Movie Punch: 9.0/10

“American Factory” (2019) is rated TV-14 and is currently playing on Netflix.

Hi everyone!

Now, I know what you’re thinking. I don’t come to One Movie Punch for documentaries about Satanism. I prefer my Satanism as part of horror movies and on “The Chilling Adventures of Sabrina” THANK YOU VERY MUCH! And that’s fine. But this documentary isn’t really about Satanism, despite the imagery and themes. It’s about something much different and something much more. For a few films directly related to today’s film, check out “Häxan” (Episode #131), an early documentary about witchcraft that outlines the Black Mass described in today’s film, and “Paradise Lost: The Child Murders at Robin Hood Hills” (Episode #144), a documentary about teenagers accused of witchcraft and Satanism during the Satanic Panic of the 1980s and 1990s, also referenced in today’s documentary.

Before the review, we’ll have a promo from our friends at the “Seeking Human Victims” podcast from the One Good Scare production company. They’ve recently finished up a series on the “Friday the 13th” franchise, the last episode of which contains our promo. You can follow the podcast on Twitter and Facebook @OGScare. You can also check out their webpage at ogscareproductions.com, where you can link to the podcast and subscribe.

Subscribe here to stay current with the latest releases.

Connect with us over social media to continue the conversation.

Here we go!

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Today’s movie is “Hail Satan?”, from Magnolia Pictures, the documentary directed by Penny Lane. The documentary takes a look at the rise of The Satanic Temple, a religious organization that has grown remarkably over the last seven years, in part for multiple actions aimed at dismantling religious privilege in government and society. And that’s about where the story ends.

No spoilers.

Unless you’ve actually looked into The Satanic Temple, I’m sure whatever images you’re forming in your mind are based on images you’ve seen on film and television. I grew up during the Satanic Panic of the 1980s and 1990s, which lasted two decades because of endless special reports about so-called Satanic cults, and their link to Dungeons and Dragons. “Hail Satan?” takes a look this time period briefly, along with previous depictions of modern Satanism, from the 1922 Swedish dramatic documentary “Häxan” (Episode 131), through Anton LaVey’s founding of the Church of Satan, and into the ironies of the Satanic Panic itself. When I first moved out the California, I actually found myself heading down a rabbit hole of looking for modern Satanist organizations, and had noticed the larger Church of Satan had fractured into different sects, and many chapters had fizzled away. Today’s documentary doesn’t cover much of that dissipation in detail, but there’s a rich history out there for folks who are interested.

I had originally gone into this documentary thinking it was an in-depth look at the court case to erect a Baphomet statue next to a Ten Commandments statue in Arkansas and Oklahoma. And this combined story forms the backbone of the entire documentary, featuring fascinated backstory on the origins of the Ten Commandments statues, multiple petitions and hearings regarding the statues, and the continuing fight to erect a Baphomet statue. However, these are just two campaigns in a string of campaigns aimed at exposing and dismantling religious privilege in the public sphere. With each campaign, and with the help of social and mainstream media, not to mention religious organizations intent on stopping them, chapters begin springing up around the world, challenging religious privilege in their local and state politics. Instead of a court case documentary, I was getting something much, much more. The chronological narrative of The Satanic Temple is quite fascinating, and the dips into the history of Satanism, and the internal drama among founding members, adds depth, even if it doesn’t always blend well with the overall narrative.

I also think the founders of The Satanic Temple got something much more than they planned when they started their campaigns. Iconography used to make a statement against school prayer carried forward into each campaign, and that iconography was adopted by the other chapters. Satan was less a deity and more an icon, a symbol of the outsider, and as the temple normalizes, we see them adopting seven progressive tenets that if you didn’t know formed the basis of The Satanic Temple, would likely be something most people would agree with. Every challenge to their campaigns and every victory only emboldens them, brings in new people, and expands their community outreach. The question remains if the iconography becomes too much baggage for advancing the progressive tenets, and whether the size of their community remains artificially small for folks who don’t want to see pig heads hoisted upon stakes to get socks to homeless people. The outsider always requires a figure to oppose, or to be outside from, which means as long as religious privilege exists, and sufficient funding, so will The Satanic Temple. And that’s where the documentary leaves it – amidst ongoing campaigns, dealing with the inevitable politics of running a worldwide organization, and dealing with a lot of administrative work that comes with everything. It’s an accurate depiction for The Satanic Temple, but as a documentary, it’s not a very satisfying ending.

“Hail Satan” is an insightful documentary into the founding and rise of The Satanic Temple and their political campaigns against religious privilege in government-run institutions. The film provides a great origin story for the organization, but also ends without much resolution, which may lead some to seek more information, but others to be disappointed. Documentary fans, especially those looking at the separation of church and state, should definitely check out this film. Just be ready for some very shocking scenes of graphic nudity and bloody imagery.

Rotten Tomatoes: 96% (CERTIFIED FRESH)

Metacritic: 76

One Movie Punch: 8.2/10

“Hail Satan” (2019) is rated R and is currently playing on Hulu.

Hi everyone!

It’s Takeover Tuesday, and we’ve FINALLY gotten the hosts of the Moviedrone podcast to return to One Movie Punch. All it took was five volumes of the Marc’s Movie Impressions Preservation Society, a promo, and... dare I bring it up again... a question of the week. They are here to review one of the greatest zombie comedies of all time, and we’re super excited to have them. For a couple other zombie films, check out the extremely weird “Ravenous” (Episode #066), and the first ever zombie film, “White Zombie” (Episode #152).

Before the review, we’ll have a promo from the Moviedrone podcast. You can catch them on Twitter @movie_drone, by e-mail at [email protected], and you can subscribe to their podcast at moviedrone.podbean.com. Also, be sure to check out their last review here at One Movie Punch for 1978’s classic “Halloween” (Episode #303). And you’ll be able to catch them in October as part of Reign of Terror 2019 – 31 days of horror movie reviews and interviews, featuring yours truly, our team of critics, the Moviedrone podcast, along with a bunch of other guests and reviewers. More details later in September.

Subscribe to stay current with the latest releases.

Connect with us over social media to continue the conversation.

Here we go!

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STEVE: Hi, this is Steve. 

MARC: And Marc.

STEVE: We are the Moviedrone podcast and we are guesting on this episode of Takeover Tuesday.

MARC: You can find us on Twitter which is @movie_drone or can get us via email on [email protected]. Please download us on all of the usual platforms!

STEVE: Today’s movie is “Shaun of the Dead” (2004), the comedy horror film directed by Edgar Wright and written for the screen by Simon Pegg and Edgar Wright.

MARC: The first of the ‘Cornetto Trilogy’, we follow Shaun as he tries to get his life back on track, whilst also fighting a zombie apocalypse alongside his best friend, his on/off girlfriend, his mum and step-dad, and some other acquaintances.

STEVE: There may be a few spoilers in the review, but these will not ruin any enjoyment of the film!

MARC: There is something quintessentially British about having a cup of tea and biscuits and waiting for things to get better. 

STEVE: This film replaces tea with beer and biscuits with hog lumps.

MARC: Leading the film we have Simon Pegg as Shaun, one of life’s drifters attempting to get his life back on track from the “Groundhog Day” it has become.

STEVE: The characters are cast and written perfectly, the hero, the loser, the girlfriend who wants more, the mum and stepdad, and the friends who join the different fractions of the crew. 

MARC: The opening of the film focuses on the characters meandering through life without the realisation it is being wasted. 

STEVE: Highlight scenes include battling zombies with washing baskets, a mug tree and records, as well as a near closing scene of attacking a zombie landlord with pool cues to the soundtrack of ‘Don’t Stop Me Now’.

MARC: *sings* Don’t stop me now!

STEVE: Ah, descending into normal Moviedrone.

MARC: There are some touching scenes with Shaun and his mum, as well as some tense but superbly written pieces with Bill Nye as his stepdad. 

STEVE: As a knower of that dynamic, I can concur to that.

MARC: Ah really, that good?

STEVE: That good.

MARC: Ok. Nick Frost as the clown character it’s casting brilliance as he helps elevate Pegg’s character to produce an amazing start to their acting double act.

STEVE: With some lines you will never forget like, ‘You’ve got red on you!’

TOGETHER: ‘Yeah boy!’

MARC: Oh and, ‘Can I get any of you s a drink?’. You can beep that, yeah?

STEVE: Yes Marc, correct.

MARC: Right after then that...

TOGETHER: We’re off to the Winchester to let it all blow over.

“Shaun Of The Dead” is an easy watching film you will never get bored with that’s like a gentle zombie hug each time you watch it.

Rotten Tomatoes: 92% (CERTIFIED FRESH)

Metacritic: 76

One Movie Punch: 9.4/10

“Shaun Of The Dead” (2004) is rated 15 and is available frequently on streaming services and is available on DVD and Blu-Ray and collectors editions like we’ve got.

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JOSEPH: Thanks, guys...

STEVE: Actually, you haven’t given my Blu-ray back of that.

MARC: Yeah, I have.

JOSEPH: Guys, that’s enough... 

STEVE: No, you haven’t.

MARC: Yeah, I have, I’ve got mine. 

STEVE: You’ve got mine as well.

JOSEPH: Really, I can’t even use this... 

MARC: No. 

STEVE: Yes, you’ve got loads of my DVDs. 

MARC: I might have loads, but you don’t have DVDs, you only have Blu-ray.

JOSEPH: Can you even hear me? Is this thing on? Hello? 

STEVE: Honestly, let’s carry this on off air.

MARC: Alright. 

JOSEPH: Finally!

Hi everyone!

Welcome back for another Matinee Monday. The school year is back in session, which means our family goes back to our school year schedule. Spoiler alert: it’s busy! However, One Movie Spouse and I have vowed whenever possible to hit the theater with our Regal Unlimited passes every Thursday evening to take in the latest cinema. You should have seen her face as I took her to see what could easily be my favorite wedding movie of all time. Also, game night is cancelled in the Dobzynski household until further notice. For one other film that sort of fits with today’s film, thematically anyway, check out “Anna and the Apocalypse” (Episode #425), which is definitely Stephanie Campbell’s finest review for the podcast. 

Before the review, we’ll have a promo from our friends at the Hattegories podcast. Every two weeks, Sam, Andy, and Rion sit down with a hat full of potential topics, then cast fate directly into the wind as they draw out a topic at random and start discussing. You can find them on Twitter, Facebook, and Instagram @hattegories. You can also find and subscribe to their podcast at Buzzsprout or wherever you enjoy podcasts.

Subscribe to stay current with the latest releases.

Connect with us over social media to continue the conversation. 

Here we go!

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Today’s movie is “Ready Or Not”, from Fox Searchlight Pictures, directed by Matt Bettinelli-Olpin and Tyler Gillett, and written for the screen by Guy Busick and Ryan Murphy. The film follows Grace (Samara Weaving), who is marrying Daniel Le Domas (Adam Brody), an heir to the Le Domas Estate. As tradition dictates, she must play a game before being accepted into the family, and a very deadly game of hide and seek ensues.

No spoilers.

A few weeks back, One Movie Spouse was reviewing “Plus One” (Episode #573), where she revealed much to the surprise of no one that she loves wedding films. I like wedding films as well, but only when they can do or say something about weddings that hasn’t been done as the endpoint of countless romantic comedies. Now, I’m not sure you can really call today’s movie a wedding film, but it does address some of the weird social norms when someone joins another family and the wedding glow has faded, along with the particular issues when someone joins a powerful family looking to protect their interests. Very fertile ground for looking at weddings, families, traditions, and rituals

“Ready or Not” lets you know up front what kind of film it is, with a flashback to an earlier wedding, which resulted in the groom being hunted down in a similar fashion. I would pity anyone who came into this film without seeing the trailer or knowing the plot. We learn there’s not going to be mercy, and the scene becomes a lens through which we fast forward to Grace and Daniel’s wedding. A standard wedding montage follows, a carousel of heartwarming rituals meant to bring two people together, everything from pre-wedding jitters to pictures to dinner and dancing, now tinged with the sinister feel of how deadly the evening will turn. 

Anyone who has joined another family will immediately identify with Grace. Everyone else around you wants to see you, and spend time with you, and all you want to do is be with the person you love. Our connection only deepens knowing what’s in store for her, and we’re already leery of Daniel who hasn’t told her anything. The magical game doesn’t always choose hide and seek, and we know this will Daniel’s first of many failures throughout the night, and the first of many more rituals which will take place throughout the rest of the film. Demonic rituals. First fights. Family intrigue. Breakups. Deaths in the family. Most of these events happen within the first year of marriage, but the viewer gets to watch them all happen in rapid fire throughout the evening while everyone plays the most dangerous game. 

Samara Weaving is excellent as Grace. Playing a bride means not just looking the part, but also dominating every room and scene you’re in, which she does throughout the film. Weaving is so expressive with every scene, navigating a whole spectrum of emotions in response to each event. The innocence in her eyes transforms into pure determination over the course of the film, just as her costume changes from an unstained bridal gown into a more functional modification. Weaving’s commitment to the part provides the foundation for the audience to commit to the story they want to tell, which in the wrong hands could easily seem corny or ridiculous.

While the audience is able to commit to the story through Weaving’s performance, the film cannot always commit to a consistent tone. “Ready or Not” is billed as a horror comedy film, which is a hard genre to nail without railroading a film into pure satire. “Ready or Not”, for the most part, hits the right blend of comedy and horror. But every now and again, it leans a little too much into horror, and there are also a few attempts at genuine drama between characters, interrupting the tone and taking the audience out of the groove of an otherwise well-paced survival slasher film. Strip all that out, and lean a bit more into the comedy, and it would have held a more consistent tone throughout. It’s still an amazing script from Busick and Murphy, and still well put together by Bettinelli-Olpin and Gillett. And it closes with an absolutely beautiful shot, which for spoiler purposes, I won’t reveal, but if you see the film, you’ll know exactly what I’m talking about.

“Ready Or Not” is a fun, smart look at the rituals surrounding marriage, and the politics in joining another family, as told through a very deadly game of hide and seek. Samara Weaving dominates every scene as Grace, serving as an amazing anchor for the entire film. Horror comedy fans, along with survival horror fans, and folks who might not have the best feelings about weddings, should definitely check out this film.

Rotten Tomatoes: 87% (CERTIFIED FRESH)

Metacritic: 63

One Movie Punch: 8.6/10

“Ready Or Not” (2019) is rated R and is currently playing in theaters.

Hi everyone!

Welcome back for another week of reviews. Believe it or not, we’re wrapping up on our third quarter cycle here at One Movie Punch. After this week and next week, we’ll be taking a two-week break, and then returning with our first ever Reign of Terror 2019 – 31 days of horror movie reviews and interviews from yours truly, our team of critics, and seventeen other guests. Every episode will open with an audio drama, and while we can’t give away any story details yet, I think we can safely say that Joseph will be perfectly fine, and nothing untoward will happen to him on a daily basis. Nothing untoward at all. Right.

So, this week we have one Certified Fresh film in theaters right now, and it is easily one of my favorite wedding movies. We’ll also have the return of the Moviedrone Podcast to Takeover Tuesday with a horror comedy gem. I’ll be covering two Certified Fresh documentaries available on streaming services, and we’ll close out the week with a Fantastic Fest review from Andrew Campbell and a Bollywood review from One Movie Spouse. A great week of content!

But wait, there’s more! Head on over to patreon.com/onemoviepunch where you can hear our fifth Patreon exclusive episode - part two of our interview with Kyle D. Hester, where we talk about “The Chair”, “Zombie with a Shotgun”, and “The Coop”. 

Here’s just a taste of what you’ll be missing:

KYLE D. HESTER: “Actually, yeah! Actually, we’re just rolling into another film. It’s called ‘The Coop’ and it’s a modern western. It’s like ‘No Country For Old Men’ meets ‘Inglourious Basterds’ and we’re just now rolling that out. We’ve got a GoFundMe on there now. That’s what’s coming, so hopefully we’ll get the funding we need for that soon, and we’ll get to filming it, and have more good stuff for you.”

If you want to hear the whole interview, just head over to patreon.com/onemoviepunch and sign up to contribute monthly at any level. All sponsors get access to exclusive content and will have the opportunity to force me to review one movie of their choice, as long as we haven’t reviewed it, with just a few exceptions. Upcoming content includes the debut of an experimental segment called “One Movie Punch: Zero Percent”, where I’ll be reviewing a surprise film which received the lowest possible score at Rotten Tomatoes. And on a way more serious note, we’ll follow that with an interview with the filmmakers of “After 82”, a documentary covering the AIDS Crisis in the UK, along with much, much more. All contributions go to paying our expenses and growing with our audience.

When I was going through a particularly hard time in my life, a good friend of mine asked if I wanted to see “The Raid 2”. I said, “I’m not sure, how was the first one?”. It took a few minutes, but he picked his jaw up off the floor, and we headed back to his place to watch one of the best action films of all time, and my introduction to both Gareth Evans and Iko Uwais. We hit the theater after that to see “The Raid 2” and it was an absolute monster of a time. Four years later, Gareth Evans finally returned with “Apostle”, a Netflix Original film that was less action and more historical drama. After adjusting to the different setting and tone, I found I really enjoyed the film, even if others didn’t feel the same. “Apostle” currently has an 80% Certified Fresh rating at Rotten Tomatoes and a 62 at Metacritic. You can catch it streaming exclusively on Netflix. Beware as the review today does contain spoilers!

Before the review, we’ll have a promo from our friends at the DC High podcast. Every episode, D and C bring you a dose of educational comedy. Or maybe that’s a comedic education. Educomedy? Whatever. You can find them on Twitter and Facebook @DCHighpod, and you can subscribe to their podcast at dchigh.podbean.com. You’ll even hear our promo in Episode #20!

Subscribe to stay current with the latest releases.

Contribute at Patreon for exclusive content.

Connect with us over social media to continue the conversation.

Here we go!

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Today’s movie is “Apostle” (2018), the Netflix Original film written and directed by Gareth Evans, the driving force behind two of my favorite films, “The Raid: Redemption” and “The Raid 2”. The film follows Thomas Richardson (Dan Stevens), who returns to London in 1905 to discover his sister has been kidnapped by a religious cult. Now Thomas heads to their island to confront their leader Prophet Malcolm (Michael Sheen), and to free his sister from their grip. 

Spoilers ahead.

If anyone was going into this film looking for “The Raid” in the early 1900s, they are going to be sorely disappointed. Sure, we get a few raw action moments from those angles that only Evans seems to be able to capture, but that’s all the look and feel we get from the previous franchise. Or is it? It’s easy to get blinded by the intense action of both “Raid” films, but beneath that action lies well-defined characters and tragic, almost impossible situations where “the right thing” is hard to discern. And “Apostle” has all those elements, transformed from modern Indonesia to early 20thcentury Britain, a time when Aleister Crowley was creating Thelema out of old occultist writings, and Lovecraft was just beginning his fiction, and all these dark elements begin to coalesce in a unique time, and it is here we meet Thomas Richardson. 

One aspect of “Apostle” I really appreciate is that, similar to characters in “The Raid”, we’re only given as much information about the character as Evans allows, even as events are playing out before us. The trailer, thankfully, was pretty vague about anything but the initial premise, avoiding the depth of almost all the characters. And as we learn more about the environment, and each character’s backstory, and the mysterious secrets of the island, we begin to move away from a standard rescue story into much darker territory. We learn about Thomas’ backstory and realize that we’re no longer sure to whom the title “Apostle” actually refers to. And then things get really, really gnarly. 

Because in addition to the rise of occultist writings, and alternative religious and economic ideas of the time, we also have the rise of scientific rationalism, and it is within Thomas Richardson that we see these two ideas go to war. He has clearly rejected all forms of religiosity from his personal experience, but he also comes face to face with something outside the realm of scientific rationalism. He is also up against brutal forms of punishment and control, as the serene idea of this religious community is underpinned by dark secrets and an ignorant populace. And ultimately, a failing community, as it begins to fall apart, and they start breaking out the much-hyped torture device, which while not having anything near the graphic layers of torture porn like “Saw” or “Hostel”, still packed just enough punch, and probably as tasteful as any cinematic depiction of medieval torture could be. Great script, great direction, really great cast and messaging, and to top it all off, simply awesome costumes, sets and effects, from beginning to end.

“Apostle” (2018) is a dark look into the nature of apostleship, as told through a rescue story in a remote religious community. Gareth Evans, while not bringing all the insane action of his previous films, does bring the same complex characters and difficult situations to a whole new genre. Fans of Gareth Evans’ work may not find exactly what they are looking for, but I believe will find something that helps expand our appreciation for Evans as a writer and director. And fans of occultist or alternative religious communities should definitely check out this film, as long as you don’t mind a little trepanning between community members.

Hi everyone!

We’re closing out the week with another review from One Movie Spouse, her second Certified Fresh review for the week. She has to go back to school next week, but thankfully she left us with a few extra reviews we’ll have coming out in the next two weeks before the break. And she seemed to really like today’s film. For a few other recent reviews from Amy, check out “The Hate U Give” (Episode #559), “Echo in the Canyon” (Episode #566), and “Plus One” (Episode #573).

Before the review, we’ll have a promo from the Top 5 for Fighting podcast! Be sure to catch their latest thoughts on the Sony / Marvel break-up over Spider-Man, along with their most recent look at the many, many, MANY Florida stories out there. You can follow them on Twitter, Facebook, and Instagram @top5forfighting. That’s the number five. Don’t miss a single episode!

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Hello, it’s me Amy, aka One Movie Spouse ::MWAH:: 

This past year, there has been a flurry of highly entertaining, fantastic musical films. Today’s film is no exception! The moment I see a trailer drop for a film including song and dance, I’m your gal, ready and set to review them. Listen to my review, then catch me on Twitter @OneMovieSpouse to keep the discussion going.

Today’s movie is “Blinded By The Light”, the musical dramedy directed by Gurinder Chadha and written for the screen in collaboration with Sarfraz Manzoor, and Paul Mayeda Berges. This film is a coming-of-age film for Javed (Viveik Kalra), who is inspired by the songs of Bruce Springsteen to recognize his talents and passions while discovering himself. Most importantly, he learns to always follow the music in your heart (and head) despite what others may think.

No spoilers!

The concept for this film came from Sarfraz Manzoor’s 2007 memoir “Greetings from Bury Park”. It describes his teenage life in a working class town north of London in the 1980s. Sarfraz Manzoor, along with friends Gurinder Chadha and Paul Mayeda Berges, does an incredible job bringing this story to life on the screen. The film opens on a lonely Anglo-Pakistani teen named Javed, struggling to find his place within the world and within his family. He finds solace in writing poetry, much to the disdain of his father. It’s when Javed’s friend, Roops (Aaron Phagura) introduces him to the music of Bruce Springsteen, that he finds an immediate connection. And when Javed begins exploring more of his music, he finds a much-needed increase in his confidence and self-expression.

As Javed deals with his internal struggles, he also has to deal with external struggles. His family and members of their community are regular targets of malicious racism, while working hard to create a better life and more opportunities for their families than what was available to them in Pakistan. This film contains multiple scenes involving racial slurs, racist graffiti, and acts of violence. While it is difficult and heartbreaking to watch some of these scenes, it shows the determination and resiliency of these families, adding depth to the film’s story and to the complexity of the film’s characters, along with insight into their real-life counterparts.

The cinematography and set/color schemes were visually appealing! Authentic clothing, hairstyles, and accessories add to the richness of the visual story, complementing the audio story of Springsteen’s music. The lyrics were interwoven into the dialogue, sometimes displaying the text on screen as each song plays in Javed’s Walkman. The effect was well presented and never felt cliché or overdone. In fact, it helps us feel Javed’s deep connection with the music in all aspects of his life, making him even more relatable as a character and a person. Despite all his struggles and changes, Springsteen’s music remains an anchor for Javed. I think back to my teenage years and there are definitely songs I can clearly recall helping me through tough times, and others marking moments of celebration in my life. “Blinded by the Light” reminds us that music is a powerful tool that can help us individually as well as unite us within a community.

“Blinded By The Light” is a film of artistic expression, as told by the story of Javed finding his place in this world, and the voice within to express himself. The film is visually stunning and will appeal to fans of music movies, coming of age stories, Springsteen fans, and 80s music fans.

Rotten Tomatoes: 90% (CERTIFIED FRESH)

Metacritic: 71

One Movie Punch: 9.5/10

“Blinded By The Light” (2019) is rated PG-13 and is currently playing in theaters.

Hi everyone!

It’s Friday, so it’s time for another Fantastic Fest feature from Andrew Campbell. Last week’s review for “The Wind” seemed to deflate Andrew’s sails, but will this week’s vacation thriller be the antidote? You’ll find out in a minute, but for a few other reviews from Andrew, check out “Girls With Balls” (Episode #558), “Dogman” (Episode #565), and “The Wind” (Episode #572). A few of those are even available on streaming services!

Before the review, we’ll have a promo for the We’re Watching Here podcast. Chris and Perry deliver a heaping dose of movies and analysis every two weeks. Check out their most recent episode on the films of Steve Carell, as well as their reactions to the latest film news. You can also check out their review for “Arlington Road” (Episode #522), as part of the Big Heads Media Takeover. Follow them on Twitter and Instagram @WatchingCast and on Facebook @werewatchinghere. You won’t regret it!

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Hello film fans! 

Andrew here - back this week with a bit of a tough sit. I’m not big into “trigger warnings” unless you’re trying to caution someone against viewing spontaneous, extreme violence; the kind of images that sneak up on a sensitive viewer and leave a lasting impression. Today’s film is demanding throughout, punctuated by one particularly challenging scene. This film is heavy and memorable, and the director is deliberate in her choices.

Today’s movie is “Holiday”, the Danish film written and directed by Isabella Eklöf. “Holiday” made its Austin premiere at the 2018 Fantastic Fest where Eklöf scooped up both the Next Wave Best Picture and Best Director awards. 2018 was a massive year for Eklöf, as she also co-wrote “Border” which holds a 97% Certified Fresh rating, not to mention scoring an 8.8 out of 10 from One Movie Punch (Episode #480).

“Holiday” stars Victoria Carmen Sonne as Sascha, young girlfriend to slick, wealthy drug dealer Michael (Lai Yde). Sascha and Michael are vacationing on the picturesque Turkish Rivera coastline, frequenting bars and discotheques with a group of friends. They all cut loose together, but when problems arise or his mood shifts, the “friends” become subservient to Michael, as soldiers in his drug cartel. Michael extends these submissive expectations to Sascha who, in exchange for an affluent lifestyle, is subject to physical and emotional abuse. When Sascha strikes up a flirtatious relationship with an attractive young boat owner, behaving oblivious to his advances, and failing to evade his pursuit, a violent conflict feels inevitable. 

“Holiday” is beautifully shot with a palette of rich pastel colors. The scenes shot on beaches and boats, in pools and in bars, often feature long single-camera takes. The director allows you to soak in the gorgeous surroundings, juxtaposed with the dark current of abusive power that hums below the surface.

The film’s two posters are stunning, reflecting the film symbolically with images of Sascha, clad in a white swimsuit and sporting bloody feet. But this is not the cheeky horror film or sexy thriller one might expect from that imagery; it’s a portrayal of abuse in the daylight in which everyone is complicit.

Some spoilers ahead.

Michael is on a working vacation; his relaxation is continually interrupted by the occasional vague business dealing. We get glimpses of his temper and violence directed at his employees. You don’t feel much sympathy for these men who signed up for a life of crime, but that’s not the point. The wives, girlfriends, and children of Michael’s inner circle are shown scurrying away, blocking out these necessary evils that allow Michael to provide them with wealth and security. 

The hardest moment to watch, and there are several others, occurs when Michael rapes Sascha. It comes as little surprise by that point of the film, but Eklöf captures it in one long take, bathed in sunlight. It is so repulsive, it may be the most difficult scene I have ever sat through with an audience. I do feel it is substantially more graphic than necessary, but I cannot argue with its effectiveness in confronting the audience, as if complicit in allowing such horror to go unchecked. At one point, a houseguest walks partially into frame before scrambling to leave, unable or unwilling to speak up. 

What makes “Holiday” fantastic? The film is authentic from start to finish, partially aided by an unknown but incredibly talented Scandinavian cast lead by the fearless and brilliant Sonne. The plot takes some dark turns as Michael becomes jealous of Sascha’s other suitor. However, Eklöf ends the film perfectly and unexpectedly from a moral standpoint, not taking an easy exit like I had anticipated.

“Holiday” is not for everyone, but for those up for a challenging story that will open up a difficult discussion the film is memorable and meaningful. Fans of uncomfortable stories that deal head-on with emotional and physical trauma like “Sling Blade” or “Mysterious Skin” will enjoy this film.

Rotten Tomatoes: 80%

Metacritic: 78

One Movie Punch: 8.6/10 

“Holiday” (2018) is not rated and is currently streaming on Kanopy – free to anyone with a library card.

Come back next week and we’ll break the tension with the rarest of Fantastic Fest genres – a comedy! But this is Fantastic Fest, so you’re going to get a niche comedy with zero commercial appeal. “An Evening With Beverly Luff Linn” is a small film with some big names. Jemaine Clement, Aubrey Plaza, and Craig Robinson are about to bring the weirdness like you’ve never seen.

I’ll see you then.

Hi everyone!

We’re back with our third Certified Fresh film this week, but this time it won’t be swiped by One Movie Spouse. Shia LaBeouf has one of the weirdest careers in Hollywood. For someone who was once positioned to lead two major franchises, which would be “The Transformers” and “Indiana Jones”, soon found himself embroiled in a bunch of internet and real life drama. While most remember him now as the “JUST DO IT!” green screen hero, LaBeouf has been quietly picking and starring in some pretty great films, including today’s film, “Borg vs McEnroe” (Episode #231), and the forthcoming critically acclaimed “Honey Boy”. A great road to recovery that we all get to benefit from. 

Before the film, we’ll have a promo from our friends, and I use that term very loosely, at the Massive Late Fee podcast. You can check out their takeover episode here at One Movie Punch for “The Unauthorized Bash Brothers Experience” (Episode #521). Be sure to catch their recent episode on “Baseketball”. You can follow them on Twitter, Facebook, and Instagram @MassiveLateFee.

Subscribe to stay current with the latest releases.

Connect with us over social media to continue the conversation.

Here we go!

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Today’s movie is “The Peanut Butter Falcon”, the Roadside Attractions adventure drama written and directed by Tyler Nilson and Michael Schwartz. The film follows Zak (Zack Gottsagen), a man with Down Syndrome living in a hospice where he was relocated after his parents died two years ago. With the help of his elderly roommate, he escapes into the Outer Banks of North Carolina to attend the Salt Water Redneck School of Wrestling, and is helped along the way by social outcast Tyler (Shia LaBeouf).

No spoilers. 

I really hate the word retard, which I will refer to as the r-word going forward in this review. I hate that people call other people that when they want to call them stupid or ignorant or foolish. I hate that people describe actions or events with the r-word. And I really hate it when people feel a need to get on a soapbox to talk about their right to use that word if they want, and that we shouldn’t be policing language, or something about political correctness. I never really understand the arguments for using the word for anything but in a strict engineering sense. It’s a word used to compare a subset of the population who through no fault of their own were born as something other than neurotypical. And it’s no different than the n-word in the eyes of many, including myself.

Entire generations have adopted the r-word to refer to a very diverse group of people, with different needs and wants and desires, and Hollywood’s depictions on the big and small screen were never very kind. It wasn’t until the landmark show “Life Goes On”, along with a few made-for-television movies at the time, that opened up the larger world to Down syndrome, humanizing people with Down syndrome, showing how their life isn’t better or worse, but different. And most importantly, it starred Chris Burke, who played Corky, and was the first actor with Down syndrome to play a major television character. It’s what makes inclusiveness important. More often than not, characters with developmental disabilities used to be played by neurotypical actors, but Burke’s portrayal of Corky opened the door for meaningful portrayals of people with Down syndrome by people with Down syndrome. It is something that “The Peanut Butter Falcon” gets absolutely right, and in the best ways possible. 

“The Peanut Butter Falcon” is an adventure story in the tradition of many journey stories of old, most especially “The Adventures of Huckleberry Finn” by Mark Twain, a reference coyly made towards the beginning of the film. It also reminded me a great deal of Taika Waititi’s “Hunt for the Wilderpeople”, another recent journey story about two social outcasts making their own path in the world. However, the film is not just a journey story, but a hero’s tale, specifically the path to becoming a hero, which makes the real star of today’s film Zack Gottsagen. Gottsagen’s performance is great in two specific respects. First, his actual performance is always genuine, never feeling like he’s just being given lines to read. And second, Nilson and Schwartz always frame him respectfully, only creating uncomfortable scenes when exploring particular themes.

However, it’s not just Gottsagen’s show, because Zak must necessarily be helped along his path, first by Tyler, then by Eleanor (Dakota Johnson), Zak’s hospice caseworker. Heroes often need help forging themselves. Tyler and Eleanor do not just help physically transport Zak along his way and protecting him when needed, or helping him navigate socially in an often unforgiving world. They also emotionally and spiritually empower Zak to believe in himself, especially when others cut him down, often with the use of the r-word, or when their story doesn’t always turn out the way they expected.

While “The Peanut Butter Falcon” keeps an overall light tone, it does enter some dangerous and difficult areas. While we can laugh and hope with Zak along his journey, we’re also reminded that there are many folks with Down syndrome who get lost in often overcrowded support systems. While we cheer Zak along his training to become a wrestler, we have to acknowledge that not everyone will react to his desires in a positive manner, nor will want to include him. And while we keep a warm heart during the journey, we’re also shown the very cruel reaction some, perhaps still many, parts of society have for non-neurotypical people.

The real strength of “The Peanut Butter Falcon” is that it gets inclusiveness right in so many ways. It gets the casting right by finding a great actor with Down syndrome. It gets the character right by treating the syndrome with respect and care. It gets the comedy right not by exploiting Zak’s life, but by examining his perspective and creating non-exploitative situational humor. It gets the themes and premise right by exploring many topics and busting a few myths along the way. And it gets the execution nearly perfect, with only a few rushed moments not even worth mentioning. It’s so rare to see a film that gets inclusiveness this right.

“The Peanut Butter Falcon” is a heartwarming tale about one man’s journey to become a hero, who is helped along his way by two very loving and supportive, not to mention unlikely, people. While the film is a solid hero story, its hidden strength is that it gets inclusiveness of Down syndrome people correct in all the right ways. Fans of heartwarming stories, or folks who want to know how inclusiveness should work in society, should definitely see this film.

Rotten Tomatoes: 95% (CERTIFIED FRESH)

Metacritic: 69

One Movie Punch: 10/10 

“The Peanut Butter Falcon” (2019) is rated PG-13 and is currently playing in theaters.

Hi everyone!

If you had told me that I would absolutely love a “Dora The Explorer” feature length film, I would have told you something that you would never hear on an episode of the show. Because of the profanity, you see. And yet, there I found myself, seated next to One Movie Spouse, taking in an afternoon showing of what might be one of the best films you’ll see all year. And while I was getting ready to write the review, a suspicious reviewer wearing a hastily constructed eye mask that looks a lot like One Movie Spouse took it from my hands. One might even say swiped it. She’ll be up in a minute with the review, but for a few other films in this genre, check out “Tomb Raider” (Episode #461) and “Aquaman” (Episode #366).

Before the review, we’ll have a trailer for “Preacher Six”, a crowdfunded venture by Kyle D. Hester in its final funding push. If you want to contribute to this project, head over to gofundme.com/preachersixfinalfilmcampaign and give at any level. You can get some sweet incentives, like having your name listed in the credits for the final film. Be sure to follow the film on Twitter, Facebook, and Instagram @preachersix. That’s six spelled out.

Subscribe to stay current with the latest releases.

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Here we go!

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Hello, It’s me Amy, aka one Movie Spouse, back for another review. ::MWAH::

Today’s film was SO much fun I can hardly contain my excitement! Yes, REALLY! Looking for a family friendly film where you can laugh out loud and experience some Indiana Jones-esque adventures? Today’s film meets those criteria. ENJOY! Let me know what you think of this series reboot on Twitter @OneMovieSpouse. 

Let’s get this review rolling.... Vámanos!

Today’s movie is “Dora And The Lost City Of Gold”, the live-action comedy film directed by James Bobin and written for the screen by Matthew Robinson and Nicholas Stoller, based on a story by Tom Wheeler, which of course is based on the series “Dora the Explorer”, created by Chris Gifford, Valerie Walsh, and Eric Weiner. Dora (Isabela Moner) is sent to live with her cousin Diego (Jeff Wahlberg) while her parents are searching for Parapata, or the Lost City of Gold. However, an evil organization kidnaps Dora, Diego, and two other friends, taking them on an action-filled adventure with plenty of laughs. And jungle puzzles! 

No spoilers!

In anticipation of this film my questions were simple: “How will they do it? Can the writing team bring the animated series to life? And will it be worth watching?” The answers to these questions are yes, yes, and YES! The writing team, director, and animators did a fantastic job bringing the beloved “Dora the Explorer” series to the big screen. Several franchises have tried over the years to make the leap to the big screen, but not many succeed as well as this film. “Dora and the Lost City of Gold” had just the right blend of catch phrases, use of the fourth wall breaks, and providing educational animal and habitat information, without being overdone or cliché.

One of things that I enjoy about Dora is her positive can-do attitude when learning or trying new things! People can learn a lot just by following her example. Bringing an animated character to life is more than just casting and wardrobe. What made Dora’s character so likeable was her innocence and naivete to things outside her home environment. I mean, she was living in a South American jungle with her explorer parents for 16 years! When she goes to Los Angeles to visit Diego and her family, you can see the culture shock being around so many different people, as well as not being familiar with cultural norms and expectations. Her adjustment to life in the city, and Diego’s mixed feelings about his cousin joining his high school, add richness to the story and allow viewers to feel for both of them. It makes the franchise feel both new and familiar.

This film had just the right amount of nostalgia and nods to the original TV series. Swiper the Fox (Benicio Del Toro) was in the film and snuck in and out of the film just as he did on TV. When on screen, he added comic relief without de-railing the action. I was tickled to see Dora using her knowledge and learning to rely once again on her “friends” Map and Backpack. And of course, when in doubt, sing a song, and she does on her adventures all the way!

Finally, the action scenes in this film were amazing. I felt like I was watching “Indiana Jones and the Temple of Doom”, not just a “kids’ film”, full of danger and jungle puzzles that require teamwork and problem-solving skills. So much so, I could see a live-action series reboot with Dora taking the audience on more world-wide adventures.

“Dora And The Lost City Of Gold” is a family friendly live-action comedy film sure to delight audiences of all ages. It blends the old and new to create a solid base for a multi-film franchise. Lovers of action films, and fans of the TV series will surely want to catch this film!

Rotten Tomatoes: 83% (CERTIFIED FRESH)

Metacritic: 63

One Movie Punch: 8.5/10

“Dora And The Lost City Of Gold” (2019) is rated PG and is currently playing in theaters.