One Movie Punch

Hi everyone!

It’s time to close out the week with another review from One Movie Spouse. Between leading a team to save the podcast in early July, to cranking out weekly reviews, she’s been amazing this summer. I was jealous she was able to sneak off to see today’s film, but I’m also happy we get another great review out of the deal. For a few other recent reviews by Amy, check out “The Hate U Give” (Episode #559), “Someone Great” (Episode #552), and “Music Teacher” (Episode #538). All three are quality films you’ll want in your life. 

Before the review, we’ll have a promo from our good friends at the Book of Lies podcast. Every episode, Sunni and Brandi look at another con artist. Check out their recent episode on the NBA Cheating Scandal. You can link to it on Twitter @Bookofliespod and on Facebook and Instagram @bookofliespodcast. 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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Hello, It’s me Amy, AKA One Movie Spouse back for another weekly review. ::MWAH:: Movies, movies, movies, I just LOVE the theater experience! I was fortunate enough to catch today’s film on the big screen at our local second-run theater. What made this experience so great was being surrounded by enthusiastic music fans. This was a treat for me as I was clearly the newbie in the room. Back to school in just a few short weeks, but you can always catch me on Twitter @OneMovieSpouse.

Today’s movie is “Echo in the Canyon” (2018), the music documentary written and directed by Andrew Slater with additional writing support by Eric Barrett. This film provides a nostalgic glimpse into the rocking electric sounds of Laurel Canyon in 1960s Los Angeles. My interest in “Echo in the Canyon” was piqued the first time I saw the trailer. I loved all that I heard, but I didn’t really have any expectations as I entered the theatre, simply curious and wanting to see what the hype was about. Buckle up, because it’s an awesome ride!

No spoilers.

The film’s executive producer, and suave interviewer/musician Jakob Dylan, son of the legendary Bob Dylan, takes us on this incredible journey! I LOVE the 1960s Los Angeles vibe in this film! Recognizing guitar riffs that I’ve heard on the radio for years, the “around town” photos of classic Los Angeles landmarks, and the archive footage mixed with contemporary band member interviews immediately drew me into the entire film. If you loved the 1960s Los Angeles vibe of “Once Upon a Time in Hollywood” (Episode #547), then you’ll want to see this film too.

“Echo in the Canyon” provides both a nostalgic reflection for fans of Southern California folk-rock music (circa 1965-1967), and a musical education to those attracted to the distinct sounds of the time period. This film contains candid conversations and performances with musical legends such as Brian Wilson (Beach Boys), Ringo Starr (The Beatles), Michelle Phillips (The Mamas & the Papas), Eric Clapton, David Crosby, Stephen Stills, Graham Nash, Roger McGuinn (The Byrds), and Jackson Browne (The Eagles). The energy in the theatre during this film was incredible. Fans of these greats were smiling and bopping along in their chairs, and clapped and cheered when the film was over. While my family didn’t listen to this genre of music growing up, I had several “Oh yeah!” moments when I could match a band or artist with a song I recognized from the radio. For a passive music fan like me, it was equally enjoyable, and I look forward to exploring more of the music beyond the few songs I know.

As One Movie Punch has grown in scope, and I’ve become a regular reviewer, I must say: Documentaries are becoming my jam! In addition to interviews with these musical legends, contemporary musicians shared how they were directly influenced by these older sounds. Beck, Fiona Apple, Cat Power, Regina Spektor, and Norah Jones share insights and record songs with Jakob Dylan. The artists didn’t seek to re-do these classics, so much as to pay homage to them, and share them with fans. Seeing and hearing original footage paired with the newer versions gave me goosebumps. It was so smooth! The efforts culminate into a 2015 concert at the Orpheum Theater in downtown Los Angeles, snippets of which are featured in this film. If you are in love with the music of this film, and can’t get the songs out of your head, check out the soundtrack “Echo in the Canyon” to keep the good times rolling!

One additional gem in this film is that it includes Tom Petty’s last filmed interview. It was special to hear his perspective on this influential music and the film is dedicated in memory of him. And while this film doesn’t focus exclusively on his perspective, the film’s dedication was a nice touch to another truly influential musician.

“Echo In The Canyon” is an incredible musical documentary, which serves as both a reflection and an education about the 1960s LA folk-rock scene. It features both the artists of yesteryear who helped develop that sound, as well as artists of today influenced by it. Documentary fans, and fans of this music scene, will really enjoy this film.

Rotten Tomatoes: 94% (CERTIFIED FRESH)

Metacritic: 70

One Movie Punch: 9.5/10

“Echo In The Canyon” (2018) is rated PG-13 and is currently playing in theaters.

Join me next Saturday for my review of the romantic comedy “Plus One”, now streaming on Hulu. Because weddings are awesome. Most of the time.

Hi everyone!

It’s Friday, so it’s time for another Fantastic Fest feature from our good friend Andrew Campbell. He’s been wagging his tail since the last review, looking forward to today’s film that has been doing very well with the critics. How will it fare with Andrew? He’ll let you know in a minute, but for a few other reviews from Andrew, check out “Girls With Balls” (Episode #558), “Lords of Chaos” (Episode #551), and “Liza the Fox-Fairy” (Episode #544).

Before the review, we’ll have a promo for the Pop! Pour! Review podcast. You can find them on Twitter and Instagram @poppourreview, where you can find links to their most recent episode discussing “Once Upon A Time In Hollywood”, their custom drink recipe for The Hollywood, and some quick reviews and reflections of “The Third Man” and “Thelma & Louise”. 

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 the final leg of our trip through Europe, traveling south as well as 30 years into the past to rural Italy. 

But before we get there... Fantastic Fest has dropped their first wave of films premiering at the festival next month and I’m psyched. Among a treasure trove of genre films from all corners of the world that I had never heard of are a few movies that should be on your radar.

First among them is “JoJo Rabbit”, an irreverent black comedy written by, directed by, and starring “Thor: Ragnarok”’s Taika Waititi as a young boy’s imaginary friend – a cheeky Adolph Hitler. Taiki will be in attendance, hopefully not in character. Prolific Japanese horror master Takashi Miike is bringing his crime drama “First Love” from Cannes over to Austin. And, continuing with the never-ending Stephen King Renaissance, “In the Tall Grass”, based on the novella King penned with son Joe Hill, will make its world premiere just weeks before debuting on Netflix.

But perhaps the best announcement is that yours truly, amateur film reviewer no more, will be making my premiere as the holder of a press badge at the festival. Do I still have to pay full price? Absolutely. But will I get the opportunity to interview Taika Waititi? Not a chance in hell. Still, I’m thrilled and I look forward to covering what I’m certain will be another awesome year.

Today’s movie is “Dogman”, written by Ugo Chiti, Massimo Gaudioso and Matteo Garrone and directed by Garrone. The film stars Marcello Fonte as Marcello, a friendly dog-groomer residing in a depressed Italian beachfront town in the late 1980s. Marcello is an affable man of short-stature in his early 40s, though he looks a bit older. He runs a small dog grooming shop off the dusty town square and spends his free time with a crowd of lifelong locals where he fits in as a sycophant, smiling along with the conversation without the confidence to add much to it. Marcello, amicably separated from his wife, deals small amounts of cocaine on the side and uses the money to take his doting teen daughter on trips around Europe. His simple existence is disrupted when the town bully (and occasional client of Marcello’s side hustle) begins to spiral out of control.

The film is a painfully accurate character study of a beta-male trying to survive. The slight Marcello is depicted grooming multiple dogs more than twice his size and is able to settle them down with his patient demeanor. Simone (Edoardo Pesce) is the bane of this sleepy seaside town as he comes into conflict with men on both sides of the law as well as the gray area in between. Though Marcello may have once been able to calm his ‘friend’ Simone as he does with the dogs, the massive thug begins to abuse Marcello with mounting impunity for drugs and money, forcing Marcello to become complicit in a growing list of crimes. The film is lathered in stress as both men reach their boiling point.

It’s easy to find sympathy for Marcello as he is able to withstand physical abuse and remain silent to an almost superhuman extent. Where the film excels is in posing the question as to at what point Marcello (dogman and drug-dealer) should be held culpable for his own crimes and for not finding a way out of his difficult situation. He’s a path-of-least-resistance kind of guy mired in circumstances where his perpetual earnestness, for once in his life, is not going to save him.

What makes “Dogman” fantastic? The film is loosely based on real events. Here, the real-life story is far more sensational than what’s depicted in this film, but that works to the film’s advantage. Marcello is immediately fascinating with a face as memorable as Steve Buscemi or the late John Cazale. Marcello’s world is small and lived-in and completely genuine.

“Dogman” (2018) is a character study masquerading as a crime story that wallows in pity and doubt. Fans of international films full of moral ambiguity, such as “Burning” (Episode #487) and “Shoplifters” (Episode #394), will enjoy this film.

Rotten Tomatoes: 82% (CERTIFIED FRESH)

Metacritic: 71

One Movie Punch: 8.2/10 

“Dogman” (2018) is not rated and is currently streaming on Hulu. 

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Next week, we’ll finally take a break from the subtitles and take on “The Wind” – a horror film set in the Old West written and directed by two women making their feature film debuts. This one might be special as it’s a rare film released by IFC’s horror distribution arm, IFC Midnight, to get a Certified Fresh Rating. If that’s a fluke, I promise to come up with at least one clever joke about how much “The Wind” blows. Yeah, cut that line out, Joseph.

See you then!

Hi everyone!

Welcome back for another Certified Fresh film review, this one recently made available on streaming services, and starring one of my favorite French actresses. Can’t wait to tell you all about it, but for a few other recent French films we’ve covered, check out Andrew Campbell’s review for “Girls With Balls” (Episode #558), my review of “Sorry Angel” (Episode #557), and Ryan L. Terry’s review for “Knife + Heart” (Episode #542). It’s a nice spread of films showing the diversity of what’s currently available from the French film scene. 

Prior to the review, however, we’ll have a promo for our friends at the Top 5 For Fighting podcast! Check out their recent episode about guilty pleasure films with special guest @KolbyToldMe, whose also one of our biggest supporters here on One Movie Punch. You won’t regret tuning in. Find Top 5 for Fighting on Twitter, Facebook, and Instagram @Top5forFighting.

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 “Non-Fiction”, the French dramedy written and directed by Olivier Assayas. The film follows the lives of upper-class Parisians in the literature and film worlds, in the fallout of a work of autobiographical fiction by author Léonard Spiegel (Vincent Macaigne) which details the double lives lead by many of his friends and lovers, including an affair during his previous marriage. After a few festival appearances, the film was finally released in theaters earlier this year.

No spoilers.

I’m struck by how much a title can influence one’s perception of a film. One example I like to give is “Batman v Superman: Dawn of Justice”, which by its very title suggests the focus will be on the matchup between the two superheroes, and not on the much larger story taking place within that film. It places a lot of emphasis on the fight, and when that turned out to be a minor dud, it painted the rest of the film poorly. I believe if the film had been called “Dawn of Justice”, that the title change alone would have helped its perception in many ways. Just not the Martha part. Anything but the Martha part.

The French title for today’s film is “Doubles Vies”, directly translated as “Double Lives”, and I think that might be a more apt title for the film. The English title of “Non-Fiction” places the emphasis on the idea of what might be considered non-fiction, not just in the case of Spiegel’s chosen genre of autobiographical fiction, but also as a larger look at the webs of deception we weave in everyday life, focused mostly on Léonard’s life. “Double Lives” places the emphasis on all the characters, both the leads and the supporting cast, and the ways they deal with the double lives we see in others and maybe even within our own lives. One of the strengths of this film is that both titles and their accompanying themes nicely complement each other and fall back onto themselves to form a well-connected film. And maybe that’s why it translated the way it did. 

“Non-Fiction” is definitely not a film for smashing Parisian stereotypes, though. Cigarette smoking. Philosophical conversations. Rampant infidelity. The occasional soul-crushing existentialist brooding fit. The largely white and affluent cast. I think that’s actually another clever affectation for the film, presenting a cast of characters that exemplify the perception of upper-class Parisian life while showing us their secrets and baser concerns. Part style. Part criticism. The characters are very well developed, much like the characters within 2017’s haunting “Personal Shopper”, substituting the intensity of that thriller for the softer edges of this dramedy. Every character is either working to conceal a double life, or dealing with the fallout of the double lives of others. 

Our initial impressions are overturned as we find out more about each character, especially why Léonard’s publisher Alain (Guillaume Canet) doesn’t want to publish Léonard’s book, despite the insistence of Alain’s actress wife, Selena (Juliette Binoche). Or Alain’s struggles with the changing landscape of the publishing industry, both the threat to the bottom line and the lure of its larger promises. Or Selena’s struggles with her secrets and her flagging desire to continue a popular television series, with the actor here serving as its own kind of double life. Even Léonard’s current wife, Valérie (Nora Hamzawi), who is probably the most honest character in the bunch, is often forced to react to either her husband’s circumstances or her political bosses. It is a fascinating hall of mirrors.

The film is also peppered with lengthy philosophical discussions and reflections on the publishing and video industries, in particular how digitization and the Internet are radically changing the way we approach writing and video production. As someone who loves to read, has fancied himself a writer, and works adjacent to the video industry, all of these topics fascinated me a great deal. I love films that don’t mind having extended discussions about big ideas, whether that’s French cinema like “Non-Fiction” or the many brilliant conversations within the Tarantino repertoire. The downside is that if you don’t engage with those topics, the extended discussions can take a lot of wind out of the sails of the larger stories about the characters. It’s not a film you put on to relax and have a few laughs. It’s definitely a deep think piece, and a very good one at that, but only if that’s your thing. Otherwise, you might find yourself feeling like you’re a wallflower at one of those parties, not that engaged and wondering when you can leave. The best audience can appreciate both strengths of this film, but may lose viewers who aren’t interested in either one.

“Non-Fiction” is a well-developed, intellectual look at the double lives we either live or observe around us, particularly in a connected and digitizing world. A wonderful cast brings life to great characters to tell a thematic story about who we are and who we present to the world. French film fans, and fans of Assayas or Binoche, should definitely check out this film, but be ready for some heady conversations, both during the film, and afterwards with others who have seen it.

Rotten Tomatoes: 89% (CERTIFIED FRESH)

Metacritic: 79

One Movie Punch: 9.2/10

“Non-Fiction” (2018) is rated R and is currently playing on Hulu.

Hi everyone!

Welcome back for another Certified Fresh review, for the best alligator movie that I’ve ever seen. Granted, I haven’t seen that many films involving alligators, but I don’t think that gets in the way of how great this film is. Don’t believe me? I’ll explain why in a bit, but for a few other great horror films from this year, check out “Midsommar” (Episode #527), “The Hole in the Ground” (Episode #491), and “Us” (Episode #449).

Before the review, we’ll have a promo for the We’re Watching Here Podcast. They were part of the Big Heads Media Takeover in early July, reviewing “Arlington Road” (Episode #522). Check out their most recent episode discussing “Once Upon A Time In Hollywood”. You can find them on Twitter and Instagram @WatchingCast, and on Facebook @werewatchinghere. You can find out more about subscribing at any of those locations!

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 “Crawl”, the Paramount Pictures and Raimi Productions horror movie directed by Alexandre Aja and written for the screen by Michael and Shawn Rasmussen. The film follows college swimming star Haley (Kaya Scodelario), who checks in on her father Dave (Barry Pepper) at their old home during the onset of a category five hurricane. When Haley investigates the crawlspace below their home to find her father, she gets a whole lot more than she bargained for.

No spoilers.

Film can be used to tell any story. Concepts become premises. Premises become scripts. Scripts get storyboarded. Directors and actors capture the story. Editors transform the output into the finished product. At each step of the way, more gets added to the initial idea, and at the end of the process, something greater than the sum of its parts gets produced. Ideally speaking. Usually you can spot the weak link in that chain of events when films go wrong, or what part was compromised for the sake of the business. When it comes to animal horror/survival pictures, most are produced by low-budget mockbuster purveyors, and quite frankly, neither the premise nor the script for “Crawl” would suggest making a $13.5 million investment. No one but Raimi Productions, who are now receiving both critical praise and box office returns on what’s probably the best alligator film I’ve ever seen.

So, if the premise and the script don’t have much promise, how does a film like “Crawl” get made? A winning combination of solid direction, great pacing, and a solid cast. If anyone was going to make this film work, it was Alexandre Aja, whose last well received film was 2010’s “Piranha 3-D”, which made a splash similar to today’s film at the time. Aja knows how to film water because of that film, and makes excellent use of our natural fascination with running and falling water within the dank crawl space, adding texture with light and shadow, and making the entire process visually appealing. The film takes just the right amount of time at the beginning to establish characters and setting before engaging in a remarkably well-paced and tight horror thriller. Each challenge and setback feels genuine, and Aja trims nearly all the fat from the film’s final ninety minute run-time.

The other major strength of this film is the cast. Kaya Scodelario and Barry Pepper make a great father/daughter pairing, whose skill and chemistry also add much more to the sometimes overwrought dialogue in the script. None of the scenes had to be a lot of fun to film, but they made the absolute best out of every scene. Haley’s character rapidly develops and hardens throughout the story, making her fights against both the elements and the animals feel more realistic than they probably should. I was cheering as hard for Haley to survive as I was for the healthy dose of alligator attacks on the supporting cast members, giving us both sides of the horror survival kick. 

“Crawl” is a fun, well-paced, and visually appealing thrill ride. Between Aja’s direction and a solid cast, the film transcends its B-movie premise and average script to create something much greater and more entertaining. Horror, thriller, survivalist, and alligator fans should definitely check out this film. And then never, ever go into a Florida home’s crawl space again.

Rotten Tomatoes: 83% (CERTIFIED FRESH)

Metacritic: 61

One Movie Punch: 7.6/10

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

Hi everyone!

We’re back today with another favorite genre of the podcast: Japanese animation. I’ll admit, while watching today’s film, I wasn’t sure why anyone would want to watch the struggles of wartime life, but I also found myself captivated by the story and the animation. For a few other films in this genre, check out Keith Lyons’ review for “Mirai” (Episode #408), my review for “Godzilla: The Planet Eater” (Episode #377) along with the other two films in the trilogy, and the classic “Fist of the North Star” (Episode #243). 

Before the review, we’ll have a promo from our friends at Massive Late Fee. Check out their recent episode discussing “Once Upon A Time in Hollywood”. You can find them on Twitter, Facebook, and Instagram @MassiveLateFee. And for the record, we still haven’t forgiven them for what they did to the One Movie Punch Secret Podcasting Island Base. You can find out about that with their review for “The Lonely Island Presents: The Unauthorized Bash Brothers Experience” (Episode #521).

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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JOSEPH: “Without further ado, today’s movie is “In This Corner Of The World”, or in the Japanese as Ko.. Kono...”

EILEEN: “Kono”

JOSEPH: “Kono Se... Sekai...”

EILEEN: “Kono Sekai No Katasumi Ni”

JOSEPH: “Yeah, that one!”

EILEEN: “Why don’t you leave it to someone who is learning Japanese?”

JOSEPH: “You know what, maybe you should handle this one. It’s about time you learned the ropes around the One Movie Punch Secret Volcano Lair. If you need any help, I’ve written over 500 reviews.”

EILEEN: “Nah, I’m good!”

JOSEPH: “All right. Ladies and gentlemen, I present to you... One Movie Spawn! What’s the worst that could happen?” 

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Hello everyone! 

I’m Eileen Dobzynski, aka One Movie Spawn, child of One Movie Punch and One Movie Spouse. And I’m here to let you know that this podcast is mine. ALL MINE! And your former hosts will no longer be joining us.

EILEEN: *Evil Laugh*

JOSEPH: “What’s going on here?!” 

EILEEN: “Nothing! Just doing the review. One Movie Spawn things. You know.” 

JOSEPH: “Okay, just checking.”

EILEEN: “Now that we’re back in business, let’s begin with today’s review.”

Today’s movie is “In This Corner Of The World”, the Japanese animated film directed by Sunao Katabuchi, and written in collaboration with Chie Uratani, based on the manga of the same name by Fumiyo Kono. The film follows Suzu (Non), a young woman in World War II era Japan, dealing with cultural gender roles, Allied bombings, and the horrific aftermath of the war, in Hiroshima and Kure. “In This Corner Of the World” was originally released on November 12th, 2016 in Japan by Animatsu Entertainment, and then distributed to North America by Shout! Factory and Funimation. An extended version will debut this year in December.

No spoilers. 

A little bit about me. I am a big fan of Japanese animation, and I am currently learning Japanese. I’m also a history fanatic, so today’s film combined a lot of my passions. I originally saw this movie when I was 13, close to when it came out. And I wouldn’t say that I’m not affected by strong themes, but I am definitely more aware of them compared to other people my age. I’ve seen a lot of gory movies with my father, like “The Belko Experiment”, “Deadpool”, and “Deadpool 2” (Episode #114).

“In This Corner of the World” is beautifully told in the Seinen animation style, normally for an audience of young men, ages 15-24, and generally for violent themes. The movie is certainly graphic and violent in its own way, but the story focuses on a young woman living a mostly homebound life during wartime. I re-watched the film with my dad, and although he was like, “Oh, I’ve seen a lot of depressing shit before”, he was definitely shocked with the turn that this film took. I agree with the PG-13 rating, but knowing the film deals with very real events makes it even more difficult to watch.

In addition to the Seinen animation style, “In This Corner of the World” also dips into abstracted animation styles. Sometimes the abstractions seem off-topic, with a few side stories set between major events. A few of those abstractions are truly fantastic, although it seems like Suzu might be tripping on magic mushrooms. But we know that these abstractions are really Suzu trying to cope with the hardships and trauma she faces throughout the film. The powerful story and artistic ambition helped the film win Best Animation Film and Best Music Score at the 2017 Japanese Academy Awards. It also was a nominee and winner for many film festivals, including Edinburgh International Film Festival, Kinematic Jupo Awards, and the Los Angeles Film Festival.

The animation may be fantastic at times, but I can assure you that what Suzu faced was nothing fictitious for the Japanese civilians of World War II. The film unveils the tragedies the citizens faced, first with fire bombings, then with Hiroshima and Nagasaki. It does not belittle what Japan or their allies did during the war, but civilians are not always responsible for what their country does. This film’s constant battle with loss shows the citizen’s struggle with being trapped by decisions made by those in power. When you hear people say that the bombings of Hiroshima and Nagasaki were justified, have them watch this film. If nothing else, it will give them a perspective of the civilians who suffered when leaders go to war.

“In This Corner of the World” (2016) is a Japanese animated historical drama that’ll make you laugh, smile, and cry all in one sitting. Its themes of loss, and parallels to current times, give us another perspective of World War II. This film is a must watch for fans of historical dramas, anime, or anyone wanting to expand their palates.

Rotten Tomatoes: 97% (CERTIFIED FRESH)

Metacritic: 73

One Movie Punch: 9.0/10 

“In This Corner Of The World” (2016) is rated PG-13 and is currently playing on Netflix and Hoopla.

Also, I made a Twitter.

You can follow me @onemoviespawn to hear how I will take over the podcast. 

JOSEPH: “WHAT?!”

EILEEN: “I mean be a loving and supportive daughter." 

JOSEPH: “Are you done yet?”

EILEEN: “Almost!”

Despite my motives or future plans, this podcast is truly special and your support has made it possible. Consider making a monthly donation at patreon.com/onemoviepunch to help it continue growing.

Hope to see you soon!

One Movie Spawn signing out.

Hi everyone!

It’s Matinee Monday, and today we’re reviewing another DC Vertigo comic book adaptation, joining shows like “Constantine”, “Preacher”, and “Lucifer”, and feature films like, well, “Constantine”, “V for Vendetta”, and “A History of Violence”. I’ll let you know how it stacks up, especially for a Vertigo fan like myself, but for a few other films in the same vein, check out “The Man Who Killed Hitler And Then The Bigfoot” (Episode #533), “Predators” (Episode #529), and “The Highwaymen” (Episode #493).

Before we get to the review, we’ll have a promo from our friends at the Ocho Duro Parlay Hour. Twice a week, they cover sports, movies, tv, comics & more... a parlay of topics, if you will. They certainly do! You can find them on Twitter and Instagram @ODParlayHour, and on Facebook @ochoduroparlayhour, along with more at their website ochoduroparlayhour.com. Check out their recent episodes recapping the wrestling world and covering the “Agents of S.H.I.E.L.D.” season finale. Spoiler alert: Everyone on the podcast is now an Observer!

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 Kitchen”, the DC Vertigo adaptation written and directed by Andrea Berloff, based on the comic series of the same name written by Ollie Masters and Ming Doyle. The film follows Kathy Brennan (Melissa McCarthy), Ruby O’Carroll (Tiffany Haddish), and Claire Walsh (Elisabeth Moss) – three women in early 1978 whose husbands end up in prison after being picked up during a robbery. When the Irish mob can’t provide enough for them to live on, the ladies take control of the mob’s operations, and become the queens of Hell’s Kitchen. 

No spoilers.

Mature comic books have always been a favorite of mine. At an early age, I would thumb through my uncle’s boxes of comic books, all the Marvel and DC books from his childhood and early adulthood. I read a lot of comic books, then bought a lot more once I had a paycheck, but after a while, I was priced out of most titles, and their seemingly endless (and admittedly awesome) multi-title crossovers. I was starting to realize you could only tell certain kinds of stories on a regular basis within their shared universes, mostly superheroes struggling against supervillains, and with the exception of a few books like “The Punisher”, there wasn’t much in terms of R-rated content. Eventually, I gave up on comic books all together, and finished up high school and college.

It wasn’t until I had a much larger paycheck that I thought about comic books as a hobby again, this time in the early 2000s, and that was when I discovered DC Vertigo while thumbing through back issues. And when I say discovered, I mean bought and binged series after series available as trade paperbacks. I burned through “The Sandman”, “Transmetropolitan”, “Preacher”, “DMZ”, “Y: The Last Man”, and I still have them all on the shelf, just waiting to be read again. I kicked myself for missing all of these titles during my comic hiatus, but I loved consuming the media all at once. And what made these stories awesome was that they were all set in their own worlds, telling stories of hyper-capitalist futures, and journalists reporting in the middle of the second United States civil war, or a world where there’s only one man left. Stories like “The Kitchen”, which reimagined the late 1970s from an empowering perspective, and a clever play on words to boot.

Comics as a medium have become a fertile ground for developing video content, on the large, small, and even phone screen. Comic books and graphic novels strike a happy medium between written and visual storytelling. Comic books are a kind of intentional storyboard, which can either make the adaptation better or worse, and that largely depends on the story. If the comic book’s story is focused on spectacle, as so many of the Marvel and DC titles are, then recreating those frames is almost a necessity, and a joy as we’ve seen in the Marvel Cinematic Universe. If the comic book’s story is focused on characters, as in the case of “The Kitchen”, then a certain amount of translation has to go into the adaptation, to find a film story that captures the comic book story, and then lean into whatever makes that story worth adapting.

Berloff was given a lot of liberties to expand what was a limited series of comic books into over a hundred minutes of visual content. The original series told a tight story, charting the rise of the three women and giving us glimpses into their previous lives. Berloff’s adaptation greatly expands the story on a number of levels, delving much deeper into the characters and story than what existed in the original series. It’s the right move, but it adds a lot of weight to the story, which begins to strain against the story limitations for an effective film adaptation. Instead of a streamlined rise to power film with a stylish 1970s background, and the potential for a sequel film, we get enough content and character for a limited series, and way too much for one film.

And what an amazing limited series that would be, especially with the star power of Haddish, McCarthy, and Moss. Instead of getting a brief five minutes of Claire’s abusive past, we could take the time to establish her character’s past from more than a single shocking scene. Instead of making a few token additions to the script for making Ruby a black woman, we could explore the very real interplay between the Irish and black communities in New York during the time period. We could really see what it’s like to try and raise children on the scraps that Kathy had, instead of breezing over that struggle to get through the story.

In the effort to tell a larger, more diverse story, the superstar cast ends up being underutilized. The characters are underdeveloped, and our relationship to the characters also never develops, because we’re rushed from event to event. Berloff does great work developing the time period, including all the expected racism and realism, but we don’t get a whole lot of time to appreciate it. All three leading actresses turn in great performances, but don’t always have great chemistry on screen, another downside of rushed storytelling. I’m not sure it deserves the categorically low scores from the critics, but it does have a lot of room for improvement, and maybe a better opportunity as a limited series. 

“The Kitchen” is a flawed adaptation of an excellent story, expanding too much into the film medium to be effective. Characters are severely underdeveloped, which limits the range and performance of the three leads. Fans of mob stories, or fans of the cast, will probably enjoy this film. Just be ready for a few stomach turning moments and themes, and then maybe check out the limited series for your own compare and contrast. 

Rotten Tomatoes: 21%

Metacritic: 35

One Movie Punch: 5.5/10

“The Kitchen” (2019) is rated Rand is currently playing in theaters.

Hi everyone!

Welcome back to another week of reviews here at One Movie Punch. It’s been crazy around here at the One Movie Punch Secret Volcano Lair. We relocated here after the One Movie Punch Secret Island Base was invaded a while back. It was a whole thing. Anyway, this week we have six Certified Fresh films, including the debut of One Movie Spawn, a French romantic comedy, an Italian thriller from Andrew, a music documentary from One Movie Spouse, the best alligator movie I’ve ever seen, and today’s documentary, which I’ll be discussing shortly. As for the seventh movie, well... you’ll just have to tune in tomorrow to find out. 

Last week we posted our first ever Patreon exclusive episode, which was part one of our full interview with David McCracken for “Bullitt County” (Episode #549). This week we’ll bring you part two of that interview, where we discuss “Bullitt County” and the future of Mr. Pictures.

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

DAVID MCCRACKEN: “He was cutting, and I think we were a couple days into shooting the kitchen stuff, and he called me up and he said, ‘Hey, what do you think about split screens?’ And I said, ‘Oh yeah! Yeah, that sounds great!’ And so, pretty much like all the kitchen stuff with the split screens is a first cut.“

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 complete interviews with Laurence Fuller, Kyle D. Hester, and experimental segments like “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.

Today’s classic review is a documentary about the real-life events which have inspired a wave of films that examine the relationship between communities of color and law enforcement, like yesterday’s review for “The Hate U Give” (Episode #559). “Whose Streets?” (2017) is a grassroots look at the events surrounding the Ferguson Uprising in 2014, detailing the murder of Michael Brown by police officer Darren Wilson, and the demonstrations that followed. It currently sits at a 98% Certified Fresh rating at Rotten Tomatoes and an 81 Must See at Metacritic. You won’t be the same after seeing it.

Before the review, however, we’ll be running the trailer for “Preacher Six”, an independent feature in its final funding campaign. If you want to contribute, head on over to www.gofundme.com/preachersixfinalfilmcampaign and give at any amount. Some great incentives are available, including having your name listed in the credits and on IMDB. It doesn’t get any more independent than crowdfunded cinema.

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Today’s movie is “Whose Streets?” (2017), the Magnolia Pictures documentary written by Sabaah Folayan and directed in collaboration with Damon Davis. The film follows the wrongful death of Michael Brown by Officer Darren Wilson, and the aftermath of unrest when residents took to the streets to protest against a variety of injustices, with lasting effects on the city and the nation.

I often feel the American middle class experiences cognitive dissonance with it comes to the many contradictions in our society. We have the utmost respect for our soldiers, even as some have committed the most horrible atrocities as a military and many veterans lack the post-war support they need. We teach our children to share and work together as kids, then to compete against their friends as their education progresses. And most importantly, we hold a massive respect for law enforcement even as the data shows they largely discriminate against people of color in every step of the process.

Cognitive dissonance can cause a number of different responses in someone unwilling to change either belief. Some folks will try to justify whatever event causes the dissonance, leaping on a convenience store camera implicating Brown in a robbery, or any number of concerns about Brown’s lifestyle, even though he was unarmed and not resisting. Many others, including the media, simply avoided reporting many parts of the aftermath, overfocusing on the immediate riots and police in the streets, and rarely following the many city council meetings and investigations that followed, ultimately proving that the police department was discriminatory. That’s what makes this documentary so important, because systemic racism in police enforcement is a real concern that affects people of color everywhere.

It’s a truth our society needs to confront more than ever, because there’s also a third way cognitive dissonance affects people: radicalization. I’m not talking about the protestors in Ferguson, but members of the police force who now dress for war against our own citizens, and some police supporters who hold white supremacist views, especially near St. Louis. Folayan and Davis capture that radicalization in real-time in the aftermath of Brown’s death, for everyone to see, along with the organizers and resisters who sustained their direct actions at all levels to expose this problem. We should not see our police forces arming themselves for war against their own citizens. We should be holding our police forces accountable.

“Whose Streets?” (2017) documents a community-level struggle against a racist police department. That’s not an opinion, but a factual finding of the Federal Department of Justice, based on mountains of submitted evidence and analysis. It’s not a problem that resolves itself with resignations, but one that requires educating a public about police brutality and unjust enforcement. I can think of no better documentary to support this effort, and believe everyone should see this film, and if necessary, combat their own cognitive dissonance.

Hi everyone! 

We’re closing out the week with another review from our very own One Movie Spouse. Today, she’ll be reviewing a feature I sadly had to miss in the flurry of activity around here the past two weeks. But after she saw it, she simply had to say a few words, which we’ll get to in a minute. For a few other films in the same vein, check out “Crime + Punishment” (Episode #249), “Strong Island” (Episode #046), and “Whose Streets?”, which we’ll be re-running tomorrow as our classic review. All three documentaries cover the real-life situations that heavily influenced today’s film. 

But before we delve into that, we have a promo from our good friends at the Retro Late Fee Podcast. I’m not sure why we’re running it, to be honest, but can I really blame two people in the past for the actions of their future selves? Or is that present selves? Time travel is weird. Anyway, be sure to check out their latest episode on “The Goonies”! And if you want to know what I mean by time travel, check out their guest review on One Movie Punch for “Beverly Hills Cop III” (Episode #520). It was a whole thing!

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Hello! It’s me, Amy, AKA One Movie Spouse back for another weekly review. ::MWAH:: 

This week’s film is very different from what I generally review. While I prefer to watch light-hearted comedies, documentaries, and Bollywood films, there are some films that you simply MUST see no matter how difficult the subject matter or viewing experience might be. This is one of those films. After you have watched today’s film, reach out to me on Twitter @OneMovieSpouse to share your thoughts on this film and the critical issues within it.

Today’s movie is “The Hate U Give” (2018), the drama film directed by George Tillman, Jr. and written for the screen by Audrey Wells, based on the 2017 novel of the same name written by Angie Thomas. The film follows Starr Carter (Amandla Stenberg), who witnesses the police murder her friend Khalil (Algee Smith) during a routine traffic stop. Now Starr must find the courage to speak up about, and speak out against, this injustice. No spoilers! 

The film opens with Starr age 9 (Kai N. Ture) and her brother Seven age 10 (Hassan Welch), along with their infant brother sitting at the table with their parents Maverick (Russell Hornsby) and Lisa (Regina Hall). Dad is having “The Talk” with them, which is the same talk that black parents have with their children across the country. “The Talk” refers to what to do when confronted by a police officer. What to say. And what not to do or say. Young children should not have to learn how not to attract the unwanted attention of police officers in order to keep themselves safe during everyday activities. I cried within these opening minutes. It deeply saddens and angers me that people of color have to go through this exercise, because they are disproportionately the victim of police brutality in their communities.

It’s a powerful way to open up a very powerful film, and sets up the viewer to understand Starr, narrating the experience, who lives in two very different worlds. First, the primarily white and affluent preparatory school outside of their neighborhood, which is her and her brother’s opportunity. Second, the primarily non-white and economically depressed neighborhood of Garden Heights, which keeps both of them grounded despite the increasing violence in their community. Stenberg gives an equally dynamic performance as Starr Carter in both communities, adapting the way that people of color often feel compelled to do.

Audrey Wells turns in a script that really shows the turmoil Starr and her mother feel about the increased violence in their community, especially after Starr finds herself the sole witness to the police murder of Khalil. Before, she could use silence as a barrier between her two worlds. After, Starr can no longer compartmentalize her life, which builds the tension needed to speak out for Khalil, taking away her safety net of silence. And this leads to a great deal of conflict with her preparatory school world, as Starr begins calling out the hypocrisy and complacency of her friends, especially Hailey (Sabrina Carpenter). Hailey becomes a poster child for using the #AllLivesMatter hashtag, or someone who does not believe in the concept of white privilege.

Starr’s boyfriend Chris (KJ Apa), by contrast, believes himself to be someone who “doesn’t see color”. He has many opinions, which on the surface seem reasonable, but doesn’t take into account the history and culture of black people, and their relationship to law enforcement. I will be honest, in years past I found myself saying some of the same things as Chris, not realizing making statements like these could be just as dangerous, and sometimes more dangerous, to communities of color as a whole. Chris and Starr eventually come to a better understanding of one another, helping Chris to recognize his own privilege, and most importantly, using that privilege to benefit the voiceless and the oppressed, without becoming a white savior figure.

This film is very powerful and equally heartbreaking. I watched most of this film with tears in my eyes, sometimes bawling, and with a fire in my gut. It’s a testament to George Tillman Jr.’s way of bringing everything together, expertly dealing with the violence ripping apart families in communities of color, and a demand for justice for the many victims of police brutality and murder. It is outrageous that this happens in our society, and if you weren’t outraged before seeing this movie, you will be. This film is a call to action away from complacency regarding gun violence and police brutality.

We should not accept either problem.

We must confront them head on. 

“The Hate U Give” (2018) provides a powerful lens for examining police violence against communities of color in the United States. Audrey Wells adapts the source material well. Stenberg gives an excellent performance. And Tillman bring it all together. It is a call to action for everyone viewing the film, commanding us to follow Starr’s example, and rise up against police brutality.

Rotten Tomatoes: 97% (CERTIFIED FRESH)

Metacritic: 81 (MUST SEE)

One Movie Punch: 9.5/10 

“The Hate U Give” (2018) is rated PG-13 and is currently playing on HBO.

Hi everyone!

It’s Friday, so it’s time for another Fantastic Fest feature from our good friend Andrew Campbell. Today’s film is, well, a film. And Andrew’s going to tell you just what kind of film it is in a moment, but it’s about girls. Girls with balls. And if that joke didn’t land with you, I’m not sure today’s film with either. For a few other recent reviews from Andrew, check out “Lords of Chaos” (Episode #551), “Liza the Fox-Fairy” (Episode #544), and “The Standoff at Sparrow Creek” (Episode #537).

Before we get to Andrew’s review, we’ll have a promo from the 32 Fans Movies Podcast, the offshoot of their original sport-themed podcast, the 32 Fans Podcast. You can check them out at anchor.fm/32-fans-movies, where you can subscribe at your podcatcher of choice. Be sure to catch their recent episode kicking off the Sports Movies Brackets, in their attempt to find the top 64 sports movies of all time, then have them compete to find out which one’s the best. Personally, my money is on “Ping Pong Playa”. Because I love cereal.

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 French/Belgian horror comedy as we continue our trip through Europe. I tend to divide horror comedies into two distinct buckets: those I love, and those that are objectively terrible. 

Okay, I should elaborate. Great horror comedies have a real story to tell with a witty script that includes moments of genuine humanity mixed with humor. The horror elements provide a setting and situations that heighten the stakes. Films like recent Fantastic Fest favorite “Anna and the Apocalypse” (Episode #425), as well as “What We Do in the Shadows” and “Zombieland” are great examples. “Zombieland” premiered at Fantastic Fest a decade ago and rumor has it the sequel will launch at the festival next month. 

Bad horror comedies are a dime a dozen and without naming names here, they typically rely on slapstick comedy and buckets of blood to shock the audience. Let’s see what this one has in store. 

Today’s movie is “Girls With Balls”, written by Olivier Afonso and Jean-Luc Cano, and directed by Afonso. “Girls With Balls” made its world premiere at the 2018 Fantastic Fest before its inevitable Netflix acquisition. The film tells the story of a volleyball team that ends up stranded in the middle of nowhere when their old-school camper van breaks down. They stumble into a local backwoods bar filled with whatever is French for “hillbillies”. Soon, these men become their tormentors, and a schlocky gorefest ensues as the girls hash out their strained relationships while fighting for their lives.

What’s clever here is that title. See, these girls have both “volley” balls as well as the metaphorical “balls” to engage these monsters in combat. It’s really very clever when you think about it.

The film starts out great. A team of mostly foul-mouthed volleyball players wins the big match before strutting out of the gym with middle fingers held high. The girls take their big attitudes and in-fighting onto the road back home in what feels like a subversive take on the “wrong turn” horror genre. The film struggles to give the overcrowded van any unique characters, other than one girl is nerdy and one is the big mouth who doesn’t like how the new girl has stolen her thunder and earned an athletic scholarship. When the situation gets fraught, the acerbic male coach takes off and we flash between a few groups of girls on the run as the story dissolves into kitschy violence. Some light spoilers ahead but trust me: if you make it this far into this 80-minute film, you’re only here for the spectacle, not the plot.

The film makes you wait a good twenty minutes before it brings the gore, and it gets out of hand pretty quickly with the splashes of blood becoming buckets full. In one particularly off-putting scene, the coach of the team is attacked by a chihuahua before turning it into Stretch Armstrong until it bursts. In a film full of blood, it feels out of step with the rest of the picture. Later, when the film tries to turn the group of thrill-killers into some sort of cult (Pagan? Satanic? I couldn’t tell you.) it feels obtrusive and unnecessary. Had the film just focused on its characters and the comedy aspect, we may have had a less bumpy ride.

What makes “Girls With Balls” fantastic?It’s really just a French take on what feels like a 1980s horror tale. I would not say it’s all that unique, but it does put a new coat of paint on an old movie formula. Unfortunately, where it strives to be empowering to its female co-leads, it just comes off as exploitative and silly. 

“Girls with Balls” (2018) is a mercifully brief horror shocker that’s not fun enough to enjoy with friends, but if Netflix knows you’re the last one awake and suggests this one, at least you won’t be up too late. Fans of off-beat wacky horror comedies like “Tucker & Dale Vs. Evil” or “Piranha 3-D” may enjoy this film.

Rotten Tomatoes: 38%

Metacritic: NR

One Movie Punch: 5.2/10

“Girls With Balls” (2018) is not rated and is currently streaming on Netflix.

Next week, we’ll wrap up our European road trip that took us from Hungary to Norway before this week’s stop in France, and end with a trip to the coast of Italy. We’ll talk about “Dogman” a Certified Fresh crime drama loosely based on real events that hits Hulu next week. The title is forgettable, but the story of a dog groomer with a criminal side hustle has my tail wagging. 

(Oh god, edit that out.)

JOSEPH: “Sorry, Andrew. No time this week.”

I’ll see you then.

Hi everyone!

Welcome back to the podcast! Today I’ll be reviewing a Certified Fresh French film from earlier this year, which recently became available on Netflix in the United States. I always like catching these films when they first become available, and letting you know what I think. I’ll be doing just that in a few minutes, but for a few other films in the same vein, check out “Dear Ex” (Episode #417), “The Ornithologist” (Episode #182), and “Moonlight” (Episode #037).

Before we get started, we have a promo from our friends at the Movie Geek and Proud Podcast, who were one of our very first Takeover Tuesday participants with a review of 1993’s “Addams Family Values” (Episode #261). Be sure to catch their recent Patreon episodes covering the second films in the previous two Spider-Man franchises. You can find out more at mgppodcast.podbean.com and connect to their social media accounts from there!

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 “Sorry Angel”, the Strand Releasing period piece written and directed by Christophe Honoré. The film follows the lives of middle-aged author Jacques Tondelli (Pierre Deladonchamps) and the young, adventurous Arthur Prigent (Vincent Lacoste), who meet at very different times in their lives, against the backdrop of Paris in the early 1990s. The film was nominated for the Palme D’Or and the Queer Palm at the 2018 Cannes Film Festival.

A quick trigger warning before we go on. This film deals with the AIDS epidemic, including realistic scenes of late-stage suffering, and multiple discussions of self-harm. If any of those topics might cause you distress, take a pass on today’s review and we’ll see you tomorrow.

No spoilers!

Developing the time period is essential for any period piece. In some ways, the time period itself becomes a silent supporting character for each period piece, affecting the cast while developing the right relationship with each character, and affecting the film as a whole through the necessary costumes, sets, and locations to evoke the period. “Sorry Angel” sets the scene very well, not just by leveraging a timeless city like Paris with great costuming, but also including actions like listening to music on physical media or using wired telephone lines or watching movies on actual film to remind people of the transitional activities moving from an analog to a digital world.

The most successful period pieces, however, don’t just evoke the period as a mere stylistic affectation, although that’s definitely a bonus when it comes to period pieces. The most successful period pieces tell stories that can only be told within a particular time period, usually dealing with historical events or individuals. An excellent complement to today’s film is “BPM” (Episode #185), which is set during nearly the same time period, and focuses more on ACT UP and the organizing around raising awareness about and getting assistance to fight the AIDS epidemic. The films have quite a few parallels, with both main characters fighting AIDS, but this is a necessary part of any story about gay men in the 1980s and 1990s. Each film succeeds in bringing a different perspective to the same crisis period, in “BPM” from a street-level activist perspective, and in “Sorry Angel” from a privileged fatalist perspective. Both films succeed in helping the viewer to understand both the time period and the varied motivations of their characters.

“Sorry Angel” definitely focuses on the two main characters of Jacques and Arthur, separated not just by twenty years, but also by the differences in their lives. Arthur is experiencing a sexual awakening as he has accepted himself as gay and is exploring his sexual desires, full of youthful vigor and optimism. Jacques has the burden of his experience, someone who has seen more young men like Arthur than Arthur himself, and is struggling with his deteriorating health caused by a failing immune system. Arthur’s life is just beginning. Jacques’ is coming to a close. The juxtapositions between the two characters creates room to explore many themes specific to the time period, and more general questions about the role of sexuality and love at various periods within our lives.

ACT UP and the AIDS epidemic, however, weren’t the only stories to be told during the early 1990s. It was also a period of growing acceptance and visibility of gay men as a whole, and particularly for wealthy and famous gay men in metropolitan areas. Setting the story outside the important grassroots work of ACT UP and within this more privileged environment allows us to capture a multi-generational look at the larger gay community. We get two distinct periods in life with Arthur and Jacques, but we also get Arthur’s older friend Mathieu (Denis Podalydès), who has a thing for younger men and laments the loss of his youth, and Jacques’ son, Louis (Tristan Farge), who has a very normalized approach to and acceptance of his father’s sexuality. Each perspective gives us another piece of the place of the larger gay community within the time period. It may even be the first time in history when such a spectrum of the gay community could exist and find a measure of acceptance, instead of being mostly tokenized and isolated prior to the 1960s.

Lacoste and Deladonchamps are excellent leads, although the focus tends to remain on Jacques throughout the film. It makes sense, given the tragic story arc of Jacques, who has already struggled through the deaths of former friends and lovers, and knows what’s ahead of him given the medical treatment of the time. Deladonchamps captures Jacques very well, a great mix of depression and exhaustion, trying to remain aloof under very serious circumstances. His performance adjusts as Jacques experiences everything in the film, and remains solid throughout.

Arthur’s involvement in the film is a bit lop-sided, almost on the edge of being a supporting character at times. Lacoste’s performance definitely captures the youthful exuberance of sexual awakening, but also a surprising depth that might not be there on paper. I would have liked to have seen a better balance between Arthur and Mathieu, which would have expanded the spectrum of views on either side of Jacques. It would have retained the focus on Jacques, and maybe would have allowed for more development of Mathieu. It’s a big ask for a film already clocking over two hours, but perhaps there’s a path where minimizing Arthur a bit can overcome some slower parts in the film.

“Sorry Angel” is a very personal look at the AIDS epidemic told against the backdrop of 1993 Paris. Honorè captures the time period well and develops a story that examines a wide spectrum of gay lifestyles during the time, particularly the two great performances by Lacoste and Deladonchamps. Fans of LGBTQ films, and historical dramas, should definitely check out this film. Just be ready for a lot of heartbreak amidst the more tantalizing portions. 

Rotten Tomatoes: 82% (CERTIFIED FRESH)

Metacritic: 73

One Movie Punch: 8.4/10

“Sorry Angel” (2018) is rated TV-MA and is currently playing on Netflix.