One Movie Punch

Hi everyone!

Today we welcome back Keith Lyons to the podcast, with a Netflix Original documentary about a treasure hunt. Where the treasure is cocaine! For a few other recent Netflix Original documentaries, check out “Shirkers” (Episode #305), “Struggle: The Life and Lost Art of Szukalski” (Episode #363), and Shane Hyde’s review for “Fyre” (Episode #398). 

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Take it away, Keith!

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Hi, Philly Film Fan here with another review for One Movie Punch. You can follow me on Twitter at PhillyFilmFan.

Today’s movie is “The Legend of Cocaine Island”, the documentary directed by Theo Love. It tells the story of one man and his quest to find buried treasure. The treasure is $2 million worth of cocaine.

No spoilers.

“The Legend of Cocaine Island” centers on Rodney Hyden, a Florida man who owned his own construction company and was quite successful. But the 2008 financial crisis hit his business hard, even after cutting his staff of 80 down to just six, the bank still wound up foreclosing on his office and one of his homes. These were dark times for Rodney but a local legend gave him hope. Rumor had it that one of his neighbors had been living on a small island in Puerto Rico when a mysterious bag had washed up on shore. This neighbor opened the bag to find cocaine, roughly $2 million worth, and, not knowing what to do with it, dug a hole and buried it. Rodney, broke and desperate, approached his neighbor with a plan to retrieve and sell the drugs. I probably don’t have to tell you this, but hijinks ensued.

I think that documentaries are the most forgiving film genre, because you can get away with truly uninspired filmmaking. Here’s the format for a lazy, unoriginal documentary: Interview one subject at a time. Have the subject sit down and look in the general direction of the camera. Film the subject in either a medium or close-up shot. Collect archival images (either still or moving) relevant to the topic. Then edit the whole thing together (usually laying out the story in a linear chronology). Documentaries can get away with such a boring format because they generally focus on extraordinary individuals or topics of great social importance. But it’s still hackneyed filmmaking and so depressingly common that I appreciate any film that pushes back against this format, like “The Legend of Cocaine Island”.

“The Legend of Cocaine Island” uses semi-comedic “dramatic” reenactments, combined with overly stylized cinematography to tell this story in an amusing fashion. Rodney, a rotund, middle-aged white man, with glasses and a gray mustache, is filmed like the star of a hip hop music video with a tornado of cash circling around him in slow motion as his stares directly into the camera. It’s a ridiculous posture, but it perfectly captures this film’s light tone and lets you know that the filmmakers are more interested in creating a compelling yarn than in uncovering the truth. Like they say in “The Man Who Shot Liberty Valance”: When the legend becomes fact, print the legend.

“The Legend of Cocaine Island” is a breezy documentary that is well-suited to its home on Netflix. The slight story and an emphasis on style over substance could leave a theatergoer feeling like they wasted a night out on an inessential story. However, for someone at home scrolling through an endless list of “suggested titles” who is just looking for a light film that’s fun to watch, “The Legend of Cocaine Island” is a solid choice.

Rotten Tomatoes: 78%

Metacritic: 44

One Movie Punch: 7.0/10

“The Legend of Cocaine Island” (2018) is rated TV-MA and is currently streaming on Netflix. 

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

Hi everyone!

Today we welcome back Ryan L. Terry to One Movie Punch, with a film that I tried to convince him not to review, because of my long-standing hate for Indonesian horror films. Want the evidence? Check out my reviews for “The 3rd Eye” (Episode #226), “Kuntilanak” (Episode #297), and “Sabrina” (Episode #328). In fact, I should probably check to see if Ryan bothered to write a review... oh good! Whew!

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Take it away, Ryan!

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Today’s movie is “Suzzanna: Buried Alive” the Indonesian horror movie released on Netflix in November 2018. The film is directed by Rocky Soraya and Anggy Umbara, written by Bene Dion Raja Gukguk, and stars Luna Maya, Herjunot Ali, and T. Rifnu Wikana. My apologies if I really butchered those names. I really tried my very best. 

After its promising start, “Suzzanna” takes an acute turn for the worst. Won’t take long for you to begin checking your watch or clicking the back or menu button on your remote. This movie is a great example of how too little plot can be stretched over too much run time with the end result being terrible pacing that disconnects the audience from the story. Honestly, had this movie been as short or at least around an hour, then it would have been much more enjoyable. 

Sometimes the experience of a horror movie can be helped by a haunting score or stylized imagery to make up for a vapid plot and characters. Unfortunately, there is little style to be found and the score is borderline cheesy. It’s like the director took a score from a completely different movie and added it to this one. If you’re a gore fan, well, I hate to disappoint you there too, but... there are only a few of those moments as well.

An easy way to fix this story is to play up the comedy bits more. Even increasing or relying upon comedy derived from the conflict may not elevate this to “Tucker and Dale vs Evil”levels of horror-comedy, but it certainly would’ve helped the two hours go by faster and more effectively. So, as a comedy, this movie works; the characters are utterly laughable at times. My advice to the writers and directors of this movie is to take a page out of Hitchcock’s handbook: “Start your scene as close to the end as possible.” This echoes the screenwriting fundamental of “write leanly.” Kill your darlings, cut the fat, trim the scene until it works for effective and efficient storytelling. 

“Suzzanna” is one of those quasi-horror movies that starts out strong, ominous, and gripping, but then very quickly devolves into a hodgepodge of unimaginative plot points, flat characters, and awkward pacing. Not that these characters are boring; quite the opposite, these characters are entertaining at first, but soon bore you with their lack of dimension. Moreover, this is billed and advertised as a horror movie, but has far more in common with dark dramedies than it does what it so desperately wants to be.

Rotten Tomatoes: NR

Metacritic: NR

One Movie Punch: 5.0/10

“Suzzanna: Buried Alive” (2018) is rated TV-MAand is currently playing on Netflix.

Thanks for taking one for the team, Ryan!

Hi everyone!

Here’s the second of two Netflix Original reviews from me this week. Today’s film comes from the Spanish film scene, from director Oriol Paulo who also directed “The Invisible Guest” (Episode #369), reviewed by our good friend Andrew Campbell. Definitely check out his review, and check out a few more films from Netflix’s distribution deal with Atresmedia Cine, including “Gun City” (Episode #311), “The Laws of Thermodynamics” (Episode #249), and “The Tribe” (Episode #329).

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Here we go! 

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Today’s movie is “Mirage”, the Netflix Original drama directed by Oriol Paulo, and written for the screen in collaboration with Lara Sendim. In 1989, during an electrical storm, a woman is found dead by a young boy, who also dies in an automobile accident. Twenty-five years later, during a surprisingly similar electrical storm, Vera Roy (Adriana Ugarte) discovers a camera and television that allows her to communicate with the past, allowing her to save the young boy, but which also dramatically changes her present.

No spoilers.

I have loved watching the lines between genres continue to blur over the past twenty-five years, especially as the audiences continue to expand and diversify for genres like horror, science fiction, fantasy, superheroes, and post-apocalyptic content. Part of that diversification manifests through the creation of new combo genres, like dramedies and romantic comedies and romantic dramedies. Part of that diversification embeds itself deeper into the film, creating a story that spans genres without shortchanging the audience. Today’s film is in the latter category, fusing a family drama and a murder mystery within a world with science fiction elements and under a thriller timeframe. It even includes appropriate dashes of romance and action, which should delight audiences across the spectrum.

Combining that many genres requires a lot of setup. “Mirage” starts very slowly, with an opening scene recounting the deaths from 1989 and introduces the viewer to the rules of the science fiction elements. And because we’re operating within two separate timelines, we need to introduce the present timeline and characters as well, which means when history is changed, we need to re-introduce the present all over again. The only constant is Vera, whom Adriana Ugarte plays with exceptional realism, and forms the necessary storytelling anchor for the viewer. It’s when we’re finally enmeshed in the parallel timeline that the film starts to hook the viewer, and at this point, Paulo begins challenging the viewer, revealing hidden truths from the past and present that force us to consider new perspectives and reconsider our positions. I was sure I knew where the film was going at the outset, and was pleasantly surprised ending up in a much different location than I expected at the end.

Paulo uses a few great storytelling techniques throughout the film. When Vera experiences flashbacks from the altered timeline, we get incredibly detailed scenes that tell a great deal of story in a short amount of time. Paulo also likes to revisit the same scenes, but from different angles, revealing new story elements. Excellent sets and locations were chosen and worked into the story. I think I’m going to have to a closer look at Oriol Paulo going forward. I haven’t yet gotten around to watching “The Invisible Guest” (Episode #369), but it’s now closer to the top of my list after today’s film. I’m also quite interested in “The Body” from 2012, which was another collaboration with co-writer Lara Sendim. I hope that last one wasn’t a Fantastic Fest feature. Because I’ll totally fight Andrew over it.

“Mirage” is a multi-genre Spanish thriller set across multiple timelines, beginning as an attempt to save one boy from dying, and ending up in some pretty amazing places. Oriol Paulo and Lara Sendim weave an incredible story, anchored by Adriana Ugarte’s strong performance as Vera Roy. Fans of time travel films, or mysteries, or thrillers, or pretty much any genre attached to this film will likely enjoy this film, as long as you make it through the slow start.

Rotten Tomatoes: 71%

Metacritic: NR

One Movie Punch: 8.2/10

“Mirage” (2018) is rated TV-MAand is currently playing on Netflix.

Hi everyone!

Here’s the first of two Netflix Original reviews from me this week. Today’s film is another entry from the Malaysian film scene, one I’m still learning about. It’s my third Malaysian film, following the Netflix Originals “Pulang” (Episode #294) and the surprising “Crossroads: One Two Jaga” (Episode #348). I’m enjoying getting perspectives from around the world, and if you have any other suggestions from Malaysia, let us know online!

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Here we go! 

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Today’s movie is “Paskal”, the Malaysian action drama directed by Adrian Teh and written for the screen in collaboration with Anwari Ashraf, Chee Ang Keoh, and Frank See. The film is based on the true story of the PASKAL, a special forces unit within the Royal Malaysian Navy. As Lt. Commander Arman Anwar (Hairul Azreen) considers retiring to take care of his mother, he is called back for one more mission that will test his resolve. 

No spoilers!

In October of last year, I watched a film called “Raazi” (Episode #283), which was a spy thriller set during the Indo-Pakistani War of 1971, based on a true story of an intelligence asset within the Pakistani military leadership. It was a work of nationalist cinema, but purposefully so, to attempt exploring what national pride means, especially through the eyes of someone on both sides. “Paskal” is also a work of nationalist cinema, very much pro-military, pro-country, and pro-family. Today’s film also makes the nationalist overtones of “Raazi” feel like the subtlest of whispers, but for the same reasons: story structure and dialogue.

My biggest complaint about “Paskal” was that the film lacked cohesion. Like most military thrillers, the film has an opening mission, to introduce the characters and demonstrate their capabilities, which lasts twenty minutes before we finally get the title card. The opening is followed by a flashback training montage and almost a second opening UN peacekeeping mission, which lasts another thirty minutes. All the previous segments were based on actual missions or training exercises, and then we’re left with an hour for a final mission that takes up the back half of the film. It felt like two television episodes and a short film, not like a complete story, and feels eerily like an advertisement to join the military unit, complete with overtly nationalist dialogue to drive home the message, if not the emotion, of the experience within the unit. The acting was all right when the dialogue allowed for it.

“Paskal” also has some strengths, however. The action scenes, aside from the dialogue, looked quite authentic in terms of protocol, tactics, and strategy. I liked a lot of the modified hardware in use by the unit, as I’m sure any gearhead would appreciate. Close quarters combat was intense and felt realistic. Great camera angles all around. I also loved having my boundaries stretched watching the Muslim prayer before the opening mission, wondering how others with a different religion might view the mostly benign act, and making me reconsider similar scenes of Christian prayer before combat. History has taught us to always consider the relationship between religion and war, but experience tells us that not everyone has the same relationship with religion, and I liked how the various members of the unit reflected that diversity.

“Paskal” is a Malaysian military thriller based on the true stories and training of the elite special forces unit. The film uses two actual missions as the basis for a fictional third mission, but lacks cohesion in storytelling, often overridden by direct nationalist messaging. Fans of military thrillers, or folks who love covert operations, should definitely check out this film, and stick with it for the final campaign.

Rotten Tomatoes: NR

Metacritic: NR

One Movie Punch: 5.7/10

“Paskal” (2018) is rated TV-14 and is currently playing on Netflix.

Hi everyone!

Happy Mother’s Day to all the mothers out there! One Movie Spouse and I are spending the morning hiking with our daughter, then maybe going to see a second viewing of “Avengers: Endgame” (Episode #469). It’s going to be a great week at One Movie Punch, with another Fantastic Fest review from Andrew Campbell, and five, count ‘em, five Netflix Original film reviews from yours truly, One Movie Spouse, and the exciting return of Ryan L. Terry and Keith Lyons.

While we’re hiking, you can check out today’s throwback review for “Tully”, the exquisite motherhood dramedy written by Diablo Cody, directed by Jason Reitman, and with an astounding performance by Charlize Theron, which earned her a Golden Globe nomination for Best Actress in a Drama Performance. One Movie Spouse let me know she thought today’s film was a much better choice than last week’s review for “Mom and Dad” (Episode #475), although I think both take an insightful look at motherhood. In their own way.

“Tully” currently sits at an 86% Certified Fresh rating at Rotten Tomatoes and a 75 at Metacritic. You can check out the film streaming on HBO, or via rent/purchase at your favorite digital outlets. Can’t recommend this one enough for all the mothers out there.

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Here we go! 

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Today’s movie is “Tully” (2018), the modern motherhood comedy from writer Diablo Cody and director Jason Reitman. The film follows Marlo (Charlize Theron), a mother of three including a newborn, struggling just to exist as a parent. However, her brother Craig (Mark Duplass), after seeing her struggles, offers to hire Marlo a night nanny named Tully (Mackenzie Davis) who allows Marlo, as it were, to find herself, now seemingly lost to motherhood.

Spoilers ahead. 

I had the pleasure of taking my spouse and the mother of my daughter to see this film over the weekend. It seemed like a no brainer for Mother’s Day, but I think it is especially so for suburban motherhood today. I’m not talking about the mothers who are doing it all, keeping perfectly fit, getting all the housework done, managing all their children’s activities, possibly working full-time, and oh yeah, still trying to be a spouse. My hats off to you all who can do it. This film is about the rest of suburban mothers, barely keeping it together, and struggling under the real (or perceived) shaming for not doing everything... and especially those whose spouses can’t find a hamper or the kitchen sink, at least in hetero-normative marriages. 

I also love films that tell you everything about the film in the trailer without telling you anything. Folks who have seen “Tully” (2018) know what I’m talking about, but for those who haven’t, I’ll be staying well away from the key part of the story. I will say, however, that it is great to see another film written by Diablo Cody, especially one that tackles middle-class and, let’s face it, upper middle class notions of suburban and urban motherhood. The story is not only well-written, but well-told by Jason Reitman, using great montages, excellent composition, and selling the story from beginning to end. 

But the real star here is Charlize Theron, and very likely an Oscar-nominated performance as Marlo. I had some concerns with her gaining weight for the role, not just for her health, but there’s something about an established actor gaining weight for a role when there are plenty of working actors with that body type. Putting that to the side, however, Theron is amazing, and her commitment to the role allows her to not just feel, but express the absolute exhaustion of Marlo’s life. If there’s any drawback to the performance, it’s that everyone else besides Marlo and Tully fade into the background, at least until the ending, and then you kind of wish you got to know the other characters a lot more than they were presented.

“Tully” (2018) is an excellent film about modern motherhood in some places, and while not a universal experience, it is an authentic one, masterfully crafted by Diablo Cody, and brought to life by Jason Reitman and Charlize Theron, with a strong assist from Mackenzie Davis. Fans of family drama, or pretty much any suburban, middle class mother should definitely see this film. And I have a strong suspicion we’ll see it again at Oscar time.

Hi everyone!

Today we’re welcoming back One Movie Spouse for a review of that other Brie Larson film available right now, streaming exclusively on Netflix. She’ll give you her thoughts about the film in a minute, but don’t miss out on Amy’s other reviews for “On the Basis of Sex” (Episode #396), “Pick of the Litter” (Episode #410), “Free Solo” (Episode #414), and “The Boy Who Harnessed The Wind” (Episode #440). Oh yeah, and you can check out Amy’s excellent rescue at the beginning of our joint review for “Captain Marvel” (Episode #435).

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Take it away, Amy! 

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Hi there!

It’s One Movie Spouse returning after an extended absence from movie reviews. Classroom life has kept me super busy, which is why you haven’t heard from me much. Or maybe you’re thinking, my reviews are so rare, I’m like a unicorn?! Either way here we go... MWAH!

Today’s movie is “Unicorn Store” (2019), the fantasy comedy film directed by Brie Larson and written for the screen by Samantha McIntyre. The film follows Kit (played by Brie Larson), an aspiring art student that is suddenly kicked out of art school and finds herself temping. However, a strange salesman (played by Samuel L. Jackson) makes Kit an offer to fulfill her childhood dreams, as long as she’s ready to accept the gift.

No spoilers!

Let me start by saying I love unicorns, fairies, mermaids, and other magical creatures! I think it’s important for people to be in touch with their creative side and to express themselves whether in music, dance, art, or drama. Having watched Brie Larson in her role of Captain Marvel, I was very eager to see her other work, especially today film where she’s also the director. I loved the colors of the costumes, props, and sets, especially The Salesman’s over-the-top colorful attire, and Kit’s pops of color in her clothing and accessories. The subtle (and not-so-subtle) dashes of expression reflected Kit’s more carefree childhood, as seen in the opening minutes of the film, with the happy nostalgia with her toys and collections, including the Care Bears and Rainbow Brite. And unfortunately, this is where my love of the film stops.

I’m sad to say this. I really wanted to love this film! But I just didn’t. As the trailer revealed, Kit gets kicked out of art school and then struggles to find herself as an adult. When she receives the mysterious invitations to visit The Unicorn Store, her childhood fascination with unicorns is rekindled. She has to demonstrate she’s ready for a unicorn before she can be sold one, however, and prepares for its arrival by enlisting a home improvement worker named Virgil (Mamoudou Athie) to build a stable and help acquiring food. It’s all very straightforward, but also comes with a lot of difficulties.

I was never really convinced by the story. Kit hasn’t seemed to grow beyond the age of twelve, even though she’s been away at college, and now returns home to start over. Her relationship with her parents is like a pre-teen girl, not a young woman who’s been out on her own. She’s very naive and socially awkward when it comes to developing relationships with other people, which often turn absurd and shallow. From an outside perspective, it would appear that she’s having a mental breakdown, trapped in her delusions. The storyline needed more development to help bridge fantasy and reality. I tried to see her as clinging to her artistic and expressive side while taking a dull office job to pay the bills, but the film missed the mark.

“Unicorn Store” is a film for unicorn lovers and creative types, and that’s probably it. While I enjoyed the colors and the themes, I was also left wishing for more. Tweens and others looking for a light-hearted fantasy film *may* enjoy this film, but keep your expectations low.

Rotten Tomatoes: 63%

Metacritic: 44

One Movie Punch: 4.0/10

“Unicorn Store” (2017) is rated TV-PG and is currently playing on Netflix.

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Joseph: Wow. With a Twitter handle like “When Rainbow Brite Grows Up”, you must have been really disappointed.

Amy: Yeah, I was.

Joseph: You know, there’s a simpler explanation for all of this. 

Amy: What’s that?

Joseph: Pretty sure someone said Samuel L. Jackson would never be a unicorn salesman, and he was all like, “Wanna bet, mother…”

Amy: HUSH YO MOUTH!

Joseph: You’re right... you’re damn right.

Hi everyone!

We’re back with another Fantastic Fest review from our good friend Andrew Campbell. Today’s Swedish science-fiction head-scratcher comes from the brilliant mind of John Ajvide Lindqvist, who wrote the novel and screenplay for “Let The Right One In” (Episode #024). You can check out my early review for that film, but check out the Swedish version, not the remake entitled “Let Me In”. You’ll thank me later. 

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Take it away, Andrew!

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Hello film fans!

Andrew here, back this week with a unique film – a critical darling that just hit Hulu and that you probably haven’t heard of. A recurring theme with Fantastic Fest is including films from writers and directors who have previously produced a film or two that garnered a good deal of praise, but who have not quite broken through to make a mainstream film. But for a lot of film geeks like myself who still love a good superhero movie or a star-studded comedy, these creator-driven films are exactly what you would like to see them continue to work on. Last week I took on director Karyn Kusama’s “Destroyer” and was let down a bit after loving her previous film “The Invitation”. This week, I zeroed in on a writer penning his first new screenplay in a decade and even if you don’t recognize his name, I think you’ll know his previous film.

Today’s film is “Border”, written by John Ajvide Lindqvist, Isabella Eklöf and director Ali Abbasi. “Border” made its Texas premiere at the 2018 Fantastic Fest, having won Un Certain Regard at Cannes earlier in the year (an award equivalent to “best genre film”). Fresh off a new wave of buzz coming out of the Toronto International Film Festival just a couple weeks earlier, this one was high on the watchlist for many Fantastic Fest attendees. “Border” tells the story of Tina (Eva Melander), a customs officer who can literally smell the fear on anyone attempting to bring contraband through her airport terminal. Tina is homely to the degree that she looks almost pre-human. This created an uncanny valley effect that left me with an eerie feeling in the pit of my stomach from minute one. The film received an Academy Award nomination for Best Makeup and Hairstyling, and it absolutely deserved it. One day, Tina encounters a man named Vore (Eero Milonoff) that bears a striking resemblance to her and the story unfolds from there.

Writer Lindqvist penned the novel “Let the Right One In” in 2007 as well as the screenplay for the much loved 2008 Swedish film of the same name. He also rewrote his screenplay for the completely unnecessary 2010 American remake “Let Me In” starring Chloë Grace Moretz. ”Border” and “Let the Right One In” are two sides of the same coin. Both are tales set in reality that follow characters who learn there is much more to the mundane world around them. “Let the Right One In” explores the friendship between a young boy and his new vampire friend in an urban setting, typically under a snowy nighttime fog. “Border” also concerns a burgeoning relationship, this time between two people who seem to have very much in common. Aside from the airport scenes, the setting is mostly rural in “Border” and much of the film takes place in the warm light of day.

“Border” is full of quietly unsettling moments. We follow Tina as she begins to learn more about this man who has entered her life and the clear connection they must share. The introduction of Vore uproots her world and she goes on a journey of self-discovery that makes multiple, disturbing turns that are hard to stomach, but ultimately feel grounded in reality.

What makes “Border” fantastic?

No matter how many movies you’ve seen, there are at least a couple scenes in this film that, for better or worse, you won’t be able to forget. The film sustains an uneasy dread from the first minute until the final, disturbing coda. Unlike most films that lean broadly into the fantasy realm, “Border” toes that line so delicately that you begin to question your own prejudices. Are you judging this pair harshly based on their Neanderthal-like appearance or on their actions?

“Border” (2018) is a grim modern fairytale of self-discovery with fearless performances that challenge the audience. Fans of films that incorporate myths and reality such as “Let the Right One In” will love this one. If you can handle films with disturbing relationships like 2002’s “Secretary”, so much the better.

Rotten Tomatoes: 96% (CERTIFIED FRESH)

Metacritic: 75

One Movie Punch: 8.8/10

“Border” is rated R and is available on Hulu.

Come back next week when I’ll be reviewing “Burning”, a slow-burn psychological drama out of South Korea. Okay, I’ll admit that does not sound like a thrilling way to spend a couple of hours and it definitely sounds out of place for Fantastic Fest. But this film has “The Walking Dead”’s Steven Yeun in his best role, as a slick, wealthy socialite. The film lit up the worldwide film fest circuit in 2018, so let’s see what all the heat is about.

Hi everyone!

Netflix seems to have signed deals with at least one Belgian film company for distribution. Not too many films that are solely Belgian, but quite a few their producers and distributors have a hand in. For a few other Netflix Original films from Belgium, check out “The Most Assassinated Woman in the World” (Episode #255), “Nothing to Hide” (Episode #336), and “Budapest” (Episode #438).

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Here we go!

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Today’s movie is “Burn Out”, the Netflix Original thriller directed by Yann Gozland, and written for the screen in collaboration with Guillaume Lemans, with scenario consultation from Simon Moutairou and Ludovic du Clary, based on the novel by Jérémie Guez. The film follows Tony (François Civil), who lives to be a motorcycle racer. However, when his loved ones are in jeopardy, Tony must use his skills for drug deliveries until an opportunity for escape arises.

No spoilers.

Perhaps one of the oldest tropes in the book when it comes to action films is the “one last job” story. A film’s protagonist finds himself either wanting to escape the criminal life, or being thrust into it for the sake of themselves or another. The protagonist either discovers or knows they are quite adept at the work, leading to temptations to stay on, or to increase the risk factor. And then the protagonist realizes that their last job may not be their last job, and they might be forced to continue performing, and that means a dramatic showdown with their employers/overseers. And that’s exactly the film we have today. It’s not that the “one last job” storyline cannot be effective. The key, with any recycled storylines, is to bring something new or better to it. And unfortunately, today’s film doesn’t do that.

“Burn Out” takes the same idea, using the pressed into service gambit for motorcycle superstar-in-training Tony. Tony finds himself indebted to a local mob after his child’s mother has a substantial amount of drugs she’s holding stolen by her new boyfriend, who promptly leaves town. Of course, his motorcycle skills catch the interest of the gang boss, and he tries to manage drug deliveries at night, with a warehouse job during the day, and motorcycle racing tryouts in the afternoon and early evening. Which makes Tony experience... you guessed it... burn out, putting him in a precarious position.

The film ends up being very predictable, but it is also well-constructed and doesn’t overstay its welcome too much. Aside from its predictability, I enjoyed the action scenes, and thought the various scenarios were all right. The cast turn in adequate performances for a crime thriller, and the direction and cinematography are well done. I think I just wish it brought something new or impressive to the genre, but it just ends up being a standard action film using a common storyline. And that’s fine for action and crime film fans, but won’t be enough for most other people.

“Burn Out” is a French crime thriller about one man finding himself thrust into the drug business, then trying to get himself out of it. It is a well-made film, but brings nothing new to the genre, nor will it have appeal outside of action and crime film fans. Keep your expectations low to enjoy the ride.

Rotten Tomatoes: NR

Metacritic: NR

One Movie Punch: 6.2/10

“Burn Out” (2017) is rated TV-MA and is currently playing on Netflix.

Hi everyone!

We’re back with another Netflix Original, this time a Golden Globe nominee for Best Foreign Language Motion Picture. It lost to “Roma” (Episode #352), which was our number two film from last year, but that says nothing about today’s film. For a few other Golden Globe nominees and winners, check out our recent reviews for “Isle of Dogs” (Episode #368), “Bohemian Rhapsody” (Episode #378), Ryan’s review for “The Favourite” (Episode #379), One Movie Spouse’s review for “Mary Poppins Returns” (Episode #380), and Garrett Wright’s reviews for “Spider-man: Into the Spider-verse” (Episode #381) and “Vice” (Episode #388). You can check out all our Golden Globes reviews at our website, onemoviepunch.com using the Golden Globes 2019 blog tag.

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Here we go!

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Today’s movie is “Girl” (2018), the Netflix Original international drama directed by Lukas Dhont, and written for the screen in collaboration with Angelo Tijssens. The film follows Lara (Victor Polster), a transgender girl who dreams of becoming a ballerina, but suffers discrimination and isolation because of her gender identification. The film was nominated for Best Foreign Language Motion Picture at the 2019 Golden Globes.

Before we go any further, let me say that this film should have a trigger warning for graphic self-harm. And in a break from our year two format, I will be talking about that scene, which occurs towards the end, as part of the review. So, if you don’t want this film spoiled for you, or if you are triggered by depictions of self-harm, then pause now and we’ll see you tomorrow.

Everyone else: see you after the first clip.

Spoilers ahead.

I wanted to start this review by talking a little bit about the transgender community, and how that community fits, and doesn’t fit, within the larger LGBTQ community. It may seem strange to lump together two distinct groups of people, one based on sexual preference, one based on gender identity. Sure, there may be some overlap between the two communities, but grouping them together was more of a function of the rest of heteronormative society lumping them together as so-called sexual deviants. And when push literally came to shove, it was the two communities together that kicked off the movements for LGBTQ rights at the Stonewall Uprisings in 1969, along with smaller uprisings around the nation.

Gender expression and gender identity still bother many folks. Many people still have trouble accepting that gender dysphoria is a real psychological/physical condition. Many more have trouble accepting people who choose to identify outside their immediate biological sex. I mention all this up front because while the LGB part of the community has seen profound advancements in acceptance in the past twenty years, the TQ part of the community still struggles in the background, just as the whole community struggles to include transgender folks within society. One way to help mainstream other forms of gender identity is through cinema, which gives us a glimpse about the challenges faced by transgender people. And one of those challenges, especially for transgender adolescents, is bullying.

“Girl” drops the viewer into the life of Lara, born Victor, after she has been accepted into a ballet academy on a trial basis. Her family, which includes her father Mathias (Arieh Worthalter) and her brother Milo (Olivar Bodart), both of which support her choice of gender identity, so much so that Mathias is helping Lara with preparing for gender-reassignment surgery. Her story, at least initially, is based on the true story of a transgender female dancer named Nora Monsecour, who attempted to be admitted into a ballet academy, but was rejected. In effect, today’s film serves as a kind of “what if?” for Nora’s story. Victor Polster, along with her father, are undeniably excellent in their roles, and Lukas Dhont is effective in telling the story cinematically.

Lara knows she has to work harder than the other girls, especially on her pointe work. For those not familiar with the ballet, that’s when you see ballerinas walking on the tips of their toes, and it takes a great deal of practice, strength, balance, and conditioning, which Lara has not had, and is more difficult for biologically male bodies. She’s determined to succeed as much as she yearns to be accepted by her fellow students, male and female, for who she is. She’s also having a sexual awakening, trying to understand her developing sexual preferences. Her struggles multiply as she begins her hormone therapy, and like many adolescents, begins to struggle with body image as she waits for the surgery. And that takes us to some difficult places, thematically, which forms the basis of the controversy surrounding the film.

The biggest controversy surrounding the film relates to Lara’s acts of self-harm. We get a preview of that self-harm at the beginning, as she ices her ear lobes to give herself earrings. It’s an act of teenage defiance that happens quite a bit, and aside from the occasional puncture infection, results in very little lasting harm. Like most teenagers, she is impatient, struggling with waiting for the body she wants, and that’s when the self-harm accelerates, as she begins taping back her genitals while she’s at school, leading to infections that delay her surgery, and forcing her to stop dancing as she heals. As you can imagine, that leads to an emotional nosedive for Lara, losing the two biggest things in her life, and which takes the film towards its controversial conclusion, a graphic scene of self-castration. Yeah. Did you squirm in your seat? I gotta be honest, once I saw where the film was heading, I almost couldn’t watch it, nor would I recommend it to other people without an explicit trigger warning, which Netflix smartly provides at the top of the film.

Why is it controversial, though, despite its graphic nature? After all, extremely high percentages of the transgender community, particularly adolescents, experience bullying and engage in self-harm, the two of which often go hand-in-hand. Her father is the most supportive parent possible when it comes to Lara’s identity, and the bullying she experiences is relatively mild compared to the violent bullying many transgender adolescents face. One criticism I have appreciated is that, much like large swaths of heteronormative society, the film is overly focused on Lara’s sexual organs, so much so that it takes away from appreciating the rest of the film. We can’t focus on the glimpses of what an accepting family and community life should look like for transgender children and adolescents, because we’re always shocked back into self-harm. We definitely need to talk about self-harm within the transgender community, and the factors that drive it, but I don’t know if we should sensationalize it. And honestly, I would like to see more films about the transgender community that are positive and empowering. Got any suggestions in that vein? I’m taking all recommendations for the folks who made it this far in the review.

“Girl” (2018) is a controversial look at transgender adolescence, offering glimpses of a more accepting world, while also doubling down on its more controversial scenes. The acting and direction is stunning, but the story ends up being more sensational than insightful, which will ruin the experience for many. Fans of transgender films, especially those with a very strong stomach, should definitely check out this film. Everyone else, please do so based on your own comfort level and heed all trigger warnings. 

Rotten Tomatoes: 84%(CERTIFIED FRESH)

Metacritic: 73

One Movie Punch: 8.5/10 

“Girl” (2018) is rated Rand is currently playing on Netflix.

Hi everyone!

Today’s film will be a stretch for me, as someone who is not a huge fan of the rodeo, despite understanding its cultural underpinnings. But sometimes it’s all about stretching our comfort zone here at One Movie Punch, and besides, I could be surprised, right? I’ll let you know in a minute! For a couple other films in the same general area, check out “Logan Lucky” (Episode #065), “Vernon, Florida” (Episode #166), and “The Legacy of a Whitetail Deer Hunter” (Episode #188), all of which pushed me a bit outside my comfort zone.

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Here we go!

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Today’s movie is “Walk. Ride. Rodeo.”, the Netflix Original drama directed by Conor Allyn, and written for the screen by Sean Dwyer and Greg Cope White, based on the story by Dan Goforth. The film follows the story of rodeo star Amberley Snyder (Spencer Locke), who suffers an accident that paralyzes her from the waist down. Against all the odds, and with the support of her friends and family, she begins fighting to return to the sport she enjoyed so much.

No spoilers.

Predictability is never a good quality for a film. Sometimes you can hear the summary for a film, and then picture the entire story or hear parts of the dialogue. Racks of predictable films have been made, working off a handful of formulae, with producers meeting audience expectations by relying on predictable storytelling devices. Nowhere is this more so than in the world of made-for-television movies, where quantity nearly always usurps quality, as production costs continue to drop and audience hunger for more content increases. I’m probably a little too adept at predicting where most movies are heading, but I also think that nearly everyone can predict exactly where today’s film is headed, and that’s never a good thing, especially for a tale of recovery.

Another standard three-act structure today. No surprises in the plot, really, and not just because it’s based on a true story. We have the introduction combined with the accident that paralyzes Amberly Snyder. We have the second act of working towards recovery and making peace with her new life. And then we have the final act, where Amberly works to overcome her limitations and inspires many in the process. Without surprises, the film has to rely on the other aspects of the film to keep the viewer’s interest, such as the dialogue, the acting, and exploring the content around the main story. Having a good story isn’t enough in this case, and unfortunately, neither are the other aspects of the film. 

I had a tough time with the acting, with the cast being made up of decent quality working actors. In particular, I had a hard time believing Spencer Locke as Amberly, who never sells the idea that she’s experienced with the rodeo. She was up against some pretty heavy odds, though, considering the script. For as much as I felt her pain and suffering in the wake of her accident, I couldn’t stomach the privileged, tone-deaf dialogue, watching Amberly wallow in her misery even though her lot in life is still well ahead of most people, with the benefit of a loving family who supports her the entire way. I also just didn’t like the shoehorned relationship with another supporting character, as I think it took away from the struggle. The production of the film oscillates between a television movie and a silver screen feature, with some really great shots and editing interspersed between some obligatory dramatic scenes that tell the viewer the story rather than showing it. I mean absolutely no disrespect to Amberly Snyder herself, who has quite an inspiring story. I just wish it translated better to the film format. 

“Walk. Ride. Rodeo.” is a heartwarming, familiar tale of recovery, which follows the true story of Amberly Snyder. While the film hits all the necessary points in a tale of recovery, it also struggles with predictability in the story, and sub-standard production along the way. Fans of made-for-television movies, or films that appear on Lifetime or Hallmark, will definitely enjoy this film. Everyone else, just lower your expectations if you want to enjoy the film, and critics can probably stay far away.

Rotten Tomatoes: NR

Metacritic: NR

One Movie Punch: 5.1/10

“Walk. Ride. Rodeo.” (2019) is rated TV-PGand is currently playing on Netflix.