One Movie Punch

Hi everyone! 

She’s back! One Movie Spouse returns with a review that is a nice companion piece to the Oscar-nominated “RBG” (Episode #200). She’ll go into great detail comparing and contrasting the two in a little bit, but don’t forget to check out her first review for “Mary Poppins Returns” (Episode #380). And if you have any suggestions for her to review, let her know on Twitter @BriteWhen, and I’ll remind her to check her account.

Take it away, Amy!

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Hi there! 

It’s me, Amy, aka One Movie Spouse, back for another guest review.

MWAH!

Today’s movie is “On the Basis of Sex” (2018), the Universal Pictures biopic directed by Mimi Leder and written for the screen by Daniel Stiepleman. The film chronicles the early years of Ruth Bader Ginsburg in her evolution as a powerhouse lawyer, making strides to challenge gender-based discrimination within the law.

No spoilers.

There’s been a lot of news lately surrounding the Supreme Court Justice Ruth Bader Ginsburg. “RBG”, the documentary from last year, recently picked up a couple Oscar nominations, with its wonderful overview of her life and career. Justice Ginsburg has also been struggling with medical issues, even if they didn’t seem to hold her back for long. And now, we have today’s film, which not only works as an excellent companion piece to the documentary, but also serves as an excellent standalone film, focusing in on RBG’s pathway to becoming a lawyer, attending law school, graduating as one of the nine women in her law class, and struggling to find the right cases to bring to the Supreme Court to overturn gender discrimination written into law.

Ruth Bader Ginsburg is played by Felicity Jones, who captures her struggle to be taken seriously, showing her tenacity in overcoming sexism, her passion for equality and justice, and her ability to balance her many personal and family roles in her career. At her side is her husband, Marty, played by Armie Hammer, who plays a strong, supportive spouse with a zest for life and a great sense of humor. Their dynamic relationship worked to support each other’s career aspirations, and served as a living example to challenge contemporary gender roles and stereotypes. And their own daughter Jane, played by Cailee Spaney, reminded me very much of my own daughter, full of motivation, questioning authority, thinking beyond herself, and ready to change the world. A family dynamic to aspire towards.

The film carries the viewer through this journey with the help of a great script and direction. The costumes transplant you back in history, bringing authenticity to their frustrations and joys. You might gasp or snicker at how different life was back then, or be frustrated at the arguments for “keeping women in their place” made by judges during her cases. We may have come a long way since then, but we are still facing gender inequality today, which is why I participated in the Justice for All March this month. I left the event fired up and ready for action, just as I left today’s film inspired by RBG’s example. 

“On the Basis of Sex” (2018) is a great biopic depicting the early life and career of Ruth Bader Ginsburg. If the documentary “RBG” wasn’t enough for you, then this film will give you even more. And if you know anyone that needs a history lesson in gender discrimination, tell them to give it a watch.

Rotten Tomatoes: 71%

Metacritic: 60

One Movie Punch: 8.0/10

“On the Basis of Sex” (2018) is rated PG-13 and is available in theaters!

Hi everyone!

We’re back with the first of two reviews from our own Andrew Campbell. You can check out his regular slot on Fridays, when he gives a short review from one of the many films featured at Fantastic Fest in Austin, TX. I always appreciate the help, especially for the flood of Golden Globe and Oscar films that could use a review. Be sure to follow him on Twitter @anrcampbell and search for his other reviews for the podcast at onemoviepunch.com using the Fantastic Fest blog tag.

Take it away, Andrew!

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Hello film fans!

Andrew here. Normally I host the podcast on Fridays, covering a wide range of genre films out of Fantastic Fest. Come back later this week for my review of “Sleep Tight”, a creepy little story available on Netflix. Today, I’m pinch-hitting to cover a more mainstream film that deals with substance abuse and its effects on family. This film barely made a whisper in theaters and snuck its way on to Amazon Prime earlier this month. It’s worth a look before it slips through the cracks.

Today’s movie is “Boy Erased”, the 2018 biographical drama starring... wait, sorry, that’s not right, “Boy Erased” is the one where Lucas Hedges is forced into gay conversion therapy. Similar title, easy mistake, let’s go again.

Today’s movie is “Ben is Back”, the 2018 drama about a troubled teen dealing with drug addiction and his family’s struggle to help him. Starring Lucas Hedges as... now come on, that still isn’t it!  The plot’s exactly right, but get me the one with Chalamet. Amateur hour around here...

Today’s movie is really “Beautiful Boy” (2018), the biographical drama directed by Felix van Groenigen, written for the screen by van Groenigen and Luke Davies, and based on the memoirs of father and son, David and Nic Sheff, played by Steve Carell and Timothée Chalamet. Nic is addicted to a variety of drugs, graduating from marijuana and ecstasy to cocaine and crystal meth. The story unfolds from two separate perspectives: Nic the addict, fighting to stay clean and David the devoted father, struggling to hold onto his now adult son.

One of the things I liked most about this film is the way it jumps right into the story. Most movies dealing with addiction go great lengths to show the Good Kid slowly succumb to peer pressure and begin using drugs. Often, we see the very first time they smoke or shoot up. Not so here. We don’t meet Nic’s high school friends; we aren’t shown why he got on this path; we’re already there. It’s a poignant demonstration that drug addiction can happen to anyone for any number of reasons. What comes after Nic first admits his addiction to his father and step-mother is the more powerful, human story. 

The acting in this film is stellar. I still view Steve Carell as a comedic actor, but he hasn’t really been in a mainstream comedy since Anchorman 2 in 2013. Now he alternates between paycheck films (notably, the “Despicable Me” franchise) and prestige pictures like “Foxcatcher”, “Last Flag Flying” and the recent “Welcome to Marwen” train wreck. Carell has shown his theatrical chops as far back as “Little Miss Sunshine” just over a decade ago, but has yet to win a major award for dramatic acting. Here he is perfectly cast as a loving father who is unable to focus on anything but his son’s plight, captured particularly well during a recital for one of David’s much younger children. Still, there are a few moments in the film where he yells and I can only see Brick Tamland.

Timothée Chalamet got the film’s lone Golden Globe nomination, and, though his performance is solid, it’s Carell that outshines him in the lead role. Maura Tierney delivers a solid, emotional performance as Nic’s stepmother, despite her role being rather limited. The script gives even less to Amy Ryan as David’s ex-wife and Nic’s mother, but seeing her with Carell is nice little “The Office” reunion.

What really got me with this film is the way the story connects to all parents. Through flashbacks, we see memories of moments so small and simple and genuine. David looks back, as any parent might in his situation, to wonder what missteps he might have made that would lead to his son’s eventual addiction. Though my children are far too young to be at-risk, I can absolutely identify with the innate sadness of the passage of time with one’s children. To some extent, it’s about losing control as your children age and seeing your ability to help guide their choices become diminished. But at a simpler level, I find it difficult scrolling back through photos and videos from even just a couple years ago seeing my children at a time in their lives that I will never get back. “Beautiful Boy” fully captures this bittersweet sentimentality.

“Beautiful Boy” is a moving true-life story of the dark effects of substance abuse on both the user and their family. Fans of addiction and recovery stories based on memoirs such as “The Basketball Diaries” will enjoy this film. Folks who enjoy sentimental films that deal with the pain of growing up such as “Boyhood” will appreciate this one as well.

Rotten Tomatoes: 67%

Metacritic: 63

One Movie Punch: 8.6/10

“Beautiful Boy” (2018) is rated R and is available on Amazon Prime Video!

Sleep Tight, everyone! Let’s talk on Friday.

Hi everyone!

Welcome back to another Takeover Tuesday, this time with a brand new reviewer for the podcast. Keith Lyons, aka @PhillyFilmFan on Twitter, has been a loyal fan of the podcast since the beginning, and I served in the trenches of the 2017 #DLMChallenge with him. He’s currently going for another 365 movies this year, which you can track with the #365Movies hashtag, and hopefully we can get him to review a few along the way. 

Especially films like “Shoplifters” from Hirokazu Koreeda, one of the best filmmakers working in Japan today. You can check out my review for “After the Storm” (Episode #392), which we recently re-ran from last year in anticipation of today’s review, and if you have any suggestions, let us know over social media, or at the website, onemoviepunch.com, where you can also find more information on how YOU can join the fun here on Takeover Tuesday.

Take it away, Keith!

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Hi there!

Philly Film Fan here to break free from the bounds of Twitter, and make my podcast debut, with my first review for One Movie Punch. 

Today’s movie is “Shoplifters” (2018), the film written and directed by Hirokazu Koreeda. This social drama follows the Shibatas, a family sharing a Tokyo apartment so small that the youngest sleeps in what appears to be a closet. Shoplifters won the Palme d'Or at the Cannes Film Festival last year and was the fourth highest-grossing film of 2018 in its native Japan.

No spoilers.

Osamu, the patriarch of the Shibata family, played by Lily Franky, has suffered an injury that makes it difficult for him to find work. To supplement the family income, he has enlisted his young son Shota, played by Kairi Jō, into helping him shoplift food and other necessities, like shampoo. The two work together using hand signals to pull off carefully-choreographed grocery-store heists. Although Osamu is training his son to be a criminal, he takes pains to set a good example. He tells Shota that they can only take items from a store because they do not belong to anyone yet, otherwise it would be stealing.

The rest of the family members also do what they can to contribute. Nobuyo, the matriarch, played by Sakura Ando, works at a laundry service where she rifles through the pockets of garments looking for cash or other valuables left by absent-minded customers. Meanwhile Aki, played by Mayu Matsuoka, monetizes her youth and beauty by working as an exotic dancer. Even with every member of the household working, the Shibata family would not be able to survive without the meager pension provided by grandmother Hatsue, played by Kirin Kiki. All of this might sound like poverty porn, but Koreeda is careful to show how the Shibatas are able to find contentment in their lives by having compassion for one another.

The Shibata family may be struggling but they are surviving. However, an act of kindness, early in the film, will begin a sequence of events that challenges the delicate balance of a family living on the edge. Osamu will invite an underfed girl, Yuri, played by Miyu Sasaki, to join them for dinner. Soon the family discovers that Yuri is living in an abusive home. Nobuyo insists that they return Yuri to her family but when they approach her house Nobuyo overhears her parents fighting and cannot bear to go through with it. They bring Yuri back to the Shibata household, give her a haircut and re-name her Lin. It is a rash decision, driven by emotion, and it brings consequences.

“Shoplifters” (2018), on one level, is a scathing critique of the social safety net in Japan. However, the film’s emotional resonance comes from its beautiful but melancholy portrait of a family. This film is not for viewers who need the backstory presented in a tidy, digestible package. Shoplifters rewards patience; it subtly reveals itself over the course of two hours. For viewers who are inspired by the bittersweet lives of complex characters and want to see a finely attuned portrait of humanity, Shoplifters is magical.” 

Rotten Tomatoes:99% (CERTIFIED FRESH)

Metacritic: 93 (MUST SEE)

One Movie Punch: 9.5/10 

“Shoplifters” (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! 

We’re back with another Matinee Monday, this time with our good friend Ryan L. Terry. I recently helped work on an audio promo for him, as he’s become quite the celebrity among #FilmTwitter, and we’re always happy to have him on the show. We’ll run that promo in a little bit, but be sure to check out Ryan’s other reviews for “Fried Green Tomatoes” (Episode #275) and “The Favourite” (Episode #379), and search his Twitter account for the many, many shows he’s guested upon.

Take it away, Ryan!

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Today’s movie is “Glass” (2019), the superhero film directed and written by M. Night Shyamalan. Not a total trainwreck, but the plot is full of cracks, nevertheless.

After the success of “Split” (2017), M. Night Shyamalan's “Glass”was the highly anticipated conclusion to the macabre take on the superhero genre. Unfortunately, the film fails to deliver the intense plot that audiences wanted. After the big reveal that “Split” was connected to “Unbreakable”(2000), the audience was predisposed to anticipating the same level of suspense and thrill that was found in the aforementioned two films. Plot twist. The plot misses the mark. “Glass” is the final installment in this superhero universe trilogy that postulates that comic book characters are, albeit exaggerated, inspired by real-life super humans. Out of left field, this movie was completely unexpected until the uncredited cameo of Bruce Willis' character of David Dunn from “Unbreakable”. Despite the lackluster narrative, the film is not without its entertainment value. It is sufficiently enjoyable, but leaves you with a feeling of “meh."

Dunn, now aided by his now-grown son Joe (Spencer Treat Clark), runs a home security company as a cover for his “real” job of patrolling the city as a vigilante crime fighter in a black rain poncho. All his sleuthing and observations send him to a warehouse to apprehend The Beast, the violent personality of Kevin Wendell Crumb's plethora of unique personalities. After a thwarted attempt to capture The Beast, both Dunn and “Split”'s Kevin (James McAvoy) are committed to an asylum under the medical practice of Dr. Ellie Staple (Sarah Paulson) where they become cell neighbors with the villainous mastermind Mister Glass (Samuel L. Jackson) now in a catatonic state. Dr. Staple's goal is to identify the psychological cause of the three patients for their respective belief that they are super human and convince them that it is part delusion and mental disorder. When The Beast and Mister Glass break out of the asylum, Dunn must stop them from going on a murderous rampage with the intent to plunge the city into complete chaos. This is one of those films that demonstrates that it has all the elements to create a dark suspense thriller, but all the pieces never quite fit together to form a coherent story that evokes the desired physiological and emotional response from the audience. The payoff does not equal the wind up. While many of Shyamalan's films showcase a solid understanding of the art of suspense, especially with Split's Hitchcockian approach, he appears to have gone backwards once again and falls victim to this own tropes and criticism. The attempt at suspense in “Glass” simply does not work. 

Alfred Hitchcock on suspense: “I’d prefer to suggest something and let the audience figure it out. The big difference between, we’ll say, suspense, and shock or surprise, is that in order to get suspense, you provide the audience with a certain amount of information, and leave the rest of it to their own imagination.”

Instead of being dependent upon and propelled by conflict, dramatic irony, action, and character development, the plot is bogged down by lazy or prolific exposition, lack of high stakes, and poorly executed turning points.

To fully understand “Glass”,you definitely need to re-watch “Split”and perhaps watch “Unbreakable”for the first time. That was the case with me. “Split” was still fresh enough in my mind, but I had never seen “Unbreakable” until just before watching “Glass”. There are many challenges faced by a writer whom takes two seemingly disconnected films (except for that cameo) and writes a third that acts as a sequel to both in order to marry the two stories. I can tell that this movie is trying so hard to justify its existence, but simply does not fully connect to the other two much higher quality films.

Connecting two separate films together in retrospect is a difficult task, and perhaps this is an example of how not to do it. Had Shyamalan channeled the pacing of “Unbreakable”and the tension of “Split”, then perhaps “Glass” wouldn't have been shattered. There is an attempt by Shyamalan to comment on toxic YouTube and comic book fan culture, but all the subplots become mangled and fall short of the social commentary for which Shyamalan was striving.

Rotten Tomatoes: 37%

Metacritic: 42

One Movie Punch: 5/10

“Glass” is rated PG-13 and is playing in theatres nationwide.

Hi everyone!

We’re back with another week worth of reviews, including Ryan L. Terry and One Movie Spouse, plus two reviews from Andrew Campbell, and the debut of not one, but two new reviewers, at least if we ever hear back from our Fyre Festival correspondent. If you’re doing your math right, that means no new reviews from yours truly, and that’s probably a good thing. The last week was a battle with the stomach flu, and while I did finally emerge victorious, it was at great cost to my productivity. I cannot tell you how great it is to have a team of reviewers like we have now.

Want to help us grow? Head over to patreon.com/onemoviepunch and support the podcast with a monthly contribution at any level, even $1/month. Every dollar goes to production costs, and will help us continue to grow with our audience. You’ll be eligible to make me review a film of your choice for Sponsor Sundays. In the meantime, I went back into the archives to find a review for “After the Storm” (2016), an earlier film from Hirokazu Koreeda. His most recent film, “Shoplifters” (2018), was nominated for Best Foreign Language Picture for this year’s Golden Globes and Oscars. Our “Shoplifters” review will be on Tuesday, with a brand new voice for the podcast, and you won’t want to miss it.

Today’s film, “After the Storm” (2016), is sitting at 96% Certified Fresh on Rotten Tomatoes and an 84 MUST SEE on Metacritic. You can still check it out on Amazon Prime, Hoopla, and Kanopy, and the film is available for rent/purchase at all major digital outlets. I can’t recommend the film enough.

Here we go!

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Today’s movie is “After the Storm” (2016), an independent Japanese family drama centered around Ryota (Hiroshi Abe), a former novelist and current private detective struggling with a gambling addiction, paying child support to his ex-wife, Kyôko (Yôko Maki), dealing with the death of his estranged father, worrying about his mother (Kilin Kiki), and working at being a father to his son, Shingo (Taiyô Yoshizawa). The film debuted in 2016 and had a limited release last year in the United States. 

Hirokazu Kore-eda wrote the film, crafting a script that genuinely unfolds and unpacks the characters and their relationships in the days before a typhoon is set to reach the mainland. Kore-eda does a great job giving you enough background to give you a sense of each character, but with each new conflict and struggle, particularly with Ryota, you begin to see subtle details that make you re-evaluate everyone and every situation. Hiroshi Abe turns Ryota into a lovable, well-meaning person, if hopelessly flawed. 

I was particularly struck by the relationship between Ryota and his mother. Kilin Kiki gives a truly remarkable performance, a perfect foil for Ryota, someone who knows him intimately as his mother, but still struggling to understand herself after losing her husband. Even when she is in the background, she makes her presence known and affects the characters.

In addition to the quality performances and script, however, are excellent locations, not only giving a wide swath of Japanese urban life, but also keeping a pedestrian feel to the story. I also very much enjoyed the music selections, which always augment the scene and particularly the emotion within that scene. Even the filters help define the tone. 

“After The Storm” (2016) is exquisite and deserved an Oscar nomination, whether in 2016 or for this year given the limited release. It has a solid script and great performances, and wastes very little. It is rare to watch a film this subtle, playful and genuine that puts emotion over resolution, realism over desire. If you are looking to escape for a couple hours into a family drama that will warm your heart and challenge your perspective, this is the film for you.

Hi everyone!

We’re back with yet another Netflix Original, this time a science fiction treat. For a few others like that, check out “The Cloverfield Paradox” (Episode #044), “The Titan” (Episode #090), “Orbiter 9” (Episode #101), “How It Ends” (Episode #195), “Extinction” (Episode #209), and “Bird Box” (Episode #362). If you have any favorites, let us know over social media or contact us at onemoviepunch.com

And now...

Today’s movie is “IO” (2019), the Netflix Original science fiction drama directed by Jonathan Helpert and written for the screen by Clay Jeter, Charles Spano, and Will Basanta. The film follows Sam Walden (Margaret Qualley), one of the last remaining scientists on Earth trying to find a solution for making the planet habitable again. She meets Micah (Anthony Mackie), who tries to encourage her to give up the endeavor and join him on the last shuttle off-world to a new colony. And then a bunch of tangentially-related stuff happens.

No spoilers!

The most important thing to get correct in a science-fiction film is to get the underlying science correct. I’m not against bending the rules of science, especially when we discuss emergent science or technology; that’s actually a key role of science fiction as a genre. I’m talking about getting the science wrong, particularly when making a film about the massive, widespread climate change coming in the next thirty years. For instance, “IO” postulates a world where oxygen is rapidly disappearing, being replaced by a more toxic atmosphere that wipes out nearly all life. It’s a great, plausible premise, especially as deforestation and pollution continue, and on paper, Sam Walden is the hero we need.

Sam, as a character, starts out all right, doing her usual routine, and heading into the poison zone looking for supplies, and more importantly, signs of life where you would expect it: in species capable of reproducing rapidly to produce adaptive mutations. Algae, insects, bacteria. I really loved watching the world unfold, which was easily the best part of the film, with great filters and set design, a combination of post-apocalyptic and steampunk stylings. I was really excited to see the film unfold, because it hits all the right notes in the beginning. And then the film takes a turn for the worse.

Sam is great right up until Micah shows up, then her character begins to fall apart pretty fast, through a combination of bad acting and poor dialogue. Qualley and Mackie have absolutely no chemistry together, feeling forced the entire time, which isn’t helped by the unwieldy dialogue that a philosophical science-fiction fan like myself should be eating up. All the potential themes become obfuscated, purposefully hopeless, and tedious. Ninety minutes ends up feeling like a lot longer, which is strange given the deadline of making the last shuttle off-planet. And without spoiling anything, the film utilizes one of the worst deus ex machina plot devices to offer hope. The only thing more disappointing than the ending is how much it represents the current plan to fight the worst effects of climate change, which is that something will just magically happen, instead of needing to put in the work seen at the beginning of the film. And the science in the film, especially at the end, is way, WAY wrong.

“IO” (2019) is a philosophical science-fiction film plagued by terrible dialogue and bad acting, examining, and then throwing away, any themes worth discussion. While the film does a great job with story structure and world design, the film struggles too much in other areas to rescue it. Science-fiction fans, or even philosophy fans, should definitely check this one out, but don’t be surprised if you hate parts of it as much as I did.

Rotten Tomatoes: 33%

Metacritic: 40

One Movie Punch: 5.4/10

“IO” (2019) is rated TV-14 and is currently streaming on Netflix.

Hi everyone!

Popping on the Friday podcast for a bit to see how Andrew’s doing... Yes, I see... everything is great as usual. One might even say fantastic! Be sure to check out Andrew’s other reviews for “Terminal” (Episode #247), “Summer of ‘84” (Episode #289), “The Invisible Guest” (Episode #369), “You Might Be The Killer” (Episode #376), and last week’s review for “Bodied” (Episode #383). Got any suggestions from Fantastic Fest? Reach out to Andrew over social media and let him know. He’s seen quite a few of them!

Take it away, Andrew!

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Hello film fans!

Andrew here – excited to be back this week with an icy thriller out of Norway. Though this film has a few years on it, now is the time to check it out. Liam Neeson’s latest vehicle, “Cold Pursuit”, hits theaters in a couple weeks and is apparently a loose remake of today’s picture. Typically, I am one of the people who believes that original foreign films are always superior to their later American remakes. I’m looking at you, Spike Lee’s “Oldboy” and Nic Cage’s “Wicker Man”. You get a pass, “Vanilla Sky”. So if you saw the trailer for “Cold Pursuit”, rolled your eyes at my man Neeson growling around in a snowplow, and thought to yourself...

“Is this some kind of a joke?!?!”

Well, you may want to check out the original first.

Today’s movie is “In Order of Disappearance”, the darkly comedic Norwegian crime thriller written by Kim Aakeson and directed by Hans Moland. “In Order of Disappearance” made its Texas debut at the 2014 Fantastic Fest, netting it the Best Director award for Moland, albeit in the very misleading category of Comedy. The film centers around Nils Dickman (spelled exactly like you’d think and yes, the script makes several jokes about this) (Stellan Skarsgård), a plow driver who has given years to his snowbound mountain community, keeping the roads clear of the massive drifts that dominate the landscape and maintaining the lone, tiny airport. When Dickman’s son is killed by a drug gang in a case of mistaken identity, he seeks vengeance from a network of dealers, bodyguards, hitmen and whoever else gets in his way.

Oh boy, this does sound like a Liam Neeson movie, doesn’t it?

Where this film succeeds is in taking a very straightforward plot and adding in elements that make it more engaging. The movie cuts away to title cards that track the occasional death, and serve to divide the story into chapters, not unlike the horror comedy “You Might Be The Killer” (Episode #376). Films like “Kill Bill” and Fantastic Fest’s bloody “The Night Comes for Us” (Episode #295) have that video-game quality, where the lead character fights his or her way through a variety of henchmen and a series of increasingly difficult boss battles, until they eventually face the Final Baddie. This film doesn’t stray too far from that recipe, but by injecting some dark humor, a snowplow on steroids, and a picturesque mountain setting, the story feels like an original.

For those who are reluctant to watch a foreign film, especially with an English-language remake about to become available, I understand where you’re coming from. Imported comedies lose some of the humor in the translation; dramatic films can be tedious or sleep-inducing; they’re a risky time investment. That being said, I’ll review many foreign films this year that I believe are worthy of your time, and I’ll tell you why. Most other countries don’t put out anywhere near the sheer volume of films as the United States does, aside from India (and believe it or not, Nigeria; go look that one up). So when a foreign film is strong enough to gain domestic distribution, you’re often getting the work of one of the very best filmmakers a country has to offer, on a lower budget than an American production, and with their artistic vision intact. With this film, you’re also getting some wonderful character actors led by Pål Hagen, considered one of Norway’s top young stars, playing jaded mob boss “The Count”. Wild, escapist films can feel more authentic when you’re unfamiliar with the setting or the cast, and that magic is captured well here.

What makes “In Order of Disappearance” fantastic?

Well, every once in a while, a film like this comes along, and reminds you that there are still new crime stories to be told, using all of the staple ingredients, and throwing in a few new twists. There’s nothing in this film that you haven’t seen shades of in a dozen other pictures, but the director manages to nail every aspect of the filmmaking process, resulting in a film that’s hard to fault. The only problem is that a movie shot this well should be seen in a theater, but I guess the upcoming remake, which was also directed by Moland, will have to suffice.

“In Order of Disappearance” (2014) is a delightful, thundering Scandinavian rampage. Fans of intelligent action fare starring aging Hollywood icons like Li- uh, Bruce Willis or Arnold Schwarzenegger are going to love this one. 

Rotten Tomatoes: 85% CERTIFIED FRESH

Metacritic: 74

One Movie Punch: 8.4/10

“In Order of Disappearance” (2014) is rated R and is currently streaming on Netflix.

Come back next week when I’ll be reviewing “Sleep Tight”, one of the more unsettling films I have ever seen. If you rent an apartment or if there are any other keys to your house floating around, prepare to be creeped out.

Hi everyone!

Welcome back to another Netflix Original, but not the one I was hoping to review. For reasons as yet unknown, Netflix has postponed releasing “Girl” for streaming services, although likely because of the controversy currently surrounding the film. You can search on your own for that, but in the meantime I thought I would let #FilmTwitter decide with a poll between “Fyre: The Greatest Party That Never Happened” and “Soni”. And the votes came back 50/50. So, I asked One Movie Spouse which one she wanted to watch, and she chose “Soni”, but don’t worry, I’ve got a familiar voice coming back with a review for the other one next Saturday.

For a few other Netflix Originals from India, check out “Love per Square Foot” (Episode #052), “Sometimes” (Episode #136), “Lust Stories” (Episode #168), “Brjj Mohan Amar Rahe” (Episode #220), and “Rajma Chawal” (Episode #344). And if you have any suggestions from Bollywood, let us know at onemoviepunch.com or by reaching out over social media.

And now...

Today’s movie is “Soni” (2018), the Netflix Original Indian drama directed by Ivan Ayr and written for the screen in collaboration with Kislay Kislay. The film follows Soni (Geetika Vidya Ohlyan), an officer working on a special task force to combat violent crimes against women, under the direction of her superintendent Kalpana (Saloni Batra). However, after being suspended for alleged misconduct, her future within the police is placed into jeopardy.

No spoilers!

In my review for “And Breathe Normally” (Episode #373), I talked a little bit about female solidarity and my ability (or inability) to speak about the female experience. Without covering too much of the same ground, one point I want to reinforce is that sometimes the social structures meant to ensure gender equality end up reinforcing inherent double standards for women. It’s one thing to make gender discrimination illegal, but it’s another thing to remove it from society as a whole. “Soni” brilliantly shows this distinction, and how it plays out today in India, and to a greater or lesser extent, how it plays out in other countries involved in the same transition, including my own.

You can really feel the unbridled frustration in Soni’s character, thanks in large part to an excellent performance by Geetika Vidya Ohlyan, but also a well-structured journey by the writers through the multiple levels of sexual harassment faced by women. The film’s cold open, as featured in the trailer, is brilliantly constructed, showing Soni riding a bicycle and being harassed by a man, whom she confronts viciously and appropriately, until you learn it was a training exercise, which gets factored into the reasons for her suspension. It may seem unwarranted, but Ohlyan then takes Soni through the rest of her story, showing the discrimination she faces from her co-workers, from her superiors, from male citizens disregarding her authority and uniform, from men she meets while off-duty, from her separated husband, from the male members of her family, and from her superior officers, including her own superior Kalpana when her job becomes threatened as well. Each injustice she faces may not always justify her initial actions, or the subsequent actions she takes, but they certainly help the viewer understand her actions, even more so if the viewer has faced any or all of the discrimination faced by Soni.

Messaging is key to “Soni”, but it’s not the only good thing about the film. Ayr uses well-chosen muted filters throughout the film, that matches the depressing and oppressive tone expressed throughout the film. Locations are well chosen to match each situation, and costuming is used well. My main criticism of the film is that the message can also make for tough, depressing viewing, which can make the film feel slow during some transitions. It’s still an astounding achievement by Ayr, especially for a debut feature-length film.

“Soni” (2018) is an insightful and depressing look into gender discrimination, not just in India, but also throughout the world. Geetika Vidya Ohlyan portrays the title character well through a difficult journey, with an ending that will leave audiences divided. Fans of Bollywood, or fans of films about social justice and gender discrimination, should definitely check out this film, but be ready for a tough watch. 

Rotten Tomatoes: 86%

Metacritic: NR

One Movie Punch: 8.0/10 

“Soni” (2018) is rated TV-MA and is currently streaming on Netflix.

Hi everyone!

We’re back with the second review this week from Garrett Wright from Two Views Movies. Today’s film is from Annapurna Pictures, which is one of this podcast’s favorite producers and distributors. Don’t believe me? Check out our reviews for “Phantom Thread” (Episode #333), “The Ballad of Buster Scruggs” (Episode #325), “Brad’s Status” (Episode #075), “Professor Marston and the Wonder Women” (Episode #163), “Sorry to Bother You” (Episode #197), and Garrett’s Takeover Tuesday review for “Creed II” (Episode #335). Got any favorites? Reach out over social media or contact us at the website, or we’ll send you hunting with today’s biopic subject.

One last bit. Christian Bale did take home the Golden Globe for Best Actor in a Motion Picture – Musical or Comedy for his role as Dick Cheney in today’s film. But will he show up in the Oscar nominations? Only time will tell. 

Take it away, Garrett! 

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What is up, everybody?

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 excited to be back on the One Movie Punch podcast, this time as a regular contributor. You can follow me on Twitter at @TwoViewsGarrett and the podcast as well on Twitter, Facebook, and Instagram at the username @TwoViewsMovies.

Today’s movie is “Vice” (2018), the comedy-drama written and directed by Adam McKay. “Vice” (2018) is the story of Dick Cheney (Christian Bale), an unassuming bureaucratic Washington insider, who quietly wielded immense power as Vice President to George W. Bush (Sam Rockwell), reshaping the country and the globe in ways that we still feel today.

All spoilers have been marked classified and have been redacted from today’s review, so keep on listening…

You can’t really fault director Adam McKay for taking something that worked once and trying it again. His 2015 film “The Big Short” achieved both critical and commercial success despite being centered around one of the blandest subjects imaginable — the 2008 financial crisis. The film became known for its blend of comedy, drama, unorthodox editing style, and fourth-wall breaks. So when McKay announced that his next project, “Vice”, would tackle the life of former Vice President Dick Cheney, there was a natural level of intrigue surrounding whether or not using “The Big Short” formula would produce similar results.

“Vice” is successful in mimicking its predecessor’s style, but style without compelling substance creates a hollow experience. The main flaw of this film is that there is nothing compelling about the story or the main character. There is no main thesis driving it other than following the events in the life of Dick Cheney. Sure, McKay makes it plainly obvious that we are not supposed to like or respect Cheney, but beyond that statement, not much more is explored. The genesis of Cheney’s thirst for power is presented as a fairly mundane moment in a marital relationship. Perhaps that is accurate, but it certainly isn’t interesting. And when the first hour of the film is spent on Cheney’s backstory and the audience STILL doesn’t feel invested in his journey from power line worker to grumbling rabble-rouser that inhabits an office at The White House, the runtime feels twice as long.

We don’t get to see Cheney as the titular Vice President until over an hour into the film. At this point, “Vice” shifts into high gear as it tries to cover as many milestones as possible. What it fails to do in the process is give us much new information or reasoning behind any of the events. Cheney is depicted as a form of bad that lacks complexity or motivation. He just *is* bad. And there are only a few moments where he does not come across as a monolith of lust for power. This lack of conflict is, simply, boring. Whereas “The Big Short” taught us about the financial meltdown, “Vice” is content to not teach or uncover new ground, but just hit all the main points like a PowerPoint presentation.

The unfortunate side effect of the film’s structural and story issues is that the acting performances get undercut. Bale is fantastic as Cheney and never slips out of character for even a second. If “Vice” was even 25% better, Bale would be a lock for an Academy Award, but it can be very hard to win an Oscar in a lackluster film. Amy Adams was solid as Cheney’s wife Lynne, but her character was not given much of a wide berth. Steve Carell was serviceable as Donald Rumsfeld, but the real disappointment was the lack of screen time for Sam Rockwell’s George W. Bush. Rockwell’s take on “Dubya” was impeccable, but with less than five minutes of screen time, it feels like a wasted opportunity.

Despite its pedigree, “Vice” feels more like a film from someone who saw “The Big Short” and tried to imitate it, but didn’t really understand what made it successful. “The Big Short” took a boring, dense subject matter and gave it heart and emotion so that the audience could care about the characters as they learned more about the disaster affecting them. “Vice” never bothers to give the audience something or someone to care for. It is like watching “The Big Short” solely from the perspective of the CEOs of the Wall Street banks that caused the crisis.

Rotten Tomatoes: 62%

Metacritic: 61

One Movie Punch: 5.5/10 

“Vice” (2018) is rated R and is still available in theaters.

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 back with another Netflix Original, this time an espionage thriller in collaboration with the United Kingdom. For a few other espionage-related Netflix Originals, check out “Forgotten” (Episode #062), “The Outsider” (Episode #069), “Steel Rain” (Episode #087), “Sun Dogs” (Episode #107), and “Anon” (Episode #125). Got any suggestions? Reach out over social media or contact us at onemoviepunch.com.

And now...

Today’s movie is “Close” (2019), the Netflix Original thriller directed by Vicky Jewson, and written for the screen in collaboration with Rupert Whitaker. The film follows Sam (Noomi Rapace), a counter-terrorism expert assigned as a bodyguard to Zoe (Sophie Nélisse), a rich young heiress. While on assignment, a violent kidnapping requires the two to work together to survive while on the run.

No spoilers!

I always struggle a little bit with espionage thrillers, especially those involving so-called private contractors, or in standard prose, mercenaries. I used to gobble up espionage stories, whether on the screen or in print or even on the news. However, once you realize the lack of accountability for private contractors, it’s hard to find any of them likable, even if they feel they’re doing a great service for their client or their country or maybe the world. Which is why today’s film was a nice change of pace, and a look into the world of a female mercenary, and how that might be different. Or might not.

Noomi Rapace is the only standout performance in “Close”, at least in a good way. Her breakout role as Lisbeth Salander in the Swedish films and television show brought here to the forefront of the international film scene, which made her a good choice for today’s film. I just wish the other performances in the film were as well done. Sophie Nélisse’s portrayal of Zoe is forced, not really capturing the heiress to sidekick story arc that’s intended as they work to figure out what’s going on. Indira Varma’s portrayal as Rima Hassine, Zoe’s stepmother lacks consistency, probably in an attempt to make the two head-fake story twists seem more believable. 

Now, I was a huge fan of the film being set in Casablanca, making good use of the entire city to tell the story, up to and including the red taxis. The close-quarters action has its moments, especially involving Rapace, who can pistol-whip like it’s nobody’s business. However, the larger, internal conflicts of Sam’s character get short shrift, usually in a bid to shore up the lackluster performances around her. I would love to see more films with Sam’s character, but could honestly care less about everyone else involved. 

“Close” (2019) is a female-led espionage thriller, starring Noomi Rapace in a believable, quality role, surrounded by a mostly lackluster cast. While the film does have some great moments, it also tends to drag too much. Fans of espionage films, or Noomi Rapace, should definitely check out the film, but beware you might not enjoy the whole ride. Rapace sure didn’t.

Rotten Tomatoes: 45%

Metacritic: 57

One Movie Punch: 6.4/10

“Close” (2019) is rated TV-MA and is currently streaming on Netflix.