One Movie Punch

Hi everyone!

Welcome back to another week of reviews, this time mostly focused on Netflix Originals, and a couple of Netflix exclusives, including another Fantastic Fest feature from Andrew Campbell, and the third highest grossing film of the year that you’ve probably never heard of. We also have the return of Philly Film Fan (aka Keith Lyons) and One Movie Spouse (aka Amy Dobzynski), so it’s going to be a great week.

For our Sunday reviews, I try to find a review that either resonates with today’s news cycle or compliments another film showing later in the week. In this case, I can do both at once. So, as the resident mansplainer on staff here at One Movie Punch, I’d like to...

Amy: Maybe let a woman speak? Hi, this is Amy, aka One Movie Spouse, and it’s more important than ever to get informed about the latest attacks on a woman’s right to choose.

Joseph: Great, I...

Amy: I’m not done yet. Today’s throwback film outlines the history of abortion access in the United States, along with the current attacks on a woman’s right to choose safe and legal abortion. If you don’t understand the complexity of the issue, nor why this right is so essential, today’s film will help. It will also help explain why today’s attacks are so heinous.

Joseph: Right, so...

Amy: Still not done. “Reversing Roe” currently sits at an 88% on Rotten Tomatoes, and a 70 on Metacritic. You can catch the documentary streaming on Netflix. Get informed, and get ready to vote like your lady parts depend on it!

Joseph: *silence*

Amy: “Okay. You may continue.”

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Here we go!

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Today’s movie is “Reversing Roe” (2018), the Netflix Original documentary from Anne Sundberg and Ricki Stern. The documentary reviews the forty-five year history of the landmark decision Roe vs. Wade, which legalized abortion nationwide. It reviews the details of the original case, the efforts to subvert the ruling by state legislators and conservative opponents, and the activists mobilizing to protect the right to safe and legal abortion.

Spoilers ahead.

I’ve taken multiple positions on abortion over the years, struggling with trying to reconcile the desire to see life flourish and the need to protect female autonomy, especially over their reproductive systems. The last few years, I’ve been firmly on the side of female autonomy at all costs, especially as women are still treated as second-class citizens in so many ways, whether that’s the pay gap, or the catcalling, or the sexual harassment and abuse, or the mansplaining... the list goes on. No question that we’ve come a long way since suffrage, but there’s still so much further to go. It’s not like passing laws necessarily leads to change, and that blade cuts both ways. Granting women the right to vote by law didn’t suddenly make toxic masculinity and traditional gender roles disappear. And the same goes for abortion rights. Ruling on Roe vs. Wade may have made abortion a legal right, but it certainly didn’t stop the far-right from continuing to harass and obstruct women from seeking an abortion, nor from mounting a concerted campaign to overturn the ruling. Which is where today’s movie comes in. 

“Reversing Roe” is an excellent summary of the history of abortion rights, from coat-hangers and rogue doctors to the passing of Roe vs. Wade, and the subsequent mobilization of the far-right anti-abortion activists that went to challenge the ruling from day one, from any possible angle, at the cost of millions of dollars and more than a few lives, particularly those killed in anti-abortion terrorism. I particularly liked the portion that covered the years from George W Bush onward, and how stacking the Supreme Court would one day overturn the ruling, which was the point. This documentary feels particularly important as we go through the current kabuki theater for a Supreme Court Justice, one who appears to be the epitome of toxic masculinity I discussed before. In fact, working to stack the Supreme Court works not just for this issue, but a host of other issues to follow. Instead of finding the best and brightest for the highest court in the land, we have one party instead looking for the purist ideologically on multiple issues, hidden under the sweet sounding words of “strict constitutionalism”.

This film has the right content in the right amount of time. It also has an obvious pro-choice bias, as does your reviewer, but it’s from a considered and well-reasoned position, based on both science and basic principles, not just pink hats and protest signs, even if this film has some of that as well. One area where the film is lacking, however, is what’s next, which we’re left to infer is a combination of electoral office and activism, and sometimes both in the case of Wendy Davis. The ending is ominous, warning everyone that it is just a matter of time before it will be overturned. And that’s probably true, but not exactly a rallying cry to fight, nor does it address the host of other issues women will face should they return to second-class citizenship. Folks like to point to “The Handmaid’s Tale” as this unrealistic dystopia, but the truth is that it’s not far off from how women were treated before suffrage and women’s liberation. I want to prevent that future for all women, and I want to do that knowing I’m taking their lead towards that end. The Women’s March was amazing, and as I said before, there’s so much further to go.

“Reversing Roe” (2018) is an excellent educational tool for anyone looking for an overview of abortion rights history. While it has an obvious pro-choice bias, it’s well-reasoned and raises very real concerns about the effect of ending abortion rights for women. Fans of documentaries about the subject will definitely enjoy this film, but so may abortion opponents, if nothing else but to understand the concerns being raised.

Hi everyone!

We’re back for our final review of the week, another Netflix Original from the Indian subcontinent in the Marathi language. It’s important to specify the language, as India has 22 official languages recognized. Netflix has been expanding their Netflix Original distribution choices to include more than the most dominant language, Hindi. For a few other Netflix Originals from the subcontinent, check out the Hindi language films “Love Per Square Foot” (Episode #052), “Lust Stories” (Episode #168), “Brjj Mohan Amar Rahe” (Episode #220), “Rajma Chawal” (Episode #344), and “Soni” (Episode #389). You can also check out the Marathi language film “Firebrand” (Episode #429) and the Tamil language film “Sometimes” (Episode #136). 

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Here we go!

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Today’s movie is “15 August”, the Netflix Original drama directed by Swapnaneel Jaykar and written for the screen by Yogesh Vinayak Joshi. The film follows the events in a tenement building on August 15th, Indian Independence Day, when Jiu and Raju, two lovers forbidden by their families from marrying, are considering their options. When the ring which Raju intends to propose to Jiu falls into a hole, a young boy attempts to retrieve it, and finds his hand stuck. Now, as the tenement community attempts to free the boy’s hand, Jiu is considering another arranged marriage proposal, and time is running out for Raju.

No spoilers. 

Bollywood seems to specialize in these slice of life films that are a mélange of various characters and themes. Hollywood often takes a very individualized look at      storytelling, focusing on one character or group as being separate from the other characters. Bollywood, however, has a more community-minded approach to storytelling, with fuzzier lines between characters, and can take some getting used to. I’ve often said that I enjoy the opportunity to peer into the lives of other countries via their films, and today’s film is an excellent example of doing just that.

Now, the viewer has to take “15 August” with a grain of salt. The entire film has the feel of an ensemble stage show, complete with the use of the tenement as a single stage, a cast of characters playing to the audience, and a variety of plots and subplots loosely centered around the date. For Jiu and Raju, the date was significant to their parents’ shared disapproval of their relationship. For Ninand, whose hand is stuck, it seems like any other holiday. For the other characters, their own social, cultural, political, or economic beliefs about what the date means. And when taken together, what it means to be Indian through these various metaphors.

It’s really more of an experience than a story, even if our focus returns to Jiu and Raju’s star-crossed relationship. The mélange approach to storytelling, however, also comes with some major struggles. The score seems to be the only consistent portion of the film, with each scene varying widely on the emotional spectrum. Comedy smashed up against anger, farce smashed against realism, the genuine against the melodramatic.

I also feel like there was a lost opportunity to turn the boy’s stuck hand into a larger metaphor about letting go. There’s the famous story about a monkey with his hand trapped in a bottle, because he won’t let go of what is inside the bottle. I think there was even a “Simpsons” episode about it. Sadly, it ends up being merely a MacGuffin to tell community-wide stories and perspectives. 

“15 August” is a slice-of-life story set during Indian Independence Day, centered around a love story between forbidden lovers, and surrounded by a community’s attempt to aid a young boy in distress. While the film has a nice diversity of characters and themes, they are loosely drawn together, and often clashing with one another in tone. Fans of Bollywood and slice-of-life dramas should definitely check this one out. And if you love a good old-fashioned tear-jerker of an ending, this film will definitely hit that spot.

Rotten Tomatoes: NR

Metacritic: NR

One Movie Punch: 7.2/10 

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

Hi everyone! 

It’s Friday, so we’re taking a break from Netflix Original catchup to check in with our good friend Andrew Campbell and another Fantastic Fest feature. Today’s film is the latest from David Robet Mitchell, the creator behind one of my favorite new horror films, “It Follows”. It has received mixed reviews from the critics, but how did it land with Andrew? He’ll let you know in a little bit, but for a few more new horror films, check out “Hereditary” (Episode #183), “CAM” (Episode #326), and a Jordan Peele twofer with “Get Out” (Episode #448) and “Us” (Episode #449). And I highly recommend “It Follows”, so don’t be surprised if there’s a throwback review for it in the future.

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Take it away, Andrew!

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Hello film fans!

Andrew here, back this week to talk about one of my most anticipated films from the 2018 Fantastic Fest. This film was originally slated for a June 2018 release and I even remember seeing a trailer at the Alamo Drafthouse for this film in early 2018. Then A24, easily my favorite production company over the last several years, decided at a late hour to delay this one all the way to December 2018, with rumors that its nearly two-and-half-hour runtime and meandering story required some re-cutting of the film. However, when Fantastic Fest delivered the U.S. premiere in September, they screened the original version of the film that had played to tepid response at Cannes. With a theatrical release just around the corner, I skipped the film at the fest, only for it to again be scuttled just before its December release, this time sitting on the shelf with no announced plans for release. Fast forward to April, and A24 announced the film would be opening two weeks later at a single theater in NY and LA, before being dumped onto VOD that same week. Whew. With a back-story like that, I knew this would either be a cult classic in the making... or some hot garbage.

Today’s film is “Under the Silver Lake”, written and directed by David Robert Mitchell. “Silver Lake” stars Andrew Garfield as Sam, a listless Los Angeles 20-something with no job and no aspirations. One day, a gorgeous young woman named Sarah (Riley Keough) moves into Sam’s apartment complex and he becomes instantly infatuated. After spending one night getting to know her, Sarah and her two roommates mysteriously disappear, their apartment all but cleared out. Sam, already a conspiracy theorist, discovers a clue in the form of a symbol painted on the wall of the empty apartment. When a woman arrives to remove one last box from Sarah’s closet, Sam begins a journey that leads him to elite parties in the Hollywood Hills and sees him introduced to a cast of peculiar characters.

David Robert Mitchell’s previous film, 2014’s “It Follows”, ranks just ahead of 2016’s “Raw” as my favorite horror film of the decade. “It Follows” launched the career of Maika Monroe in a cleverly simple modern horror tale that serves as an allegory for the transmission of STDs, bringing a fantastical horror element into a grounded world. With “Silver Lake”, Mitchell goes all-in. The characters in this film all seem to be living in their own movie with wildly self-centered Hollywood lives. Set against this backdrop, Sam begins to connect the dots of a conspiracy that, at least in his mind, goes far deeper than one missing girl. Unfortunately, the leaps Sam makes and the conclusions that writer Mitchell would have us believe never feel fully realized.

The acting in this film was also a bit of letdown, though it’s hard to say just how much the script may have hung them out to dry. The performances of most of the supporting cast are one-dimensional as we only get a scene or two with each. Riley Keough receives second-billing in the trailer, but her role ends up being fairly trim, and essentially boils down to the manic pixie dream girl stereotype. Andrew Garfield is a performer I was a big fan of ever since seeing him the relatively obscure Red Riding trilogy of British TV movies in 2009. 2010 saw great performances in both “Never Let Me Go” and “The Social Network” and I thought he was a decent Spider-man in two bad superhero flicks. Here, Garfield comes off as whiny and unsympathetic. A dreamy trip like this one demands a strong lead performance to keep the audience engaged and that’s not what we get.

What makes “Under the Silver Lake” fantastic?

OK, if I have to say something nice, there are some great looking shots in this movie. Just like with “It Follows”, Mitchell knows how to capture a mood. The trailer does a good job capturing most of the more memorable scenes, and the IMDb slideshow showcases several great posters along with some nice still images. Maybe just have a gander at those and then throw on “It Follows” instead.

“Under the Silver Lake” (2018) is a colorful and confusing modern noir that clumsily propels itself from scene to scene before failing to reward the patient viewer. Fans of hazy, sprawling cinema such as David Cronenberg’s “Map to the Stars”, Richard Kelly’s “Southland Tales”, or David Lynch’s “Mulholland Drive” might, and I do mean “might”, enjoy this movie.

Rotten Tomatoes: 56%

Metacritic: 59

One Movie Punch: 5.4/10

“Under the Silver Lake” is rated R and is available on VOD.

Come back next week when I’ll be reviewing “Rattle the Cage”. I need a palette cleanser after this one, so let’s wind the clock back to 2015 for a comic jailhouse thriller that’s just a ton of fun out of... the United Arab Emirates? This is one of those films that Netflix suggests to you a dozen times that you just skip past because it looks and sounds like straight-to-video junk. But we’re heading to the Middle East to find out why the Netflix algorithm likes to champion this one.

I’ll see you then.

Hi everyone!

Welcome back and I promise, no Mötley Crüe puns this time. In fact, we’re heading back about fifty years earlier, following two classic lawmen on the trail of two classic criminals, in a story that clearly influence Eminem. For a few other films from around the same time period, check out “Mudbound” (Episode #009), “Some Like It Hot” (Episode #119), “White Zombie” (Episode #152), and “Ann Carver’s Profession” (Episode #159).

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Here we go!

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Today’s movie is “The Highwaymen”, the Netflix Original film directed by John Lee Hancock and written for the screen by John Fusco. The film follows Frank Hamer (Kevin Costner) and Maney Gault (Woody Harrelson), two former Texas Rangers on the trail of the notorious Bonnie and Clyde across multiple states with the help, and sometimes the hindrance, of the federal and state governments.

No spoilers.

I’m at this point in my movie viewing career where I’ve watched long enough to see trends come and go and I’ve seen actors that once ruled the screen struggle to maintain a career, even as the spotlight has shifted away from them. And some then take the spotlight once again in new and exciting ways. I imagine that older actors also use a measure of judgment in choosing which projects to work on, and a paycheck is always nice. It’s fun to watch films starring veteran actors, because you’ve seen enough of their work to get a sense for what they’re bringing to a picture. Today’s film is an example of what happens when actors are bringing something different to their performances.

My biggest complaint about “The Highwaymen” is that the talent, tone, and story never really seem to come together. The driving story is pretty straightforward, with Hamer and Gault chasing Bonnie and Clyde in a fast-paced, high stakes manhunt. But the film is also meant to serve as a character study for both former rangers, and a reflective one at that, with the rangers’ past told more than shown. I would have appreciated a dramatized prequel of sorts that would have shown what being a Texas Ranger was actually like in the late 1800s / early 1900s, to show why two former rangers were perfect for the job. Instead, we mostly receive different forms of the nostalgic “I’m too old for this shit” filler scenes that take the gas out of the chase.

This mismatch of pacing creates one half of the tone problem. The other half struggles with a difficult and sometimes forced relationship between Costner and Harrelson. Costner brings an overly gruff performance as Hamer, which sometimes misfires when undercut by Harrelson’s more comedic performance as Gault. This odd chemistry makes it difficult to treat the more horrific scenes as seriously as should be warranted.

Another minor tone problem, and I’m willing to admit this might be all personal preference, but I found some scenes to look almost too good for a film set in the 1930s. I don’t mean to say that period pieces should be in grainy black and white stock, and there were some excellent sets created and locations chosen for this film to show the poverty of the time. But every now and again, a scene would look a little too new, or would not quite be in line with the dirtier tones seen throughout the rest of the film.

“The Highwaymen” tells the story of the two former Texas Rangers that were involved with the manhunt for Bonnie and Clyde, ultimately cornering and killing their targets. Costner and Harrelson bring somewhat clashing performances as the lead duo, which struggles against a film attempting to tell two stories with very different pacing. Fans of historical dramas that don’t mind a few scenes of intense violence should definitely check out this film, along with any long-time fans of Costner and Harrelson. Everyone else, consider the two-hour investment for what ends up being a mostly decent film.

Rotten Tomatoes: 57%

Metacritic: 58

One Movie Punch: 6.5/10

“The Highwaymen” (2019) is rated R and is currently playing on Netflix.

Hi everyone!

Dr. Feelgood here, back with another string of Netflix Original films, starting with a film that’s not the same ol’ situation, but will kickstart your heart with looks that kill, and involves girls, girls, girls that will make you feel like home sweet home so you don’t go away mad. For a few other music-related biopics, check out the Oscar and Golden Globe winning “Bohemian Rhapsody” (Episode #378) and “El Potro: Unstoppable” (Episode #374).

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Here we go!

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Today’s movie is “The Dirt”, the Netflix Original biopic directed by Jeff Tremaine and written for the screen by Amanda Adelson and Rich Wilkes. The film follows the meteoric rise of the big hair band and umlaut-enthusiasts Mötley Crüe, comprised of Tommy Lee (Machine Gun Kelly), Mick Mars (Iwan Rheon), Vince Neil (Daniel Webber), and Nikki Sixx (Douglas Booth). The film is based on the autobiography written by the band members and notorious author and ghostwriter Neil Strauss.

No spoilers.

One of the things I appreciate the most about today’s media is the diversity of content currently being produced. Network and cable television have moved into this sector with their own advertisement and subscription driven services. New media companies like Hulu, Amazon Prime, and Netflix have taken subscription services to a new level, greenlighting incredible content that never would have been viable. There’s a scene in “The Dirt”, just as Mötley Crüe is hitting it big, where the band’s manager turns to the camera and says, “They were making more money than ever before, and spending it even faster.” That’s exactly how I feel about Netflix, finding great creators to invest within, but also throwing money at questionable concepts. Not every story needs to be told as a film. It’s not a popular opinion, but there it is, and after seeing today’s film, I’m pretty sure Mötley Crüe’s story isn’t worth telling.

I’m not shitting on Mötley Crüe. Not one bit. I grew up with them, attending both middle school and high school functions where their music was played at high volumes. I watched their videos growing up, and I’m pretty sure I owned one or two of their CDs. The adults I knew made fun of them and the rest of Big Hair Rock. My peers and those just slightly older than me thought they were one of the greatest bands of all time. And then they fell apart, and later I learned stories about their quintessential rock band story arc... forming, scraping by, getting a deal, enjoying success, succumbing to addiction, breaking up, side projects, reunions, and legacy. The same story in full of “Bohemian Rhapsody” (Episode #378). The same story cut tragically short in “El Potro: Unstoppable” (Episode #374). Only the details are different, which means if we’re going to continue this wave of music star biopics, then we need something more or bigger than simply telling a story. And that’s all we get with “The Dirt”.

“The Dirt” is all shock and no context, which is why we get a lot about Tommy Lee, Vince Neil, and Nikki Sixx, and almost nothing about Mick Mars. The actors are quite convincing at first, but never seem to grow for a film that hits all the broad strokes of their history. We never get the impact of any significant moment in their life, moving quickly from segment to segment, and aside from the news media parroting the previous events, never get a context in which to place Mötley Crüe within music and pop culture history. Every attempt to humanize each character, or to involve them in dramatic moments, ends up being undercut by all the tantalizing party shots involving sex and drugs, or the consequence-free acting out in public places. I can’t empathize with Sixx going through heroin addiction or Neil losing his daughter even a little bit, and that sucks. I can’t appreciate Sixx’s efforts to retain the rights to the band’s songs, or the immense pain and agony that Mick Mars must have been going through. Without a solid message, the film ends up feeling like someone was given an assignment to distill the source material into the most important parts, with a deadline and a fixed budget.

“The Dirt” is a biopic about the life and times of the infamous Mötley Crüe. While the film hits all the broad strokes of their story, it also lacks context within music history, and ends up feeling like a two-hour montage of tantalizing parties at the beginning and forced character growth towards the end. Fans of Mötley Crüe should definitely check out the film, but don’t expect anything profound or insightful. It is exactly what it is. Just like Mötley Crüe, for better or, in this case, worse.

Rotten Tomatoes: 39%

Metacritic: 39

One Movie Punch: 2.9/10

“The Dirt” (2019) is rated TV-MA and is currently playing on Netflix.

Hi everyone!

Welcome back to one of the first Certified Fresh films from this year to hit streaming services. We track every Certified Fresh film that gets released in theaters, just waiting to jump on the opportunity when they become available at home. Today’s film is another Irish horror film, but this time distributed by A24, and currently streaming on Amazon Prime. For a few other films involving the Irish film scene, check out Sunday’s throwback review for “A Dark Song” (Episode #489), along with Ryan L. Terry’s review for “The Favourite” (Episode #379) and “The Killing of a Sacred Deer” (Episode #149). And if you have any suggestions, definitely let us know over social media.

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Connect with us over social media to continue the conversation. 

Here we go!

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Today’s movie is “The Hole In The Ground”, the Irish horror drama distributed by A24, directed by Lee Cronin, and written for the screen in collaboration with Stephen Shields. The film follows Sarah O’Neill (Seána Kerslake), and her son Chris (James Quinn Markey), who have moved to a new town nestled in a valley after trouble involving Chris’ father. While exploring the area, Chris runs off into the forest, and Sarah finds him near a giant hole in the ground. But is it him?

No spoilers.

I have a strong love for films based on European folklore. Films like “The Ritual” (Episode #045), “November” (Episode #157), and “Apostle” (Episode #287) take local myths and either place them within their historical context or our own modern context. Myth and lore were always meant to communicate between generations, sometimes about our origins or history, sometimes about rules for survival or self-conduct, and sometimes because imaginations ran wild and invented terrors that really represent something about ourselves and our psychologies rather than the world. It’s a rich well from which to draw content, and “The Hole in the Ground” makes great use of both ancient myth and recent history.

We find out early in “The Hole in the Ground” about changelings, a Pan-European myth about creatures who steal another person’s form, and try to take their victim’s place in society, very similar to the premise of “Us” (Episode #449). It also makes use of a more recent story (relatively speaking) from 1895, when Michael Cleary murdered his wife, claiming she was a changeling. The film contains a similar, but more recent fictional case that causes Sarah to question her son’s identity, which by itself creates dual themes of parents sometimes wondering what their children have become, and parents wondering what horrors they are capable of, as expertly shown in “The Babadook”. On top of all this, Sarah is recovering from a nasty head wound, presumably from Chris’ father, that requires medication to sleep, so we’re never really sure if there are changelings, or who might be a changeling.

Lee Cronin does a great job working with Seána Kerslake and James Quinn Markey to create and maintain a feeling of paranoia about the mother/son relationship, through a combination of great acting, practical effects, and smart video and sound editing. Cronin also does a magnificent job of capturing an intense feeling of claustrophobia when, as one might imagine with a title like “The Hole in the Ground”, we finally enter the hole and its excessively cramped interior. Cronin hits all the right notes with the film, which makes it a well-made film. But the film also struggles with a formula-driven plot structure, which makes it effective, but also limits its overall potential in an oversaturated genre.

“The Hole In The Ground” is an Irish folklore horror film, playing with themes of trust and paranoia in a modern country setting. Seána Kerslake and James Quinn Markey work well together on screen, and with director Lee Cronin to make an effective, if somewhat formulaic film. Horror fans, especially those interested in folklore, will definitely enjoy this film and should not miss it. Everyone else might be interested, if they don’t mind a few scares and some intense dread.

Rotten Tomatoes: 88% (CERTIFIED FRESH)

Metacritic: 63

One Movie Punch: 8.3/10

“The Hole In The Ground” (2019) is rated R and is currently playing on Amazon Prime.

Hi everyone!

I’ve wanted to see today’s movie the second I walked out of the theater after “John Wick Chapter 2” in 2017. And I was excited to see “John Wick Chapter 2” the second I finished streaming “John Wick” two days before seeing the sequel, as I hadn’t yet jumped back into the deep end of movies. Now, does today’s film stack up? I’ll let you know in a second, but for a few other action films with great fight choreography, check out “Psychokinesis” (Episode #124), “Manhunt” (Episode #133), “Kickboxer: Retaliation” (Episode #205), “Mission: Impossible – Fallout” (Episode #211), and the incredibly brutal “The Night Comes For Us” (Episode #295).

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Here we go!

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But first, One Movie Spouse summarizes “John Wick” and “John Wick: Chapter 2”. 

Amy: So there’s this guy named John Wick, who’s having a tough time. His wife died of cancer, and he was feeling pretty low, but she sent him a puppy before she died. But then, Theon Greyjoy busts in with some goons, beats poor John senseless, kills the puppy, and steals his car. So, of course, everyone’s gotta pay. But a bounty’s out on his head, so other people are trying to kill him at the same time. And at the end, he adopts another puppy.

Joseph: That about covers it.

Amy: And then, in “John Wick: Chapter 2”, he’s like, what about my car? So, it turns out Theon’s uncle has the car, except he’s not like that douchebag Euron Greyjoy. Really, kind of a wimp. The car has a few minor dings, so he sends it away for repairs. Then, some new Italian guy says John owes him, and John says no, so he destroys John’s home, and then John says whatever, I’ll do it. So, John takes care of business, but then the Italian Guy and the new Batwoman try to kill him. And when *that* doesn’t work, they put yet another contract on his head. So, John calls in some favors, gets a bunch of weapons, and goes after the Italian Guy, while everyone else is trying to kill John. But most importantly, at the end, the puppy survives (YAY!), although it looks like John might not (BOO!).

Joseph: Works for me. And what are your hopes for Chapter 3?

Amy: Puppy’s gotta live.

Joseph: Agreed. Puppy’s gotta live. 

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Today’s movie is “John Wick: Chapter 3 - Parabellum”, the third installment in the pet revenge gun-fu action thriller directed by Chad Stahelski and written for the screen by Derek Kolstad, Shay Hatten, Chris Collins, and Marc Abrams, based on a story and characters created by Derek Kolstad. The film follows John Wick (Keanu Reeves), who has a $14 million bounty on his head, after quite intentionally killing a member of the international assassin’s guild on neutral ground. Now on the run, Wick must survive as the world’s greatest assassins come after him to collect.

No spoilers.

Action films have come a long way. I only really had two choices for action films growing up. The first was the alpha male driven military action thriller, which includes Arnold Schwarzenegger, Sylvester Stallone, and a host of other action stars. The focus was on explosions and bad dialogue, perfectly lampooned by the 1993 action comedy, “Last Action Hero”, and more recently with Stallone’s “Expendables” franchise. The second choice was the horribly-dubbed, but incredibly choreographed Asian action films, most eminently from the Shaw Brothers. I had no context in which to set their plotlines and stories, nor their success overseas or the size of their huge cult following in this country. But I was astounded by the fight choreography, and my friends and I would often try to recreate it, sometimes with disastrous results.

I thought the mainstream was alpha male action heroes, and the imported action films were just filler. Ignorant, I know, but it was before the time of the Internet and I didn’t have Tarantino at the local video store acquiring the hidden gems and steering me in the right direction. It wasn’t until Jackie Chan went mainstream in the United States with “Rumble in the Bronx” that I started to see a new level for action films, and the way the choreographers could adapt the setting into the action. While I could hear bare-chested alpha males firing machine guns one-handed in slow motion in the next theater, I was watching Jackie Chan take on all comers with whatever was available. So did a lot of other people, and fight choreography has only gotten better, more realistic, and captured better than ever before. The “John Wick” franchise has taken action films even further, becoming the live action equivalent of video game first person shooters, in all the best ways. And if you’re wondering if “John Wick: Chapter 3 – Parabellum” lives up to the standards of both the franchise and the action film scene, I can assure you that it does.

I think it’s safe to say that the “John Wick” franchise is here to stay, as long as Keanu Reeves is willing to head it up. The first two films were both certified fresh, a rarity with action franchises which often overdo the second film. “Chapter 3” places us immediately after the events of “Chapter 2”, with John Wick attempting to outrun the excommunicado bounty on his head, which begins the first of many intense action scenes. And just as “Chapter 2” expanded the cinematic world, “Chapter 3” does the same, introducing not just new characters and locales, but also familiar faces and, as we’re reminded throughout the film, the consequences of Wick’s choices in the first two films. We see a much larger world and a much larger structure that governs it than either of the previous two films, a move from a franchise that knows it has staying power, and I’m extremely excited for whatever comes next. 

However, all the worldbuilding comes at a cost to the rest of the film, especially as the franchise also begins to tinker with the formula from the first two films. John Wick has a bounty on his head from the get go, which creates a main storyline interrupted by random encounters from parties looking to cash in or seek other advantages. We get more information about John Wick’s past and the history of the Assassin’s Guild, but both sets of revelations also come with a lot more questions. As much as I love the action and the lore, the film has virtually no viable story, or at least one that doesn’t make complete sense, and probably won’t until more is revealed in later chapters. We have a lot more possibilities, but also need to consider revisiting the formula in order to continue having character growth. 

My concerns are more for the franchise than for the film itself. It is probably the best second act comic book movie of the year, focused exclusively on moving plot within a larger universe, as told through one person’s story. It’s no longer an origin story like “Captain Marvel” or “Shazam!”. It’s not a saga conclusion like “Avengers: Endgame”. It is true to form, playing by the rules it has established, and digging into the non-action elements that are also endearing, especially the intentionally cliché dialogue and the well-timed comic relief. Rest assured, there will be more “John Wick”, and hopefully with another film, more answers that lead to more possibilities for intense action.

“John Wick: Chapter 3 - Parabellum” is a second act comic book action film that expands the franchise universe while emphasizing its many strengths. It maintains its incredible action choreography and distinct charm, but it can also feel more like a two-hour long interlude than a complete story. Fans of the franchise, or action films in general, should definitely check out this film. And for those who don’t know, the film contains some pretty heavy violence and graphic injuries. Viewer discretion advised.

Rotten Tomatoes: 89% (CERTIFIED FRESH)

Metacritic: 74

One Movie Punch: 9.0/10

“John Wick: Chapter 3 - Parabellum” (2019) is rated R and is currently playing in theaters.

Hi everyone! 

Welcome back to another week of reviews. Last week was jam packed with guest reviews from our talented pool of critics. This week, it’ll be Andrew with another Fantastic Fest feature, and then yours truly for the rest, including three Netflix originals, the latest in the John Wick franchise, and an Irish horror film from A24 that you probably missed in the theaters, but received very high praise.

Speaking of Irish horror films, I decided for this week’s classic review to go back to one of the first films for the podcast that took me completely by surprise. “A Dark Song” was distributed by IFC Midnight, one of my favorite genre producers/distributors, and while their content can be hit or miss, I’ve found when it hits, it really hits. And “A Dark Song” definitely hits, especially if you are fascinated by magick and the occult. It currently sits at a 92% Certified Fresh rating at Rotten Tomatoes, and a 71 at Metacritic. You can catch the film streaming on Netflix, Hoopla, Shudder, and Popcornflix. If you love occult films, this is the one for you!

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Here we go!

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Today’s movie is “A Dark Song”, an occult horror film written and directed by Liam Gavin and distributed by IFC Midnight. The film follows Sophia (Catherine Walker), a mother who lost her son three years ago, who has sought out an occultist named Joseph Solomon (Steve Oram) to help her contact his dead spirit through a series of gnostic rituals.

Don’t be fooled by the seemingly over trodden premise. Summoning films come in many forms, generally relying on lighting tricks and blood-soaked imagery, unconsciously based more on anti-Satanism propaganda than any study into Crowley or other gnostic systems. “A Dark Song”, however, is well researched, drawing inspiration from actual occultist writings and concepts, which embeds itself within the sets and props and dialogue.

I love how seriously this film takes itself, from preparing the ritual to working through the purification, feeling the often frayed, raw emotions of Sophia and Joseph. Catherine Walker plays Sophia well, struggling with disbelief and hope, while Steve Oram’s Joseph teeters between being extremely serious and intermittently unreliable, making you wonder if this entire process is one big farce. Both actors turn in quality performances, a key factor in any small cast film.

Gavin also makes use of the beautiful countryside, making it a part of the story. Ray Harmon’s minimal score works well to accent each scene and to smooth the transitions. I think my only criticism for the film is the ending. I can easily see this may have been the intent, bringing Sophia’s internal struggles about her son to a head, but it felt atonal compared to the rest of the film.

“A Dark Song” raises expectations for future summoning films, an impressive feat for Liam Gavin’s first feature-length film. Open-minded viewers will find a serious, intentioned film. And viewers who are interested in the occult will appreciate the attention to detail, even if not exactly correct in its execution.

Hi everyone!

We’re closing out the week with another review from One Movie Spouse, which required our whole household to get in formation and place hot sauce in our bags. She’ll have her thoughts on the latest surprise media release from Beyoncé, but for a few other music-related documentaries, check out our reviews for “Stop Making Sense” (Episode #179), “Quincy” (Episode #220), and “Grace Jones: Bloodlight and Bami” (Episode #289). 

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Take it away, Amy! 

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Hi there, it’s Amy, AKA One Movie Spouse back for another review. MWAH! It’s still a super busy time of year for me as the school year wraps up. With four weeks of school remaining, it’s always fun to escape into a movie for a bit. Today’s film features a dynamite musical performance that I think you’re going to REALLY love! 

Today’s movie is “Homecoming” (2019), the music documentary film written and directed by Beyoncé Knowles-Carter. This dynamic film is sure to please Beyoncé fans, musical festival-goers, and anyone else curious about Beyoncé’s magnetism and her over-the-top spectacular performance art.

While I don’t follow pop culture and modern music nearly as closely as my teenage daughter does, I enjoyed seeing what all the hype was about. In April 2018, Beyoncé was the headliner for the Coachella music festival held in Indio, California. It showed highlights of the two-weekend show, mashing them together in color and black-and-white, and interspersed with behind-the-scenes footage during rehearsals. Beyoncé was the first black woman to headline this festival, which is memorable in and of itself, but the journey is truly inspiring as Beyoncé shares her vision along the way for Beychella. 

One cannot review this film without mentioning the costumes, the dancers, and the very large supporting cast of musicians. Hands down, it’s all INCREDIBLE!!! You watch this film and you feel as though you are standing near the Coachella stage without feeling crowded or sweaty as you do sometimes at massive music festivals. My love for choreographed dance and costumes started with Janet Jackson and Paula Abdul in the 1990s. The performances featured in today’s film would have made my 13-year-old head spin! Beychella 2018 showcases 200 hand-picked singers, dancers, and musicians to make this fantastic show a reality. Even if you’re not familiar with all the songs performed, viewers will DEFINITELY appreciate the visual appeal and high energy of this show!

At the beginning of this film, I found myself comparing it to “Gaga: Five Foot Two”, the documentary featuring Lady Gaga’s 2017 Super Bowl Halftime Show and the release of her album “Joanne.” Similar to today’s film, viewers saw glimpses of mainstage performances with behind the scenes footage and inspiration for parts of the show. In Gaga’s film we see her mask come off, as she reveals very intimate moments about her life, including physical and emotional pain, and where she draws strength and confidence to put on very unique and powerful performances. About a third of the way through this film, my comparisons stopped; both of these films may have similarities, but they each have very different stories to tell.

In “Homecoming”, we hear Beyoncé share her struggles, especially her return to performing after giving birth to twins and balancing career with family life. Another major difference between these two films is that “Homecoming” has a positive message meant to empower marginalized individuals. Beyoncé speaks from the heart that she hopes to inspire others, help them discover their dreams, and reflect strengths of the larger black culture in her music and on stage. This film really captures the emotions felt by fans of Beyoncé. It is moving to see the video reactions from various audience perspectives. You can see *and* feel the connection they have with Beyoncé and her music as it speaks to them. I wasn’t a “super fan” before watching this film, however during the closing scene of this phenomenal show, I was covered in head to toe goosebumps, feeling inspired for younger generation music fans, and eager to explore more of her music beyond what is on the FM radio waves. I’d say Beychella 2018 and this film was a smashing success!

“Homecoming: A Film By Beyoncé” is sure to please Beyoncé fans, music festival-goers and anyone else curious about Beyoncé’s magnetism and her over-the-top spectacular performance art. Wow, just wow! Check it out right now!

Rotten Tomatoes: 98% (CERTIFIED FRESH)

Metacritic: 92

One Movie Punch: 10/10

All right, I’ll save the singing for Beyoncé.

“Homecoming: A Film By Beyoncé” (2019) is rated TV-MA and is currently playing on Netflix.

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Joseph: All right, I have the sequel ready to go.

Amy: A documentary sequel? If you say so…

Joseph: Hear me out. “Queen Bey vs. Coachella”, except in this case, it’s a 500-foot Beyoncé saving the festival from a kaiju attack, and in the process, saving music itself.

Amy: That could actually work.

Joseph: You think so? I’ll need your help.

Amy: How?

Joseph: Well, you know... Girls... they run this Mothra... Yeah!

Amy: What’s a Mothra?

Joseph: I’ll show you later this month!

Amy: Awesome! Even better. I hope this doesn’t make the b-roll.

Joseph: I think you mean the Bey-roll.

Hi everyone!

It’s Friday! Time for another Fantastic Fest review from our good friend Andrew Campbell. It’s a film from the South Korean scene, which has been blowing up the last few years. For a few other recent South Korean films, check out “The Drug King” (Episode #428), “High Society” (Episode #421), and Garrett Wright’s review for “Revenger” (Episode #366). Oh yeah, and check out Stephen Yeun in our number one film from last year, “Sorry to Bother You” (Episode #371).

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Take it away, Andrew!

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Hello film fans!

Andrew here, back this week with a two-and-a-half hour Korean drama.  Wait, wait, wait- don’t turn this off, it’s still Fantastic Friday. Personally, I don’t often have much patience for long, subtitled dramas and I often watch those prestige end-of-year Oscar bait films more out of a sense of obligation than any real excitement. What got me excited about today’s film was the chance to see Steven Yeun (formerly Glen from “The Walking Dead”) act in a Korean picture, portraying a character far different from the nice-guy, everyman role he seems to play in everything else I’ve seen him in.

Today’s movie is “Burning”, written by Oh Jung Mi and Lee Chang Dong and directed by Chang Dong. “Burning” made its Texas premiere at the 2018 Fantastic Fest, having already played a number of festivals around the world. It went on to play many more afterwards. But, in spite of  consistent rave reviews, it only managed to gross around $7M worldwide.  “Burning” follows Le Jong Su (Yoo Ah In), a young South Korean man tending by day to the farm owned by his imprisoned father, located within sight of the North Korean border. Some days, Jong Su travels into the nearby bustling city of Paju, and it is on one of these such trips that he crosses paths with Hae Mi (Jeon Jong Seo), a free spirit who grew up in the same poor, rural village as Jong Su. After a brief fling, Hae Mi travels alone on a vacation to Kenya, leaving Jong Su to tend to her cat.  When Jong Su retrieves Hae Mi from the airport, she introduces him to Ben (Steven Yeun), a wealthy young man she happened to meet in the Nairobi airport who also happens to live in Paju. Ben quickly inserts himself into the lives of Hae Mi and the suspicious Jong Su.

No spoilers.

The basic structure of “Burning” mirrors that of “The Great Gatsby”, a reference that Jong Su even makes during the film at one point. It’s mostly a three-handed tale of a secretive, wealthy man; a poor man simultaneously fascinated and suspicious of the wealthy man and all his trappings; and a young woman desired by two men from two very different worlds. The story unfolds organically, shifting between the homes of the three protagonists with an expert eye. Jong Su’s farm is simple but well-maintained, representing the work ethic and sense of obligation that drives him. Hae Mi lives in a tiny studio apartment that resembles a dorm room and, just like her cat, she seems to spend as much time as she can away from home and exploring the world. Ben, however, lives in a luxurious and sprawling apartment, meticulously maintained and paid for through unknown means. The heart of this film is the exploration of the lives of these three disparate individuals and the ways in which they view one another.

This film looks simply gorgeous. Director Chang Dong manages to breathe life into mundane settings, blending a muted color palette with a soundtrack that amplifies the tone of the film. Not once does the film feel like it overstays its welcome in spite of the protracted runtime.  The mood is enthralling and captivating as the story slowly shifts from a character study to a tense plot-driven mystery. “Burning” cannot be easily pigeonholed into a single genre. It’s the kind of film where the viewer cannot predict where the story is going, nor if everything he is seeing is actual reality or reality from the perspective of Jong Su, who, like the viewer, finds himself out of his depth in circumstances he cannot control. 

What makes “Burning” fantastic?

The three main characters in the film, based on a short story written by Haruki Murakami, are fleshed out and grounded by wonderful performances.  These actors, in these settings, ends up being a magical combination. Had this same narrative been told in America, I’m afraid it would not have translated. “Burning” evokes feelings of alienation and paranoia that don’t often appear outside of the horror and sci-fi realms.

“Burning” (2018) is haunting and hypnotic from beginning to end. It manages to satisfy the audience, while still leaving plenty to chew on after the last, lingering shot. Fans of recent character-driven mysteries like “Shoplifters” (Episode #394) and “First Reformed” (Episode #415) will enjoy this one.

Rotten Tomatoes: 94% (CERTIFIED FRESH)

Metacritic: 90

One Movie Punch: 9.4/10

“Burning” is not rated and is now streaming on Netflix.

Come back next week when I’ll be reviewing “Under the Silver Lake”, David Robert Mitchell’s follow-up to my favorite horror film of the last 10 years, “It Follows”. This neo-noir tale starring Andrew Garfield and Riley Keough was filmed almost three years ago and saw its theatrical release date pushed back several times before they rushed it onto VOD in April.  Everything I have read about the film describes it as a love-it-or-hate-it kind of picture and I’m eager to see where One Movie Punch is going to fall.

See you at the lake!