One Movie Punch

Hi everyone!

Andrew's taking the helm for today's Matinee Monday, with a review from the debut offering from the recently renamed 20th Century Studios. Like that Fox brand might be toxic or something. Anyway, Andrew will be up in a minute with his review of THE CALL OF THE WILD. Don't miss Andrew's other recent reviews for BLISS (Episode #723), SCHOOL'S OUT (Episode #716), and COME TO DADDY (Episode #709). None of those are family films, by the way. Not even COME TO DADDY.

Before the review, we'll have a promo from our good friends at the Book of Lies Podcast. Every week, Brandi Fleeks and Sunni Hepburn take a look at a fraud case or famous con artist, breaking down the methods, the signals, and how to spot similar scams in your life. You can find them on Twitter @Bookofliespod and on Facebook and Instagram @bookofliespodcast. Be sure to like, retweet, share, review, and subscribe!

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Hello film fans!

Andrew here, pinch-hitting today with... a Disney film. Don't worry, I'll be back on Friday with my usual dose of death and destruction. One of the perks to being an accredited film critic (well, actually, the only perk) is access to check out the occasional film at a press-screening or through a screener link or on DVD during awards season. Somehow, I didn't even know of the existence of today's film until I got my invite to go check it out at arguably Austin's dingiest theater - remarkable, considering the budget was in the $150M range. What secured my RSVP was the ability to bring along my three kids and gauge their response to a film that has been marketed to both parents and children.

Today's movie is THE CALL OF THE WILD (2020), with a screenplay by Michael Green based on the Jack London novel, directed by Chris Sanders. THE CALL OF THE WILD tells the story of Buck, a St. Bernard / Scotch Collie mix and his adventures in the late 19th Century. After Buck is abducted from his mischievous life on a bucolic California estate, he's shipped by boat up to the Yukon territory on the US-Canadian border. Buck is soon acquired by a kind couple in charge of delivering mail to the remote Alaskan town of Skagway. At first a reluctant member of a sled dog team, Buck begins to learn life lessons, as all dogs do, maturing and gaining confidence along the way. And I haven't even gotten to the Harrison Ford part yet.

Director Chris Sanders has three other directorial efforts to his name, all of which are animated - LILO & STITCH, HOW TO TRAIN YOUR DRAGON and THE CROODS. This makes a ton of sense after the fact as the film is live action except for the dogs and a few other animals you meet along the way. The sequences that rely heavily on the animals feel very much like a cartoon, albeit a well-crafted one, though thankfully none of the animals talk or provide the narration. Harrison Ford steps into the narrator role and does excellent work. Ford is always such a curmudgeon in real life that I was worried the whole film would feel like he was just showing up for a Disney payday, but his voice feels genuine, keeping the larger narrative aloft until his on-camera role expands in the second half of the picture.

Dan Stevens and Karen Gillan appear as well, but feel miscast as the film's villains. Bradley Whitford kicks off the story as Buck's original owner in another strange bit of casting, putting a noteworthy actor in a role that barely outlasts the film's credits. And the unsung hero is motion-capture actor Terry Notary who apparently stood in for Buck. I didn't learn this until after the film and it's certainly not apparent during the viewing, but hey, that's good work if you can get it.

One minor complaint is that the story itself feels more episodic rather than having a traditional three-act structure. Maybe it's just because we are in the age of peak TV, but the whole thing might have worked better as 6-episode Disney+ series. Almost a full hour goes by before Buck inevitably hooks up with Ford's John Thornton and it feels like everything prior is just a lead-up to this point.

The primary problem with THE CALL OF THE WILD is that it tries too hard to be everything to everyone. The source material is not as light-hearted as the film would have you believe. The film features a number of violent scenes, even including some ambiguous allusions to death, though it sands down the corners to deliver the sanitized Disney version that audiences expect. (Incidentally, I have heard the live-action MULAN remake will be PG-13 and I am curious to see what that means for both the film itself as well as the box office). What did not work for me, for at least the first hour, was the juxtaposition of a rugged survival tale with humanized dogs that are uncannily expressive. I get that much of what was required of the dogs in this film probably could not have been done with actual animals, but it feels like the CGI went one step too far, making Buck in particular feel more like a cartoon animal living in the real world.

What makes THE CALL OF THE WILD fantastic? THE CALL OF THE WILD is not afraid to take its time. There are just enough action scenes to keep the kids engaged and plenty of slapstick comedy, but there are also more moments of reflection (quiet or narrated) than you're used to seeing a modern family film. My viewing experience recalled how I felt watching family adventure films growing up in the 1980s, like THE JOURNEY OF NATTY GANN, CHEETAH, or the made-for-tv movie STONE FOX. I really enjoyed experiencing this one with my kids, which has to be a much better sit than subjecting them to SONIC THE HEDGEHOG or the critically-derided DOOLITTLE.

THE CALL OF THE WILD is a throwback family film that provides ample, if not particularly memorable, entertainment for all ages. Fans of adventure films that merge live action and CGI-animation such as THE JUNGLE BOOK or PETE'S DRAGON will enjoy this film.

Rotten Tomatoes: 70%

Metacritic: 53

One Movie Punch: 7.6/10

THE CALL OF THE WILD (2020) is rated PG and is playing in theaters.

Come back on Friday and we'll get back to the wild ways of Fantastic Fest with JALLIKATTU. In a rural Indian village, a buffalo has broken loose, damaging the town while mobs of men begin to form, seeking to restore order. You've seen movies with every other kind of killer animal, so why not a buffalo!

See you then.

Hi everyone!

Welcome back for another week of reviews! This week, we'll be closing out February with a fun mix of reviews. Tomorrow, Andrew Campbell will takeover Matinee Monday with his review of the recently renamed 20th Century Studios distribution, THE CALL OF THE WILD. On Tuesday, we'll finally get the elusive Kolby Told Me on the podcast, with his take on THE PHOTOGRAPH as part of Takeover Tuesday. On Wednesday, Shane Hyde returns with his review of 2009's THE HOUSE OF THE DEVIL, recently made available on streaming services. Thursday will see yet another review from Jon-David, aka the Mafia Hairdresser, reviewing the sleeper hit PAIN AND GLORY. On Friday, Andrew is reviewing another animal-focused thriller entitled JALLIKATTU, which will have plenty of BS. And I'll be closing out the week with a review of MARIANNE & LEONARD: WORDS OF LOVE as part of our Under the Kanopy series.

But today, we're super excited to be welcoming back One Movie Spouse to the podcast, with today's review of one of her favorite musical artists. It's probably better that she reviews MISS AMERICANA as I don't have very informed opinions on Taylor Swift. And before anyone asks, I did not make her do this review, so please shake it off. I'm sure there are tons more puns I could do, but I'm going to stop right there.

Over on our Patreon page, at patreon.com/onemoviepunch, we just put up our full interview with writer/director Igor Breakenback, where we discuss his low-budget thriller TURBINES (2019). We also talk about his extensive work as a stuntman and any new projects on the horizon. The interview will be publicly available for a limited time, but you can maintain access by contributing to One Movie Punch at any level. All contributors become eligible for Sponsor Sundays, where you can force me to review a film for the podcast, as long as we haven't reviewed it, with just a few exceptions. Check back next week for another Year Three Update, where I give you some updates on what's happening behind the scenes at One Movie Punch. A promo for Sponsor Sundays will run before the review.

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Hello, It's me Amy, AKA One Movie Spouse, back for another music documentary review. MWAH! I love, love, loved today's film! Listen to my review, then catch me on Twitter @OneMovieSpouse to keep the conversation going. Here we go!

Today's movie is MISS AMERICANA (2020), a fabulous documentary directed by Lana Wilson. MISS AMERICANA follows Taylor Swift's early musical career, her rise to fame, and an inside look as to how she discovers the power of her voice.

No spoilers!

I was excited to watch MISS AMERICANA. I have been a passive fan of Taylor Swift since the release of her album "1989", which was released during my first year of teaching. It was my "go-to" album during those late nights and weekend hours I spent in the classroom prepping for the week ahead. At that time, I was a bit embarrassed to admit I was a fan, but that may have been due more to the teasing from our 10-year-old daughter, "You like Taylor Swift? But you're a MOM!" This makes me laugh out loud now, but I'll admit I was a "secret fan" for a few years.

I share this anecdote because I didn't know much about Taylor Swift's early years. I knew that she started performing as a young country music star, but not to the full extent showcased in this documentary. I enjoyed this retrospective look at her career and the shifts in her musical style and performances. It also makes me eager to go back and check out some of her earlier work.

One of things that I LOVE about music documentaries, this one especially, is watching the behind-the-scenes studio footage as songs come alive. Watching Taylor Swift dabble with melodies, word play, and collaboration with other artists and production engineers is truly magical! After watching this film, I dare you *not* to sing and dance along with "Me!"

This documentary is also a snapshot of the making of her 2019 album, "Lover", so a handful of the songs are getting a lot of air-time on the radio, making it interesting and timely for viewers. I downloaded this new album immediately after watching the film. Lana Wilson did an excellent job sharing the chronology of Taylor Swift's career, as well as the social media issues that surfaced during her rise.

One of the most memorable was during the 2009 MTV Video Music Awards when Swift was awarded Best Music Video for "You Belong to Me", and Kanye West stormed the stage announcing that Beyoncé had the best video. Footage shows her completely shocked at this disruption and then shows segments of her response to being completely bulldozed by another celebrity. She was truly a display of "grace under fire" and this message carried throughout as the film also showcases some other social media issues. Without spoiling anything for viewers, I appreciated her candid responses and "real talk" about issues she and other women face. MISS AMERICANA humanizes this superstar and made me love her even more as a human being!

This documentary does an excellent job showing Taylor Swift's growth from young woman to a superstar performer. Along with this growth is her desire to use her voice as an influencer regarding social, political, and environmental issues. I found this part of the documentary to be especially touching, filled with several "Hell Yeah!" moments, cheering on her willingness to speak up even as others were trying to silence her. Taylor Swift, now 30, isn't afraid to speak up and she won't be silenced. It really is a beautiful thing to witness, and I cannot wait to see what's next for her. As the documentary ended I jotted down a sentiment she shared: "Sharp pen. Thin skin. Open heart." This really stuck with me! I finished this documentary with a greater appreciation for her music and life than I ever imagined. Also, I'm no longer embarrassed to admit I *am* a Taylor Swift fan!

MISS AMERICANA is a fabulous documentary showcasing Taylor Swift's early musical career, and her life as she emerges into the superstar performer that she is today, all while working on her most recent album, "Lover". Fans of Taylor Swift, musical documentaries, and social media influencers will really enjoy this film!

Rotten Tomatoes: 93% (CERTIFIED FRESH)

Metacritic: 65

One Movie Punch: 10/10

MISS AMERICANA (2020) is rated TV-MA and is currently playing on Netflix.

Hi everyone!

We're closing out the week with another entry in our series, Under the Kanopy. Kanopy is a library and university funded streaming service that grants card holders six free streams a month, featuring a combination of classic, mainstream, independent, and international films. They currently have streaming deals with some of our favorite distributors, like A24 and Kino Lorber, which offer the critically acclaimed, if not commercially successful films.

Today's film is a Chinese film that has some of the best soundtracking I've ever heard, especially for an animated film. It's a film more akin to a motion comic, but with a story that screams Tarantino crime thriller. I'll be up in a moment with my thoughts on HAVE A NICE DAY. And for a few other films in this series, check out my reviews for TO DUST (Episode #717), TRANSFORMER (Episode #710), and FOR SAMA (Episode #703).

Before the review, we'll have a promo from our friends at the Pop Pour Review podcast! Every week, the PPR crew review a film, then craft a cocktail based on the movie. I don't drink myself, but I know a few people that do, and every recipe fits in surprising ways. You can find them on Twitter and Instagram @poppourreview, or by searching for Pop! Pour! Review Podcast on Facebook. Thanks for all your support last year!

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Today's movie is HAVE A NICE DAY(2017), the Chinese animated film written and directed by Jian Liu. Xiao Zhang (Zhu Changlong) is a mob driver who steals 1 million yuan to fix his girlfriend's failed plastic surgery. Once on the run, he's pursued by an ensemble cast of characters, each of which is happy to screw over another for the stolen bag of cash.

No spoilers.

Animation is a fascinating medium, which has a long and dynamic history, which predates even film. Before animation would ever grace film, a variety of different contraptions like the zoetrope or flip book would use static drawings and mechanical devices to give our eyes the impression of movement. Penny arcades across the globe used to sport these for a penny a viewing. I loved the one they had at this Wild West Museum near where I grew up. The frames were eventually translated to film stock, and eventually the rise of Disney with 1937's SNOW WHITE AND THE SEVEN DWARFS. It wasn't the first animated feature, but it would launch animation as a viable and profitable venture.

The early animation houses worked by leveraging floors of artists, all working underneath managing artists who helped work out the frames to get a scene from point A to point B. While early animation required a great deal of repetition, it also thrived on a reductionist approach to animation, using as few movements as possible, and re-using content and faces. The jump to computer animation, at least at first, looked to automate this process, before motion-capture and other advanced techniques at Pixar would change the entire approach to animation. When we think of modern animation, we think of these sleek, detailed figures engaged in complex animation based on algorithms and rendering. Sometimes we forget about the power of more minimalist animation, which is why HAVE A NICE DAY is such a treat for animation fans.

I got really sick of Disney animation growing up, not because I couldn't appreciate the films, or wouldn't roll tears while watching them, but because I couldn't believe there wasn't more adult-oriented animated affairs. It seemed to either be cartoons or Disney features, with the occasional stop-motion relic. All that changed when I was given a copy of 1981's HEAVY METAL, which was based on the adult-oriented illustrated magazine of the same name. Not only did it tickle my teenage lizard brain with all its tantalizing content, but it also featured a collage of animated styles and stories using its loosely connected anthology format. The lack of adult-oriented animated content would eventually lead to the rise of shows like "The Simpsons", "South Park", and "Family Guy". In fact, I'm kind of surprised no studio has thought to reboot Heavy Metal into an anthology series.

HAVE A NICE DAY, style-wise, most accurately reflects a motion-comic approach to its animation. It reminded me immediately of the opening futuristic cab driver story from HEAVY METAL. Liu's incredibly detailed backgrounds provide a nice backdrop for minimalist, repetitive animation. Once you get a feel for the animation style, your eyes are free to roam around the backgrounds, picking up clues and bits and details. The content may not be as tantalizing as HEAVY METAL, but the style makes for a gorgeous viewing experience, especially for early animation fans.

What really separates HAVE A NICE DAY from other motion comics is the beautiful soundtracking added to every frame. Just like animation tricks the eye into processing still frames as motion, the soundtracking also helps elevates the pictures we see into something more with the sounds that we hear. Liu's soundtracking is full of incredible detail, with rich ambient noises and clear vocals, that matches the detailed backdrops and the pacing for the story. Liu also leverages excellent music for transitions, montages, and action scenes. It's the same synergy that makes today's console games so immersive, leveraging the ability to make incredible sounds to help elevate animated visuals.

The only barrier to the film is the content. Ensemble crime thrillers, especially darkly comedic ones, are definitely not everyone's cup of tea. The film runs about 75 minutes, and the story begins in media res, leaving the viewer a bit off-kilter as the characters are introduced. It takes a while to finally catch on to the story, and when you do, it's also heading towards its unexpected ending. If you don't like the story, then you aren't really going to appreciate the animation techniques or style. Many wholesome Disney fans will never appreciate HEAVY METAL, and likely for the same reasons they will never appreciate HAVE A NICE DAY. The content hurdle will simply be too much for some viewers. Just not for this one.

HAVE A NICE DAY is an exquisitely animated and soundtracked motion comic. This get-the-money comedic thriller features a cast of engaging characters, once you are able to engage with the story, assuming the content is not too much for the viewer to bear. Animation fans owe it to themselves to see a more minimalist approach to animated film. Everyone else, if you like darkly comedic crime thrillers, then you'll love this film.

Rotten Tomatoes: 77% (CERTIFIED FRESH)

Metacritic: 77

One Movie Punch: 8.5/10

HAVE A NICE DAY (2017) is not rated and is currently playing on Shudder and Kanopy.

Hi everyone!

It's Friday, so it's time for another Fantastic Fest feature from Andrew Campbell. This week we're getting a Shudder exclusive, so if you've ever been thinking about taking the plunge into this genre-driven service, now is the time! It's the only place you'll find independent darlings like PREVENGE, REVENGE, MANDY, and podcast favorite, ONE CUT OF THE DEAD (Episode #625). Don't miss Andrew's other recent reviews for SCHOOL'S OUT (Episode #716), COME TO DADDY (Episode #709), and THE LODGE (Episode #702).

Before the review, we'll have a brand-new promo from our good friends at The VHS Strikes Back podcast. Every week, Dave and Chris blow the dust off an actual VHS cassette, then watch and discuss the film. You can find out more on Twitter @vhsstrikesback or on Facebook and Instagram by searching for The VHS Strikes Back podcast. Don't miss their two guest episodes during last year's Reign of Terror 2019, with reviews for ALIEN VS PREDATOR (Episode #605) and 30 DAYS OF NIGHT (Episode #626). And don't miss their recent guest review as Comics in Motion for BIRDS OF PREY (Episode #720)!

Subscribe to stay current with the latest releases.

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Here we go!

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Hello film fans!

Andrew here, back today with a psychedelic horror film that cribs from the book of MANDY. As amazing as Fantastic Fest is at stretching genre boundaries and traveling far outside the US border to capture films the world over, each year there tend to be a few films that overlap in a six-degrees-of-separation sort of way. Last year, it was actor James Badge Dale appearing in three films: DONNYBROOK, THE STANDOFF AT SPARROW CREEK (Episode #537), and HOLD THE DARK (Episode #272). This year there were two films with direct connections to today's entry. Supporting actor Jeremy Gardner appears in this one, but he also brought to the festival his low-budget romantic monster movie AFTER MIDNIGHT, which I'll be covering in a couple weeks. Joe Begos, however, pulled off a rarer feat, directing both today's film as well as VFW wherein a band of veterans defend their VFW lodge from "an army of mutant punks".

So without further ado...

Today's movie is BLISS(2019), the newest heavy metal nightmare from indie horror writer/director Joe Begos. BLISS stars Dora Madison as Dezzy, a starving artist in the underground Los Angeles art scene. Dezzy hits a particularly nasty creative block, struggling for weeks to complete her new painting. With her agent and her landlord breathing down her neck, Dezzy turns to drugs for a little inspiration. A potent mixture of cocaine and the hallucinogenic DMT leads to an out of control night of partying along with some dark visions that spark her creativity. Finally making progress on her self-proclaimed masterpiece, Dezzy continues her drug-fueled bender. Unfortunately for the people around her, violent side effects begin to take hold.

For a film that clocks in well short of 90 minutes, BLISS starts out a bit slow. The storyline necessitates this and I appreciate the fact that the film takes its time to introduce you to the main character in all her abrasive glory before her life starts to unravel. BLISS is told over the period of just a few days as Dezzy turns to partying in order to take her mind off the looming deadline to deliver a half-finished painting on an oversized canvas. She has the background complete and it's obviously going to be a very dark piece even before she begins fueling herself with drugs and alcohol. It would have been helpful (but maybe not in the film's budget) to show off a few more of her completed works to help establish the character. Dezzy likes to party, but she mostly likes to fight and argue with friends, employers, strangers, whoever gets in her way. The audience is given a sense of her character, but I don't think director Begos intended to engender much sympathy for her situation.

If you can survive the poor acting and rough dialogue for the first half-an-hour, Dora Madison goes on to deliver a solid performance as the film careens in a violent direction. When Dezzy gets a hold of her new favorite drug cocktail, she becomes borderline vampiric and it's hard to look away. As with any out-of-control substance-abuser, the hangovers are the worst and watching Dezzy try to piece together her actions from the night before is just as much fun as watching her wreak havoc. Once you get a handle on the story, there really isn't much in the way of twists and turns. The film really does get more entertaining as it trucks along, but the plot is razor-thin.

What makes BLISS fantastic?The thing you have to admire about a film like BLISS is that it knows exactly what it wants to be. The film is clearly a labor of love created by a rock-n-roll writer/director who looks the part. With a limited budget, Begos is able to use some creative camera angles and dark red ambient lighting along with a blasting soundtrack and tons of quick cuts to make several violent scenes really crackle. This one was not for me, but I see what he's going for and I respect the hustle. Based on the 90%-plus Rotten Tomatoes score from critics and the 69% audience score, BLISS is clearly being enjoyed by the hardcore horror fans and critics for whom it was intended.

BLISS is rough-around-the-edges blood-and-guts B-movie horror in an economical 80-minute package. Fans of films such as MANDY, UNDER THE SKIN, or LORDS OF CHAOS (Episode #551) will enjoy this film.

Rotten Tomatoes: 92%

Metacritic: 53

One Movie Punch: 6.2/10

BLISS (2019) is not rated and is now streaming on Shudder.

Come back on Monday, where I will be pinch-hitting with a movie just a bit more kid-friendly than today's film. Disney's THE CALL OF THE WILD is the first theatrically-released adaptation of the hundred-year-old Jack London story since the Charleston Heston version in 1972. Whether you're seeing it this weekend or holding out for some word-of-mouth, I'll have full rundown on this classic tale of an aging Han Solo and his CGI pup.

See you then!

Hi everyone!

Today, we're welcoming back Christina Eldridge, aka Durara Reviews, with her take on another domestic GKIDS distribution, their first of 2020, entitled RIDE YOUR WAVE. As always, Christina will give you her thoughts on the film, but be sure to check out her recent reviews for KLAUS (Episode #708) and her first review at One Movie Punch for another GKIDS distribution, WEATHERING WITH YOU (Episode #687). Both films are well worth checking out.

Before the review, we'll have a promo from our good friend Rory Mitchell, from the Mitchell Report Unleashed podcast. They were gracious enough to have yours truly on as a guest recently, which you can check out in Mitchell Report Unleashed Episode #173. You can follow Rory on Twitter @officallyrory, on Facebook @mitchellreportunleashed, and on Instagram @re3684. You can also subscribe to the podcast at anchor.fm/rory-mitchell8. Don't miss a single episode of his insightful interview-driven show.

Subscribe to stay current with the latest releases.

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Hello, everyone!

This is Christina Eldridge with Durara Reviews (a part of One Movie Punch). Since my last review of KLAUS, I've been trying to get my name out there via social media. So if you're not following me @Durarareview, or @OneMoviePunch, go do it! I promise to continue to bring you the latest and greatest of anime movies the day they release!

Today's movie review is RIDE YOUR WAVE (2019), or by its original Japanese title, KIMI TO, NAMI NI NORETARA. Masaaki Yuasa directed this effortless romantic drama, produced by Science Saru Inc. and is distributed to the United States by GKIDS. RIDE YOUR WAVE is about a carefree college student and a hardworking fire fighter trainee who fall in love under simple circumstances that lead to complex situations, and what it really means to RIDE YOUR WAVE. This review is spoiler free.

Hinako Mukaimizu (Rina Kawaei) moved to a seaside town to attend college, or so she told her parents. Her real motive is to be able to live as close to the water in order surf to her heart's content. Her style is admired by Minato Hinageshi (Ryota Katayose), who watches her surfing from the fire station rooftop. A chance fire at her apartment building finally brings them together. The pair start to date seriously while she tries to teach him how to surf. After some time, Minato offers to move in with Hinako. As the two are preparing to launch their lives forward, disaster strikes, leaving Hinako alone and left to ride her own wave.

Anyone familiar with Yuasa-san's work may be a bit surprised as to how plain this movie is. His projects usually infringe on the weird and avant-garde. The DEVILMAN CRYBABY (2018) series was a visual orgy of gore that involved the ultimate battle of good and evil. THE TATAMI GALAXY (2010) series centers around parallel universes that make the viewer feel like they're the one who's traveling dimensions. A simple romantic story involving grief and the difficult process of moving on seems a bit off kilter for a fan of Yuasa-san. The art style and frequent point of view scenes do make it his own so fans won't feel completely alienated.

The film was released in 299 theaters in Japan on June 21stof 2019. Despite high publicity efforts, it debuted at 9thplace at the box office, bringing in a disappointing 80 million yen. Compare this figure to the ALADDIN (2019) movie that hit number one the same weekend, bringing in 5.51 billion yen. Yuasa-san's previous release, LU OVER THE WALL (2017), also didn't debut hot but it won a Cristal for Best Feature Film in 2017 and an Ofuji Noburo Award in 2018 so RIDE YOUR WAVE isn't in the can just yet!

RIDE YOUR WAVE is about perseverance through grief and learning how to let go. Hinako's journey from lost college student to grieving girlfriend to an empowered, contributing member of society is a progression of pure delight. If you decide to watch this one, make sure to bring some tissues.

Rotten Tomatoes: 82%

Metacritic: NR

One Movie Punch: 8.0/10 Baby Turtles

RIDE YOUR WAVE (2019) is not rated and will be played in select theaters.

Minasan, domo arigatou!

Be on the lookout for my next review of the Wuxia action packed film SHADOW (YING) (2018) next month.

Until next time!

Hi everyone!

Welcome back for another Indie Wednesday review. Before we get started with today's review, I want to shout out Yolandi Franken for passing along today's film for consideration. She was also instrumental in passing along last year's TABERNACLE 101 (Episode #619) and helping to line up an interview with writer/director and microbudget instructor Colm O'Murchu. She's quickly becoming my gateway into low-budget Australian cinema, especially after connecting me with writer/director Igor Breakenback for today's review. Thanks, Yolandi!

We'll have a bit of a format switch for today's episode. Rather than interspersing trailer segments, I'll be running the full trailer audio up front. Throughout the review, I'll instead be adding segments from my interview with Igor Breakenback. Be sure to catch the whole interview this coming Sunday on our Patreon page at patreon.com/onemoviepunch, where you can also sign up to be a contributor at any level. The interview will be publicly available for a limited time before heading behind the pay wall.

Subscribe to stay current with the latest releases.

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Here we go!

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Today's movie is TURBINES(2019), the psychological thriller written and directed by Igor Breakenback and Shane Borza. The film follows Attila (Igor Breakenback) and his new wife Jana (Bianca Bradey), after moving to rural Australia to work near a wind farm as part of a government program, complete with stress and anxiety for their new child. After five years, however, something snaps, and people begin dying throughout the region.

No spoilers.

Low-budget films tend to center around a number of specific genres, usually exploiting tantalizing content as a means of distracting the viewer from the rougher parts of the production process. That's why if you cruise the endless digital shelves of Amazon Prime, or the growing shelves of low-budget cinema at services like Tubi, you'll see an overwhelming avalanche of horror films, and a modest showing of comedies and thrillers full of softcore sexual content. The advances in special effects over the last few years have added all sorts of science fiction and action films as well, for better or worse. Usually, shocking scenes with a lot of filler content with all the dialogue composition of classic pornographic films.

The reason, of course, is money. Unless you are working on a passion project, most filmmakers are looking for a return on their investment, or at least to cover the production costs, either at the box office, or through distribution deals. Until about five years ago, renting a camera team to shoot a film was a very expensive proposition, and purchasing high quality cameras even more expensive. And until about ten years ago, editing and splicing film together was even more difficult before the major shift to digital processing. But now that costs are coming down, that means more filmmakers are trying their hand using much cheaper, higher quality technology. And they are also trying to move beyond the old formats that sell.

IGOR: "I think the tricky part today is that trying to make a film that doesn't instantly give you those quick cuts in the action and try to keep you on the edge of your seat, is very well overlooked by today's audience, because they are so used to quick cuts. They are so used to the stories constantly changing. A lot of them won't sit, necessarily, through a slow burning type of film, that kind of builds the story over a certain period of time. But I was really interested in that, because it is really is a slice of life, and that's kind of how life happens. Trying to give film a very realistic output, I think it's very tricky today, and doesn't appeal to everybody."

TURBINES is a film told in two parts. The first act really takes its time to establish the characters of Attila and Yana, along with Attila's work supervisor, and the community they live within. If you're expecting the killing to begin right away, you are definitely going to be disappointed, despite a flash forward cold open. All this introduction is peppered with a few classic scenes of foreshadowing, particularly the perceived effect of the wind turbines, along with the stress and exhaustion of a newborn, creating a sense of madness within Attila. It's a decent setup for the second half, but it's not going to appeal to all thriller fans, and Igor found that out in the reviews.

IGOR: "We either have people who love it, or people that hate it. The people that love it, they enjoyed that part. They enjoyed the slow build before suddenly this film turns. And the people that hated it, that's exactly the part that they hate. They thinking it's a little too slow in the beginning, and not to wait until the very end to see how the film changes and gets into those darker parts. For me, it was important to work the drama side of things, and I said I always wanted to have a balance in our filmmaking, especially for me from an acting point of view, I always like to have a balance, where the drama doesn't overtake the action, or vice versa. It's tricky to try and balance that in the script, and then obviously in the acting and the action part, and then in the delivery of the final product of the film. But I think the challenge is what makes it so interesting."

The second act begins after a five-year jump in the narrative, which allows us not only to imagine the long-term effects on Attila of working near the wind farm, but also allows time for his son to grow up. Folks begin to steadily die, and we're not really sure what Attila's full part is in it, at least at first. This second half is like a slasher film on fast forward, as more and more people die, all the way until we loop back around to the opening scene. We also get to see something I like to call the Hammer Cam, which is like a Go Pro attached to the business end of the hammer.

IGOR: "With TURBINES, it was the same. The question was... I mean, horror has been done. Psychological thrillers have been done. How can we do something once people see, they'll say, 'Okay, I'll remember that. If I don't remember anything else, I'll remember that.' And killing someone on screen is an art. Regardless if it's a horror film or an action film. And then going back to smaller budgets, how can I do something that's practical effects. Because today, when somebody gets hit, it's a lot of CGI, there's a lot of special effects, there's a lot of camera work involved. The question was how can I do something that's going to be memorable, but done in a way where it's still a practical gag and looks real. So, we're not using... that actor is behind the hammer. Yes, we're using a little bit of makeup, but that's about it. And then the question was, how can we cut it in a way that even if it's just a few seconds, it will stick with you."

It's really roughly done, given the budget, but it does make you stop and take notice, very similar to the way the unique camera work in 2018's UPGRADE (Episode #155) elevated that horror thriller to something else. A hammer hit is vicious enough, but seeing it from the business end is something else entirely. In fact, despite the slow opening, the back end is packed with excellent, wince-inducing action, much more in Igor's comfort zone of stunt work and fight choreography, which makes up for the somewhat weaker first half. That's probably my biggest criticism of TURBINES – how uneven the film ends up playing between the first and second half. The film definitely has a balance between the drama and horror, but it doesn't blend the two very well together in terms of keeping a consistent feel to the film. The easy way out would have been to make it a straight-ahead slasher thriller, but despite this uneven feel, I still appreciate Breakenback going for the full dramatic experience over something way more derivative.

TURBINES also suffers from its production cost and the amount of time it took to deliver the film. Overall, Igor ended up spending around $200,000 over seven years time to finish up the film, doing the initial photography in about three weeks time over two months, while in the midst of other projects. Igor is a very busy guy, not only making his own films, but working on other films, as an actor and a stuntman, running an MMA gym to train combat athletes, and is even a partner in Sydney's first cat café. But it wasn't any of that that kept him away from getting TURBINES done quickly. TURBINES would languish for years while Igor worked on a more important project.

IGOR: "The reason was that I had kids, so I had my first born. What happened then, the first few years I just couldn't get down to finish the film. And whoever has had kids, they would know. And since my wife and I live on our own here in Sydney. We didn't have family here, so we had nobody to help us out, so we always had to be with our first born. And then later, I had my second born, and then so I had two kids, and then postponed it basically again. So, just before my second one turns two years, I just felt like I was in a spot where I can now take six months again off."

I remember well myself having to put down my own projects when my daughter was born, having to make hard choices about the time I had for the time she required. Losing momentum is tough in the independent film world, not just because of time, but because everything costs more to put away and start back up. Igor's team would do some pickups, even incorporating his first born into the film, but it takes a longer time than you think, especially when someone else is tugging at your pant leg. Here's another choice I fully agree with that Igor made.

TURBINES is a psychological thriller divided into two distinct halves: an initial dramatic act, followed by a much faster final act. While the premise may seem like just another low-budget slasher, the execution is something more, even while hamstrung by its production budget. Low-budget fans, especially low-budget thriller fans, and anyone interested in the Hammer Cam, should definitely check out this film, but expect a slow burn at the beginning.

Rotten Tomatoes: NR

Metacritic: NR

One Movie Punch: 5.2/10

TURBINES (2019) is not rated and is currently available on VOD. Please consider renting or purchasing the film to support independent cinema. But if you do stream it, consider giving back at breakenback.com using their donation button.

Hi everyone!

Welcome back for another Takeover Tuesday. You know, when I saw today's movie was coming up, I knew I had to call in the big guns for this review. And when they weren't available, I called up Dave and Chris at the Comics in Motion Podcast, because they are gluttons for punishment, but also have a lot of insightful things to say about comics books on the big and small screens. Today's review will be covering the DCEU's latest installment, HARLEY QUINN: BIRDS OF PREY, but don't miss their previous reviews for ALIEN VS. PREDATOR (Episode #605) and for 30 DAYS OF NIGHT (Episode #626), both of which were for Reign of Terror 2019. Their promo will run before the review.

Speaking of Takeover Tuesday, do you think you have what it takes to guest on One Movie Punch? Head over to onemoviepunch.com/takeover-tuesday and learn more about how you can guest here at One Movie Punch. We still have three (3) slots available this quarter for aspiring and established film critics to take the reins for an episode. We'll run your promo before the review and will place it in regular rotation for the quarter. If it sounds like something interesting to you, reach out to us over social media.

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Hello and welcome! I'm Chris Phelps, and I'm Dave Horrocks. And we are Comics In Motion. What we like to do is to review exclusively movies and TV shows that are based on comic books. We of course review the well-known and recognizable properties with plenty of spandex, but also some of the less well known that have made that transition from the page to the big and small screens.

Today's movie is the recently renamed HARLEY QUINN: BIRDS OF PREY. This is the eighth installment of the DC Movie Universe and is directed by Cathy Yan and written by Christina Hodson. Though Harley herself was created by Paul Dini and Bruce Timm and made her debut in the 90's Batman Animated Series before appearing in comics. And the first Birds of Prey team also made their debut in the 1990's and was created by Chuck Dixon and Jordan B. Gorfinkel.

We pick up the story sometime after the events of the 2016 SUICIDE SQUAD and after a less than mutual break-up for Gotham city's most toxic couple, Harley Quinn finds herself a target for a long list of people with various grievances against her over the years. At the front of the queue is nefarious villain Roman Sionis and his right-hand muscle, Victor Zsasz. Harley has an uneasy alliance with the gangster and agrees to search for the young Cassandra Cain and on her journey, has an unlikely super-hero team up.

This review will be spoiler free.

Warner Brothers more recent focus has been on producing good quality stand-alone movies for their DC properties, like AQUAMAN (Episode #366), SHAZAM! (Episode #455), and the recent Oscar winner, JOKER (Episode #630). And expectations were high they could continue this recent streak of good form.

The movie flaunts its R-rating with some grisly early scenes and there are a number of impressive action sequences, often accompanied with an explosion of color bursting out of the screen to really give that comic book feel.

The change from the original title BIRDS OF PREY (AND THE FANTABULOUS EMANCIPATION OF ONE HARLEY QUINN) to simply HARLEY QUINN: BIRDS OF PREY reflects the movie's star and the captivating performance of Margot Robbie who commands your attention whenever she's on screen and is the undoubted star of this show.

Robbie's charismatic performance can be a double-edged sword as it leaves some of her co-stars without enough character growth or even screen time for a movie which runs for almost 110 minutes.

Ewan MacGregor does an adequate job as the main villain and there are some tense scenes which are really quite uncomfortable to watch. But to really invest in our heroes, we need an A-class antagonist and unfortunately, he falls just short.

The tone of the movie can range from hyper-violence, to solidify its R-rating, to more PG fight scenes which wouldn't look out of place in the 1997 Joel Schumacher directed BATMAN & ROBIN.

Margot Robbie has made this character her own on the big screen and her star quality is unquestionable.

The R-rating does limit the audience, possibly unnecessarily, as a team of kick ass, strong women would appeal to many younger fans.

HARLEY QUINN: BIRDS OF PREY is a colorful comic book spectacle with Margot Robbie's Harley Quinn, definitely front and center. The dynamic action scenes and cinematography are best consumed on the big screen and so we recommend you make sure you go catch this one in theatres while you can!

Rotten Tomatoes: 79% (CERTIFIED FRESH)

Metacritic: 60 (METACRITIC MUST SEE)

One Movie Punch: 7.0/10

HARLEY QUINN: BIRDS OF PREY (2020) is rated R and is available in theaters now.

Hi everyone!

You know, when I first met Ryan, when he arrived at the One Movie Punch Secret Island Base, he told me one of his biggest fantasies was to review a film on One Movie Punch for Matinee Monday. So, without him knowing, I actually sold the island to Blumhouse Productions last year, with the stipulation that he would be allowed to review the movie. They looked at me like I was an idiot, but I think we'll all see in a moment who got the better end of the deal. Especially when they found out I bought that island from J.J. Abrams after "Lost" ended. Was BLUMHOUSE'S FANTASY ISLAND everything Ryan hoped it would be? You'll find out in a moment!

Don't miss Ryan's recent reviews for WHERE'D YOU GO, BERNADETTE? (Episode #684), JUDY (Episode #677), and THE GOOD LIAR (Episode #662). You'll also find out more about Ryan when his promo runs before the review.

Subscribe to stay current with the latest releases.

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Today's movie is BLUMHOUSE'S FANTASY ISLAND(2020). The big screen adaptation of the classic TV show with a horror twist. FANTASY ISLAND stars "Pretty Little Liar"'s Lucy Hale, also starring Maggie Q, Michael Peña, Parisa Fitz-Henley, and Michael Rooker. Directed and co-written by Jeff Wadlow, also Jillian Jacobs and Christopher Roach.

The IMDb plot summary is, "The enigmatic Mr. Roarke makes the secret dreams of his lucky guests come true at a luxurious but remote tropical resort. But when the fantasies turn into nightmares, the guests have to solve the island's mystery in order to escape with their lives."

When I saw the first trailer for BLUMHOUSE'S FANTASY ISLAND, I was totally sold! Taking the classic TV show and putting a horror spin on it? Yes please! From the first scene of a young lady running through the woods to the arrival of the guests, the movie displays some promise of a thrilling excursion. Knowing that the resort guests have been warned that each must see their respective fantasy to its natural conclusion makes for a sense of creepiness that I wish had been at the bedrock of the movie. There is a sort of "Twilight Zone" feeling in the setup of the movie that was clearly supposed to drive a subtext of various themes and social commentary. It even creates a fantastic atmosphere for the story that is about to unfold. But unfortunately, that overwhelming sense of ominous dread quickly gives way to on-the-nose, predictable tropes, and paint-by-the-numbers plotting.

While I wasn't expecting FANTASY ISLANDto be on the levels of GET OUT or HALLOWEEN, I hardly thought that it would be what we got, which was on the level of TRUTH OR DARE, also written and directed by Wadlow. Blumhouse has a few hits, but quite a lot of flops. Consistency in quality is certainly lacking in the horror-centric production company. Often the movies that eventually flop start out with strong premises, and intriguing initial setup, but the second and third acts devolve into outrageously bad conflict, often ignoring any rules that were setup, and even simply logic. And the showdown is predictable and anti-climactic. Little room for subtext is left. I mean how can there be when everything is so on-the-nose. Of course, we all knew that the maxim "be careful what you wish for" would be the central theme in the movie, but I was hoping for a challenging original expression of that idea. Not the story we got, which was incredibly trite and derivative.

It doesn't get any more PG-13 than this. This movie doesn't even try to push the boundaries of a PG-13 rating. It sits comfortably in the middle, if not skewing towards PG. While there is some violence and mildly disturbing imagery, it is pretty tame as horror movies go. Very SyFy Channel original movie. Blumhouse's interpretation of FANTASY ISLAND, as a horror movie, actually has many of the individual elements needed to craft a thrilling and even terrifying story. But it's like all the writers did was have disconnected ideas and never thought of how to structure them in a way that scenes are connected by not only cause and effect, but by character reaction and emotion. A properly written scene has a beginning, middle, and end, in and of itself. And that scene sets up the beginning of the following scene. There is simply no meaning behind anything that happens in this movie.

Releasing a horror movie on Valentine's Day isn't anything new. 1933's DRACULAand the Big 5 Oscar winner THE SILENCE OF THE LAMBSwere both released during Valentine's season. And who could forget the quintessential Valentine's horror movie 1981's MY BLOODY VALENTINE. Unfortunately, this movie shares little in common with the storytelling of any of the aforementioned. Virtually everything after the setup is absurd and laughable.

Rotten Tomatoes: 9%

Metacritic: 20

One Movie Punch: 4.0/10

JOSEPH: "And let's see what Ryan rated his trip to FANTASY ISLAND. Four out of ten? Yikes."

Planes to BLUMHOUSE'S FANTASY ISLAND are now boarding at a theatre near you. But I am sure, not for long after a slew of one-star Yelp reviews.

JOSEPH: "Really glad I sold that island, now. Probably should have told them about the number sequences they needed to keep entering. Oh well. Too late now."

Hi everyone!

Welcome back for another week of reviews!

This week, we have so much in store for everyone! I'll get to today's exciting Sponsor Sunday review in a bit, but that's just one of seven amazing reviews for you this week. Tomorrow, Ryan L. Terry returns for Matinee Monday with a review for the comedy horror reboot, BLUMHOUSE'S FANTASY ISLAND. Tuesday, the Comics in Motion Podcast return to cover the DCEU's latest entry, BIRDS OF PREY. On Wednesday, I'll be reviewing the low-budget, independent thriller TURBINES, featuring interview segments from writer/director Igor Breakenback. On Thursday, Christina Eldridge returns with her review of the latest GKIDS distribution, RIDE YOUR WAVE. On Friday, Andrew Campbell returns with his review of Shudder Exclusive BLISS. And I round out the week with a Chinese animated film called HAVE A NICE DAY, as part of our Under the Kanopy series.

But today is Sunday, and more importantly, Sponsor Sunday, thanks to the monthly contribution by Ken at the Ocho Duro Parlay Hour. Sponsor Sunday is one of the benefits you receive when you sign up as a sponsor at patreon.com/onemoviepunch, where you get to force me to review a film of your choice, as long as we haven't reviewed it yet, with just a few exceptions. Honestly, I'm really starting to wonder if people don't realize what forcing actually means, because you do NOT have to force me to watch 2008's THE DARK KNIGHT, easily one of my favorite films with one of my favorite performances. I also have a fun story about catching the midnight showing, and the power of avoiding trailers.

But that's not all! Over at patreon.com/onemoviepunch, we just posted our next installment in "One Movie Punch Presents: Zero Percent", where I review films which have acquired the lowest possible rating at Rotten Tomatoes. This installment we look at 10 MINUTES GONE (2019), a crime thriller that didn't fare well with the critics at all. The review is available publicly for a limited time, but you can maintain access by contributing to One Movie Punch at any level. And then you can participate in Sponsor Sundays. Also, check back next week for our full interview with Igor Breakenback for his most recent feature film, TURBINES (2019).

Subscribe to stay current with the latest releases.

Contribute at Patreon for exclusive content.

Connect with us over social media to continue the conversation.

Here we go!

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Today's movie is THE DARK KNIGHT(2008), the landmark comic book film directed by Christopher Nolan and written for the screen in collaboration with Jonathan Nolan, based on a story by Christopher Nolan and David S. Goyer, based on the characters by Bob Kane, Bill Finger, and Jerry Robinson. In the wake of BATMAN BEGINS, Bruce Wayne (Christian Bale) has escalated his campaign as The Batman against the criminal underworld of Gotham, while a new District Attorney named Harvey Dent (Aaron Eckhart) is putting mobsters behind bars in the courts. But when a mysterious new criminal shows up, inspired by the actions of The Batman, he begins to change Gotham for the worse, one terrorist act at a time.

Oh, we're definitely spoiling things. I mean, how have you NOT seen this film?

I love the midnight showing. It used to be that the midnight showing was for the limited run independent feature, or the classic throwback picture, usually with a raucous, slightly intoxicated crowd. Eventually, the distributors and theaters got wise to this social phenomenon and started offering midnight premieres for blockbusters. My first taste of this STAR WARS: EPISODE I – THE PHANTOM MENACE, in 1999, which could have had a better theater and a better movie, but I loved it. It wasn't until I moved to Denver, and was working in Los Angeles, that I saw more of the independent fare. Two years of midnight showings, whenever practical, and back then, I had all the energy in the world. And then a kid showed up and I spent more time as a parent and settling into a new job. It was the beginning of my second major movie drought, where I mostly watched films on DVD, and before online streaming was really a thing.

I sure as hell missed BATMAN BEGINS in the theaters, with a one year old, a busy job, and frankly, not enough desire to see what the guy who did MEMENTO might do with Batman. I mean, I saw INSOMNIA, and it wasn't as mind-blowing. What could Nolan possibly do? And a bunch of other things I told myself, because what I really wanted to do was get out of the house. The folks who saw it seemed to like it, though, and I just missed making it to the theater before the longer wait for DVD. My life got a little easier a few years later, though, and I went back to watch BATMAN BEGINS via rental before organizing a bunch of friends for a midnight showing at our local IMAX theater for THE DARK KNIGHT. We went out for drinks, then made our way to the theater, and settled in for what I hoped would be at least as good as BATMAN BEGINS. And I walked out of the film at the end completely and quite literally speechless.

If you haven't been able to tell on this podcast, I generally have a lot to say. So, to leave a theater speechless, born out of complete admiration, means something phenomenal has happened. The last time this happened to me was the first time I walked out of JURASSIC PARK, completely in love with the film, and returning to see it in the theater about eight times, most of which were packed weekend dollar showings. I wouldn't have the luxury of doing that for THE DARK KNIGHT, no matter how much I wanted to, but I did sneak back a second time for the details I missed picking my jaw up off the floor.

I spent a full week processing how great it was, and not being able to communicate how great it was to anyone. It wasn't just that I was afraid of giving away spoilers. I didn't have the critical vocabulary to describe what I had just seen, nor did anyone I know understand Batman the way comic book nerds did. Geek culture hadn't quite hit its crescendo in 2008, so when most people thought about Batman, they thought about four properties: the original Batman television show; the original, fragmented, and flawed film franchise; "Batman: The Animated Series" and its successors; and the aforementioned BATMAN BEGINS. Most people who were Batman fans didn't even read the comic books, or not as obsessively as I did. My uncle would feed me trade paperback at birthdays and holidays, including "Batman: The Killing Joke" and "The Dark Knight Returns" and a host of others. I picked up a few series, even, before I had to ship off to college. I knew I didn't want a Nicholson repeat, or a cartoon Joker. I wanted the real deal, from the comics I loved, and I was convinced a PG-13 rating just wasn't going to cut it. I didn't know how to communicate that to anyone.

And luckily, I wouldn't have to, because the Nolan Brothers would do just that. If there's one thing I admired with BATMAN BEGINS, it's that they didn't lead with the Joker, but made it that exciting teaser bit at the end. As mentioned in my review for JOKER (Episode #630), Joker wasn't really intended to have an origin story, at least not Jerry Robinson's version. Joker just explodes on the scene as a full-blown psychopath before the Comics Code took the sting out of him. The Nolan Brothers take the same approach to Joker, swooping in to thrive on the chaos created by Batman's campaign against organized crime. The opening sequence gives us a taste of what Joker has in store for Gotham thematically, setting his fellow bank robbers against each other with their greed, and revealing his motivations are not guided by money or even power. It also gives us an idea of how this war will be waged, with very real modern weapons and none of the circuses, clowns, or playing cards of the previous renditions, aside from the wry masks they are all wearing.

Most importantly, it brings the story back down to the street level, where Batman flourishes best. Let's face it, when the Justice League gets together to square off against the world-destroying entities that threaten the planet, you kind of wonder why Batman and Green Arrow are even on the team compared to the rest of the superheroes. I mean, aside from their multi-billion dollar fortunes depending on the timeline and incarnation. I always think Batman looks a little stupid against those massive threats, which is part of the reason BATMAN V SUPERMAN: DAWN OF JUSTICE never really sat well with me, despite pulling heavily from "The Dark Knight Returns". Opening with a bank heist and keeping the scope of each target or objective relatively narrow throughout THE DARK KNIGHT only enhances the believability, and with that firm base in realism, we get to go on the ride of a lifetime.

Clearly the major star of this picture was Heath Ledger as Joker, for which he won the Oscar for Best Supporting Actor posthumously, but not undeservedly. Ledger made his own Joker, taking the thematic influences for the script, and developing a character that I still cannot believe was played by the same guy who was William Thatcher in A KNIGHT'S TALE. His speech and mannerisms and entire performance combines with the incredible costuming and make-up to make a perfect character, which the Nolan Brothers then take him through a genius script. I actually argued at the time that he should have been put up for Best Lead Actor, but that was probably my heart talking more than my head. Little did I know that would come later for Joaquin Phoenix. The rest of the cast is also great, building off the genius casting for BATMAN BEGINS, with the obvious and unavoidable anomaly of Maggie Gyllenhaal taking over Rachel Dawes, after Katie Holmes declined to return. With the exception of a few lines where Bale can't breathe through the mask, nearly everything is perfect.

I'm not sure how many times I've seen this film. I must have watched it at least ten times when I got the DVD, and then our family went through the whole trilogy one summer with our daughter. But each time I watch it, I see different things. This time around, I was struck by how each scene reflected the main character, with stark, empty spaces for Bruce Wayne/Batman; crowded, chaotic places for Joker; and destroyed places when we too briefly get to see Aaron Eckhart's Two-Face. I also loved the humor, which poked fun at BATMAN BEGINS in some funny ways, along with the property as a whole. I laughed out loud when Alfred realizes he'll end up being an accomplice, and Bruce quips he planned to say the whole thing was Alfred's idea.

For me, the mark of a truly great film is one that you can watch over and over again and continue to discover new things. Christopher Nolan has spent a lifetime building a filmography of truly great films. THE DARK KNIGHT is such a great second act film that I wish we would have had a few more films before ending on THE DARK KNIGHT RISES. A Nolan Riddler, or a Nolan Poison Ivy all have a lot of potential. But I wouldn't trade any of Nolan's recent work for those films. And I suspect that would have been the price for such fantasies, aside from the coming comic book film avalanche. I will continue to re-watch this film and will continue to find new things about it that I like, as all great art does. I came to understand film better because of THE DARK KNIGHT, and this past viewing has shown me that I still have things to learn.

THE DARK KNIGHT is probably the greatest comic book movie ever made, a near perfect adaptation of source material for the modern era, proving comic book movies could be something truly profound. The Nolan Brothers would return for an excellent second act film, building off their work on BATMAN BEGINS, and providing a backdrop for one of the greatest performances of all time. I would recommend this film to everyone, as many times as possible.

Rotten Tomatoes: 94% (CERTIFIED FRESH)

Metacritic: 84 (MUST SEE)

One Movie Punch: 10/10

THE DARK KNIGHT (2008) is rated PG-13 and is currently playing on Netflix and Roku.

Hi everyone!

We're closing out the week with another entry in our series, Under the Kanopy. Kanopy is a library and university funded streaming service that grants card holders six free streams a month, featuring a combination of classic, mainstream, independent, and international films. They currently have streaming deals with some of our favorite distributors, like A24 and Kino Lorber, which offer the critically acclaimed, if not commercially successful films. Today's film deals with grief in unexpectedly funny ways, while also exploring some of the weirder relationships between faith and science. My review of TO DUST will be up in a minute.

Before the review, we'll have a promo from our good friends Aicila and Erik at Bicurean. Every episode, they explore a different topic, looking for the underlying issues, and finding common ground whenever possible. You can find them on Twitter, Facebook, and Instagram @bicurean, or check them out at bicurean.com. Be sure to like, follow, rate, and subscribe! They've been huge supporters of One Movie Punch over the past year, and we cannot recommend them enough! A promo will run before the review.

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Here we go!

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Today's movie is TO DUST(2018), the melancholic dramedy directed by Shawn Snyder and written for the screen in collaboration with Jason Begue. In Upstate New York, a Hasidic cantor named Shmuel (Géza Röhrig), has lost his wife, leaving him alone with his kids Naftali (Sammy Volt) and Noam (Leo Heller). Struggling to make sense of his situation, he seeks out a community college professor named Albert (Matthew Broderick), who finds himself helping Shmuel with a bizarre experiment in an effort to help Shmuel process his grief.

No spoilers.

Earlier this week, I reviewed BREAKTHROUGH (Episode #712), which was a film targeted towards evangelical Christians and with a particular evangelical mission, as told through a boy almost drowning. One of the insights I had in writing that review is that the very elements that appeal to evangelical Christian film's core audience, which is to say other evangelical Christians, are the very elements that often turn away the non-evangelical audience. Everything is generally very certain in the storytelling. There are no gray areas. And there is only darkness if there is also redemption. It generally feels ham-handed and a little overtly judgmental of undesirable viewpoints or conflicting ideas. There's a specific worldview, generally a Creationist one, and one that can be manipulated through faith and miracles. And if you don't buy into that, it's hard to accept the rest of the story.

By contrast, films about the Jewish community always seem more integrated into the world as it is. Perhaps that comes from a long history of being a diasporic community, learning to live among other cultures, sometimes peacefully, sometimes under devastating oppression going back to the Middle Ages, and sometimes now as the oppressor as seen in the Middle East. The viewer is generally asked to accept the world as it is, or as we have come to know it scientifically and socially, and the story is told against that backdrop. I've also found a lack of certitude in the storytelling, one that doesn't seek to provide answers as to ask questions. Of course, this is in addition to exploring themes common to most spiritual practices, like faith and reason, life and death, love and loss, and our place in the larger community. We're not sure if we're getting miracles, or even answers, and that's where we find Shmuel, right in the opening scene as he's saying goodbye to his wife.

Shmuel is part of the ultra-Orthodox sect of Hasidic Judaism, which arose as a revivalist movement in Western Ukraine during the 18thCentury, adopting a number of specific religious and social customs. Among the larger Jewish population, roughly 15 million worldwide, the Hasidic community is a small percentage of that population, about 130,000 households. They are also a more insulated community, generally handling matters internally, which has caused them to come under fire from accusations of domestic abuse. For more information, check out the Netflix documentary ONE OF US, which speaks to some women who have left the community, often at great expense. Or for a more transgressive criticism, check out my review for DISOBEDIENCE (Episode #248). I was actually worried this film might be another criticism of the Hasidic community, but TO DUST thankfully does not address these darker issues, and that's definitely part of the film's charm.

The good news is that Shmuel is definitely not an abuser. He's a cantor for his local community, a devoted father, and up until his wife's untimely death, a loving husband. Moreover, Shmuel is played by Géza Röhrig, a Hungarian poet and actor, who is a convert to Hasidism, which allows him to understand the world both inside the community and from the outside looking in. Röhrig's portrayal of Shmuel becomes our gateway into the Hasidic community of upstate New York, full of seemingly alien customs which Snyder highlights as part of the film, without any overt explanation or messaging. We might not understand everything happening, but we understand its meaning to Shmuel in the larger community. His awkward encounters with the larger community are often filled with playful comedy, the kind that comes from miscommunications and blissful ignorance. And most importantly, we get to see that even the ultra-religious have crises of faith, which is where the story really takes off.

Like everyone, Shmuel is looking for answers, and when he is unsatisfied with the answers from his own community, he looks outside, ending up in the classroom of a science professor named Albert, who is ironically unsatisfied with his own life teaching students who obviously don't care. Each ends up turning to the other to find meaning in their life, an obvious representation of faith and science attempting to solve the problem of Shmuel's grief. The darkly comedic part of this film is the source of his grief. Shmuel is obsessed with knowing when his wife's body will be fully decomposed, and Albert unwittingly finds himself conducting a series of experiments to help him understand the process, each of which gets darker and more surreal, and eventually ends in a very unexpected, extremely cathartic place. The two work well together on screen, even if the story remains focused on Shmuel when they're not together.

In addition to the great story and excellent performances, Snyder does a great job framing key scenes, finding a nice color pattern and muted filters to create a consistent picture. The film has a nice mix of stoner rock, especially when Albert's on screen, and an excellent score by multi-instrumentalist Ariel Marx. Sets and locations are all well-chosen and well-framed. Everything really comes together in the end, for an impressive debut feature film from Shawn Snyder. I sincerely hope he has more features in store.

TO DUSTis a very poignant look at faith and reason, and life and death, masquerading as a surreal buddy comedy. The film has its strengths in its story and its performances, but is also carried by great production design, a wonderful soundtrack, and an impressive score from Ariel Marx. Drama fans, especially for films about grief and the grieving process, will definitely enjoy this film, as well as anyone looking for a peek into the less controversial side of the Hasidic community. Everyone else, just know going in that it will have a lot of heady discussion at times, as the subject matter demands.

Rotten Tomatoes: 88% (CERTIFIED FRESH)

Metacritic: 66

One Movie Punch: 8.6/10

TO DUST (2018) is rated R and is currently playing on Amazon Prime, Hoopla, VUDU, and Kanopy.