One Movie Punch

Hi everyone!

It’s Takeover Tuesday, and we welcome back to the show Nathan Gibbons reviewing what might be considered the Diet Coke of the Diet Coke of ‘The Omen’. If that doesn’t make sense, be sure to catch his previous Takeover Tuesday episode for “The Prodigy” (Episode #548), where all will be revealed. And for two other evil seed films, check out our re-run for “Hereditary” (Episode #525) and “The Hole in the Ground” (Episode #491).

Before the review, we’ll have a promo for The One Where Show from Nathan Gibbons himself. Be sure to gorge on the massive numbers of podcasts he’s been posting over at Apple Podcasts by searching for “The One Where Show”. You can follow Nathan on Twitter @YaBoyGibbo and on Instagram @gibbogram1.

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Here we go!

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JOSEPH: “Nathan?” 

JOSEPH: “Huh. He told me to meet him at this oddly built hospital slash morgue slash office building to receive his review. Looks like he left a note.”

JOSEPH: “Dear Joseph. Hard drive crashed. Cannot record review. Also, even though you’re not qualified, you need to take my night shift here. Sorry for the last minute change. Good luck! @YaBoyGibbo.”

JOSEPH: “Well, let me load up the film here on my cell phone, which seems to be working perfectly fine, and could be used at any time to stop any supernatural madness that might happen here. And then I’ll get to work on the review.”

JOSEPH: “You hear that?” 

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Today’s movie is “The Possession Of Hannah Grace”, the Screen Gems horror film directed by Diederik Van Rooijen and written for the screen by Brian Sieve. The film follows Megan Reed (Shay Mitchell), a traumatized former police officer taking a night shift job at the morgue as a step in her recovery after losing her partner on the force. So, of course, her first night they wheel in the cadaver of Hannah Grace (Kirby Johnson), who is... spoiler alert... possessed. And then hijinks ensue.

No spoilers.

I actually don’t think Nathan had hard drive trouble. I think he saw this film, realized it had very few redeeming qualities, and ran hard and fast for the hills just outside Boston. At least I assume there are some hills there. And the problems with this film are no different than the slew of other “Exorcist” copycats that followed in the wake of that landmark film. Some pretend to be based on true stories, and generally very loosely based, considering exorcisms in this film, and many others, glamorize the Catholic rite of exorcism to be something more than the symbolic event it actually is. The possession films that work generally become franchises, like Child’s Play or The Conjuring or The Exorcist itself.

The rest end up like today’s film, a one-off hope of sparking another franchise. “The Possession of Hannah Grace” opens up with a failed exorcism on Hannah Grace, which does nothing that hasn’t been done better and with more originality than the films that have come before. If the title wasn’t a dead giveaway, this opening sequence ensures that you know the mysterious cadaver being brought into the morgue afterwards is most definitely possessed. Which is followed by a not very mysterious old man sort of explaining the spiritual physics of demonic possession for this film, which is that the cadaver heals itself with each kill, and sets us up for a tropey slasher scene for the small night shift crew of victims. 

I’m telling you Nathan, as I scream this into the recorder you left me, I really struggled after the opening sequence. I knew the entire direction of this film, but it still had untold horrors to tell. Including the casting, which doesn’t help with this film at all. Franchise hopefuls put a lot of thought into casting these first films, especially if there’s any hope for long-term viability. I think the casting department had those hopes in mind when casting Shay Mitchell as Megan Reed, who has managed seven years of “Pretty Little Liars”, along with a few other series in the wake of it ending. 

It’s too bad she can’t sell the part, which is a combination of a lack of focus in the story and not enough character development. By lack of focus, I mean this film has two focuses – Hannah Grace and Megan Reed – and neither character really gets the backstory they deserve, perhaps withheld for the hope of selling more films. I was sort of shocked to learn Megan was an ex-cop, because her vibe, not to mention the opening credits, do nothing to sell this part of her story. You know everyone else in the film is disposable, but Megan needs to have more substance, and it’s not there in the script, not given enough time on screen, and Mitchell can’t bring enough to overcome those two obstacles.

I’m also split when it comes to supernatural films involving religious themes, especially when you have to buy into so much dogma and structure to even get started with the story. You have to buy into demons, angels, heaven, hell, exorcism, the power of specific rites and languages. Sieve and Van Rooijen take the easy way out by tossing out the rulebook about the nature of Hannah’s possession, how the demon operates, its apparent ability to bilocate when seeking its victims, and what powers it may or may not have. Which turns the remaining film into a series of completely implausible slasher kills, or I guess entirely plausible when anything goes. 

Is it fair, Nathan, for me to judge this film so harshly? I mean, should I really be shocked when major film studios task their independent acquisitions to churn out another potential horror franchise? I’ve been locked down here in this office hospital morgue watching this film over and over, waiting for someone to relieve me of my eternal torment. I’m not even sure how I’m supposed to post this, or why I’m shoehorning a story into what should just be a quick puff piece. And perhaps that’s the best metaphor for this film. And this review.

Meta, right?

“The Possession Of Hannah Grace” is yet another demonic possession/exorcism film, which presents itself as a naked attempt to launch another horror franchise. The film offers nothing new for the genre, and generally recycles scenes and tropes from far better films. Hardcore horror fans will probably subject themselves to this film, but be sure to do so in the company of others, and not by yourself during the night shift. 

Rotten Tomatoes: 19%

Metacritic: 37

One Movie Punch: 3.3/10

“The Possession Of Hannah Grace” (2018) is rated R and is currently playing on Amazon Prime and STARZ.

JOSEPH: “What the fuck is that?!”

Hi everyone!

Today we’ll have the first of four Certified Fresh films in theaters right now, a R-rated shock comedy about sixth graders having insane adventures that forty-somethings like myself wish we had had at that age. For a couple other films that fit this same narrow genre, check out the absolutely incredible “Booksmart” (Episode #504), our recent re-run of “Eighth Grade” (Episode #539), and “Rim of the World” (Episode #506).

Before the review, we’ll have a promo from our friends at the Grief Burrito podcast. Every week or so, Harrison and Jordan wrap up the latest in games, films, technology, science, and weirdness into a tortilla of a podcast, then share it with you for an hour or so. Check out their latest episode in their Spooky Burrito series, covering The Enfield Poltergeist. You can catch them on Twitter and Instagram @GriefBurrito, and by searching on Facebook for Grief Burrito. Don’t miss a single episode!

Subscribe to stay current with the latest releases.

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Here we go!

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Today’s movie is “Good Boys”, the R-rated tween comedy directed by Gene Stupnitsky and written for the screen in collaboration with Lee Eisenberg. The film follows Max (Jacob Tremblay), Lucas (Keith L. Williams), and Thor (Brady Noon), who get invited to their first kissing party. While spying on their neighbor to learn how to kiss, an expensive drone is destroyed, and the trio must replace it before Max’s father returns home. 

No spoilers.

I applaud parents who don’t place artificial limits on content with their older children. Despite the magic of smartphone technology, I knew when I gave my daughter her phone that she would have access to the entire Internet, or would find a way to get to all the world’s content. It made more sense to simply talk to her about what was available, and after one or two uncomfortable movie viewings, we’ve mostly made peace with dealing with adult content. Most of the time. Sometimes there’s enough to make me squirm anyway! 

Which is why I applauded the cool parents who brought their tween male children to the theater for a viewing of “Good Boys”. However, I wasn’t too happy that they sat apart from their parents at the theater, and as fate would have it, right next to me. I loved the movie, and will stand by my review, but I honestly had a difficult time watching the movie. Do I laugh at the expensively realistic sex doll scenes? Should I be making encouraging remarks regarding the drug use in the films? Do I laugh at how they treat drinking beer? How grossed out am I allowed to be without looking like a total wimp? I mean, this is One Movie Punch. We’ve got a reputation to keep!

“Good Boys” is essentially a film made by forty-somethings featuring sixth graders taking actions and making decisions they would find funny. Eisenberg and Stupnitsky do a great job turning a relatively mundane sequence of events into a hilarious, high stakes adventure, at least from the perspective of the Bean Bag Boys. All three main characters, plus much of the supporting cast, are well developed, with enough story to place them into each scene in mostly plausible ways. And it’s funny. I spent a good chunk of the film laughing, from the beginning and all the way through their three primary adventures, and a hilarious closing montage/epilogue.

I think what I appreciated most was seeing glimpses of how young men their age might see this world we live in, with absolutely no content restrictions, and still see them as plausible moral actors. Because this film is also surprisingly woke. Women were always treated with respect, or at least with the same respect they show the young men. Consent is a huge factor in any sexual situation or theme. And all three actually take turns admonishing one another for stepping out of line, not just with women, but with all protected classes. It’s really nice to see young men understand basic concepts instead of always being shown as forgivable heathens.

However, when it comes to portraying sixth graders in humorous situations, there’s only so much you can do with the concept. “Good Boys” keeps a very light tone throughout the picture, never taking itself too seriously, which is perfect for a shock comedy. It also means, however, that we can only develop so much of a relationship with the characters, who are clearly there to amuse us. For instance, we find out early on that Lucas’ parents are divorcing, but it’s mostly treated as a vehicle for delivering both backstory and comedy.

By contrast, two recent female-driven films were able to split that difference very well. “Booksmart” was a perfect blend of R-rated shock comedy and coming-of-age story, something that I think is more feasible with a story about high school seniors than sixth grade boys. Last year’s “Eighth Grade” was a similarly perfect blend, leaning a bit more into the drama side, and delivering a funny and heartwarming experience. “Good Boys”, for all its potential, also limits itself to a film about young boys swearing and doing things outside the MPAA ratings for their age while not violating any laws. It definitely works, and you’re going to laugh, but you’re also not going to connect to the characters, and that’s not enough to push it into the same echelon.

“Good Boys” is an adventure comedy about three sixth graders learning an awful lot about their world. Stupnitsky and Eisenberg craft a hilarious concept piece that explores the new lines of good taste when it comes to humor involving children, but often at the expense of being able to relate to the characters. Shock comedy fans, or anyone dealing with the drama of raising tween boys, should definitely check out this film. But maybe have them sit next to you, hey? 

Rotten Tomatoes: 78% (CERTIFIED FRESH)

Metacritic: 60

One Movie Punch: 7.7/10

“Good Boys” (2019) is rated R and is currently playing in theaters.

Hi everyone!

Welcome back to another week of reviews here at One Movie Punch. We’re back with four Certified Fresh movies in the theaters right now: two reviews from yours truly and two from One Movie Spouse. We’ll also have the return of Nathan Gibbons for Takeover Tuesday, along with another Fantastic Fest review from Andrew Campbell. Lots of great content, including today’s throwback review, which I’ll get to in a moment. 

Last week we posted our third ever Patreon exclusive episode, which was our full interview with Laurence Fuller for “Echoes of You” (Episode #557). This week we’ll bring you part one of our full interview with Kyle D. Hester about “The Chair” (Episode #550), “Preacher Six”, and many other projects.

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

KYLE D. HESTER: “I’m thrilled to be here and you totally threw me off by bringing up Frank James from Pony Express Rider. I have not thought about that for years, so uh, right on. I wonder if anyone even has that game.”

JOSEPH: “I don’t even know if anyone can even play it on computers anymore, to be honest. I saw that and I thought that was a wonderful credit to mention.”

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 second part of our two-part interview with Kyle D. Hester and the beginning of an experimental segment called “One Movie Punch: Zero Percent”, where I’ll be reviewing a film which received the lowest possible score at Rotten Tomatoes. All contributions go to paying our expenses and growing with our audience.

For today’s throwback review, I went with a graphic novel adaptation that tells a much different story than your typical comic book. “I Kill Giants” is based on a comic book series of the same name, and follows the life of Barbara Thorson (Madison Wolfe), a young girl using fantasy to deal with trauma. In addition to the excellent themes, the film has both stunning and subtle special effects that are sure to wow animation fans. The film is not rated, but I would place it between PG and PG-13. “I Kill Giants” currently sits at a 78% Certified Fresh rating at Rotten Tomatoes, and a 74 at Metacritic. After the review, you can catch the film streaming on Hulu and Hoopla.

Before the review, we’ll have a promo from our friends at Retro Late Fee, who have recently unearthed mixtapes from 1994! Catch the then-current hits of Green Day, Sheryl Crow, and other bands most of you haven’t heard of! You can follow them on Twitter @retro_latefee and on Instagram @retrolatefee. Don’t miss a single episode of the hottest new television, film, and music from 1994! And don’t miss their review of “Beverly Hills Cop III” (Episode #520).

Subscribe to stay current with the latest releases.

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Here we go!

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Today’s movie is “I Kill Giants” (2017), the coming of age fantasy drama directed by Anders Walter and written for the screen by Joe Kelly, based on a graphic novel by Kelly and J.M. Ken Niimura. The film follows Barbara Thorson (Madison Wolfe), a young outcast protecting her contemporary seaside town from giants. However, her obsession begins to affect her family life, her school, and her developing friendship with a new arrival.

Spoilers ahead.

It’s hard to talk about this film without spoiling some major plot points, purposefully concealed within the story until the very end. I think that mystery helps in the storytelling. Children have the most wonderful sense of imagination, which helps them deal with complex issues and which, unfortunately, fades as we grow older. Barbara, as a character, is right at the age where the line between imagination and reality is beginning to blur, a perfect time for telling this incredible story.

The film has strengths and weaknesses. “I Kill Giants” was adapted from a seven issue limited series from Image Comics, and in some ways, that medium is better suited to tell this story, better able to blend reality and imagination into a unified vision. The costumes, sets and effects are all really well done in the film, but the overall aesthetic never seems to congeal in the same way as the comic book. Ten years ago, this film would have been considered phenomenal. However, our expectations are so much higher now, thanks to the incredible increases in special effects and, more importantly, storytelling with those special effects. With a comic book, we can fill the rest in with what’s left of our imagination, but with a film, you get what you get, and unfortunately, I wanted either something more or maybe something different.

The cast is pretty great. Madison Wolfe and Zoe Saldana really shine, even if their relationship feels a little forced at times, and I’m not just talking about the general counselor/adolescent relationship. Imogen Poots feels underutilized, playing a fairly one-dimensional character. Sydney Wade is fun as Sophia, but also feels underutilized. Walter’s direction is strong, with a very well done resolution sequence towards the end that elicits a lot of emotions, even if the final few scenes hold on a little longer than necessary.

“I Kill Giants” (2017) is an above-average coming of age story that does pretty well bringing the source material to life. While never really finding a perfect blend of fantasy and reality, it does find a way to tell a difficult story from a unique perspective, one that parents might find to be useful in teaching their children about difficult topics. If you like coming of age stories or modern fantasy films, or perhaps just a comic book movie that doesn’t necessarily have a superhero, then you should definitely check out this film.

Hi everyone!

Welcome back for another Certified Fresh review from One Movie Spouse. Earlier this week, she forced me to watch “Juliet, Naked” (Episode #567), and you can learn how by catching up on that episode. Honestly, it wasn’t as bad as I feared it would be, but I’ll never let her know that. Except right now. Crap. Anyway, for a few other recent reviews from Amy, check out “Someone Great” (Episode #552), “The Hate U Give” (Episode #559), and “Echo in the Canyon” (Episode #566).

Before the review, we’ll have a promo for the Super Media Bros. They were part of the recent Big Heads Media Takeover, reviewing “Cloverfield” (Episode #519), which you should definitely check out. Don’t miss their recent episode with Jason Johnson as they discuss Cool Cat for over two hours. Yes, seriously, and it’s fabulous. You can find them on Twitter @SuperMediaBros_, Facebook @SuperMediaBros, and Instagram @supermediabrospodcast. If you love cult cinema, and the more obscure corners of the media universe, let Midnight Agent Raw and Okami guide you!

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! :MWAH:

Summer break is officially over for me, but it’s my plan to keep doing weekly movie reviews. I have watched MANY great films this summer and I owe a HUGE part of that to being a contributor to this podcast. An excuse to watch movies?? ::gasp:: I have two hands raised high, count me in!!! Listen to my review, then catch me on Twitter @OneMovieSpouse to keep the discussion going.

Today’s movie is “Plus One”, a romantic dramedy written and directed by Andrew Rhymer and Jeff Chan. The film follows Alice (Maya Erskine) and Ben (Jack Quaid), two best friends who decide to go as each other’s plus one for an intense wedding season. However, while helping each other out at each event, they begin to discover feelings for each other.

No spoilers.

I love, love, LOVE wedding films!!! Hands down my all-time favorite wedding flicks include “Father of the Bride” (1991), “My Best Friend’s Wedding” (1997), “My Big Fat Greek Wedding” (2002), “27 Dresses” (2008), and “Love Per Square Foot” (2018). What all of these films have in common are some over-the-top comedy scenes, making them absolutely cheesy and often cliché. What makes “Plus One” different is that it finds humor in more subtle ways. Situations and interactions with family members and friends feel way more authentic and relatable, a refreshing addition to the wedding film subgenre of romantic comedies.

While this film takes a more honest look at love and long-term relationships, I wasn’t swept off my feet as I thought I might be after viewing the trailer. The chemistry between Ben (Jack Quaid) and Alice (Maya Erskine) is strong, and they do make a fabulous duo as life-long friends. I laughed seeing their reactions to the not-so-subtle nudges by family and friends to take their relationship to the next level, especially when everyone around them is getting married. Their personalities complement each other very well as friends, but it is sweet to see them “give it a go” as a couple. This film beautifully depicts the complexity of relationships, and the risks when best friends become lovers. Both Erskine and Quaid play very convincing roles, making your heart ache for two friends in turmoil.

The menagerie of wedding traditions make up some of the most humorous parts of this film, including cheesy toasts, first dances, awkward table conversations, and more! The film will make folks reminisce about weddings they’ve attended, especially anyone who has experienced a similar wedding season, from their twenties to their forties. Ben’s dad Chuck (Ed Begley Jr.) gets remarried in this film, and his relationship with a much younger woman provides additional comic relief while also examining age differences in love. The major message of this film is to follow your heart, love passionately, and live without regrets, and that’s something we all need to hear from time to time. 

“Plus One” is an enjoyable and realistic story of life-long friends who always have each other’s back, and what happens when they might try to find more. It makes viewers examine their priorities in life, and also to live without regrets. Fans of feel-good films, wedding stories, and adult coming-of-age films are likely to enjoy this film.

Rotten Tomatoes: 90% (CERTIFIED FRESH)

Metacritic: 66

One Movie Punch: 7.0/10

“Plus One” (2019) is rated R and is currently playing on Hulu.

Hi everyone!

Welcome back for another Fantastic Fest review from our good friend Andrew Campbell. He’s still riding high after getting his press credentials for this year’s Fantastic Fest. I’m still a little surprised myself, and I can’t wait to hear about all the awesome films he’ll get a chance to see this year! And once he sees them, and we get the okay, you’ll hear about them here! For a few recent reviews from Andrew, check out “Lords of Chaos” (Episode #551), “Girls With Balls” (Episode #558), and “Dogman” (Episode #565). 

Before the review, we’ll have a promo from our friends at the Bicurean podcast. Check out their latest episode entitled Single Issue Haters, where they look at the relationship between accountability and blame in our current political discourse. It’s part of their mission to help advance critical thought, especially in a world with lots of shouty people shouting shouts at other shouty people. You can catch them on Twitter, Facebook, and Instagram @bicurean, or check out their amazing website at bicurean.com.

Subscribe to stay current with the latest releases.

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Here we go! 

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Hello film fans!

Andrew here - back this week with a film that I missed out on seeing at the 2018 Fantastic Fest. Although I prefer presenting reviews of films that are playing theatrically, or after they hit one of the more common streaming services, today’s film is only available on VOD at the moment but it should be streaming soon. Be sure to follow One Movie Punch on Twitter for updates when any of the films we have covered become widely available. 

Speaking of movie services, I finally cut off my Netflix DVD subscription after a decade long run. I had been using my Netflix DVD queue to track upcoming films of interest as Netflix allows users to save most films to their queue just before their theatrical releases. I was able to migrate the majority of my watchlist to the free service JustWatch, which has a fairly comprehensive database, but is not without its own blind spots. JustWatch lets you track when your saved films (and television shows) become available on a list of streaming services that you select. At this point, there is so much immediately accessible content that waiting for DVDs to arrive in the mail just no longer makes sense. Did you already figure this out months ago? Do you still get DVDs in the mail? Send us a fax and tell us why. 

Today’s movie is “The Wind”, a horror film set on the desolate American prairie sometime during the mid-1800s. “The Wind” was written by Teresa Sunderland and directed by Emma Tammi – the feature film debut for both writer and director. The film stars Caitlin Gerard as Lizzy, a strong-willed woman living with her husband Isaac (Ashley Zukerman) on a rural homestead. When another young couple, Gideon and Emma, move into the long-abandoned farmhouse the next field over, the two women start experiencing strange visions that threaten to disrupt their stoic lives. Are the women in the grips of a shared hysteria or are evil forces at play?

The film looks great. The daytime panoramas are contrasted well with the dimly lit evenings spent inside the stark, albeit spacious log home. Maybe it’s just me, but lately there seems to be an increasing number of horror films set in either the rural countryside or during colonial times. In this case it’s both. I’ll recommend a few similar films in a bit, but I’m starting to wonder if maybe it’s not so difficult to imbue a stark landscape with a sinister, foreboding feel. “The Wind” has the looks, but what about a plot?

So yeah, about that plot. The film opens strong with the tragic aftermath of a stillbirth, told with few words as Lizzy and the men work through guilt-ridden heartache on the front porch. After that, you’re going to want to buckle up to avoid whiplash as the film careens between flashbacks, dreams, and the present while failing to use a turn signal. Maybe there was a visual device that managed to elude me other than Lizzy looking just a bit more disheveled in the present day after the unseen spirit began to wear her down. By the time I got my bearings with each scene change, the narrative would slowly evaporate. As the story progresses, the murky mystery transitions into standard PG-13 popcorn scares. The story could have stood out by its creepiness alone rather than going the route of shadows and jump scares that are both played out and not particularly well done.

What makes “The Wind” fantastic? A few years ago, this film may have stood out from the crowd. But since the cult success of “The Witch” in 2015, the bar has been raised. “The Wind” is far too vague when it comes to its central conceit of an evil spirit that presides over the prairie. The creative team is trying to create a mystery, but what we end up with is some fairly wooden characters fighting off an ambiguous force. That said, as a debut effort for both writer and director, the film shows some promise for what was likely a short shoot on a tight budget. I hope we see them back at the festival with an improved offering in a couple years.

“The Wind” (2018) is supernatural horror at its most subtle; a breezy watch that contains just enough substance to command attention for 90 minutes. Fans of rural, period horror films such as “The Witch”, “Hagazussa” (Episode #530), or the spectacular “Nightingale” (currently in theaters) may enjoy this film. 

Rotten Tomatoes: 80% (CERTIFIED FRESH)

Metacritic: 66

One Movie Punch: 6.2/10

“The Wind” (2018) is not rated and available on VOD. 

Come back next week for “Holiday” a dark Danish psychological thriller set against the gorgeous backdrop of the Turkish Riviera. Some pretty heavy trigger warnings will come along with it, but it’s a powerful film deserving of the New Wave Best Picture and Best Director awards it picked up at Fantastic Fest last year. Stream it free on Kanopy tonight or come back next week for my full review. I’ll see you then.

Hi everyone!

Welcome back for another Certified Fresh review, and we’re welcoming back Keith Lyons to the podcast. We’re lucky to have him back amidst his busy schedule of movie viewings with a review for a very highly rated film from six different film scenes. He’ll be up in a minute with his thoughts, but for a few other reviews from Keith, check out “The Legend of Cocaine Island” (Episode #486), “Shéhérazade” (Episode #499), and “Maria” (Episode #514).

Before the review, we’ll have a promo from the Ocho Duro Parlay Hour. They’ve been giving us mad love on social media the past week, and we wanted to return the favor. Check out their recent episodes discussing NFL Preseason Drama, UFC 241, the end of Legion, and other mutant news! You can find them on Twitter and Instagram @ODParlayHour and on Facebook @ochoduroparlayhour. Warning: Massive amounts of awesome content! 

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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Hi, Philly Film Fan here with another review for One Movie Punch. You can follow me on Twitter @PhillyFilmFan. Today’s movie is “Birds of Passage”, the film directed by Cristina Gallego and Ciro Guerra and written by Maria Camila Arias and Jacques Toulemonde.

No spoilers.

The directors of "Birds of Passage" had previously made history in 2015 when they collaborated on "Embrace of the Serpent", the first Columbian film to ever be nominated for an Oscar, in the Best Foreign Language Film category. That film followed the journeys of a German ethnographer and an American botanist who each go on an expedition through the Amazon rainforest with an indigenous man (the last of his tribe) as their guide. Last year Columbia chose "Birds of Passage" as its Oscar submission for Best Foreign Language Film (each country is only allowed one submission) and the film made the shortlist of nine but was ultimately unable to secure the nomination.

"Birds of Passage" sees the directors return to the subject of indigenous people. This time focusing on the radical shifts in a Wayuu village in northern Columbia as it becomes increasingly involved in the international drug trade in the late 60s. The story begins innocently enough, Raphayet, a young man played by Jose Acosta, wants to marry Zaida, a beautiful girl played by Natalia Reyes. But Zaida comes from a powerful family and Raphayet's family has lower status. Raphayet needs to come up with an appropriate dowry to win his love and a chance encounter with some Americans looking for marijuana provides a perfect opportunity to make some quick money.

Raphayet may be our protagonist but this film is dominated by Zaida's mother Úrsula (Carmiña Martínez). She is the matriarch of the most powerful family in the village and she carries herself like a queen. At first she is skeptical of Raphayet as a suitor for her daughter but once Úrsula sees the wealth created by trading in marijuana, she understands the potential to strengthen her family's position in society. Úrsula is a complicated character, on the one hand she is a proud member of her tribe and deeply invested in preserving the tradition of the Wayuu people. On the other hand, she is seduced by the resources of the outside world and the promise of power that they bring.

“Birds Of Passage” is an epic story about a clash of civilizations (and individuals) that plays out over decades. I may be slightly disappointed in this film but only because I can't help but compare it to "Embrace of the Serpent", which I believe is a superior film. But this is still a powerful work of art and Carmiña Martínez's portrayal of Úrsula was one of the finest performances of last year.

Rotten Tomatoes: 96% (CERTIFIED FRESH)

Metacritic: 85 (MUST SEE)

One Movie Punch: 8.0/10

“Birds Of Passage” (2018) is not rated and is currently available for rental or purchase in all the usual places.

This jawn was brought to you by Philly Film Fan. For more movie reviews, follow me on Twitter @PhillyFilmFan where I’m participating in the #365Movies challenge. That’s P-H-I-L-L-Y-F-I-L-M-F-A-N.

Thanks for listening!

Hi everyone!

Welcome back for another Certified Fresh review. Actually, every single film this week has been Certified Fresh, although we’re seeing a spectrum of quality within that certification. Today, we have film that crosses a lot of diverse film scenes, including Germany, India, and the United States, and distributed by Amazon Studios. For a few other Amazon Studios features, check out “The Handmaiden” (Episode #122), “The Big Sick” (Episode #007), “Brad’s Status” (Episode #075), “Human Flow” (Episode #074), and “Late Night” (Episode #545).

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 on Zack Snyder’s “300”! 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.

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Connect with us over social media to continue the conversation. 

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Today’s movie is “Photograph”, the Amazon Studios romantic drama written and directed by Ritesh Batra. The film follows the unlikely relationship between Rafi (Nawazuddin Siddiqui), a street photographer, and Miloni (Sanya Malhotra), a college student, both being pressured to get married by their families. After Rafi sends a picture of Miloni to his grandmother (Farrukh Jaffar) to deceive her about a potential marriage, he asks Miloni to pretend, until his grandmother returns home.

No spoilers.

Before I get into the film, I have some thoughts about the odd position of streaming services producing films, largely for their own subscription services, and how that affects both box office turnout and viewership. For example, Netflix’s “Roma” (Episode #352) barely took in anything at the box office, yet because of Netflix’s ginormous audience at home around the world, was able to produce a film worthy of the many Oscars it received. What used to be a strong indicator of a film’s critical success has been short-circuited around the theatrical viewing experience, for better or worse. “Photograph”, while not solely an Amazon Studios production, was definitely an Amazon Studios distribution, and rather than spending a whole lot of money on a theatrical distribution (just long enough for award consideration), they have now made it available to their similarly ginormous audience at home around the world. And without having to pay extra to see the film, does that mean more people end up seeing it? And more importantly, more critics like myself outside the LA and NY markets? I’d say yes, in the case of today’s film, and I think that will ultimately help the film in the long run.

While multiple film industries contribute to today’s production, “Photograph” can definitely be considered a Bollywood film. In retrospect, I should have kicked this one over to One Movie Spouse, but we did have the pleasure of watching it together, and I was struck by our different takes on the same film. “Photograph” is one of the many films taking a modern look at arranged marriages within India, in this case, both from a Hindu and a Muslim perspective. Amy really enjoyed the characters, learning about their lives and concerns, particularly Rafi’s show-stealing grandmother, who brings both comic relief and wise insight to each situation. I also liked the characters, finding more and more depth as both Miloni and Rafi continue their charade. But they also begin to fall in love, and we’ve seen this story before, easily a hundred times in Bollywood. So, while Amy was enjoying the story and characters, not to mention the incredible locations and colors, I was taking a deeper look at the themes.

Photographs, much like Rafi sells them to tourists, are an attempt to capture a moment in time. My family and I recently hit up an amusement park, and we took a ton of photographs, trying to capture the feeling of the adrenaline and the crispness of the fries and the sweetness of the funnel cake. The photographs end up being triggers for our memories, which become the stories we tell ourselves about the day, and are used for the stories we tell about ourselves to other people. Rafi and Miloni meet over a photograph, and they each remember that moment differently, both in the immediate aftermath, and as their relationship deepens. Those stories are no different, fundamentally, than the stories their respective families are telling themselves about the need and desire for marriage.

As we tour various sites around Mumbai, and we watch both characters discover feelings for one another, even as they know their social circumstances make them nearly impossible as a couple, we find their stories changing, as more and more photographs are taken, or reflected upon, or used to tell other stories. Photographs begin as memories and end as stories, and if there’s any criticism for this slice of life romantic drama, it’s that we know there’s more to tell about Rafi and Miloni. You might even, like Amy, wonder if you missed something, but much like a photograph, the film tells us all it can, and leaves the viewer to tell their own story about the characters afterwards. And that will be a tough sell for most. 

“Photograph” is a moving, deeply thematic look at arranged marriage and relationships, focused on the stories we tell ourselves. Using photography as a means to tell many parts of the story, Ritesh Batra, along with the cast, balances a beautiful romance with modern cultural politics, but also leaves the viewer hanging towards the end. Bollywood fans, or folks looking for a beautiful tour of modern Mumbai, should definitely check out this film. Just be ready for an abrupt ending.

Rotten Tomatoes: 80% (CERTIFIED FRESH)

Metacritic: 65

One Movie Punch: 7.6/10

“Photograph” (2019) is rated PG-13 and is currently playing on Amazon Prime.

Hi everyone!

Welcome back to another Takeover Tuesday, and welcome back our returning hosts from the How I Met Your Friends podcast. They’ll be reviewing another Apatow Production this week, but from about ten years before “Juliet, Naked” (Episode #567), which I was forced to review because a certain One Movie Spouse became a patron at patreon.com/onemoviepunch. It was a whole thing. And for one more from Apatow Productions, check out “The Big Sick” (Episode #007), which is probably the best romantic comedy I’ve ever seen. 

Are you interested in doing a guest review here at One Movie Punch? Head over to onemoviepunch.com/takeover-tuesday and read up more on the process, then reach out to us using the provided form or over social media to find out about guesting. We’d love to have you on the show, and you’ll get access to our growing audience and be able to run your promo before the review. We have a limited number of slots open each quarter, so be sure to contact us as soon as possible. And if you do well enough, you just might be asked to join the ranks of the One Movie Punch crew.

Before the review, we’ll have a promo for the How I Met Your Friends podcast. Be sure to check out their latest episode entitled “The One With A Lot of Bad Acting”, covering one episode of each show, with the usual fun insight of Julie and Kathleen. Connect with them on Twitter @himyfriendspod and on Facebook and Instagram @howimetyourfriendspod. And if you like either show, you’ll definitely love their show. 

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 “Forgetting Sarah Marshall” (2008), the comedy film directed by Nicholas Stoller and written by Jason Segel. Almost a dozen years later, “Forgetting Sarah Marshall” still delivers side-splitting laughs, with a great ensemble cast. Jason Segel should write more comedies. 

This review contains spoilers.

Sarah Marshall (Kristen Bell) dumps Peter Bretter (Jason Segel) and admits to him that she’s seeing someone new. On the advice of his step-brother Brian (Bill Hader), Peter jets to Hawaii, being reminded of Sarah on the plane, and immediately seeing her upon checking into the hotel. He also learns that her new beau is Aldous Snow (Russell Brand). Peter hits it off with hotel employee Rachel (Mila Kunis). After a few adventures with Rachel, as a friend, they finally smooch. Immediately after, Peter is forced to room next to Aldous and Sarah. Sarah starts to wonder if she shouldn’t have dumped Peter, and after a terrible double date dinner, she and Aldous break up. Sarah tries to get back together with Peter, which implodes his budding relationship with Rachel, and everyone heads back to the mainland. Peter finishes his musical and Rachel flies to LA to see it, where they reconnect.

Among the humor, is a really poignant story about what is really happening on each side of their relationship. Peter thinks Sarah wanted him to be Hollywood, and Sarah thought she was helping Peter become a better person. When Peter and Sarah finally sit down and talk, they both realize that they’ve been unhappy, for various reasons, and didn’t have good communication. We both love this movie, and agree that it does hold up, over a decade after release. Aldous Snow is a complete douche, while still providing laughs, and we are both pretty sure Russell Brand was given the greenlight for some excellent improv.

Beyond the core dynamic of Peter and Sarah, the ensemble cast is amazing, with cameos from SNL’s Kristen Wiig, and great performances from everyone’s favorite Paul Rudd, who never ages. And “Hawaii Five-O”’s Taylor Wily as Kemo, who steals a scene when he asks Peter if those are happy tissues or sad tissues. And Bill Hader, who plays the straight man to Segel’s doofus, especially when he threatens Peter for saying Sarah is better than Liz, Brian’s wife. And Jonah Hill has some R-rated one liners that are worth a 10-second rewind. 

Setting a movie in Hawaii, a literal paradise, plays well with how uncomfortable Peter and Sarah are to be near each other after their breakup. With constant weddings in the background of scenes, and Peter finally screaming at one for their lack of originality, it’s as if the Hawaiian resort is another character.

We picked this movie because of its connection to “How I Met Your Mother”, with Jason Segel playing Marshall Eriksen on the show. We can’t help but wonder about the use of Marshall for Sarah’s last name. Segel plays a great lovable goofball who is also a talented musician and composer. Much like his character on HIMYM, who is constantly writing and singing songs. 

This movie has aged well and might be one we need to purchase on DVD, unless Kathleen can find her copy. 

“Forgetting Sarah Marshall” is hilarious movie that we think deserves a resurgence and many viewings in the years to come.

Rotten Tomatoes: 83% (CERTIFIED FRESH)

Metacritic: 67

One Movie Punch: 10/10

“Forgetting Sarah Marshall” (2008) is rated R and is available on YouTube, Amazon Prime, iTunes, Vudu, and Google Play!

Hi everyone!

Welcome back for another Matinee Monday, this time for a feature that’s finally made its way to our neighborhood. And by all accounts, it looks to be a strong contender for just about every Oscar category. It’s great to see the growing number of domestic films starring Asian actors and featuring Asian writers and directors, expanding their representation and range outside of the Hollywood tokenism of the past. For a few other recent successes, check out “Columbus” (Episode #017), “Crazy Rich Asians” (Episode #253), and “Always Be My Maybe” (Episode #513).

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 on some weird stories of the Rich and Powerful. Very weird stories. 

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 Farewell”, the A24 dramedy written and directed by Lulu Wang. The film follows Billi (Awkwafina), a Chinese immigrant and New York resident, who learns that her grandmother, or Nai Nai (Shuzhen Zhou), has been diagnosed with late stage lung cancer. Following the social rules of eastern medical practice, her family decides to withhold this information from her. Now as the family gathers in China for a family wedding to say farewell, they must all keep the secret so that Nai Nai enjoys her remaining days.

No spoilers. 

One of my favorite things about movies is their ability to act as a bridge for discovering other cultures. I opened the podcast by talking about the resurgence of United States films discussing the Asian experience, especially given Hollywood’s past depictions. However, one of the difficulties in having this conversation is to stereotype, or being generous, oversimplifying what is considered the Asian experience. It’s one of the holdovers of Hollywood’s early film portrayals, not to mention decades of political propaganda about China as a country and a culture. Recent events in Hong Kong certainly don’t help matters in this respect, from a United States perspective, but we also live in the country with the largest prison population. Stones and glass houses.

“The Farewell” certainly fits this category of films, and Lulu Wang clearly wants to communicate a lot of ideas about the Chinese immigrant/expatriate experience. She does so through the lens of a particular social practice, withholding medical diagnosis, about a very universal cultural practice of saying farewell. Wang isn’t afraid to delve into the larger ideas surrounding the practice in the process, sometimes directly related to the topic, sometimes only tangentially related. And she does it with style and grace and an incredible eye for capturing complex emotions as well. It is, in short, incredible.

It’s important to understand at two critical differences between eastern and western thought. Western thought, on the whole, is focused on individualism, placing the focus on individual liberties and inalienable rights. Eastern thought, on the whole, is focused on communitarianism, placing the focus on the society as a whole, and the individual’s rights and responsibilities within that society. Billi struggles with this difference quite a bit, until her uncle tries to explain the difference, not just from an individual perspective, but also from a social perspective. The best part about the struggle is that it isn’t for Billi to be right about her conviction to tell Nai Nai, but for her to try and understand why it’s happening this way, when it is so different from her American life. 

Despite the focus away from the individual, the picture remains centered on Nai Nai and her secret condition. Wang often focuses on Nai Nai, her dialogue and actions, revealing important clues and red herrings about whether Nai Nai knows she’s being humored. Shuzhen Zhou is quite amazing as Nai Nai, keeping a perfect ambiguity in her performance that keeps us guessing as the viewer. And with every action taken by Nai Nai, we see how that affects the family around her, not just focused on Billi, but everyone else, each processing grief in their own way while adhering to the social expectations.

Towards the end, there’s an excellent ensemble shot of most of the cast walking down the street that showcases this spectrum of reactions. It’s just one of the many incredibly framed shots and montages throughout this film. Wang always seems to find the right setting or costume or backdrop to capture each moment, using a variety of film techniques, and never overusing gimmicks. Sometimes the scenes would be so moving, I found myself wanting to cry without wholly understanding why, other than feeling something deep down about loss and old age and family. Wang finds the universal relatability with a very specific cultural practice, and it’s breathtaking.

The second major difference is the nature of truth, especially on a social level. Western thought is obsessed with absolute truths, and a deep desire to have firm answers for our questions. Eastern thought is also concerned with truth, but in a much fuzzier context, especially when it comes to social matters. We might find the practice of withholding medical diagnosis as shocking or abhorrent, but I also grew up during a time when people routinely avoided discussing certain topics or activities with older generations to protect the family peace, especially in the Midwest. I would say American political discourse is also awash with truthiness, to use Colbert’s phrase, and that same truthiness has caused more than one white-knuckle moment at a mixed-politics Thanksgiving table.

It’s not just that difference in how we approach truth, however, but an underlying idea that exists within the practice itself. It stands to reason that if society, as a whole, engages in this practice with dying loved ones, that older family members would be on the lookout for being humored, as many Midwestern elders can sometimes be. I found myself often throughout the film wondering if Nai Nai actually knew what was happening around her, but then she would do or say something that would counteract that notion immediately, at least until the next moment. In fact, I bet you could watch this film believing Nai Nai knew she was being humored, and then turn around and watch it as if she didn’t know at all, and it would be two separate viewing experiences. It only works if everything lines up perfectly, and in the case of “The Farewell”, it most certainly did.

“The Farewell” is an amazing and compelling dramedy about the Chinese immigrant/expatriate experience, and the cultural practice of withholding medical information from family members. A well-crafted script is combined with amazing performances and locations to create a real masterpiece of cinema. I wholly expect to see this film during awards season, and likely studied in lecture halls to come about film history. Fans of independent dramas, intentional filmmaking, and the immigrant/expatriate experience should definitely check out this film. And bring a LOT of tissues.

Rotten Tomatoes: 99% (CERTIFIED FRESH)

Metacritic: 90 (MUST SEE)

One Movie Punch: 10/10

“The Farewell” (2019) is rated PG and is currently playing in theaters.

Hi everyone! 

Welcome back to another week of reviews here at One Movie Punch. Last week was crazy, with the debut of One Movie Spawn with her review of “In This Corner Of The World” (Episode #562), and this week we’re not slowing down for anything. We’ll have a movie finally available in our area for tomorrow’s review, and I’m really looking forward to it! We’ll also have the return of the How I Met Your Friends podcast on Takeover Tuesday, the return of Keith Lyons, another Fantastic Fest feature from Andrew Campbell, another romantic comedy from One Movie Spouse, and more!

Last week we posted our second ever Patreon exclusive episode, which was part two of our full interview with David McCracken for “Bullitt County” (Episode #549). This week we’ll bring you our full interview with Laurence Fuller about “Echoes of You” (Episode #556) and many other projects.

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

LAURENCE: “Yeah, I’m finishing up the fourth draft of a screenplay I’m working on called ‘Modern Art’, which is about my late father, the art critic Peter Fuller, which has been a fantastic journey for me to go on, to discover my father through making a film about him, and, kind of ties in with ‘Echoes of You’ in that way that I’m able to be moved by the mark that he left behind in his writing. That has been quite a fulfilling journey.”

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 a two-part interview with Kyle D. Hester and the beginning of an experimental segment called “One Movie Punch: Zero Percent”, where I’ll be reviewing a film which received the lowest possible score at Rotten Tomatoes. All contributions go to paying our expenses and growing with our audience.

We’ll have a quick promo before today’s classic review.

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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AMY: “How about ‘Juliet, Naked’?” 

JOSEPH: “I’m not watching that film.”

AMY: “Come on!”

JOSEPH: “I said no. And you can’t make me.”

AMY: “Do you have trouble getting your partner who hosts a daily movie review podcast to watch the movies you want to watch?”

JOSEPH: “Where’s that music coming from?”

AMY: “Do you get tired of watching zombie movies or action thrillers or zombie action thrillers?”

JOSEPH: “Who are you talking to?”

AMY: “Well, I did, until I discovered a great solution. Hi, my name is Amy Dobzynski, aka One Movie Spouse, and I’m here to talk to you about Sponsor Sundays.”

JOSEPH: “Is there a hidden camera somewhere?”

AMY: “Sponsor Sundays are just one of the many benefits you receive when you become a patron of One Movie Punch. Just head over to patreon.com/onemoviepunch and become a monthly contributor at any level. Signing up is simple, and you’ll instantly become eligible for Sponsor Sundays. Setup is easy!”

JOSEPH: “Oh, look, a new sponsor!”

AMY: “Once you’re confirmed, you’ll be asked for a movie to review of your choice. Just type it in... Ju-li-et Na-ked Mo-ther-fu-BEEEEEEP... then hit send.” 

JOSEPH: “And it’s... ‘Juliet, Naked’... language!”

AMY: “Sorry!” 

JOSEPH: “I guess you can make me! Okay, I’ll get it loaded up.”

AMY: “See? Isn’t that swell? So, head on over to patreon.com/onemoviepunch, sign up, and make Joseph watch a movie. It can be any movie the podcast hasn’t reviewed yet, and with just a few exceptions. And if you can’t decide, don’t worry! I have a whole list of films for him to watch.”

JOSEPH: “Let’s get this over with...” 

AMY: “COMING!”

AMY: “Warning: Sponsor Sundays only works for podcast hosts affiliated with One Movie Punch. Sponsor Sundays may not work on other podcasts hosts, but you’re welcome to try. Requested reviews may result in unexpected criticism, both positive and negative. Offer void where prohibited, wherever that might be. If Sponsor Sundays begin to glow or emit strange odors, contact your local hazardous materials team. More details at patreon.com/onemoviepunch.”

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Today’s movie is “Juliet, Naked”, the Apatow Productions dramedy directed by Jesse Peretz and written for the screen by Evgenia Peretz, Jim Taylor, and Tamara Jenkins, based on the novel by Nick Hornby. The film follows Annie (Rose Byrne), a curator at the local museum, who is unhappy in her longtime relationship to Duncan Thomson (Chris O’Dowd). One major stress in their lives is Duncan’s obsession with Tucker Crowe (Ethan Hawke), which eventually leads to their breakup and an unlikely relationship between Annie and Tucker. 

No spoilers.

My resistance to seeing this movie is part genuine, part extended inside joke between One Movie Spouse and me. The inside joke is that I knew how much she wanted to see this film, but we couldn’t make the limited release in the theaters, and it debuted on streaming services right as we were dealing with a minor wildfire evacuation, which I took as a sign, in true Hornby fashion and with as much conviction as any of his characters, that I should never watch the film. I would even make funny excuses for why I couldn’t put it on the schedule which it hit subscription services, but then again, here we are.

The other part of my resistance was genuine, however. I wasn’t a huge fan of the premise. I haven’t read ‘Juliet, Naked’ yet, and the trailer makes the film look like a famous rock star breaks up his biggest fan’s relationship. I should also mention I’m a music nerd in the right circles, who used to run an internet site dedicated to finding and preserving unsung independent music. Watching someone I could easily identify with, especially in a classic Hornby slightly depressive way, felt like setting myself up for an uncomfortable viewing. I know how music nerds can be. However, I’m also a huge fan of Hornby film adaptations, and O’Dowd and Hawke are nearly always great. So, I guess I should thank One Movie Spouse for this opportunity. I definitely should.

Hornby’s work is all about the characters, and ‘Juliet, Naked’ is no exception. More importantly, the characters tend to be extremely human and easily relatable, if not in their entirety, at least in some respect. I spoke earlier about my eerie relatability to Duncan, the mansplaining music nerd. Annie Platt is immediately relatable to any middle-aged woman feeling listless in their life. And while we can’t all identify with being rock stars, some of us can relate to Tucker Crowe, looking back at years wasted, and unable to outrun some of his poor decisions.

Great, relatable characters make film adaptations not just easier to translate, but also creates a fertile ground for interpretation by the actors. Chris O’Dowd brings a lot of his comedic presence to his role as Duncan Thomson, who plays a truly sad bastard in the best way possible, and who thankfully becomes deserving of his fate. Ethan Hawke makes a great forgotten rock star, able to be idolized or humanized depending on his interactions. Rose Byrne does well with Annie, maintaining a bottled anxiety throughout the film for the character. The film focuses on the main trio, and then Annie and Tucker, but supporting cast members weave in and out to help drive character revelations and development.

I’ve seen a lot of movies lately that can’t seem to get the book to video translation correct, especially when it comes to the story. Some novels need trimming down to make a solid film, at the cost of being a wholly faithful adaptation. This is especially necessary for slice of life stories like ‘Juliet, Naked’, which rather than having a clear start and finish, seems to begin by finishing one story for Annie and getting lost in starting a second story. Slice of life films are always a gamble, because it requires not just well-written characters, but an audience willing to accept films without clear endings. I’m good with those kinds of endings in novels, but not so much when it comes to film. I feel like there’s a whole other reel to the story of Annie and Tucker that we’re just never going to see.

My overall disappointment with the story is tempered by some truly hilarious and uncomfortable scenes that make Hornby the satirical genius that he is. The film has great locations, on both sides of the pond, which make for a nice backdrop on which the characters interact. I actually kind of thought that for a film about a musician, that the music doesn’t actually play a huge part in the film, with the exception of a few key scenes. Then again, why would you listen to a music nerd like me?

“Juliet, Naked” is somewhat a listless, but also funny dramedy about the end of one relationship and the beginnings of another. Hornby’s characters are translated well to the screen, both in the screenplay and by the actors, but the film also lacks the closure one might want. Fans of Hornby, or the cast, or alternative rock should definitely check out this film. And if you find yourself relating too much to Duncan, maybe consider making some changes in your life.

Rotten Tomatoes: 83% (CERTIFIED FRESH)

Metacritic: 67

One Movie Punch: 8.2/10

“Juliet, Naked” (2018) is rated R and is currently playing on Amazon Prime, Hulu, and Epix.