One Movie Punch

Hi everyone!

I can’t tell you how great it is to have Keith as a regular contributor to the podcast. His tastes are diverse and he enjoys access to a huge number of films living in Philadelphia, which are difficult to find in most areas, and today’s film is no exception. He’ll let you know his thoughts in a minute, but you can check out our other Oscar nominees searching on #Oscars2019 or using the Oscars 2019 blog tag at onemoviepunch.com. You can also check out Keith’s other reviews for “Shoplifters” (Episode #394), “The Wife” (Episode #403), and “Mirai” (Episode #408).

Take it away, Keith!

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

Today’s movie is “Capernaum”. Nadine Labaki directed the film and she also co-wrote the screenplay with Jihad Hojeily and Michelle Keserwany. “Capernaum” is only the second film from Lebanon to be nominated for an Oscar for Best Foreign Language Film, after last year’s “The Insult”. And it has already won the Jury prize at the Cannes Film Festival, which is basically third place.

No spoilers.

Much has been made of the migrant crisis in Europe but the five countries hosting the largest number of refugees are Jordan, Turkey, Pakistan, Lebanon, and Iran, while the next five are all in Africa. “Capernaum” takes a hard look at the status of refugees in Lebanon and the poverty that surrounds them. Labaki is committed to telling the stories of these displaced people and she creates a documentary-like sense of realism by casting mostly non-professional actors. Many of these actors are real-life refugees, such as Zain Al Rafeea, a Syrian refugee, who plays the protagonist, also named Zain. Another major role is played by Yordanos Shiferaw, an Ethiopian refugee, as Rahil, a young mother who Zain encounters on his journey.

“Capernaum” begins in a courtroom where Zain is suing his parents for giving him life. Zain’s existence as a refugee living without papers is so wretched that he is asking for the law to step in, admonish his parents, and stop them from having any more children. They already have more kids than they can keep track of, they don’t even know how old Zain is. This case becomes a framing device for the film and as the judge questions the parties involved we get flashbacks showing us how the family arrived at this point. It’s an interesting concept and I give them points for originality but the device doesn’t really work and ends up feeling unnecessary. The flashbacks are where the real heart of this story can be found. 

In the flashbacks, we see exactly how deep the dysfunctions in Zain’s family go, and we aren’t surprised when he eventually runs away from home. On his journey, he encounters Rahil, a young Ethiopian refugee caring for her newborn son. She is undocumented and working illegally at an amusement park where she has to hide her baby during her shift because she’s not allowed to care for him while she’s on the job. Rahil immediately sees in Zain a sweet young boy who has been neglected and her mothering instinct takes over. She invites Zain to stay with them and drafts him into service as a nanny while she’s at work, despite the fact that Zain appears to only be about 12 years old, remember nobody knows for sure. For a time they create a safe space for themselves and you get a glimpse of what the world could look like if we’re willing to fully acknowledge the humanity of refugees and other desperate people.

“Capernaum” is a beautiful film that can be difficult to watch. The actors give naturalistic performances that highlight the suffering of refugees and those living in poverty. If it wasn’t for the clunky framing device, this could have been a true masterpiece. 

Rotten Tomatoes: 86% (CERTIFIED FRESH)

Metacritic: 75

One Movie Punch: 7.5/10

“Capernaum” (2018) is rated R and is currently playing in theaters.

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

Hi everyone!

No Takeover Tuesday this week, so I decided to check out a film nominated for the Best Original Screenplay Oscar, and like most movies from last year, also likely robbed of more nominations. I’ll let you know my thoughts in a little bit, but you can check out our other reviews for Oscar nominees using #Oscars2019 or using the Oscars 2019 blog tag at onemoviepunch.com.

And now... 

Today’s movie is “First Reformed” (2017), the A24 distributed drama written and directed by Paul Schrader. The film follows the life of Reverend Ernst Toller (Ethan Hawke), who is pastor of a small church congregation getting ready for its 250thyear, while struggling with problems of his own. However, when he is asked to meet with a parishioner recently returned to town, his life and his faith are upset in disturbing ways. 

No spoilers. 

I saw this film come and go from the theaters last year, followed by a smattering of reviews giving it high praise and proclaiming that it was another surefire Oscar contender from A24. I definitely wanted to see it, but between limited availability and being hella busy with the podcast, I couldn’t make it work. I was excited when it finally came to Amazon Prime, and I’ve come to two quick conclusions. The first is that everyone who said this film should have been an Oscar contender is correct, and I’m talking more than the Best Original Screenplay nomination. The second is that despite the limited love from The Academy, I think this film will go down as one of the more important films of our time. I actually think I need to revise my Top 10 list from 2018 because of it. Sorry, Szukalski!

As you can tell, “First Reformed” really struck a chord within me, and it was struck early on when Rev. Toller is sitting down with Michael (Philip Ettinger), an overtly depressed radical environmentalist. Michael presents a stack of scientific facts and reports about the threat posed by climate change, while Rev. Toller tries to help him see the good in the world. I have their discussion with myself at least once a day. In a very real way, Toller and Michael represent my own scientific and spiritual sides, in constant argument with one another, as they often are within the public sphere. I want the truth of the former and the hope of the latter, but with each passing day, the gap between those two widens. And much like when I argue with myself, both characters know and accept the truth of the world as it is, and feel powerless to change things within the power structures as they exist. That social impotence is fertile ground for extremism of all forms, which are explored throughout the film.

Paul Schrader is to be commended for how well he weaves these multiple themes together, not just in the dialogue, but within the structure of the story itself. Ethan Hawke’s performance of Rev. Toller is quite great, easily one of his best performances ever. The supporting cast, including Michael’s pregnant girlfriend Mary (Amanda Seyfried), and Rev. Toller’s mentor in the church Jeffers (Cedric the Entertainer), both work well to accentuate and amplify the internal conflicts of Rev. Toller. The film is absolutely incredible for the first two-thirds, and then as we’re heading towards the final conflict, Schrader pulls the audience in a few surreal directions, and then everything just ends abruptly, a jarring grace note for an otherwise tense, yet contemplative drama.

“First Reformed” (2017) is a tough look at the need for hope in the face of destruction, and the difficulties of fighting against overbearing power structures. Paul Schrader’s excellent script is brought to life mostly well through his direction, an excellent performance by Hawke, and a great supporting cast. It’s probably the best look into understanding why people choose extremism since I read “The Reluctant Fundamentalist” by Mohsin Hamid, and for that alone, I would recommend the film to anyone who might not understand why people become radicalized. I would also recommend the film to anyone who struggles with balancing science and faith as well.

Rotten Tomatoes: 93% (CERTIFIED FRESH)

Metacritic: 85 (MUST SEE)

One Movie Punch: 8.5/10 

“First Reformed” (2017) is rated Rand is currently playing on Amazon Prime and Kanopy.

Hi everyone!

That’s right! One Movie Spouse returns with a review for a nail-biting documentary that is a literal cliffhanger. It’s been great to have Amy on board. If you haven’t yet, check out her other reviews for “Mary Poppins Returns” (Episode #380), “On the Basis of Sex” (Episode #396), and last week’s ultra cute “Pick of the Litter” (Episode #410). Now, I’m going to wedge myself into this rock and check out this review.

Take it away, Amy!

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Hi there!

It’s me Amy, aka One Movie Spouse, back for another guest review. Mwwwwaaah! There are so many great films to be seen during this Oscar season, I can’t wait to share my thoughts about today’s breathtaking film.  You can find me on Twitter: @BriteWhen and we can chat about films or you can see what else I am up to when I am not busy as a spouse-mother-teacher.

Today’s movie is “Free Solo” (2018), the Oscar-nominated documentary film directed by Elizabeth Chai Va-sar-he-ly-i, and mountaineer and photographer, Jimmy Chin. This film captures Alex Honnold’s incredible feat of scaling El Capitan in Yosemite National Park *without* ropes or climbing supports. Just as Honnold was living on the edge, viewers are likely to be on the edge of their seats during this 90 minute journey.

There’s nothing to spoil because the internet and every news source has been reporting on this incredible never-been-done-before feat. He’s even featured in February 2019’s issue of National Geographic magazine, who also helped produce the film. Honnold’s determination and tenacity are fierce! While you know the end result, you might not realize just how dangerous and amazing this journey was until you watch it for yourself.

I must admit, I have never been a rock climber, and have difficulty working my way up a climbing wall at the indoor places. However, that didn’t stop me from enjoying this film. I greatly admire Honnold’s desire to conquer the seemingly impossible. His goal was a wild one and he did everything he could to make it happen! Throughout his years of training and injuries sustained, he never shied away from his ultimate goal, even as others tried to talk him out of it, he persevered! While I don’t share the same desire to scale El Capitan without ropes, I am feeling inspired to try climbing and other new experiences outside of my comfort zone.

Not only was Honnold’s journey to the top of El Capitan thrilling and fascinating, so was the making of this documentary. In order to capture the incredible photos and film, a crew had to accompany him and another crew to document them in the process. This allowed for “bigger picture views” of Yosemite’s splendor and made for a gorgeous backdrop for this film. Both crews documenting it along the way had to be discreet and not distract or interfere with the complex climb. Watching this film pan between “ant size” Honnold on El Capitan and then close up views, can make those without a fear of heights have increased heart rate and sweaty palms. Even if you do have a fear of heights, I think this film is still worth watching. Just watch it through the cracks of your fingers in front of your face. Catch this 2019 Oscar-nominated Best Documentary; it’s nothing short of amazing and the views are dazzling!

This is an excellent film chronicling Alex Honnold’s incredible journey! Fans of extreme sports, nature lovers, and “wild goal setters” are sure to enjoy this film.

Rotten Tomatoes: 98% (CERTIFIED FRESH)

Metacritic: 83 (MUST SEE)

One Movie Punch: 9.0/10

“Free Solo” (2018) is rated PG-13and is currently available for purchase at major digital outlets.

Hi everyone!

Well, it’s the last week before the Oscars 2019, now hostless and featuring fewer televised awards. I’m not sure what’s going on with the Academy, but no one on #FilmTwitter seems to be happy, I can tell you that much. Regardless of that, however, we’re going to finish out our Oscars 2019 coverage this week with four more films, including today’s review from the archives. We’ll also have two Netflix Original films, and your weekly dose of Fantastic Fest from Andrew on Friday.

Tired of hearing archived reviews on Sunday? Become a sponsor for One Movie Punch! Head over to patreon.com/onemoviepunch and sign up for a monthly contribution at any level. You’ll be eligible to transform episodes like today into Sponsor Sundays, where you can tell me to review any film of your choice, with few exceptions. All funds go to keep this podcast going. And if money isn’t your kind of support, be sure to subscribe to the podcast; follow, like, and share our posts on Twitter, Facebook, and Instagram; and leave us reviews on your podcatcher of choice. All of it helps us to grow our audience and invigorates us to continue providing daily movie reviews.

In the meantime, I went back into the archives for my review of “Black Panther” (2018), possibly the best Marvel Cinematic Universe movie ever made, and on an epic scale. I don’t think I would be wrong to say that it overshadowed even “Avengers: Infinity War” (Episode #120), and it has picked up an impressive three Golden Globe and seven Oscar nominations. But will they take home any awards after being shutout at the Golden Globes? We’ll find out next week! In the meantime, you can catch “Black Panther” on Netflix, or by renting/purchasing at major digital outlets. It sits at 97% Certified Fresh at Rotten Tomatoes and 88 Must See at Metacritic. And, of course, I loved it.

Before the review, however, we have a brand new promo from our friends at the Bicurean podcast, an insightful talk and interview show that looks for the common ground in an increasingly polarized world. Check out their promo, then check out their show at bicurean.com. That’s B-I-C-U-R-E-A-N.

Here we go! 

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It’s Marvel Monday and we’re back on the Road to Infinity War. Instead of continuing our chronological journey, we’re going to fast forward a bit. Actually, we’re going to take a quantum leap into the future with “Black Panther” (2018), directed by Ryan Coogler and written in collaboration with Joe Robert Cole.

The film expands on the story of T’Challa (Chadwick Boseman), picking up after “Captain America: Civil War” (2016), returning to Wakanda to ascend as King according to their traditions. Meanwhile, Erik Killmonger (Michael B. Jordan) is working with Ulysses Klaue (Andy Serkis) to obtain vibranium, the rarest element on the planet, found only in Wakanda, but also to fulfill his destiny. The two stories soon blend into one, with surprising twists and epic battles against gorgeous scenery.

The cast is insanely great. I really enjoyed how Boseman and Jordan brought the personal and political struggle between T’Challa and Killmonger to life. The supporting cast is vast and incredibly talented, including Lupita Nyong’o as Nakia, T’Challa’s ex; Danai Gurira as Okoye, leader of the royal guard; Daniel Kaluuya as W’Kabi, a key tribal leader; Letitia Wright as Shuri, T’Challa’s sister; and awesome roles for Angela Bassett as Ramonda, T’Challa’s mother and Forest Whitaker as Zuri, the spiritual leader of Wakanda. The only performance that seemed lacking was Martin Freeman playing CIA officer Everett K. Ross, although he was more comic relief than essential character.

“Black Panther” is spectacularly developed. The color palette is bold, utilized not just by the backgrounds, but also in the costumes based on    traditional and modern African fashions. The action scenes are absolutely bananas, both the fight scene/car chase in South Korea, and the final epic battle in Wakanda. I really wished I had seen the film in high definition, just to see the colors pop even more. And similar to both “Guardians of the Galaxy” films, “Black Panther” gets the right mix of score and soundtrack throughout the film, with original songs developed by Kendrick Lamar.

I’ve got nothing but love for this film, although with the incredible amount of hype that preceded its release, I felt disappointed at the end. I wanted so much more of Wakanda because it is so well rendered, and there’s still a lack of superheroes of color (and women) within the Marvel Cinematic Universe. However, with “Black Panther” (2018) dramatically expanding the social and political structure of Earth, there are more opportunities than ever to fill those voids.

Hi everyone!

Shane Hyde is back once again, this time for a less than stellar Netflix Original film. He’ll have his thoughts in a bit, but for a few other questionable productions from Netflix from last year, check out “Bright” (Episode #002), “The Open House” (Episode #020), “The Cloverfield Paradox” (Episode #044), “Mute” (Episode #055), and “Sabrina” (Episode #328). Maybe don’t watch those films, but definitely check out our reviews.

Also, I gave Shane one rule with this episode: don’t use the obvious catch phrase from the film. It’s crude, and insensitive, and let’s face it, horrible writing. I’m sure he won’t use it in any way, shape, or form later on. The listener should not take this as any kind of foreshadowing whatsoever.

Right, Shane?

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Kia ora, I’m Shane Hyde here and I’m here to talk about movies and chew bubble gum... and I brought enough for everyone. You want some? It’s grape!

Anyway, today’s review is for 2019’s “Polar”, a movie that aimed for its hard R and doesn’t quite reach the lofty heights of “Crank”. 

So, without further ado... it’s blow time!

(Oh, for ’s sake!) 

“Polar” is a Netflix Original comic-book adaptation, the screenplay by Jayson Rothwell, and directed by Jonas Åkerlund. Who these guys are, I have no idea, but there’s nothing good to their names. I’m not familiar with the source material but having learned that it was a comic-book, the movie itself starts to make a bit more sense. But this doesn’t save it though, oh no.Polar follows Duncan Vizla, played adequately by Mads Mikkelsen, the world’s top assassin, and he’s about to enter a life of retirement. In a hack-handed plot, Matt Lucas’ Blut sets a team of what turn out to be shitty assassins after him to save in retirement fees.

Seriously, that’s the plot. 

“Polar” is three films wearing a trench coat and trying to sneak into an R-rated theater. The tone is uneven throughout, wanting to be 2017’s “Killing Gunther” one minute, and then “John Wick” another, and then a serious drama about a killer coming face to face with the ramifications of his actions. I think there’s a dash of “The Incredible Hulk” in there, some “Casino Royale”, and “Pink Flamingos” because at the end I felt that I had eaten dog shit. 

Mads Mikkelsen’s performance is stony-faced and, like I said, just adequate and contrasts sharply against the antagonists, a bunch of campy two-dimensional assassins who don’t really matter in the great scheme of things, and their hyper-flamboyant boss who seems to be channeling Divine from the aforementioned “Pink Flamingos”. But I should mention Vanessa Hudgens is in here playing Camille, a woman escaping her tragic past. And she seems to be convinced that she’s in a completely different movie than everyone else, putting in a solid and really good acting turn against Mads, but not doing a whole lot of anything else... but I’m venturing here into spoiler territory.

Look, if you’re going to do a comic book film, do it properly and stick to the tone. Polar doesn’t just meander back and forth, it shifts suddenly and jarringly from camp to serious, and back again, and landing at a dozen places in between.

**sigh**

It earns its R rating with a copious amount of blood and skin, but it didn’t necessarily need all that. And to be frank: “Polar” is a bit crap.

In summary, “Polar” isn’t a film you’d show to your granny. You might watch it with your mates, but there is better fare out there that will give you the same levels of gratification. Hell, even “Pink Flamingos” manages to keep it focused.

Rotten Tomatoes: 22%

Metacritic: 19

One Movie Punch: 2.5/10

...and that’s really only because of Vanessa Hudgens. 

“Polar” is currently rated R and streaming on Netflix.

Let me just write this down on my Cards Against Humanity card... it’s... blow... time.

Hi everyone!

Andrew’s back with another Fantastic Fest feature, this time from Jonah Hill, who in my opinion, was robbed of a Best Supporting Actor nomination for his role as Donnie in “Don’t Worry, He Won’t Get Far on Foot” (Episode #217). Don’t forget to check out Andrew’s other recent reviews, including “Terrified” (Episode #404), “Sleep Tight” (Episode #397), “Beautiful Boy” (Episode #395), and “In Order of Disappearance” (Episode #390), the United States remake of which, entitled “Cold Pursuit”, was just released in theaters. Got any suggestions? Reach out to Andrew over social media, or let us know at onemoviepunch.com.

Take it away, Andrew!

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Hello, Film Fans! 

Andrew here, back this week with a film that is a bit of departure from the typical Fantastic Fest fare. I’ve been bringing you suspense, crime and horror tales that, more often than not, have come from outside the U.S. This week, I’ve got a singularly American film that may well have premiered at Sundance instead, had they premiered it in the Winter rather than early Fall. That said, this is a coming-of-age story of a young boy who falls in with a group of outsiders and misfits, something that I and other movie festival attendees can find relatable. 

Today’s movie is “Mid90s” (2018), the comedy-drama directorial debut of writer Jonah Hill. The film made its U.S. premiere at the 2018 Fantastic Fest with Hill and the full cast of skateboarders-turned-actors in attendance. The film stars newcomer Sunny Suljic as 13-year-old Stevie, who lives in Los Angeles with his loving, but often absent single-mother Dabney (Katherine Waterston) and his troubled older brother Ian (Lucas Hedges). Early on in the story, Stevie befriends a diverse group of older boys that spend their days hanging out at a downtown skateshop or filming their skateboarding antics at various parks and schools. Stevie’s innocence, short stature and boyish looks make him appear much younger than his new companions as we watch him do a lifetime’s worth of growing up over a period of a few weeks.

2018 saw the release of three skateboarding films. We will find out in a week whether “Minding the Gap” (Episode #242) will take the Academy Award for Best Documentary. As a Midwestern youth, Bing Liu filmed his skate friends for years, interviewing them in between stunts. As an adult, Liu returns home, speaking with his old friends and their families and shining a light on a cycle of substance abuse, domestic violence and poverty. The parallels to “Mid90s” are even easier to draw with the third film set in skate-culture, Crystal Moselle’s “Skate Kitchen”. Another film that drew strong marks from critics, “Skate Kitchen” takes us to Long Island, where 18-year-old Camille is welcomed into a group of rebellious skater-girls and, I’m just guessing here because I haven’t seen it yet, comes of age?  Maybe all three directors grew up watching Christian Slater’s “Gleaming the Cube” and were all subliminally implanted with the need to put out deeply personal skateboarding stories just ahead of its 30thanniversary?  Maybe I should get back to talking about “Mid90s”?

When casting this film, director Jonah Hill decided against casting child actors in favor of casting young skateboarders and teaching them how to act. This fact is evidenced throughout the film, but what some of these kids lack in dramatic talent they make up for in authenticity. The lone standout here is actor Sonny Suljic who, unless I am mistaken, is in every scene in the film. Appearing with Hill in numerous interviews and making the late-night rounds, Suljic has a wit that belies his age and we may end up looking back on this film as the start of a promising career. The other teens in the film pull off serviceable performances and the story gives just enough of an arc to each of their characters to keep them from being fully one-sided.

“Mid90s” is a promising debut for Jonah Hill. He’s been steering his career away from comedy into more dramatic roles, albeit in films that retain a dark humor, such as 2010’s “Cyrus” or “The Wolf of Wall Street” the following year. Hill wisely refrains from putting himself in front of the camera in his debut and, as he has repeated in interview after interview, Hill has done a good job of applying what he’s learned from working with world class directors throughout his relatively young career. That list including: Scorcese, Tarantino, Apatow; Gus Van Sant and Todd Phillips; The Coen Brothers and the Duplass Brothers, among others. The directorial style of “Mid90s” doesn’t mimic any of his influencers. Instead it has more in common with the rough cuts and rounded edges of the low-budget skate films it tries to capture. And I can’t let it go unremarked upon that the score was composed by none other than Trent Reznor and Atticus Ross, who continue their amazing partnership and propel this film forward using a terrific period soundtrack.

“Mid90s” is a too-brief, imperfect film that enthralls the viewer. It is a bittersweet guilty pleasure; the kind of movie that, if anyone still watched cable television, would be impossible to pass up when flipping through channels. Fans of difficult tales of adolescence, such as Harmony Korine’s “Kids” (which coincidentally came out in the mid-90’s) or of the British television program “Skins” or its later American version, will enjoy this film.

Rotten Tomatoes: 76% (CERTIFIED FRESH)

Metacritic: 66

One Movie Punch: 7.8/10

“Mid90s” is rated R and is available for rental on VOD and through Netflix’s DVD service to both myself and the maybe one other household that still gets DVDs in the mail. Remember to follow us on Twitter @onemoviepunch and we’ll be the first to let you know when any of the films we review hit a major streaming platform.

Come back next week when I’ll be reviewing “Suspiria”, the horror remake that somehow manages to be a singular artistic vision. There will be plenty to say about this polarizing work, so I’ll meet you in Berlin circa the late 1970s.

Hi everyone!

Happy Valentine’s Day! I’m sorry if you’re having some trouble hearing me, but I am currently buried underneath a pile of dogs all trying to show me just how cute they are. While I’m stuck here, One Movie Spouse, aka Amy Dobzynski, is here to give a review for one of the cutest documentaries ever made. For a few other uplifting documentaries, check out “Faces Places” (Episode #130), “Won’t You Be My Neighbor?” (Episode #193), and “44 Pages” (Episode #221). And if you have any suggestions, reach out to us through this puppy pile over social media and let us know.

Take it away, Amy!

You’re so cute. Yes you are. Yes...

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Hi there! It’s me Amy, aka One Movie Spouse, back for another guest review. Mwwwwaaah! Happy Valentine’s Day! It’s one of my favorite holidays, so naturally, I begged One Movie Punch to play my review today. Don’t let the commercialism of Valentine’s Day bog you down. I like to think of it as the “Thanksgiving of February”, letting those in your life know truly how special they are to you, and spread some love and kindness to others around you. Let’s be honest, we all could use a little more positivity in our lives, and today’s film is sure to fill you with warm fuzzies!

Today’s movie is “Pick of the Litter” (2018), the documentary directed by Dana Nachman and Don Hardy Jr., written for the screen by Dana Nachman. This Valentine’s Day, skip the flowers and chocolates and enjoy some PUPPIES! This delightful film follows the journey of five dogs in their quest to become service dogs.

No spoilers! 

This documentary looks at the process for puppies to be become certified service dogs with Guide Dogs for the Blind (GDB). They are based in San Rafael, California, and help individuals who are blind or have vision impairments from around the United States be paired with a service dog. The trailer shows teeny puppies being born and then flashes to dogs assisting individuals in their day-to-day lives. But what does it take for these pups to make the cut? Watch this 81-minute film to get a glimpse. Warning: for animal lovers, it is cuteness overload and you may want to adopt a dog or two after watching this film. 

The training process was intriguing, beginning with puppy handlers who foster the young puppies to acclimate them to different people, places, and other dogs. This film showcases various individuals, families, and couples who care for these spirited puppies, and begin their training process. As the dogs grow older, there are various “checkpoints” in which they are tested on skills to determine if they are to continue in their training, or have a “career change” and be released from the two-year rigorous training program. While watching this film I realized that I probably couldn’t serve in the role as a puppy handler because I would become too attached to these beautiful dogs. I’ll admit I didn’t cry, but I did find myself choked up more than once.

While segments of the puppy training and testing are shown, we are introduced to individuals who are waiting to be paired with a service dog. It is heart-warming to hear their individual stories and how having a service dog will increase their independence. The direction of this film transitioning between puppy stories and people stories is well-done! You find yourself rooting for the dogs and their progress while seeing the team of dedicated people committed to their training. It is inspiring to see these amazing dogs’ growth and to look ahead to years of loyal service beyond their graduation. 

“Pick of the Litter” (2018) is a “fetching dogumentary” (see what I did there?), highlighting the process of becoming a service dog. After watching, your heart will swell with love and compassion. This film will appeal to animal lovers and those curious about how service dogs for the blind are trained.

Rotten Tomatoes: 100% (CERTIFIED FRESH)

Metacritic: 67

One Movie Punch: 9.0/10

“Pick of the Litter” (2018) is not rated and is available on Hulu!

Hi everyone!

Garrett’s back with another review, this time for a Golden Globe nominee from Hollywood auteur David Lowery. I’ll admit, I tore up his last feature film, “A Ghost Story” (Episode #010), mostly because I couldn’t stand watching Rooney Mara grief eat as much as I enjoyed the rest of the themes at play. However, there’s no question he has talent, and I’ll let Garrett expound upon that in a little bit. To check out our other award nominees (and winners), head over to onemoviepunch.com and search on the Golden Globes and Oscars blog tags. But for right now, here’s a quick promo, followed by the review.

Take it away, Garrett!

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My name is Garrett Wright and I co-host Two Views Movies podcast along with my friend Carson Graff. We are a spoiler-filled podcast by two guys who love watching movies almost as much as we love arguing about them. Our weekly podcast features reviews of new releases, retro reviews of older favorites, obscure top 5 lists, and our two views of all things movies. You can find our podcast on all major platforms and at TwoViewsMovies.com where you can also find spoiler-free written reviews of the movies we watch. I’m thrilled to be the guest for today’s episode. You can follow me on Twitter at @TwoViewsGarrett and the podcast on Twitter, Facebook, and Instagram at the username @TwoViewsMovies.

Today’s movie is “The Old Man & the Gun”, the mostly true crime drama directed and written by David Lowery and based on the New Yorker article by David Grann. “The Old Man & the Gun” is the mostly true story of Forrest Tucker (Robert Redford), from his audacious escape from San Quentin at the age of 70 to an unprecedented string of heists that confounded authorities and enchanted the public. Wrapped up in the pursuit are a detective (Casey Affleck), who becomes captivated with Forrest’s commitment to his craft, and a woman (Sissy Spacek), who loves him in spite of his chosen profession.

All spoilers have been captured and thrown in lock up, so keep on listening...

“The Old Man & the Gun”is peak Robert Redford. A film about a man so charismatic that even as a serial bank robber, you can’t help but be captivated by his charm. Billed as Robert Redford’s last acting role, it is impossible to not view the entire film through this prism. Director David Lowery clearly reshaped the New Yorker story written by David Grann in order to soften the main character and fit Redford’s persona. And with nods to, and footage from, Redford’s previous films, “The Old Man & the Gun”is an encapsulation of all things Redford — from his films to his personality.

Every aspect of this film has been crafted by David Lowery to feel as though it is *from* the early 80’s as opposed to simply being set in that time period. Lowery’s use of 16mm film gives the picture a grainy texture that has long been overtaken by the sharp, sterile pictures of modern digital filmmaking. Beyond the visuals and obvious style choices, the narrative structure and pacing of the film harken back to the classic Redford films of yesteryear. It is by no means a fast movie, but it also never screeches to a grinding halt by leaning too far into the melodrama as most movies of that era are inclined to do. It is deliberate in its storytelling and moves in lockstep with the calm confidence of its leading man. 

Robert Redford is truly a king of cinema. Not much more can be written about him that hasn’t been covered thousands of times over. The man is pure charisma in the form of a human being and can communicate so much without ever saying a word. “The Old Man & the Gun”is undoubtedly a Redford vehicle first and foremost. But it is the addition of Sissy Spacek that provides an escape from the repetitive bank robberies. The moments with Spacek and Redford feel so natural that it is like you are eavesdropping on a real conversation as opposed to watching a scripted scene. These moments are so genuine that even a mundane conversation over a cup of coffee is endearing and reminiscent of high school sweethearts sharing a milkshake. Tucker’s “Over the Hill Gang” trio is rounded out by Danny Glover and Tom Waits who are resigned to bit roles with little impact to the story. Casey Affleck adds to his already impressive supporting actor resume with a subtly nuanced performance as detective John Hunt — the man tasked with tracking down the Over the Hill Gang.

“The Old Man & the Gun” manages to feel entirely wholesome despite being a story of an outlaw bank robber. It is sweet in all the right ways and is balanced out by the vintage grittiness of both the visuals and the story which prevent it from being saccharine. If this is indeed Robert Redford’s last film, it feels like the perfect embodiment of his style and a fitting capstone to an illustrious career. But when the character Forrest Tucker says “It’s not about making a living, it’s about living” in regards to robbing banks, you can’t help but feel it’s really Robert Redford talking about acting. The only way for each of these men to live is to be doing what they love. 

Rotten Tomatoes: 92% (Certified Fresh)

Metacritic: 80

One Movie Punch: 7.3/10

The Old Man & the Gun was released in 2018, is rated PG-13, and is currently available to rent and purchase on digital, Blu-Ray, and DVD.

Thanks for listening to my review here at One Movie Punch. If you like what you heard – or didn’t – reach out to me on Twitter at @TwoViewsGarrett and let me know. I’ll be back soon with more reviews on One Movie Punch, but you can always find me on the Two Views Movies podcast.

I will catch you next time.

Hi everyone!

We’re welcoming back Philly Film Fan, aka Keith Lyons, with a review for a film nominated for Best Animated Feature at the Golden Globes and the Oscars this year. It’s another Japanese animation film, one of our favorite genres, and for a few other reviews, check out “Mary and the Witch’s Flower” (Episode #212), “Flavours of Youth” (Episode #224), “Fist of the North Star” (Episode #243), and the impressive Godzilla animated trilogy (Episodes #340, #341, and #377). And if you have any suggestions, let us know at onemoviepunch.com or reach out over social media.

Take it away, Keith!

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Hi, Philly Film Fan here with another review for One Movie Punch. You can follow me on Twitter at PhillyFilmFan, where I participate in the #365Movies challenge. That’s P-H-I-L-L-Y-F-I-L-M-F-A-N.

Today’s movie is “Mirai”, written and directed by Mamoru Hosoda. “Mirai” is nominated for an Oscar for Best Animated Feature and it is the first Japanese film produced outside of the famed Studio Ghibli to earn that distinction.

No spoilers.

“Mirai” opens with a four-year-old boy, Kun (Moka Kamishiraishi), eagerly awaiting the arrival of his little sister, Mirai (Kaede Hondo). But Kun quickly learns that a new baby requires constant care, and that means that his parents have a lot less time for him. Jealous of his baby sister, Kun begins acting out. First he takes his aggression out on his mother (Kumiko Aso), then his father (Gen Hoshino), and finally Mirai, even going so far as threatening to bash her head with one of his toy trains.

Kun’s behavior becomes a crisis point for the family and puts even more pressure on his parents already-strained relationship. Unable to deal with a newborn baby and their new problem child, Kun’s parents exile him to the yard. That’s when things start to get weird. A mysterious stranger appears before Kun and introduces himself as “The Prince of the House”. Well, make that former “Prince of the House”. There was a time when this mysterious stranger was doted on hand and foot by Kun’s parents but all that came to an end once Kun was born. We quickly realize that the “Prince of the House” is actually the family dog, Yukko, whose human form is voiced by Mitsuo Yoshihara.

But a talking dog is only the beginning. Soon Kun will be visited by a teenage version of his baby sister (Haru Kuroki). This future version of Mirai will enlist Kun and Yukko on a quest that will eventually take Kun on a poignant journey through their family history. Although there are fantasy elements to this film, at its core it is a story about Kun’s struggle to accept Mirai into his life. Mamoru Hosoda was inspired to make this film by the difficulties his own son had after his second child was born. By drawing on his personal experiences, Hosoda is able to create fully-rendered characters with a depth you don’t usually see in animated films. 

“Mirai” presents naturalistic, three-dimensional characters in a beautifully rendered, classic 2-D animation style. Fans of character-driven anime with a sentimental tone like “When Marnie Was There”, “In This Corner of the World”, “Your Name.”, “Miss Hokusai”, or “The Red Turtle” should definitely check it out. An English dub, featuring John Cho, Rebecca Hall, and Daniel Dae Kim, is also available. But if you’re watching dubbed anime, you’re living your life wrong.

Rotten Tomatoes: 92% (Certified Fresh)

Metacritic: 81 (Must See)

One Movie Punch: 7.5/10 

“Mirai” (2018) is rated PG and is currently playing at a limited number of special screenings across the US. A DVD, Blu-ray, and streaming releases are expected in the next few months but no dates have been announced yet.

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

Hi everyone!

We’re here live at the scene, as #FilmTwitter continues its vicious carving up of the latest film from Dan Gilroy, sometimes for very good reasons, other times for what seems to be the sheer joy, and admittedly, sometimes for both. Ryan L. Terry is back to let us know his thoughts, and hopefully there’s something left for you all to go watch when it’s over. If you’re looking for another film that lampoons the world of high art, definitely be sure to check out Banksy’s incredible mockumentary, “Exit Through The Gift Shop” (Episode #060). And don’t miss our review for “A Simple Favor” (Episode #274), which Ryan will reference later.

Here’s a quick promo for Ryan, followed by the review. 

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Today’s movie is Netflix' “Velvet Buzzsaw" (2019), the satirical thriller written and directed by Dan Gilroy, which debuted on February 1st. Go beyond the frame into the vicious world of the art business.

Spoilers ahead!

Much like the hype surrounding “Bird Box”, this movie was also proceeded by a prolific number of memes on social media. Although this movie opened to mixed reviews from critics and audiences, I found it to be immensely enjoyable. Not to the point that it's a great movie, but a solid thriller. A plot and setting that could have so easily been boring were intense and seductive. Who would have thought being a critic would be so alluring and perilous? Furthermore, this movie provides audiences with thought-provoking commentary on art and business. You witness all the players in the art business game: the creators, critics, clients, and curators. Essentially, the theme of this sexy, sinister satire is the more we attribute a monetary value to art that is inspired by a creator's incredibly dark place, the more we run the risk of suffering, even vicariously, a deadly consequence for our selfish actions.

“Velvet Buzzsaw” stars Jake Gyllenhaal as a feared art critic who can literally make or break careers, and the talents of Toni Collette, Rene Russo, Zawe Ashton, and John Malkovich. After a depressed art dealer discovers hauntingly bizarre paintings in the apartment of an unknown artist following his mysterious death, a supernatural force enacts violent revenge on those whom allowed greed and the glorification of macabre inspiration to get in the way of appreciating art for the sake of art. 

Most movies require you to exhibit a suspension of disbelief, and in this movie, it comes down to whether or not you'll allow yourself to (1) believe that the disturbing art discovered in the deceased's apartment would ignite the buying frenzy that it did; and (2) allow yourself to believe that art inspired by dark places could be haunted. Believe it or not, it's more of the first because it is clear that this is a hybrid horror-thriller, so you will already believe that the supernatural elements are possible. Provided you permit yourself to buy into this portrayal of the business of collecting, buying, and selling art, the movie offers a brilliant image of the seedy underbelly of the art world. At the center of the plot, it is not the vengeful poltergeist or the twisted relationships, but it is the monetization of perception. Such an apropos topic for our increasingly image-driven society's penchant for erecting facades that sell on social media. I am reminded of the iconic latin inscription around MGM's Leo the lion "ars gratia artis" (translated art for art's sake). Sometimes art, which includes motion pictures, needs to be created for the contribution to the world of art more so than simply as a cash grab. Instead of appreciating the macabre art for its intrinsic value, those involved in this plot are more concerned with delivering a perception that will fetch the highest price. This can be likened to a studio's marketing company selling the perception that a particular high-concept movie is a work of art that demands your money, when it's just a fun, even well made, action movie with high entertainment value that comes with some good feels. 

For all the movie did right, and don't get me wrong, I enjoyed it, I cannot help but posit that Paul Feig would have known how to take all the elements and build more engaging narrative. Citing “A Simple Favor”, I am convinced that Feig should've been the writer-director of this story. That being said, I believe what hampers Gilroy's movie and why it failed, by many, to live up to the hype is the observation that it was billed as a horror movie when it should have been marketed as a thriller. A lot of the feedback I was reading on Twitter was related to the disappointment in the lack of horror in the movie. Much like one may characterize “Black Swan” as a heavy, disturbing drama with horror elements but not a horror film, “Velvet Buzzsaw” is a thriller with horror elements, not a horror movie. One might say that “Velvet Buzzsaw” pulled a bait-n-switch in order to get more people interested in the movie about the art business with its horror skewed marketing. Furthermore, Netflix also released that erotic image of full side nudity of Gyllenhaal in order to get the straight girls and gay guys interested in watching the movie, suggesting that its eroticism would be throughout the story, when in reality there’s just a few erotic moments in the movie. Had the movie been marketed more accurately as a thriller, then perhaps the initial feedback from critics and audiences would have been more favorable. 

Rotten Tomatoes: 67%

Metacritic: 61

One Movie Punch: 7.0/10

“Velvet Buzzsaw” (2019) is rated Rand is currently streaming on Netflix.