One Movie Punch

Hi everyone!

We’re back with another week worth of reviews, with a few awards nominees, a couple Netflix Originals, and quite possibly the cutest documentary ever made. Our team of reviewers are doing great work, and the response has been amazing!

No new sponsors this week. If you’re interested in becoming a sponsor, however, head over to patreon.com/onemoviepunch and sign up at any level. All sponsors are eligible to make yours truly review a film of your choice, with few exceptions. All funds go to offsetting costs, and will help us to grow with our audience.

In the meantime, I’ve dug into the archives for our review last year for “Moonlight” (2016), from Barry Jenkins, which won the Oscar for Best Picture in 2017, with one of the more unfortunate and controversial blunders in Oscar history, perhaps only to be outdone by this year’s show given all the early commentary. The film currently sits at an impressive 98% Certified Fresh rating on Rotten Tomatoes, and an equally impressive 99 Must See rating on Metacritic. You can still catch it on Amazon Prime and Kanopy, and rent or purchase it at most digital outlets.

Here we go!

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Today’s movie is “Moonlight” (2016), the Oscar winning masterpiece from Barry Jenkins. I don’t know if this podcast is going to be a review so much as an exposition on how much this film impressed me, especially for his second feature-length film, eight years after the ambitious and underrated “Medicine for Melancholy” (2008). Get ready for a love fest.

Everything is built on the story, based on a semi-autobiographical play by Tarell Alvin McCraney, and structured as a triptych of key moments in the life of Chirone, the focus of this character study. Jenkins and McCraney developed an amazing screenplay, striking the right perspective and pacing into each section, with the right elements tying everything together in the end.

An amazing cast brought the screenplay to life, not only for Chirone (Alex Hibbert, Ashton Sanders, and Trevante Rhodes) or his friend Kevin (Jaden Piner, Jharrel Jerome, and André Holland), but also for persistent characters like Chirone’s biological mother Paula (Naomie Harris) and surrogate mother Teresa (Janelle Monáe), and, of course, the Oscar winning performance of Juan by Mahershala Ali. The cast for Chirone and Kevin in particular make you believe it is the same person at different points in their life, an incredibly difficult feat requiring expert direction and performances.

You can really tell from the set locations that Jenkins and McCraney grew up in Miami, finding just the right angles and filters to capture awesome color patterns, and, of course, excellent use of light and shadow, particularly at night. And finally Joi McMillon and Nat Sanders bring the film together in the editing room with some amazing composition, and excellent music choices and score from Nicholas Britell. A24 picked it up for production, their first. Talk about setting the bar high for the future. 

I can’t believe I waited this long to watch the film. It has a balance of strong, unique subject matter and perspective in a realistic representation of their environment. It also makes me excited to see his next film, an adaptation of James Baldwin’s novel “If Beale Street Could Talk”, utilizing most of the same excellent crew from “Moonlight”. 

Amazing.

Hi everyone!

The 400th Episode celebration week is coming to a close, with the return of our good friend Shane Hyde. He’s fully recovered from his trip to the Fyre Festival, although he seems awfully obsessed with the footage. As promised, we gave him a home assignment, although it’s for a different kind of house. Check out his previous reviews for “Event Horizon” (Episode #254), “O Brother, Where Art Thou?” (Episode #322), and the aforementioned “Fyre” (Episode #398).

Shane, hit me with a one-liner!

Shane: “It’s like Drop Dead Fred, only serious!”

All right. Works for me. Take it away, Shane!

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Kia ora, I’m Shane Hyde. I keep watching movies and can’t seem to stop talking about them – so here I am; back again for this week’s review of “Ánimas”. I’m a fan of foreign horror movies so when I saw this one come up for review I raised a hand. And it’s good, surprisingly so.

“Ánimas” (2018), a Netflix original, is a fascinating film about the relationship between two characters and how their relationship changes over the course of the film and because it’s in the synopsis there are visions and weird shit going on...

And crikey, I can't spoil this film so I'll talk around it and less about what's going on in the film - because you want to go into this one pretty unaware of it. And I mean it, it’s best to not even watch the trailer. So be warned. No spoilers.

I distinctly recall my first thought at seeing the first green-tinged frame of “Ánimas”, and that was this was going to be a moody film. And it was, and it keeps it up much all the way throughout the film. There is a stoplight motif to the colours and use of colours; green when it's safe, red when it’s less so. And there’s interplay of the lighting and the cinematography. A character walking from a green place to an amber or red place is going into danger, and vice versa. Each scene is bathed in this light and you'll find yourself responding to it in kind as you watch. And the sets and the costumes suggested a little “Matrix” influence which ties in a little into the theme of the movie in itself and I MUST NOT say any more on that.

“Ánimas” is well acted (and I'm going to have a go at these names coming up) with Alex (Clare Durant) putting in a striking turn opposite Ivan Pellicer’s Bram (GOT IT!). And it’s around both of these that the film revolves. The script is good, not strong, but good in the first act and weakens somewhat in the third. And then, there are those lazy moments of exposition: character reads the right sentence from book that alludes at what is going on right now. But aside from picking that nit, “Ánimas” is actually quite an enjoyable horror/thriller and fans of either genre won't be disappointed.

“Ánimas” is directed by Laura Alvea and Jose F. Ortuno (who wrote the novel on which the film is based). I'm unfamiliar with either of their works but I'd be interested in looking out for more, particularly if their works have the layers that are present throughout “Ánimas”. And I’m going to make one final comment about platform, rather than the movie itself. Animas apparently has a mid-credit scene. As it's platformed on Netflix with the service's rapid leap to recommending the next film, well, I missed it, and I haven’t gone back out to check out what it was. So, yeah, just be aware. There’s that. 

And so in summary, “Ánimas” is a nice, tidy, wee horror/thriller that manages a lot with its M rating. This isn’t filled with buckets of blood and crazed slashers, but injects horror into what is really quite an innocent relationship.

Rotten Tomatoes: 60% Metacritic: NR One Movie Punch: 6.5/10

“Ánimas” is currently rated M and is streaming on Netflix.

Hi everyone!

We’re back with another Fantastic Fest review from Andrew Campbell. And what a film it is, taking home the Best Horror Feature at Fantastic Fest last year. Andrew compares it to a few works by Guillermo del Toro in the review, which is appropriate since the film has been picked up by the man himself for a United States remake. If that doesn’t get you hyped up for today’s review, I don’t know what will. Check out Andrew’s other reviews for the podcast using #FantasticFest or by searching on the Fantastic Fest blog tag at onemoviepunch.com.

Also, no jokes or skits today, just a huge thank you to Andrew for not just being a reviewer, but also being a sponsor for the podcast. I can’t tell you how much that shot in the arm last year kept this podcast going strong for 400+ episodes. I appreciate your guidance and your criticism. It has helped shape this podcast immensely.

Take it away, Andrew! 

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Hello film fans!

Andrew here - back with another film that debuted at last year’s Fantastic Fest. I have to confess that I did not get a chance to see it on the silver screen, but I was delighted in how quickly it got picked up for distribution on Shudder. At a festival chock full of scary movies, there were surprisingly few straight horror films, and none had a bigger buzz than this one for being truly frightening. A film has to contain something special to terrify an audience of obsessive horror fans. I set out to see if this one would translate to the small screen.

Today’s movie is “Terrified” (2017), the mysterious Argentine horror film written and directed by Demian Rugna. The film lingers on several characters before centering around Commissioner Funes (Maxi Ghione) who brings in a team of paranormal investigators to look into frightening and tragic events happening in three neighboring suburban homes. We are shown firsthand a number of disparate horrors before diving deeper to discern how they are connected and what is real.

The film begins with three separate stories, each of which could be the start of their own film, none of which are particularly unique in their plotting. What makes this film great is the way in which these stories are visualized and how we shift between each narrative through the lives of neighboring families. First, a woman hearing voices is tormented by unseen forces, after her husband initially suspects the man next door of creating the disturbances. We then see exactly what the noisy man had been up to in his house, fearful of an intruder that won’t let him rest at night. Finally, we are connected in stunning fashion to a third family across the road, whose unique terror has yet to begin. It takes nearly the first half of the film to really understand the direction of the story. With most movies, this would be a complaint, but here it showcases dread and terror with expert use of shadows, jump-scares and frightening imagery.

Maybe it’s my limited frame of reference, but I can’t help but compare the feel of this film to some of the Spanish-language works from Guillermo del Toro, such as “The Devil’s Backbone” and “Pan’s Labyrinth”. What director Rugna brings to the table is a visual style as striking as early del Toro works, but set on a contemporary, pedestrian street, where the terror is better juxtaposed with the real world. The way you can feel how awful it would be to experience some of these terrors in your own home is what gets the heart really pounding. There is a lengthy scene that involves a very, let’s say, unique boy just sitting at the dinner table with a glass of milk that is one of the most memorable scenes I saw all year.

What makes “Terrified” (2017) fantastic?

The film serves from a top-shelf buffet of horror elements and connects them with an above-average mystery and genuinely interesting characters (both alive and dead). The concluding moments of this film may not leave you fully satisfied, but there are so many tasty morsels along the way. The film will absolutely leave you terrified, as its simple title promises. Paranormal entities are rarely well-explained in horror films and this one gives viewers just the right amount of answers.

“Terrified” (2017) is a horror masterpiece that is mercifully short, given the intense dread to which it subjects the viewer. Fans of otherworldly horror films in suburban settings, such as “Paranormal Activity” or “Poltergeist”, who are looking for a new way to be scared silly, will enjoy this film.

Rotten Tomatoes: 82%

Metacritic: NR

One Movie Punch: 8.8/10

“Terrified” (2017) is not rated and is currently streaming on Shudder. 

Come back next week and we’ll switch gears, leaving supernatural Argentina behind and heading north to urban Los Angeles. I will be reviewing Jonah Hill’s directorial-debut, “Mid90s”, a film that is more “Sundance” than “Fantastic”, but one that played well at the festival. Dust off your old skateboard and I’ll see you next week.

Hi everyone!

The 400th episode love keeps pouring in, and we’re lucky to have our second review from @PhillyFilmFan, aka Keith Lyons. It’s hard to tell if this year will be Glenn Close’s year, given the amazing, and not so amazing Oscar contenders. Keith will let us know his thoughts in a bit, but in the meantime, if you want to check out our other Oscar nominee reviews, search using #Oscars2019 or head over to onemoviepunch.com and search on the Oscars 2019 blog tag. 

Take it away, Keith!

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Hi there, Philly Film Fan here with another review for One Movie Punch! You may know me from Twitter, where I write about movies.

Today’s movie is “The Wife” (2018), the film directed by Björn Runge and written by Jane Anderson, based on the novel by Meg Wolitzer. Glenn Close earned her seventh Academy Award nomination for this film and a chance of winning a dubious honor: Becoming the actress with the most Oscar nominations without a single trophy. She is currently tied with Deborah Kerr’s six losses.

No spoilers.

“The Wife” opens with Joe Castleman (Jonathan Pryce), in bed waiting for a call from the Nobel Committee. Joe is an author in the mode of Philip Roth and is nervous to find out if he’s getting the award for literature. Beside him, as always, is his wife Jane (Glenn Close). The call comes and, of course, Joe receives the award. The couple is thrilled but Jane’s enthusiasm curdles when Joe jumps on the bed and yells, “I won the Nobel Prize!” This is our first glimpse beneath the surface of their relationship and the many matters left unsaid.

Joe and Jane travel to Sweden accompanied by their son, David (Max Irons), and a would-be biographer, Nathaniel Bone (Christian Slater). Family conflicts, intrusions from Nathaniel, and run-ins with representatives of the Nobel committee follow. But the plot here is secondary. This film exists to be an acting showcase for the two leads. Glenn Close and Jonathan Pryce are both veteran performers who can really sink their teeth into these roles. The characters are complicated with motives that aren’t always clear, giving Close and Pryce the opportunity to play subtle emotions that illustrate the subtext in the dialogue. Of course, both performers are also given the chance to indulge themselves in those shouty, scenery-chewing exchanges that awards voters love to reward.

Close and Pryce have such a dynamic chemistry that every scene that doesn’t revolve around them brings the film to a screeching halt. David’s daddy issues, Nathaniel’s cat and mouse game, and Joe’s attempted seduction of a much younger photographer can’t help but feel like dead weight. Worst of all are the flashback scenes of a young Joe and Jane played by different actors. Glenn Close’s real-life daughter, Annie Starke, and Harry Lloyd can’t hold a candle to their senior counterparts. The only saving grace to these flashbacks is an inspired performance by Elizabeth McGovern as jaded writer Elaine Mozell who goes on a drunken, bitter tirade against the misogyny of the publishing industry.

“The Wife” is a character study driven by two powerhouse performances from Glenn Close and Jonathan Pryce. Unfortunately, it doesn’t have a whole lot else to offer. Devotees of either of the stars, along with Oscar completists, will want to catch this film. Everyone else can safely skip it.

Rotten Tomatoes: 84% (CERTIFIED FRESH)

Metacritic: 77

One Movie Punch: 6.5/10

“The Wife” (2018) is rated R and is currently playing in select 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!

Welcome back for a review of another Oscar contender this year, in a plethora of categories and one strangely absent one. Check out our other Oscar nominee reviews using #Oscars2019 or by going to onemoviepunch.com and searching on the Oscars 2019 blog tag. Given the nominees this year, anything seems possible. You can also check out our 400 other episodes. Man, still doesn’t feel real.

And, you know, sometimes, you just gotta say the things that need to be said. And with all the 400thepisode love the podcast has been receiving, I feel like I need to tell Garrett that I like his movie insight. I like his podcast. I like his audio recordings. And I like that he tolerates these stupid openings, especially for such bad jokes. Now, Garrett, make me the happiest foul-mouthed cyborg raccoon mercenary in the galaxy, and come out on stage to do the review for today’s movie. Come on now, you have to trust me...

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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.

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Today’s movie is “A Star is Born”, the musically-infused romantic drama directed by Bradley Cooper and written by Bradley Cooper, Will Fetters, Eric Roth, William A. Wellman, and Robert Carson. “A Star is Born” is a tale of seasoned musician Jackson Maine (Bradley Cooper) who discovers – and falls in love with – struggling artist Ally (Lady Gaga). She has just about given up on her dream to make it big as a singer – until Jack coaxes her into the spotlight. But even as Ally’s career takes off, the personal side of their relationship is breaking down, as Jack fights an ongoing battle with his own internal demons.

All spoilers have been thrown off the deep end, so keep on listening...

The hype is real. The song that’s been stuck in your head since you saw the trailer is really that catchy. The southern boy rocker charm Bradley Cooper puts on is really that charismatic. Lady Gaga’s acting is really just as strong as her singing. The story at the center of this film is really that emotional. “A Star is Born” is really that damn good.

The opening third of this film is virtually flawless in its execution. We’re essentially getting the same old Hollywood romance schmaltz mixed with the obligatory dual commentary on the desire for — and the cost of — fame. But we’re given enough insight into Cooper’s mega-star Jackson Maine and Gaga’s aspiring musician Ally that it feels surprisingly deep. So by the time we get the chill-inducing performance of “Shallow”, the film is feeling anything but.

The attention to detail is what sets this apart from the hundreds of other run-of-the-mill films that share similar plots and themes. Plot points such as Maine’s relationship with Sam Elliott’s character seem to rise organically as opposed to being superficially blurted out loud. Threads of the story that are started earlier in the movie are subtly tied together later in ways that may not be immediately noticed. Instead, they burrow into your head waiting for you to discover them as you dwell on the movie — or listen to the soundtrack.

If there is any criticism to be leveled against the film, it’s that the second act seems to bow under the weight of the flawless first act and the gut-punching third act. The pacing of the story stumbles a bit and the runtime extends until it regains its footing. This is partly unavoidable as the nature of the second act is that we are watching the characters go head-to-head with their challenges and each other. But these ups-and-downs are what make the emotions feel so genuine and the conclusion of the story stick with you when the theater lights come on. 

“A Star is Born” is so polished that it’s hard to believe it is made by a first-time director and stars a newcomer to the big screen. The charisma exuded by both Cooper and Gaga is fused into a deep emotional core that Cooper expertly captures for the screen. It has a killer soundtrack that will leave audiences humming for weeks. And with award-winning performances from Cooper (in front of and behind the camera), Lady Gaga, and Sam Elliott, A Star is Born will use its polish to make plenty of statues and trophies shine this award season.

Rotten Tomatoes: 90% (Certified Fresh)

Metacritic: 88 (Must-See)

One Movie Punch: 9.1/10

“A Star is Born” (2018) is rated R and is currently available to purchase digitally. It will be released on DVD & Blu-Ray on February 19th. 

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!

Well, you can’t have a 400th episode without a 401st. We’re welcoming back Ryan L. Terry for another review, this time with one of the Best Animated Film contenders that will fall to “Spider-Man: Into the Spider-verse” (Episode #381). Of course, that’s just my opinion. We’ll find out at the 91stAcademy Awards on February 24th. When you’re done with this episode, check out our other Oscar nominee reviews, either by searching on #Oscars2019 or using the Oscars 2019 blog tag at onemoviepunch.com.

In the meantime, here’s Ryan’s promo, followed by the review. Big shout out to Ryan this episode. Thanks for helping the podcast reach 400 episodes, and here’s to 400 more!

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This is Ryan L. Terry once again for another movie review here on One Movie Punch. To join the conversation with me and the rest of hashtag film twitter, you can connect with me @RLTerry1 on Twitter and follow my blog at RLTerryReelView.comthats REEL with two Es. Now, time to surf the web with Ralph.

Today’s movie is “Ralph Breaks the Internet” (2018) by Walt Disney Pictures, the animated film directed by Phil Johnston and Rich Moore, written for the screen by Johnston and Pamela Ribon. Some movies lack true depth, but maintain a high degree of entertainment value, and this is one of those.

Spoilers ahead.

Return to the brightly colorful animated world of Ralph and Vanellope for a highspeed adventure that takes them from the 8bit world of 80s video games to the immersive world of a visualized, stylized internet. Video game bad guy Ralph and fellow misfit Vanellope von Schweetz must risk it all by traveling to the World Wide Web in search of a replacement part to save Vanellope's video game, "Sugar Rush." In way over their heads, Ralph and Vanellope rely on the citizens of the Internet -- the Netizens – to help navigate their way, including an entrepreneur named Yesss, who is the head algorithm and the heart and soul of trend-making site BuzzzTube. If it’s gone viral on the internet, then you’ll likely find it in this movie. Much like the first film, this sequel relies heavily upon nostalgia and familiarity with pop culture more than it does a strong narrative. All too often, it’s more concerned with making you laugh than it is delivering a meaningful narrative. However, no mistaking it, you’ll have a fun time watching this film. “Ralph Breaks the Internet” took what “The Emoji Movie” attempted to do, but failed, and delivered a heartwarming story that comments on our usage of and fascination with the internet. What we see in terms of abstracts or constructs, this film creatively translates that which only exists in 0s and 1s into something far more tangible. For all that “Ralph Breaks the Internet” did right, and that constitutes a lot aesthetically, it appears as though the writers were far more concerned with cramming every bit of Disney, pop culture, and digital media into the movie than developing a compelling story. And that was the part that I found obnoxious: the amount of time we spent on the Disney brands. It became self-serving instead of plot-serving.

Central to this film are the (1) theme of friendship (2) one’s identity with home or work and (3) commentary on one’s insecurities. A nice trifecta of themes and concepts upon which to build the plot. But there is something missing. Something that is a fundamental to any screenplay. And that is a clearly defined opposition to the goal represented or manifested by a character. In other words, there lacks a “villain” in this story. The villain in this story is the friendship shared by Ralph and Vanellope. Suffice it to say, it is not a requirement to have a physical villain (or more precisely, a character of opposition), but when abstracts, constructs, or concepts are the villain, it is advisable to select a character from the story to represent the true enemy. Take “Jaws” for example. The villain is NOT the shark; it is the folly of man. And in order to visualize this opposition, the screenplay uses the character of the mayor to personify it. Looking at “Ralph Breaks the Internet”, we go nearly the entire movie before we have a true character of opposition. A central character is only as interesting as the character of opposition. Sometimes, the character of opposition is even more interesting than the central character.

Two of the film’s themes are manifested in Ralph. The themes of personal/interpersonal insecurities and evolution of friendship are witnessed in the actions of Ralph and Vanellope, but Ralph in particular. Audiences of all ages easily identify with him because they can observe traits, characteristics, and idiosyncrasies that have likely been experienced by each and every member of the audience at one time or another. How many of us do not depend on some sort of external validation in order for us to feel confident in what we do, what we wear, or where we go? We empathize with Ralph when his demonstrably gentle, generous soul gives way to self-destructive behaviors that form a wedge in the friendship between him and Vanellope. And that leads us into the third main theme of this film, and that is the theme of the evolution of friendship. There is no questioning the strength and loyalty of the six year-long friendship between Ralph and Vanellope. There have been many movies that comment on the state of or evolution of our best friendships, but none quite so creative as this one. That being said, this uplifting movie accomplished what other animated films attempted, making what users do on the internet interesting. Much in the same way that “Searching” brilliantly captured screen-life, Ralph delivers a sensory explosion of what a visualization of the internet may look like. But who would’ve known that we were all POP Vinyls???

Despite the inundation of recognizable brands and incessant, obnoxious Disney product placement, Ralph Breaks the Internet is an entertaining animated movie that finds a way through the underwhelming plot and constant reminders that we are in a visualized world of the internet into our hearts.

Rotten Tomatoes: 88% (FRESH)

Metacritic: 71

One Movie Punch: 7.0/10

“Ralph Breaks the Internet” (2018) is rated PG and is available wherever you get your Blu-rays and rent movies!

Hi everyone!

400 EPISODES!

If you had asked me whether this podcast would go 400 episodes of daily movie reviews, the answer would have largely depended on my mood at the time. At the beginning, I would have been positive. About halfway through last year, I would have struggled a bit. After the wildfire, well, it was touch and go. But now, with year two in full effect, and with a team of reviewers on board, I feel like another 400 episodes are not out of the question. Maybe even likely.

If you want to help our podcast grow, head over to patreon.com/onemoviepunch, where you can sponsor the podcast at any level. We’re still developing a more formal campaign, but any sponsorship level will make you eligible for Sponsor Sundays, when you can force me to review any movie, with a few exceptions, or to get on board One Movie Punch as a contributor on Takeover Tuesdays. And if you can’t give cash, then just give a little time and drop us a review in your podcatcher of choice. Keep sharing those episodes, and keep those downloads going!

Two recommendations for today before we get started. First, for a film in the same vein as today’s film, check out our review for “The Endless” (Episode #273), along with the film duo’s other output. Second, for a documentary that features a few clips of Jeff VanderMeer, who wrote the novel for today’s film, check out our review for “Vintage Tomorrows” (Episode #319), which is all about steampunk subculture. Both are great viewing.

And now...

Today’s movie is “Annihilation” (2018), the Lovecraftian horror film written and directed by Alex Garland, based on the novel trilogy by Jeff VanderMeer. The film follows Lena (Natalie Portman), a cellular biologist whose spouse, Kane (Oscar Isaac), has returned from a secret military mission from a mysterious phenomenon known as The Shimmer. Seeking answers to his deteriorating health, she teams up with a group of all female scientists and soldiers to venture into The Shimmer, finding much more than she bargained for.

No spoilers!

Alex Garland has a knack for writing, which is how I came to know his work. “The Beach” (2000), starring Leonardo DiCaprio was based on his novel, and was the first in a string of collaborations with Danny Boyle, including “28 Days Later” and “Sunshine”. His reboot script for “Dredd” rescued the franchise after the less than stellar Stallone version. And now he’s written and directed not one, but two critically acclaimed movies, “Ex Machina” and today’s film. He’s one of my favorite folks working in Hollywood right now, and if anyone can make something for the screen out of the “Halo” franchise, Garland is the right person.

“Annihilation”, appropriately enough for a novelist, is based on the Southern Reach trilogy by James VanderMeer, a modern take on an old Lovecraftian story, “The Colour Out of Space”. In short, a mysterious impact from space is transforming the countryside, bringing terrors and powers beyond our imagination, and affecting everyone it comes into contact with. While the premise may have been done before, however, the beauty of science fiction is that we can reexamine these premises in the light of more information about science, much like the scientific method when it comes to actual sciences. And between VanderMeer’s reimagining, and Garland’s translation to the screen, we get a great film about the same topics.

What distinguishes “Annihilation” from so many other films in the same vein it its all-female team that heads into The Shimmer, lead by a strong performance by Natalie Portman, whose life we see unfold via short flashbacks, much like the way light and life are reexamined and reconfigured in the Shimmer. Lena starts out simple enough, as a character, but becomes infinitely more complex as she progresses towards the source of the phenomenon, again, much like how life on the planet started simply, then evolved into quite complex and diverse forms. She’s also joined by Jennifer Jason Leigh as the mysterious Dr. Ventress, inexplicably drawn to the answers in The Shimmer, along with characters played by Gina Rodriguez, Tuva Novotny, and Tessa Thompson, whose career seems to be picking all winners lately, no matter the role. There’s even a great role for one of my favorite actors nowadays, Benedict Wong. A stellar cast that melds the themes with the characters effortlessly, making for a smooth ride into a very bizarre world.

I’m obviously a huge fan of the themes in this film, but I would be remiss to not mention the incredible visual effects, everything from The Shimmer to the bizarre flora and fauna that populate The Shimmer. Mutation doesn’t even begin to describe the amazing work with practical and special effects, along with another incredible score from Geoff Barrow (of Portishead fame, among other projects) and Ben Salisbury. Their work for “Annihilation” is their fourth collaboration, and I sincerely hope they never stop working together. The music adds just the right ambience when needed, and helps drive the tension within conflicts otherwise. I would argue the visual effects and the score help elevate what would be a standard science fiction thinker into something much, much more. I only wish there was a way to capture the same feeling with the other work within the Southern Reach trilogy, although the focus is much, much different.

“Annihilation” is another Lovecraftian film, melding science fiction, horror, and humanity into a bizarre world created by The Shimmer. While the cast is solid, the real strength lies in the themes as expressed by incredible practical and special effects, and a driving score. Fans of Lovecraftian horror, or science fiction, or folks who just want to watch two hours of mind-blowing visuals, should definitely check out this film.

Rotten Tomatoes: 89% (CERTIFIED FRESH)

Metacritic: 79

One Movie Punch: 9.2/10

“Annihilation” (2018) is rated Rand is currently playing on Amazon Prime and Hulu.

Hi everyone!

Welcome back to another week of movie reviews, along with an exciting new milestone. Tomorrow marks 400 episodes for the podcast, providing a fresh movie review every day barring the occasional natural disaster. Be sure to check in tomorrow for an extended episode, with a lot of thanks, and for a review of another Lovecraftian horror film.

In the meantime, without any new sponsors, I’m digging back into the archives for the perfect fictional companion film to yesterday’s review for “Fyre” (Episode #398). “Ingrid Goes West” caught me off guard with its incredible editing that captures the social media world. It currently sits at an 85% Certified Fresh rating at Rotten Tomatoes, and a strong 71 on Metacritic. If you haven’t seen this awkward, disturbing gem, you can catch it on Hulu or wherever you rent/purchase films.

Oh yeah, and before the review, another volume of the Marc’s Movie Impressions Preservation Society has been released by our friends on the Moviedrone Podcast. More episodes are likely in the works, but be sure to head over to moviedrone.podbean.com and subscribe to their podcast. Here’s a quick promo for them, followed by the review.

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Today’s movie is “Ingrid Goes West”, directed by Matt Spicer and written in collaboration with David Branson Smith. The film follows Ingrid Thorburn (Aubrey Plaza), a social media stalker who has moved to Los Angeles to push herself into the life of Taylor Sloane (Elizabeth Olsen), and while renting a room from aspiring screenwriter Dan Pinto (O’Shea Jackson, Jr.). The film was distributed by Neon.

I shouldn’t have liked this film as much as I did. Stalking is a serious problem, so making a comedy about stalking that doesn’t belittle the subject matter is difficult. And yet, this film does just that with a combination of smart writing and storytelling, incredible editing, and almost surrealistic performances from everyone involved. The result is a subversive film addressing social media and an incredible debut for Matt Spicer.

Aubrey Plaza gives a dynamic performance, adapting her character for each relationship, making you believe every action, no matter how absurd or over the top. Elizabeth Olsen reveals her character throughout the film, probably the first honest portrayal of an Instagram star, someone you either love or hate. And O’Shea Jackson, Jr. plays an excellent straight man against the insanity of the plot, the only honest voice in the group.

I was also incredibly impressed by all the representations of social media. The rapid fire imagery of the posts, the way it can consume someone’s life, and the genius move to read aloud the text including the emojis, driving home just how self-serving or exaggerated most social media can be. And yeah, this review probably sounds like what I’m talking about, but I, like, totally, really mean it. #IAmIngrid :-)

This film looks, feels, and behaves like social media. I’ve purposefully stayed away from major plot details because I believe it will be a better experience. Whether you love or hate social media, this film will speak to you, and might make you question your own social media habits. I do have a trigger warning for anyone who has been affected by stalking, though, because this film goes to some dark places, but always for a purpose.

Hi everyone!

We’re here live from the remnants of the Fyre Festival. I’m circling right now in the One Movie Punch helicopter, surveying the damage. I’ll let you all in on a little secret. I sent Shane off to do some investigative reporting on the Fyre Festival, because all this hype about both documentaries needed some serious research. So, I sent in our most qualified expert, because reasons, and he’s finally back. Of course, he was supposed to turn in a review for “Solo” two weeks ago, but once you hear his tale, you’ll know why there was such a delay. He’s also a bit addled, right Shane? 

Fire. Or you can just really enjoy the hell of no power. A bunch of social media influencers. Fire. A metacommentary with no end. No lights. Beach bod. And no food… Fire. Seriously, fire Ja Rule, nobody knows what he’s doing.

Yes, well. Good. I’ll need to give him a few home assignments after this one, I can tell. Welcome back Shane Hyde, now a semi-regular contributor! You can hear his previous reviews for “Event Horizon” (Episode #254) and “O Brother, Where Art Thou?” (Episode #322). And yes, Shane, I know, I know... I promised you arugula.

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Kia ora, I’m Shane Hyde. 

Regular listeners will know I don’t have much of an online presence to talk about or promote. So, allow me to tell you a little bit about myself. I’m a kiwi, which should be apparent from my accent. I got to know Joe through an old fan mailing list for the 90s dance band Fluke. We friended up on Facebook and somehow he managed to tolerate my terrible jokes long enough to remain friends over the last number of years. I’m a non-smoker, that’s important. I can throw a pretty mean tomahawk. And my one claim to internet fame was transcribing The Lord of the Rings into |337 speak, that happened around 13 years ago. And I’m not gonna lie, I’m still kinda proud of that one.

Today’s movie is “Fyre” (2019), the Netflix Original and Vice Studios documentary directed by Chris Smith. We get to join Billy as he finances a lifestyle beyond his means by promoting the Fyre Festival in the Bahamas. So, I’m not supposed to be spoiling this film, but it says it right there in the sub-title of the film “The Greatest Party that never Happened”. That’s like saying “Titanic is the greatest ship that never made it across the Atlantic”. So, spoilers aside I think I’m safe from them in this one. 

Director Chris Smith assembles what must have been an absolute bucketload of footage taken during all of the location scouting and promotional soirees for “Fyre”. I mean, seriously, did any of these people put the camera down at any point in time? Because we get a really candid and detailed look at the party that took place before the party took place. And all this becomes a factor in the slightly meta commentary of the film, giving us unprecedented access to the how and why, by the virtue of the what. And ultimately it becomes not just an indictment of our streamed and streaming lives, but documentary evidence for us to ghoulishly enjoy in perpetuity.

The film itself whips the carpet from out underneath your feet. What starts as a slightly uncomfortable focus on scantily clad models grows relentlessly into a case of real world, cringe-worthy hubris. Admittedly, there are moments in there where caught myself thinking “okay, let’s give the models a break”, but they’re there as the window-dressing on our protagonists lifestyle. This is Billy, the main focus. And this is not without a sense of schadenfreude, either, because don't we all love it when those younger, prettier, wealthier and more influential come a little close to the sun? No? Whoooo. That's just me then; this is awkward.

Now, because it’s a documentary I don’t need to read off a cast list and describe who portrayed what and who they were. Those interviewed were those that were really there. Ja Rule was there, but I really couldn’t put my finger on exactly what it was he was doing. But we do get to watch our protagonist Billy change focus from tech entrepreneur to party guy when he realizes what he has on his hands... and party guy he is. You never see him without a jetski or a brewski throughout the rest of the film until he is completely undone by... you’ll just have to wait and see. 

Fyre is as voyeuristic look into a party that is over before it has even begun, with enough schadenfreude to juice up even the most bitter and cynical. And so in summary: I found I really enjoyed Fyre as a documentary. It was well assembled, well researched and well resolved. And as a commentary it speaks to the way our connected lives can spiral well out of our control. I admired Billy McFarland’s relentless optimism, but there were plenty of moments there for him to cut and run, but my feeling is, he was enjoying the influencer life too much to want to bring it to a satisfactory conclusion.

Rotten Tomatoes: 92% (CERTIFIED FRESH)

Metacritic: 76

One Movie Punch: 8.0/10 

“Fyre” (2019) is rated TV-MA and is currently streaming on Netflix!

Hi everyone!

New month, new review from Andrew Campbell, which is also his second for the week after his review for “Beautiful Boy” (Episode #395). It’s, of course, another Fantastic Fest feature from all the way back in 2011, and from one of my favorite film scenes, Spain. For a few other Spanish horror and thriller films, check out “Veronica” (Episode #080), “Errementari: The Blacksmith and The Devil” (Episode #290), “When Angels Sleep” (Episode #364), and Andrew’s review for “The Invisible Guest” (Episode #369). Plenty more on the way in February as well!

Got any favorites? Reach out to us over social media! I would do that right now, but this bedroom closet door hinge is pretty squeaky, and I don’t want to wake Andrew.

Take it away, Andrew! 

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Hello film fans!

Andrew here. This week we are headed to Spain for one creepy film starring one creepy dude. People who hate subtitles: hold on a second, I don’t want to lose you. The most memorable moments of this film take place during long periods without dialogue. I can even argue this film could be watched without reading the subtitles and you would have no trouble following along, whether or not you took high-school Spanish. But watch this one right before bed and you might not be able to... sleep tight.

Today’s movie is “Sleep Tight” (2011), the suspense thriller directed by Jaume Balaguéro and written for the screen by Alberto Marini. “Sleep Tight” follows César (Luis Tovar), the concierge at an upscale apartment building. César is outwardly affable but many of the tenants find him off-putting. Underneath the visage is a man whose sole source of happiness is the unhappiness of the people around him. Not exactly the mental state you want in a man that holds the keys to your apartment. César soon becomes obsessed with Clara (Marta Etura), one of the building’s residents. Clara is young, pretty, seemingly affluent, and has an overwhelmingly positive disposition even in the face of adversity. But that just won’t work in César’s world, will it.

“Sleep Tight” director Balaguéro broke out with 2007’s “[Rec]”, a tight little shaky cam horror film, also set in an apartment, that spawned several sequels, a couple of which he helmed, as well as the serviceable American remake “Quarantine”. Here, Balaguéro trades shadowy found footage horror for domestic dread by putting the villain in the lead role. There’s no monster ready to jump out of the shadows; he is in plain sight committing dastardly deeds like:

• Intentionally not watering your plants causing them to die
• Feeding your dog food that makes him defecate all over the apartment
• Oh, and hiding under your bed while you sleep

At no point is César a sympathetic figure; he is not a man of nuance. The film contains several scenes of palpable anxiety that will make your skill crawl. The terror is fully relatable to anyone who rents their home or has shared a key with someone, the tension building naturally toward an unguessable endgame.

The only real problems here are a couple of the side plots. When César is doing his creep thing, the film is riveting. Star Luis Tovar nails the look with his duplicitous facial expressions and thick black eyebrows that I daresay would give Peter Gallagher a run for his money. It’s during the scenes when César is berated by the building manager who senses he’s up to no good that the film loses some steam. A young girl of 12 or 13 is written as if she’s far older and is somehow able to get too far under his skin. Minor gripes, as the suspense carries the day.

Finding a film that directly compares to “Sleep Tight” is not easy, a compliment to the picture’s originality. Can one ever be truly comfortable with the people we let into our homes? Jim Carrey’s portrayal of Chip Douglas in “The Cable Guy” is a performance and a film that have grown on me immensely over the years. “The Cable Guy” takes a blackly comic look at the people we let into our homes. “Psycho” offers similar thrills but goes at it from a horror angle, groundbreaking for its time. “Paranormal Activity” brings terror to the home through the supernatural, whereas “Sleep Tight” takes the straightest path, invoking paranoia through its sheer realism.

“Sleep Tight” is a tight work of suspense with lasting effects and a film you might want to avoid if you live alone. Fans of psychological thrillers set in the home like “The Hand That Rocks the Cradle” or “Single White Female” will be into this one.

Rotten Tomatoes: 94%

Metacritic: 70

One Movie Punch: 8.0/10

“Sleep Tight” (2011) is not rated and is now streaming on Amazon Prime and Shudder.

Come back next week when I’ll be reviewing “Terrified” (2017), arguably the scariest film to come out of the 2018 Fantastic Fest. This Argentine film is a disturbing slow-burn that you’re going to want to hear about. If you think you can handle it.