One Movie Punch

Hi everyone!

Last movie for this week, and what a film it is. At least according to 99% of the critics anyway. Peter Jackson and a massive technical team bring us “They Shall Not Grow Old”, a documentary that restores and enhances silent black and white footage from World War I into spectacular color and detail. Shane’s going to give you the details in a second, but for a few other war or war-related documentaries, check out “Last Men in Aleppo” (Episode #032), “Human Flow” (Episode #074), “Cartel Land” (Episode #109), “Buzz One Four” (Episode #137), “Fire at Sea” (Episode #151), and “Ballad of the Little Soldier” (Episode #285). And if you have any favorites, let us know over social media!

Take it away, Shane! 

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Kia Ora, I’m Shane Hyde, and this is my review of “They Shall Not Grow Old”. I’m keeping it short and to the point this time around. It seems due that respect.

Up front, I must say: Just the simple fact that this footage is bought 100 years through time to be viewed on today's high definition devices is simply amazing. Peter Jackson and his team went through 600 hours of interviews, 100 hours of footage, and reviewed it all over the course of a year to assemble this final film, “They Shall Not Grow Old”. Blades of grass and mud has been colourised over hours. Soldiers returned to life. And the end result is quite the experience. 

“They Shall Not Grow Old” places you there in amongst the grime and filth, showing you all parts of the war in vibrant colour. And there are professional lip-readers who even capture the often upbeat chatter of the soldiers who played such a significant role in the hellscape. And then, you’re watching the film, and there's this point that just simply immerses you, and no spoilers, but it made me gasp out loud.

Through this retouched medium, we hear these stories told; voices that could be your grandfather or grandpapa, or whatever, narrating this grand adventure that they were on. And thankfully it sticks to that course. There's no broader political commentary present in the film, no specifics about the battles they engaged in. Just the day-to-day lives of British soldiers who trudged hard through the muck of the trenches.

This is quite hard to review. We can talk to Peter Jackson and his long-time fascination with The World Wars, or perhaps the technical department and the long hours that they put in. But really, when all said and done, it’s the men on screen that we need to talk about. And there are these moments in the film that are eerie and affecting. I found myself deeply struck by the weight of what I was watching, and a great empathy for the young men who were there.

I struggle with how to recommend this film. It's not really for children and for the faint of heart, but everyone should experience it at least once. In the end it's a timely reminder of sacrifices made for the freedoms that we enjoy. So... yes, everyone should see it.

Rotten Tomatoes: 99% (CERTIFIED FRESH)

Metacritic: 91 (MUST SEE)

One Movie Punch: 8.5/10

“They Shall Not Grow Old” is currently rated R and is in limited theatres at the moment.

Hi everyone!

Tired of Netflix Originals? Well, good thing that Andrew Campbell has returned with another Fantastic Fest feature, one I really wished I had caught in the theaters, and am currently waiting with baited breath to come to streaming services. For a few other zombie films, one of my favorite genres, check out “Ravenous” (Episode #066), “Cargo” (Episode #139), “Day of the Dead: Bloodline” (Episode #140), “White Zombie” (Episode #152), “Overlord” (Episode #316), and “The Night Eats The World” (Episode #372). If you have any zombie favorites, let us know over social media!

Oh, that must be Andrew. Hey dude, listen... about that whole “Sleep Tight” introduction... oh, hey there. Well, this is quite unexpected. Come in, come in!

Take it away, Andrew! Aaaaaaaaand...

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Hello, Film Fans!

Andrew here, back this week with my favorite Fantastic Fest film that I saw last year. However, this movie actually made its world premiere the previous year at the 2017 festival. Festival-goers sustained such a buzz around this one that when the film finally got its nationwide release more than a year later, I snuck out solo to the Alamo Drafthouse to catch it with a packed house on opening night. I loved this film so much, I was a little worried it might be a case of confirmation bias, given I had psyched myself up about it for so long based on the festival hype. So, the next day I dragged my wife to the theater for a second opinion and... well, I better just let her tell it...

Stephanie here, hijacking this week’s review about a zombie bloodbath that’s also a high-spirited romp the whole family will enjoy!

Today’s movie is “Anna and the Apocalypse” (2017), the Scottish zombie Christmas musical you didn’t know you needed in your life. “Anna and the Apocalypse” was written by Ryan McHenry and Alan McDonald and directed by John McPhail. Yup, this is Scottish, alright. Ryan McHenry wrote and directed the short film “Zombie Musical” in 2011 upon which his screenplay for “Anna and the Apocalypse” would be based.  McHenry drew some fame in 2013 for creating a hilarious series of Vines called “Ryan Gosling Won’t Eat His Cereal,” which is worth a quick YouTube search if you’re not familiar. Sadly, McHenry was diagnosed with cancer that same year and lost his battle before “Anna” went into production.

“Anna and the Apocalypse” tells the story of Anna Shepherd (played by English actress Ella Hunt), a young woman who has grown up in a sleepy Scottish town. She’s in her final year of secondary school and looking forward to a gap year to travel the world, completely unaware that the zombie apocalypse is about to interrupt her plans.

The film starts out on familiar ground, with wistful, broody teens wanting more in life than their tiny school and small town are giving them – you might get a John Hughes vibe. We meet beautiful Anna (Ella Hunt) and her affable best friend John (Malcolm Cumming), along with ambitious student journalist Steph, attached-at-the-lips couple Lisa and Chris, and bad-boy Nick. The musical numbers set in the school halls and cafeteria are catchy and delightfully cheesy. Even the lunch lady sings along! No sign of zombies in the early part of the film, just your typical high school fare including love triangles, rehearsal for the school Christmas show, looming homework deadlines, and bothersome parents and teachers. One of the film’s best songs, “Hollywood Ending”, plants the seed for viewers that, unlike a typical high-school rom-com, everything is NOT going to work out perfectly for these characters.

Enter the zombies, and one of the movie’s best scenes as we watch Anna and John dancing through the streets belting out a peppy anthem, their ear buds somehow making them completely oblivious to the zombie carnage all around them. Anna and John eventually get wise to the zombie apocalypse and reunite with some of their classmates. Their mission? Travel across town, slay any zombies in their path, and make it to the school where the rest of their friends and family are –hopefully— waiting; if they haven’t already gone the way of Justin Bieber.

I generally love high school rom-coms and Christmas movies, I’m hit or miss with movie musicals, and I can take or leave zombie movies. So what happens when you put all of these elements together into one film? Well, don’t expect clever plot twists or significant character development. You might scratch your head over some of the characters’ choices, like why exactly is Principal Savage so evil? And how can Anna still be daydreaming about her gap year when almost everyone she knows has become a zombie? But these are not questions to dwell on or a movie to be taken too seriously. Enjoy the scrappiness of this film becauseit lacks the polish of a big-budget Hollywood product. Appreciate all the charming moments, such as when Lisa (Marli Siu) slays her performance in the school Christmas musical, singing a double entendre-laced ballad directed to Santa. This film is a loveable, earnest ride full of ear-pleasing Scottish accents, catchy songs, comical zombie violence, and talented newcomer actors. “Anna and the Apocalypse” has the potential to become a Christmastime cult hit and be the launchpad for a bright career for star Ella Hunt. The film may have its flaws, but you’ll soon forget them. Those songs, though? They may be stuck in your head for a while!

“Anna and the Apocalypse” is as delightful as it sounds, mixing a half-dozen memorable tunes sung by a promising young cast with irreverent humor and a few creative zombie kills. Fans of musicals will enjoy this film. Fans of “Shaun of the Dead” will enjoy it as well. Fans of musicals AND “Shaun of the Dead” will love this one.

Rotten Tomatoes: 77% (CERTIFIED FRESH)

Metacritic: 63

One Movie Punch: 9.0/10 

“Anna and the Apocalypse” is rated R and is available on VOD.  Follow us on Twitter @onemoviepunch and we’ll let you know when “Anna” or any of the other films we cover hit a major streaming service.

OK, Andrew you can have your podcast back. 

Thanks, Steph. Come back next week when I take on “Tumbbad” a period horror film out of India you can catch now on Amazon Prime. Full confession: I don’t think I had ever seen a single film produced in India. If the same is true for you, next Friday I’ll let you know if this is a good place to start. 

Hey, if Joseph’s wife is One Movie Spouse, does this make me One ‘Fantastic’ Spouse? 

Yes... Yes it does.

I think I would be in big trouble if said ‘no’, so… absolutely!

Hi everyone!

Here’s the last of the Netflix Originals for this week, one from the Spanish film scene, and a comedy at that. For a few other Spanish comedies, check out “The Motive” (Episode #234), “The Laws of Thermodynamics” (Episode #244), “Jefe” (Episode #308), and “The Tribe” (Episode #329). Also, don’t miss Luis Tosar’s ginormous eyebrows in “Gun City” (Episode #311) and Andrew Campbell’s review for “Sleep Tight” (Episode #397). And if you have any favorites, let us know over social media. 

Here we go!

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Today’s movie is “Yucatán”, the Netflix Original Spanish comedy directed by Daniel Monzón and written for the screen in collaboration with Jorge Guerricaechevarría. The film follows Lucas (Luis Tosar), Clayderman (Rodrigo de la Serna), and Verónica (Stephanie Cayo), three cruise ship con artists attempting to swindle as much of the wealth as possible from Antonio (Joan Pera), who recently won a multi-million euro lottery prize. In the process, they are forced to come to terms with their own lives and choices.

No spoilers.

I’ve reviewed a couple films by Jorge Guerricaechevarría. “Sara’s Notebook” (Episode #150) was a decent political thriller set in the Congo. “The Warning” (Episode #213) was an intriguing, but complicated supernatural thriller. So, when I saw that this film of his was a comedy, I wasn’t sure what to expect, as humor seems quite absent from both films. But today’s film was a refreshing change, not only full of comedy, but also containing the deceptive complexity of the other two films... and some of the same flaws. All three films have great premises, but they don’t always stick the landing, and today’s film is no exception.

“Yucatán” takes place on a cruise ship sailing from Spain to Mexico, and in particular the Yucatán peninsula, where our mark, Antonio, has quite a few important memories. He has taken his family on this cruise for private reasons, revealed in the course of the film, even as his family overtly criticizes how little money they’ve received from the lottery prize. Our trio of con artists, we also learn, have a past together, with a subplot involving a love triangle between the three, not unlike the subplot for Danny Ocean in Soderbergh’s “Ocean’s 11” remake. Lucas is here to try and win back Verónica, while also working to swindle Antonio. Verónica is tiring of the con artist life, and her possibly real, possibly fake marriage to Clayderman. And Clayderman is all about the money, to the exclusion of nearly everyone else. All three will go to great lengths to insert themselves into Antonio’s life, doing some hilariously dastardly deeds to separate Antonio’s family from him to better manipulate him, at least until they finally overextend themselves, leading to some major conflicts.

It’s at this point when the film starts to lose its focus, and the film, as a whole, has trouble coming to a close. The film takes a nose dive between the second and third acts, as the remaining characters all end up disappointed with how events have turned out, completely killing momentum. The film does pick up after that, towards a final climax that is passable, and surprisingly on theme, with a fun stinger at the end. Even if the film struggles to close, the journey along the way is filled with great musical numbers, some hilarious comedic action scenes, and quite a few clever cons on lesser characters. The strengths overcome the weaknesses, more often than not, and overall, it’s a fun ride.

“Yucatán” (2018) is a campy con man crime caper set aboard a cruise ship, with competing teams attempting to swindle a lottery winner, and each other in the process. While it starts out strong, and tends to be fun throughout, the story grinds nearly to a halt in preparation for a decent third act. Fans of crime capers, especially with con artists, should definitely check out this film. 

Will you like it? Perhaps, perhaps, perhaps.

Rotten Tomatoes: 60%

Metacritic: NR

One Movie Punch: 8.1/10 

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

Hi everyone!

Here’s the third Netflix Original film for this post-Oscars week, once again from yours truly. It’s our first film that’s exclusively from the New Zealand film scene for the podcast, although not the first New Zealand film I’ve seen. I should probably have had Shane Hyde do this review, come to think of it. Maybe he would have liked it more. For a few other Netflix Original comedies in the same vein, check out “The Polka King” (Episode #013), “A Futile & Stupid Gesture” (Episode #027), “When We First Met” (Episode #047), “Game Over, Man!” (Episode #089), “Dude” (Episode #111), “Ibiza” (Episode #146), “Maktub” (Episode #170), and “The Package” (Episode #226). And if you have any suggestions from New Zealand, let us know over social media.

Here we go!

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Today’s movie is “The Breaker Upperers” (2018), the Netflix Original New Zealand comedy written and directed by Madeleine Sami and Jackie Van Beek. The film follows Mel (Madeleine Sami) and Jen (Jackie Van Beek) who operate a professional service used to break up with someone. After getting involved too deeply with two cases, their friendship is pushed to its limits, before doing what’s necessary to set things right.

No spoilers.

Sketch comedy seems to be hit or miss for me. On the one hand, I have died laughing watching “Broad City” or “Snuff Box” or “Key & Peele”, but on the other hand, I have also shrugged my way through quite a few shows. And during the golden age of sketch comedy, “In Living Color” and “SNL” birthed any number of spinoff silver screen movies based on their top sketches, including “Ace Ventura: Pet Detective”, “The Ladies Man”, and nearly every film made by Adam Sandler. “The Breaker Upperers” has all the classic trappings of silver screen sketch comedy, including over-the-top characters, recurring gags, edge-pushing content, all with a New Zealand twist, and all backed by Taika Waititi’s Piki Films. And while I have mixed opinions, the film hit more than it missed.

The parts that hit really did hit, but only because I’m in my early forties and can remember a lot of the references from my childhood and adolescence, particularly the music choices, which seem well out of date for the other characters in the story, and is a somewhat recurring gag in the dialogue. The one-off breakup scenes were also pretty hilarious, including the follow-up interviews. I even loved Sepa (Ana Scotney) and her ever-present crew, who act as great supporting characters, especially in the culminating scene involving an old favorite song of mine. 

The flip side, of course, is that the parts that missed for me also really missed. I’m willing to admit that maybe I’m not very good at New Zealand comedy outside of Taika Waititi’s output, nor am I really familiar with either Sami or Van Beek. For me, the two seemed to lack the chemistry needed for an on-screen duo during some key scenes, working much better when their friendship is strong rather when it becomes strained. I also found the plot to be overly ridiculous, to the point where their reasons for their extended involvement in their former clients feels forced as a plot device. The film seems to be hitting well with others, but unfortunately, not with me.

“The Breaker Upperers” is a Netflix Original New Zealand comedy from the minds of Madeleine Sami and Jackie Van Beek. It has a fun premise that will either hit or miss with the viewer, depending on their tolerance for or love of sketch comedy. Sketch comedy fans, or fans of New Zealand comedy, should definitely check out this film, even if just for a few chuckles, and hopefully it hits better with you.

Rotten Tomatoes: 90%

Metacritic: 76

One Movie Punch: 6.8/10

“The Breaker Upperers” (2018) is rated TV-MAand is currently streaming on Netflix.

Hi everyone!

Here’s the second Netflix Original film for the week, and the first to be a runaway hit with the critics. It’s hard not to do that when you pair the writing styles of Tarell Alvin McCraney, screenwriter for “Moonlight” (Episode #406), with the directing ability of Steven Soderbergh, of which we’ve reviewed two films so far: “Logan Lucky” (Episode #065) and “Unsane” (Episode #240). And for another film in the same vein, check out “Amateur” (Episode #103), about a pre-professional basketball player taking a different approach to organized basketball. And if you have any suggestions, reach out to us over social media.

Here we go!

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Today’s movie is “High Flying Bird” (2019), the Netflix Original drama directed by Steven Soderbergh and written for the screen by Tarell Alvin McCraney. In the midst of an NBA lockout, sports agent Ray Burke (André Holland) creates a unique opportunity for his client and incoming rookie Erick Scott (Melvin Gregg), with the help of his former assistant Sam (Zazie Beetz), which challenges the very power structure of the league. 

No spoilers!

The thing I am most excited about after seeing this film is the future career of Tarell Alvin McCraney. You heard me gush about how much I loved “Moonlight” (Episode #406), especially how it deals with LGBTQ people within the black community. In today’s film, he offers a realistic look into the bizarre power structures within the NBA, and the possibility for a more equitable future going forward, using many of the themes from Harry Edwards’ book “The Revolt of the Black Athlete”, including very strong parallels between the ownership rights of NBA owners and the ownership rights of former slave owners over their subjugated populations. Sure, we might think the generally high salaries of NBA players make that comparison ludicrous, but all NBA players are forced to sign contracts that come with severe restrictions on behavior with heavy penalties. And when it comes to a lockout, which is when the owners refuse to schedule games over contract negotiations, players aren’t generally getting paid, and can’t go and find work elsewhere during the lockout. And for the multi-million dollar players, that’s fine if they managed their money, but for the rest of the players, that’s possibly not making rent in major cities, or not being able to help others with their paychecks back home.

And let’s face it, the owners need the players way more than the players need the owners, which is the central theme of today’s film. Established power structures often seem impossible to change. One of my favorite quotes in recent times is that people have an easier time imagining the end of the world rather than the end of capitalism. We sign away a lot of rights when we are employed by capitalists, whether that’s particular behavior considerations while working, to severe restrictions on many aspects of our lives outside of work like drug use or secondary work, to more nefarious structural restrictions, like hiring part-time workers requiring full-time availability. This film challenges the idea of billionaires having that kind of control over their workers, not just in the NBA, or even in the rest of professional sports, but for all of us working in the same kind of ownership circumstances.

How do we challenge this kind of established power structure? By looking at the situation from multiple and sometimes unusual perspectives, which is what makes Soderbergh such a great pick to direct this film. Soderbergh loves to find both stationary and moving camera angles to tell stories, and this film is no exception, including some wonderfully blended transitions between and around key scenes. He also employs his slightly signature flashback montages to fill in some key story gaps, which works especially well in this case, as what we see and hear about NBA negotiations is not what’s always happening behind the scenes. He also uses an excellent improvised documentary technique with the players that heightens the realness of being a player within the NBA, and beyond the image portrayed on celebrity gossip sites or within the hip-hop lyrics inspired by the game. I actually wish there was more film, because the ninety-minute running time is way too short for the richness and possibilities of the story. I also thought a few scenes felt empty, possibly because of the narrow running time. So, great story, great message, and great direction, with a few imperfections.

One of the great things about film is that it gives us an opportunity to explore ideas that can change the nature of our society by showing us what’s possible. And this film, along with “Amateur” (Episode #103) both challenge the existing ownership structures of professional sports, even if they only suggest how it might start. Now I’m interested in seeing how a player-owner league might work out, and just how far they can extend that ownership to benefit the communities that support the players, and the communities form which they come. Right now, the billionaire owners and the broadcast partners take huge profits that could be used for living wage jobs at stadiums, merchandise stores, adjacent industries, and community outreach programs. It is the kind of redistribution model we need to shore up not just the players, but also the staff and fans that support them.

“High Flying Bird” (2019) is an incredible collaboration between Tarell Alvin McCraney and Steven Soderbergh, which takes an incisive look at the NBA and the balance of power between the owners and the players. It represents a critique not just of the current ownership model, but also larger notions of social and financial control. Fans of sports films, and folks interested in how to radically change the nature of professional sports, should definitely check out this film.

Rotten Tomatoes: 93% (CERTIFIED FRESH)

Metacritic: 78

One Movie Punch: 8.6/10

“High Flying Bird” (2019) is rated TV-MAand is currently playing on Netflix.

Hi everyone! 

Here’s the first of four Netflix Original films this week, reviewed by yours truly. Today’s film was another surprise release by Netflix in late January, which I only found while browsing the new releases section. I actually thought it was the South Korean television drama also entitled “High Society”, but it only shares the title with this South Korean film drama. For a few other Netflix Originals from South Korea, check out “Forgotten” (Episode #062), “Steel Rain” (Episode #087), “Psychokinesis” (Episode #124), “Illang: The Wolf Brigade” (Episode #304), and Garrett Wright’s review for “Revenger” (Episode #386). And if you have any South Korean favorites, let us know over social media!

Here we go!

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Today’s movie is “High Society” (2018), the Netflix Original South Korean drama directed by Hyuk Byun. The film follows the upper middle class couple of Jang Tae Joon (Park Hae Il), an economics professor, and Oh Soo Yeon (Ae Soo), an up and coming art director, who are each offered opportunities to rise in the ranks of high society, but soon learn the price to be paid for that privilege.

No spoilers.

The biggest hurdle to enjoying this film is slogging your way through the first third of the film, which spends forty minutes laying the foundation for the characters, and accelerating their path towards the inner workings of the Korean wealthy elite. Jang Tae Joon is recruited by the Republican Party, a conservative political party, to run for congress after saving a man from burning himself to death at a political rally. Oh Soo Yeon is in competition to replace the existing art director at the Mirae Cultural Center, which is poised to reopen. They are exciting opportunities for both of them, which lead to higher expectations for themselves and their lives, and the inevitable succumbing to temptations along the way. Nothing to write home about, and in many ways, pure privilege porn, especially when two upper middle class folks yearn for more.

Once you get over that hurdle, however, the second act really takes off, as the conflict grows between the couple, each pulled in their own direction, making compromise after compromise, and inevitably being blackmailed by the power brokers behind their rise to power. It’s a satisfying turn of events, but also gets increasingly complex as we discover the seedier details of both the political world and the artworld. The politics are quite interesting, but the real insight comes with an auction scene in Paris that provides everything wrong with the artworld, and much more succinctly than, say, all of “Velvet Buzzsaw” (Episode #407). Both leads are forced to compromise their values, often under duress, and we see just how linked their two situations have become, which leads to a very cathartic, mostly enjoyable and on message third act.

The strength of the film lies in its excellent story, but the execution has some noticeable flaws. Besides the slow opening third, the film goes somewhat overboard on the sexual side of things, including a very bizzare and uncomfortable scene involving a phone conversation and some unconventional art making methods. In fact, I wouldn’t recommend this film to anyone easily offended by bizarre sexual fetishes, because the one scene might kill the film for you, and while it was a bold choice, it also felt like a wholly unnecessary and alienating one as well. Definitely not a film I would watch at work or in mixed company, that’s for sure.

“High Society” (2018) is part privilege porn, part social commentary about the wealthy class in South Korea. While the story itself is delightfully complex, it is often in conflict with pacing, with perhaps too much emphasis on the more lustful side of privilege. Fans of South Korean dramas, who are not easily offended by sexual fetishes, should definitely check out this film. Everyone else will need to decide if struggling through a slow opening act is worth the over two hour investment.

Rotten Tomatoes: NR

Metacritic: NR

One Movie Punch: 7.3/10

“High Society” (2018) is rated TV-MAand is currently streaming on Netflix.

Hi everyone!

Can you feel that? Lots of Oscars discussion, rising in a crescendo, as everyone gets ready for the ceremony tomorrow? No matter what happens, I think we can all take comfort in the fact that no one will be happy. Unless there’s a win for “Roma” (Episode #352), because damn. But for today, we have another Netflix Original from Spain, this time a drama. For a few other Spanish Netflix Originals, check out Shane Hyde’s review for “Ánimas” (Episode #405), and my reviews for “Solo” (Episode #384) and “When Angels Sleep” (Episode #364). And if you have any favorites, let us know over social media.

And now...

Today’s movie is “The Tree of Blood” (2018), the Netflix Original Spanish drama written and directed by Julio Medem. The film follows Rebeca (Úrsula Corberó) and Marc (Álvaro Cervantes), a married couple struggling with their relationship, that decide to travel to Rebeca’s grandparents house in Basque Country to write about their families. Their exercise transports them back twenty-five years ago, and brings to light forgotten and hidden truths about their families and themselves. 

No spoilers!

I have found I can describe “The Tree of Blood” in one of two ways. First, it’s like someone took the meandering and jarring plot of an American soap opera and reformatted it for the silver screen in Spain. Successful writers, forgotten histories, organized crime, horrific unveilings, incredibly convenient coincidences. It’s all there, but this film also adds a great deal of sex, bringing me to the second way to describe this film, which is if someone tried to take seriously the weirdly pervasive genre of stepfamily pornography by adding a well-financed film plot around it. And the only one who seems to suffer is the viewer.

“The Tree of Blood” opens innocently enough, with a married couple deciding to write the entangled stories of their families, as a means of uncovering the truths and lies within their own relationship. The premise is sound enough, and I have to admit, I really liked the method used to tell the story. Sets are reused to tell the stories, and sometimes to tell stories from multiple timeframes at once, watching the present married couple watching their parents and grandparents act out key moments in their shared story. More often than not, these scenes are well-framed and add to the complicated story being told. However, the film is also obsessed with the complicated sexual habits of its characters, which either get in the way, or tarnish, the more artistic aims of the storytelling technique.

And if it’s not their sexual habits, it’s yet another bombshell revelation, each one lessening the impact of the next. The gaps between the bombshells, when they aren’t filled with sex, are filled with the actors standing around naked, or engaging in bad dialogue often about sex, or making metaphors about bulls and cows. The film also has the weirdest suicide I’ve ever seen on film. The same cycle repeats, over and over again, until we reach a wholly unsatisfying ending, with zero consequences for just about everyone involved. The cast does the best they can with the material, but ultimately there just isn’t enough solid story to enjoy.

“The Tree of Blood” (2018) is a soap opera story about a privileged, weirdly intermingled pair of families, as told through a struggling married couple writing their collective memoirs. While it has a good premise and an interesting story technique, the almost incessant focus on sex ends up drowning out the overly complex story that unfolds. Soap opera fans might be interested in this film, but everyone else can probably give it a hard pass.

Rotten Tomatoes: 60%

Metacritic: NR

One Movie Punch: 5.2/10

“The Tree of Blood” (2018) is rated TV-MAand is currently playing on Netflix.

Hi everyone!

We’re back with another Fantastic Fest feature from Andrew Campbell, who has been lining them up and knocking them down every Friday in 2019. Today’s remake is a sharp shift away from his last review for “Mid90s” (Episode #411), but nothing Fantastic Fest fans can’t handle, right? Be sure to check out Andrew’s other recent reviews for “Terrified” (Episode #404), “Sleep Tight” (Episode #397), and “Beautiful Boy” (Episode #395). You can also use #FantasticFest or search on the Fantastic Fest blog tag at onemoviepunch.com.

Take it away, Andrew! But take it away with a highly artistic interpretive dance... 

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Hello, Film Fans!

Andrew here, back this week with a film that made its North American debut by way of a Secret Screening at the 2018 Fantastic Fest. What is a Secret Screening? Well, it’s exactly like it sounds. You sign up, show up, take your seat, and wait for the MC to walk in and surprise you with what you’ll be watching... sort of. As the festival has grown, Secret Screenings have become a little less common (with just the one in 2018) and are now generally higher profile films that are slated for theatrical release in the late Fall. With so many industry insiders, critics and film geeks in one place, the rumor mill is in high gear and, in the case of this screening, the audience was not surprised, though most were relieved and excited for what we were about to see.

Link: https://letterboxd.com/popmortem/list/all-fantastic-fest-secret-screenings-throughout/

Over the last 13 years, the fest has held 35 of these Secret Screenings, ranging from M. Night Shyamalan’s return-to-form with “Split” in 2015, the world premiere of “There Will Be Blood” in 2007, to underwhelming films like “Paranormal Activity 3” and the Wachowskis’ disappointing “Cloud Atlas”. Now what would 2018 have in store for us...

Today’s movie is “Suspiria” (2018), the surreal horror remake of Dario Argento’s 1977 film of the same name. “Suspiria” is director Luca Guadagnino’s unlikely follow up to his best-picture-nominated “Call Me By Your Name” from 2017. Just like that film’s setting in the gorgeous Italian countryside of the early 1980s, “Suspiria” is another European period piece with equally stunning, albeit far darker surroundings – oppressive Berlin circa 1977. The story follows Susie Bannion (Dakota Johnson), an earnest young woman from Ohio who has traveled to Germany to audition for a prestigious modern dance troupe. What follows is two and a half hours of moody atmosphere and surreal events that are difficult to delve into without a light spoiler that bridges this film with the original work. If you want to view the film completely unsullied, now’s your chance. 

Still with me? Good; I promise this part won’t ruin your viewing experience. The original “Suspiria” was a full hour shorter and climaxed with the revelation that the group of women that run the dance academy are, in fact, witches. The remake reveals this fact very early in the film and in a matter-of-fact manner because this version of “Suspiria” is not about a clever twist. The film has two secondary protagonists, both portrayed by the chameleon Tilda Swinton, seemingly just because she’s that amazing an actress and not for any discernible plot device. Madame Blanc is the academy’s lead instructor and a far more nuanced role than in the original film. As Josef Klemperer, Swinton portrays a new character, a psychiatrist dealing with the ghosts of his past who suspects the school harbors a dark secret.

Reviews of “Suspiria” have been mixed, albeit mostly positive. There is so much going on with this film when you consider its history, cast, visuals, soundtrack, plot and subtext that make it difficult to assess. When I saw this film on the big screen, I absolutely loved everything about it, hardly noticing the lengthy runtime, and this was likely due in part to being swept up by the Secret Screening excitement. Upon re-watching it, my admiration has cooled a bit, but there are a couple components of this film that remain memorable. The visual style of this film is striking and there are several scenes that take place within the walls of the academy that are brilliantly directed, including one earlier on in the film that may be the most artistically horrific scene in any recent film. You’ll know it when you see it. Secondly, whether you’re a Radiohead fan or not, the 80-plus minute Thom Yorke soundtrack perfectly embodies the story, and the film would be far less memorable without it. The standout tracks are the few that feature his vocals, especially “Suspirium” and “Unmade”. 

Where this movie ultimately struggles is with its duration. The film is driven by its music and visuals, but the plot lulls in the middle before a satisfying conclusion. It’s an amazing work, but one that requires your full attention. Afterwards, you’ll feel compelled to read detailed analyses on its meaning and I recommend not watching it alone as you’ll want to discuss the film as you decompress. It’s amazing that this film exists with a $20M budget and an uncompromising vision that ultimately led to box office disappointment, with just $2M domestic and a $7M worldwide total. Whatever your opinion of the film, you won’t regret watching it.

“Suspiria” (2018) is a reimagining of a classic 1970s giallo picture that tells the story it wants to tell with no attempt to be commercially appealing. Fans of visionary, polarizing psychological horror films such as Darren Aranofsky’s “mother!” or his earlier work (and the more obvious comparison) “Black Swan” will enjoy this film.

Rotten Tomatoes: 65%

Metacritic: 64

One Movie Punch: 7.2/10

“Suspiria” (2018) is rated R and is available on VOD and DVD. Follow us on Twitter @onemoviepunch and we’ll let you know when “Suspiria” or any of the other films we cover hit a major streaming service.

Come back next week when I’ll be reviewing “Anna and the Apocalypse”, the Scottish zombie musical that I promise you will become a cult classic. Get ready for some insanely catchy tunes, a few young stars in the making and just the right amount of comedic bloodletting. See you next Friday.

Hi everyone!

It’s just me again today, as we catch up on a few Netflix Original films waiting for the Oscars this weekend. It’s our first film from Taiwan, and an interesting and stylish look modern life in their country. For a few other recent Netflix Original reviews, check out Shane Hyde’s recent reviews for “Ánimas” (Episode #405) and “Polar” (Episode #412), and Ryan L. Terry’s review for “Velvet Buzzsaw” (Episode #407). Or you can search using the Netflix and Netflix Originals blog tags at onemoviepunch.com.

And now...

Today’s movie is “Dear Ex”, the Netflix Original Taiwanese drama, directed by Chih Yen Hsu and Mag Hsu, and written for the screen by Mag Hsu and Shih Yuan Lu. The film begins three months after the death of Song Zheng Yuan (Spark Chen), when his wife Liu San Lian (Ying Xuan Hsieh) learns he changed the insurance beneficiary from his son, Song Cheng Xi (Joseph Huang), to his secret male lover Jay (Roy Chiu). A battle ensues for the insurance money, and uncovers multiple hidden truths about everyone involved.

No spoilers! 

I always get excited when I get the opportunity to watch a film from another country. It gives me a peak into their culture and society. I definitely keep in mind that it is just one person’s or one company’s perspective, but I try to leave as many of my expectations at the door. All of this is amplified when it’s the first film from another country, especially a film dealing with social change. It also comes with some drawbacks, however, because sometimes the language can be culturally jarring, like hearing the equivalent of the r-word to describe people, or some incredibly violent physical interactions between adults and children, both of which feature in today’s film, and both of which challenge me to find the right aesthetic distance, because despite these issues, the film has a great many endearing qualities.

“Dear Ex” has a surprisingly progressive view on LGBTQ acceptance in a mostly traditional culture, one that is changing on a generational scale around the world, and one that struggles publicly with what characters like Song Zheng Yuan deal with individually, and often in secret. I really enjoyed the storytelling style for the film, as we accompany his son Cheng Xi seeking answers about his father, having found his mother’s answers lacking, partly because they are tinged with her own anger, but also because she doesn’t have all the answers. Cheng Xi’s scenes include some hand drawn scribbles overlaying the live-action frames to give everything a somewhat cartoon feel. We’re also treated to a number of flashbacks from different parts of Zheng Yuan’s life, each one giving more insight into all the characters, and a few times, radically changing our perspectives altogether. It transforms a simple premise into a delightfully complex story, with a full range of emotions along the way. 

The cast all turn in great performances. Ying Xuan Hsieh takes Liu San Lian’s character from furious anger at the beginning to a reluctant acceptance at the end, with great range shown during each flashback. Roy Chiu’s performance of Jay expresses just as much of his story non-verbally, accenting his lines to tell a deeper story. If anything seems to lack, it’s Joseph Huang’s performance, which rarely shows any range outside sullen teenager, perhaps because the middle third of the film delves so heavily into flashbacks that Cheng Xi really becomes more of a supporting character, despite being our guide into this story. I’m not sure how to resolve that, but it was definitely something I noticed.

“Dear Ex” (2018) is a sometimes heartwarming, sometimes heartbreaking film, that explores the role of LGBTQ individuals within Taiwan, culturally and socially. While the film has its flaws, it also has many strengths, including a mostly strong cast and some great editing. Fans looking for a gateway to the Taiwanese film scene, or folks looking for a film about LGBTQ acceptance, should definitely check out this film. Just be ready for a few jarring scenes.

Rotten Tomatoes: 100%

Metacritic: NR

One Movie Punch: 7.7/10

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