One Movie Punch

Hi everyone! 

This is the first of two reviews this week  from our friend Garrett Wright of the Two Views Movies Podcast. I’m actually kinda jealous he took this one, because I’m definitely going to watch it. For a few other violent action films, check out “Brawl in Cell Block 99” (Episode #003), “Manhunt” (Episode #133), “Deadpool 2” (Episode #141), and my favorite action film from last year, “The Night Comes For Us” (Episode #295).

Actually, you know what? I’m going to review it, and there’s nothing that Garrett can do to stop me, especially from my island base. So, today’s movie is... just a minute, who’s that? Oh, hey. Look Garrett, I’m doing the review and there’s nothing... 

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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 “Revenger” (2018), the South Korean martial arts action film written by Bruce Khan and directed by Lee Seung-won. “Revenger” (2018) follows Kim Yool (Bruce Khan), a former detective who is hell-bent on avenging the murder of his family and infiltrates a remote island that serves as a prison for vicious death row criminals.

All spoilers have been sent off to a remote island prison, so keep on listening...

The trailer for “Revenger”wastes no time associating itself with Gareth Evans’ “The Raid”franchise — and for obvious reasons. “The Raid”films are some of the most respected action films of the 21st century and are widely considered the best filmed and choreographed martial arts movies of all time. The mere mention of “Revenger”having ties to “The Raid”is enough to pique the interest of action movie fans to the point of clicking play in Netflix. But once you click play, it doesn’t take long to realize that the comparisons are barely more than smart marketing.

“Revenger” eschews the current martial arts action film trend of minimal plot and heavy action. Instead, its narrative structure and story pull straight from 90’s action movies. Gone are the fast-paced, non-stop action sequences and in their place is an unnecessary focus on story and side characters. The film’s mood is consistently upended by misplaced silly comedy and odd transitions from Korean to broken English. Worse, there are several long stretches during which the action is overly generic or non-existent. If you remember renting a Van Damme or Seagal movie back in the day and then being disappointed when there was hardly any fighting and action, “Revenger”will feel very familiar. Favoring plot and character development over action is not a death knell in and of itself. But the story put forth in this film is sparse, cobbled together, and riddled with so many questions that it’s hard to believe it got more focus than the fighting.

All is not lost though. Bruce Khan’s transition from stuntman to recognizable martial arts star is underway. “Revenger”, at the very least, was a showcase for his physique and abilities. As the writer of this film, it’s understandable that Khan would want to make himself the hero. However, his performance in this film was much more suited for a brutish, path-of-destruction-type villain. Had he partnered with a more competent director and starred opposite an existing star like Iko Uwais or Donnie Yen, we could be viewing “Revenger”as a true breakout role for Khan.

If Timo Tjahjanto’s 2018 Netflix actioner “The Night Comes For Us”was at least in the same ballpark as “The Raid”, then I’m not sure “Revenger”is even playing the same sport. It lacks both the quantity and quality of action from the aforementioned films and despite some blood and broken bones, the visceral nature that defines the current run of successful action films is completely missing. What should have been a high-paced bone-crunching film instead feels like a boring mash-up of 90’s plot and early 00’s action. But if a 2002 remake of Ray Liotta’s No Escape starring Jet Li sounds like something that interests you, then perhaps “Revenger”is worth clicking the play button for.

Rotten Tomatoes: NR

Metacritic: NR

One Movie Punch: 3.8/10

“Revenger” (2018) is rated R and is available to stream on Netflix.

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!

Welcome back to another week of podcasts. No new sponsors this week, but if you’re interested in contributing, head over to patreon.com/onemoviepunch and join at any level. You’ll be eligible to have us review a film of your choice for Sponsor Sundays. In the meantime, while we wait for the Oscar nominees to be announced, I thought I would go back to a review from early last year that really caught me off guard. It currently has a 97% Certified Fresh rating on Rotten Tomatoes and an 89 Must See rating from Metacritic. Better yet, it’s still streaming on Hulu, and also available for rental or purchase from the major digital outlets. It’s a patient, beautiful, hypnotic film.

Enjoy!

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Today’s movie is “Columbus” (2017), Kogonada’s debut film set in Columbus, Indiana, a city known for its modernist architecture and public art installations. The film follows Jin (John Cho), who has arrived in Columbus to attend to his dying father, who collapsed on a speaking tour. On his trips to the hospital, he meets Casey (Haley Lu Richardson), a recent high school graduate working at the library with Gabriel (Rory Culkin), and taking care of her mother (Michelle Forbes).

“Columbus” (2017) has two centers: the mostly platonic relationship that develops between Jin and Casey, and the city of Columbus itself. Casey has an interest in the architecture in Columbus, and had planned on attending a talk by Jin’s father before his accident. Jin and Casey form a unique pair. Casey takes Jin around Columbus, pointing out her favorite buildings and their significance to her. Both are looking for someone to help them make sense of their situation. John Cho and Haley Lu Richardson feel so genuine in their respective roles.

The film’s supporting cast is excellent. Parker Posey plays Eleanor, Jin’s father’s assistant, appearing and disappearing as her schedule allows, and serves as another connection between Jin and Casey. Rory Culkin’s scenes were nearly perfect, never upstaging Casey’s experience while still making himself known. Michelle Forbes is so expressive, showing more than saying.

Kogonada’s makes great use of Columbus’ natural and man-made beauty, weaving in metaphor that fits the architecture, seeking locations full of solid colors and distinct contrasts. The film has a lot of deep, stationary shots, fitting in multiple layers of activity, along with nice use of mirrors. I also appreciated the use of seen and unseen facial expressions, communicating so much in seconds. Every scene feels alive and real.

All of this creates a gorgeous film that tackles our modern expectations of small town life and the importance of finding meaning in our relationships. And to top it off, the film is backed by an amazing score from Hammock, who exist somewhere between shoegazer and ambient, always helping capture the moments. I look forward to all of Kogonada’s future output.

Hi everyone!

We’re back with another Netflix Original, which was only slightly better than my review for “The Last Laugh” (Episode #382). I’ll let you know why in a minute, but if you’re looking for a few other Netflix Originals for your weekend, check out the incredible Godzilla animated trilogy (Episodes #340, #341, and #377), “And Breathe Normally” (Episode #373), and “A Twelve-Year Night” (Episode #365). You can check out our full list of reviews at our website using the Netflix Originals blog tag. Oh, and just for clarification, this isn’t the Star Wars film about Han Solo, but you can also check out our review for “Solo: A Star Wars Story” (Episode #148).

By the way, I was recently invited to do a little segment with our friends at the Movie Geek & Proud Podcast. Check out their latest show, Episode #037, where they discuss the campy classic “Rat Race”, and have our own Ryan L. Terry as part of the discussion. Here’s a quick promo for their show!

Today’s movie is “Solo” (2018), the Netflix Original Spanish film directed by Hugo Stuven and written for the screen in collaboration with Santiago Lallana. The film is based on the true story of Álvaro Vizcaíno (Alain Hernández), who rushes off from a beach party after being rejected by a former girlfriend named Ona (Aura Garrido). While on the way to a hidden beach, he tumbles off a sandy cliff, breaking multiple bones, and struggles to survive alone.

No spoilers!

The Netflix Original Spanish film selections continue to intrigue me. I’ve been extremely moved by quite a few films, especially “Sunday’s Illness” (Episode #171), “The Laws of Thermodynamics” (Episode #244), and most recently in collaboration with a few South American countries, particularly Uruguay, “A Twelve-Year Night” (Episode #365). On the whole, they’ve been anywhere from fair to incredible, which means their acquisitions department is doing well. If you haven’t been following the scene, I highly recommend you do, even if today’s entry is on the fairer side of their content.

“Solo” is a well told redemption story about a less than appealing subject, a wealthy surfer named Álvaro Vizcaíno, who appears to have been a selfish asshole prior to his traumatic experience. He’s not a very likeable character, bordering on narcissistic, which is not helped by making a film about how he overcame self-imposed difficulty. I don’t mean to make light of his situation, because I can’t even imagine what I would have done in the same circumstances, but I also have trouble relating to the character. However, for a film about character growth, there doesn’t seem to be much of it, no matter how directly the dialogue talks about that growth. We hear a lot about how and why he’s grown, but we rarely see that growth in the character. I’m at a loss to know whether that’s actually Vizcaíno, or his portrayal by Alain Hernández, though.

My issues relating to the character aside, the film does have some strong moments, especially for the lone survival thriller genre. I really appreciated the slight misdirection in the first third of the film, which helps amplify the tension for a story where we know the main character survives. The Canary Islands are well used, despite the limited locations, with some truly great drone shots. I also found the underwater and water surface camera work to be mesmerizing, especially in the crystal-clear blue water. However, there are also too many scenes of Álvaro crawling around on the sand and struggling to swim, and that’s because most of the trauma occurs internally, a tough thing to translate to the screen. And when we’re walked through the final few scenes, from his rescue to his recovery, I felt like there just wasn’t enough story for a feature-length film, at least not the way it was told.

“Solo” (2018) is a lone survival thriller about the two day trauma of Álvaro Vizcaíno. The film has some great camera work in a beautiful location, but also struggles to fill the time with a mostly internally-driven story. Fans of survival thrillers, or surfing fans, should definitely check out this film, although it may not affect everyone the same way. It sure didn’t for me.

Rotten Tomatoes: 71%

Metacritic: NR

One Movie Punch: 6.2/10

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

Hello film fans!

Andrew here - back with another film straight out of Fantastic Fest here in Austin, that made its U.S. premiere back in 2017. Switching gears from last week, this week’s film is not scary and has no body count, at least not by the literal definition of the term. Fantastic Fest does an amazing job of sourcing genre films, typically centered around horror, sci-fi or crime, but also nabs pictures like this one that are difficult to fit into any box. Unfortunately, that often leads to these auteur films not getting a meaningful theatrical release, and, in the case of today’s movie, being hustled onto a streaming service that ensures it will remain a cult film.

Today’s movie is “Bodied”, the subversive battle rap comedy that updates “8 Mile” for today’s audiences, produced by none other than Eminem himself. “Bodied” tells the story of Adam (played by Disney alum Calum Worthy), a white Berkeley grad student writing his thesis on the various uses of the “n-word” in battle rap. Directing this film through rough waters is Joseph Kahn, a veteran music video director with a long career working with a number of A-list artists. Adam and his girlfriend head to Oakland to interview Rapper Behn Grimm (Jackie Long) and check out some of the battles, an arena in which Adam is well-versed but only through what he has seen on YouTube. Adam raps his way into the community with a cast of diverse characters including rapper Prospek (Jonathan Park), who, like the film’s director, is Korean-American. Through battles and conversations, the movie dines on a full menu of social issues: racism, classism, misogyny, homophobia, cultural sensitivity and appropriation. 

When Adam joins the battle rap circuit, he must decide whether to take the high road or fall in step with his competition, who are unloading on every stereotype you can imagine. As one of the film’s lone white rappers, and certainly the only one with zero street cred, he questions whether it’s acceptable for someone in his privileged position to match the language of his opponents who represent minority backgrounds. The film goes all in with some brilliant rhymes, flawlessly delivered and captured beautifully on film. Director Kahn knows how to light a scene as we move between parking garages, clubs, and basements, using on-screen text and visual effects to cleverly highlight the lyrical delivery. If you can handle the raunchy and brutal language that takes up a good portion of the two-hour runtime, the underlying story has a lot to offer.

While Adam is the main character here, the heart of the film is rapper Behn Grimm. And yes, that is a reference to the Fantastic Four’s Ben Grimm, one of many geek-culture references found throughout the film. Grimm is the guy that seems to have it all figured out and his character gains depth as we learn more about what propels him. On the other side, Adam comes across more like a villain, who stumbles across a mystic gemstone that gives him a superpower he does not know how to yield, in this case his sudden onset of genius rap talent. While these two work to understand one another, the film – bucking cultural sensitivity entirely - culminates in a climatic and shocking final series of battles.

What makes Bodied (2017) fantastic?

You can call it the comedic version of “8 Mile”, but that doesn’t do the film justice as a singular work. Where “8 Mile” was the story of a man finding his voice through rap as he struggles with adversity, “Bodied” is a raw satire of the appropriation of black culture told through a privileged anti-hero. You absolutely must see this film, so log into your paid YouTube premium account and… oh, what’s that? You don’t pay for YouTube or know anyone who does? Well, head on over to YouTube and sign up for a free trial so you can watch this film. Just don’t forget to cancel.

“Bodied” (2017) is bombastic entertainment for the thick-skinned who aren’t afraid of a little discomfort and who wish to be challenged; a film that will be interpreted much differently depending upon the viewer. Fans of modern social dramas filled with dark, subversive humor, such as “Sorry to Bother You” or “Blindspotting” will appreciate this film.

Rotten Tomatoes: 88% (CERTIFIED FRESH)

Metacritic: 75

One Movie Punch: 9.6/10

“Bodied” (2017) is rated R and is currently streaming on YouTube Premium.

Come back next week when I’ll be reviewing “In Order of Disappearance”, the 2014 dark Norwegian crime comedy starring Stellan Skarsgård. If you’ve seen the preview for the latest Liam Neeson senior-citizen action flick, “Cold Pursuit”, due in theaters next month, let me first tell you about the terrific foreign film on which it was based.

Hi everyone!

Well, it’s just me today. (BOOO!) Hey now! I promise that Andrew will be back tomorrow with another film from Fantastic Fest, and Garrett will be back with another review shortly. But for today, you’ve got me, and if that disappoints you, wait until you get to my review. For another Kate Micucci film, check out the delightfully blasphemous film called “The Little Hours” (Episode #100). And for a film at least in part about Chevy Chase, check out “A Futile & Stupid Gesture” (Episode #027). I’ll be referencing it in my review.

And now...

Today’s movie is “The Last Laugh” (2019), the Netflix Original comedy written and directed by Greg Pritikin. The film follows Al Hart (Chevy Chase), a talent agent struggling with the transition to an assisted living center. However, when he runs into his first client, Buddy Green (Richard Dreyfuss), the two hatch a plan to restart Buddy’s career in the hopes of performing in New York.

No spoilers!

I want to open today’s review by talking about the various ways you can ruin a movie. The first and most obvious is to have a bad screenplay, similar to having a bad foundation on which to build a house. The second is to waste the talent brought to the film, either by underutilization or overutilization. The third and last is the gild the lily, which for those who don’t know the saying, is to keep adding to something that is already beautiful. And unfortunately, today’s film breaks all three rules.

“The Last Laugh” is built on a decent, if unbalanced script, a mixture of a reflection on aging and dying, a buddy road trip, and a film about stand-up comedy. The film has two major parts: the opening third where we’re introduced to Al Hart and Buddy Green at the assisted living center, watching Al go from resisting, to accepting, then resisting again, followed by the last two-thirds which is Al and Buddy out on the road, each running from their lives in some way. The opening third is a struggle to get through to the film’s main premise, but gets enjoyable enough in the middle, right before ending very abruptly. Too much setup, not enough resolution. A bad place to end a film about aging and dying. So, that’s strike one.

Strike two is a wholly unbelievable Chevy Chase, who is expected to play a straight-laced talent agent that apparently never touched a drug in his life. Anyone who knows Chevy Chase’s career can imagine how fake that performance might be, especially when he meets new love interest Doris (Andie MacDowell) while on the road. If you don’t know much about Chevy Chase’s life, check out the aforementioned “A Futile & Stupid Gesture” for his Caddyshack days. By contrast, I found Richard Dreyfuss’s performance to be much better, especially while doing stand-up, but also presenting a distinct character in Buddy Green, often shoring up Chevy Chase’s performance with their on-screen chemistry. It also helps that Buddy Green’s story is so much more compelling than Al Hart’s.

Layered on top of this is strike three: a wholly invasive original musical score from Greg Pritikin and Jay Weigel, a mixture of Gershwin-esque music that might have worked for the same movie forty years ago, but feels out of place for a film set during the modern day. Worse yet, while the score itself had a measure of consistency throughout the film, the music often clashed with the tone, especially towards the end as Buddy’s secret becomes apparent.

“The Last Laugh” (2019) is a gilded lily, built on a bad script, and severely underutilizes half of the cast. While Richard Dreyfuss excels as Buddy Green, Chevy Chase flounders as Al Hart, and the film attempts to overcome its difficulties with too much humor based on shock value. Fans of either Chevy Chase or Richard Drefyuss, or fans of stand-up comedy, may want to seek out this film, but beware it may leave you as disappointed as I was. 

Rotten Tomatoes: NR

Metacritic: NR

One Movie Punch: 5.0/10 

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

Hi everyone!

We’re back today with not just another Golden Globe nominee (and winner), but also the first from what we hope to be many reviews from our good friend Garrett Wright. You may know him from his Takeover Tuesday review for “Creed II” (Episode #335), but he’s also one half of the Two Views Movies podcast, which you’ll hear about in a minute. But I would feel remiss if we didn’t mention that today’s film won the Golden Globe for Best Animated Motion Picture. If his review doesn’t make you want to see the film, I don’t know what will. 

Welcome aboard, Garrett! 

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

Today’s movie is “Spider-Man: Into the Spider-Verse” (2018), the animated film directed by Bob Perischetti, Peter Ramsey, and Rodney Rothman and written for the screen by Phil Lord and Rodney Rothman. “Spider-Man: Into the Spider-Verse” (2018) focuses on Miles Morales (Shameik Moore) who is juggling his life between being a high school student and being Spider-Man. However, when Wilson “Kingpin” Fisk (Liev Schreiber) uses a super collider, another Spider-Man from another dimension, Peter Parker (Jake Johnson), accidentally winds up in Miles’ dimension. As Peter trains Miles to become a better Spider-Man, they are soon joined by four other Spider-Men from across the Spider-Verse. As all these clashing dimensions start to tear Brooklyn apart, Miles must help the others stop Fisk and return everyone to their own dimensions. The film also features voice acting from Hailee Steinfeld, Mahershala Ali, Brian Tyree Henry, Lily Tomlin, Zoë Kravitz, Kathryn Hahn, Chris Pine, Jorma Taccone, and Nicolas Cage.

You can ignore your Spidey-sense today, because we’re keeping it spoiler-free this episode…

As someone who has never been a fan of Spider-Man, I met the deluge of praise for “Spider-Man: Into the Spider-Verse” (2018) with a healthy amount of skepticism. I have never liked any of the Raimi films (yes, even “Spider-Man 2”) and the Andrew Garfield-led reboots fell equally flat. While I have enjoyed Tom Holland’s take on the character, “Spider-Man: Homecoming” (2017) still felt as though there was something missing. So I resigned myself to the fact that perhaps Spider-Man simply is not the superhero for me.

But then I watched “Into the Spider-Verse” and for the first time, I now have a Spider-Man film that I can truly say I love. Every single aspect of this movie works perfectly. The animation style is truly astonishing. It is deliberately unique and modern yet makes a concerted effort to feel retro at times by mimicking the look and feel of tangible comic books. The performances of the voice actors from Shameik Moore’s Miles Morales and Jake Johnson’s Peter B. Parker to supporting roles from Mahershala Ali (Uncle Aaron) and Brian Tyree Henry (Jefferson Davis) provide emotional punches that transcend any barriers presented by being an animated film. And Daniel Pemberton’s score has a fluidity that is able to keep pace with the plot that unspools at sometimes breakneck speed. The music seamlessly shifts tones as the scenes jump back and forth between various plots and characters. At no point does the score feel out of place from what is on screen.

Needless to say, “Spider-Man: Into the Spider-Verse” (2018) could only have been accomplished as an animated film. Its plot is as ambitious as it is unprecedented. It is a testament to the team of writers and directors that a story this complex is able to be presented in a way that is easily digestible and immensely entertaining. Most superhero movies struggle to tell a coherent, emotional story with a single hero at the center. “Into the Spider-Verse” manages to be successful while juggling multiple variations of Spider-Man on screen at the same time — as well as a variety of villains — and never loses its heart in the process. The audience is always keenly aware of not just Miles’ conflict and development, but also Peter Parker’s and even Kingpin’s. And though it is filled with humor, it never lets the jokes undercut the moments that need to be serious. 

Speaking as a recent convert to Spider-Man fandom, it feels like the world of animation is where Spider-Man truly belongs. A character whose skillset and humor is conveyed more effectively in the hands of comic book artists and animators than actors and special effects shops. “Spider-Man: Into the Spider-Verse” (2018) is unquestionably the best Spider-Man film to date and is the best animated film of 2018. And amazingly enough, should be in the discussion for best superhero film of all time.

Rotten Tomatoes: 97% (CERTIFIED FRESH)

Metacritic: 87 (METACRITIC MUST-SEE)

One Movie Punch: 10/10

“Spider-Man: Into the Spider-Verse” (2018) is rated PG, 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’ll catch you next time.

Hi everyone!

I know what you’re thinking? What’s happened to the podcast? Have they finally sold out? Of course not. Today is just a very special Takeover Tuesday, with my spouse, Amy Dobzynski, aka One Movie Spouse. She’ll be popping on the podcast every now and again when there’s a film she simply can’t get enough of. And when you hear that intro, you’ll know what you’re in for!

And now, One Movie Punch presents... One Movie Spouse!

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Hi, I’m Amy, now known on this podcast as One Movie Spouse (MWAH!). I’m a public-school educator, mother, spouse, and in 2019, I have a new role as guest reviewer for One Movie Punch. I’m so excited about my first review!

Today’s movie is “Mary Poppins Returns” (2018), the Walt Disney Pictures follow up to the landmark “Mary Poppins” (1964), directed by Rob Marshall, and written for the screen by David Magee, based on a story in collaboration with Rob Marshall and John DeLuca, and based on the original stories by P.L. Travers. The film follows Mary Poppins (Emily Blunt), who has returned decades later to Depression-era London to help the Banks family rediscover the joy of life during hard times. The film was nominated for four Golden Globes, including Best Motion Picture – Musical or Comedy; Best Original Score; Emily Blunt for Best Actress in a Musical or Comedy; and Lin-Manuel Miranda for Best Actor in a Musical or Comedy.

No spoilers!

My motto as an educator is to strive for the creativity of Ms. Frizzle and have the patience of Mary Poppins. I have adored Mary Poppins as a character for years. In fact, I wanted to be Mary Poppins when I grew up. She’s magical, witty, a problem solver, and makes anything possible. My favorite coffee mug is a silhouette of Mary Poppins floating above London. Because of her, I always try to add a dash of positivity and creativity in my daily life. I squealed with delight when the trailer dropped for “Mary Poppins Returns”. I couldn’t wait to see this film!

I went into the theater over winter break with an open mind. “Mary Poppins” (1964) is a timeless classic. With all the Disney reboots and live action films coming to theaters, I wondered how they could possibly make a second film as good as the first. I was determined to find out. So, with the company of a few other enthusiastic Poppins fans, we sat down and got ready to see what new adventures were in store.

The verdict?! “Mary Poppins Returns” (2018) is a truly delightful film! Whether you are 9, 39, or 99, you will instantly be drawn into the adventures of Mary Poppins. I felt like I was back in the original film, revisiting old friends, and being introduced to a new generation of Banks children facing the turmoil of life. Mary Poppins does indeed return, to keep a watchful eye on the family, giving them a reprieve from the issues plaguing the adults, and helping the children regain a sense of wonder. Throughout the film, I really felt the impossible could become possible. And for you naysayers, pish posh! It’s true! 

Emily Blunt and Lin-Manuel Miranda give excellent performances. I loved watching their friendship flourish as they invited others to join in their fun. The songs are all new, but you’ll also hear the familiar melodies from the first film sprinkled throughout. The sets and costumes are beautifully designed, helping to carry you into their fantastic adventures, and reminiscent of the original film. The combination of animation and live action is visually stunning and blends beautifully on screen. It made me appreciate even more what was done with the original film, given the limitations in technology. This film is practically perfect in every way. Let’s go fly a kite and see if Mary Poppins will pay *us* a visit.

“Mary Poppins Returns” (2018) is a successful franchise reboot, pleasing fans of the original, and likely to draw in new fans. The film has whimsical music, tremendous choreography, and beautiful art direction. Fans of the original film, or Lin-Manuel Miranda, or any fans of musicals, should definitely see this film.

Rotten Tomatoes: 78% (CERTIFIED FRESH)

Metacritic: 66

One Movie Punch: 9.4/10

“Mary Poppins Returns” (2018) is rated PG and is playing in select theaters.

Hi everyone!

Today, the podcast will be reviewing another Golden Globe winner, this time for Olivia Colman as Queen Anne, winning Best Actress in a Musical or Comedy. But more importantly than that, I am introducing, or perhaps re-introducing, our next reviewer joining the One Movie Punch team, Ryan L. Terry. You can check out his great Takeover Tuesday review last year for “Fried Green Tomatoes” (Episode #275), and also check out his blog at rlterryreelview.com (that’s r-e-e-l). You can also check out another Yorgos Lanthimos film review for “The Killing of a Sacred Deer” (Episode #149), although it is by no means a comedy.

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

Welcome aboard, Ryan!

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Hey everyone!

This is Ryan of the RLTerryReelView.com and on Twitter at RLTerry1. Whether it’s diving deep into a film's theme or just kicking back and enjoying a movie for entertainment value alone, I love sharing what I love about the magic of motion pictures. Cecil B. DeMille stated "the greatest art is the art of storytelling”, and I firmly believe that. In the same way I share what I know and love about films with my screenwriting students, I value the time that I get to spend with you, sharing my thoughts on a given movie. Favorite director is Alfred Hitchcock. My favorite genre is horror. “Psycho” (1960) is my favorite horror film, but Freddy Krueger is my favorite horror icon. Beyond horror, I love talking about and analyzing all kinds of movies, and enjoying the opportunity to chat with other fans and critics about the world of motion pictures. Join the conversation with me on Twitter or my blog.

Today’s movie is “The Favourite” (2018), the dramedy directed by Yorgos Lanthimos and written for the screen by Tony McNamara and Deborah Davis. I’ll start with the streamlined IMDB summary, and jump right into why I love this movie, and why it’s on my Top 10 Films for 2018 list. In the early 18th century, England is at war with the French. Nevertheless, duck racing and pineapple eating are thriving. A frail Queen Anne occupies the throne, and her close friend Lady Sarah governs the country in her stead while tending to Anne’s ill health and mercurial temper. When a new servant, Abigail, arrives, her charm endears her to Sarah. Sarah takes Abigail under her wing, and Abigail sees a chance to return to her aristocratic roots.

More than a satire on the 18th century British royal court, this film is about the lengths one goes to change one’s life or situation and all the costs associated with that. Screenwriter Tony McNamara and Deborah Davis worked with Yorgos Lanthimos to adapt the true story for the screen. What’s really cool about this particular movie is that it is inspired by actual events. You know, it may not be based entirely on all the facts, but that’s the beauty of it, taking the real information gathered from letter and from history and then wrapping it up in a little fiction to have fun with these characters, but still highlight a monarch from the British royal court, one you may not have given much thought to before, but these characters make for a fascinating story. You will be glued to the screen, I assure you. 

This story is a grim reminder that you can change your surroundings, title, clothes, job... but you may still be incredibly selfish, power-hungry, lonely, and unfulfilled on the inside. Perhaps you think you’ve won the game, but you were completely unaware that you’re really playing a another game altogether. So, always consult the rule book before you pick up the racket and join the game. There’s so many different ways of reading this film. There is depth to this film that another auteur film from last year, “Phantom Thread” (2018), in my opinion, did not have. It’s not just pretty look at. “Phantom Thread” was pretty. This film is not just pretty to look at; it’s a gorgeous film! There’s so much more to it. So much depth, and there’s so many layers to this story.

One of the most brilliant aspects to the story is how you feel about Abigail, Queen Anne, and Sarah. Because you will definitely change how you feel these characters as the story unfolds. It’s been a long time since I’ve heard dialogue that is this vicious and beautiful all at the same time. And yet, nothing ever feels forced, or fake, or annoyingly on-the-nose. The subtext of what is being said is rich and intriguing. Not only do these characters do and say some of the very things that we either do or imagine we would do or say, but they execute it with razor sharp precision. You will see and hear everything! No holds barred. Be prepared to gasp, laugh, cringe, and more. Never before has cruelty, power, and desire been so delicious. You will be instantly sucked into just how bizarre and brilliant this film about a twisted love triangle is because of the seductive visuals and razor-sharp wit. Not to mention the sad hand jobs. 

The costumes, locations, and set design are incredible. Upon watching this film, I was reminded of another world class period drama where each scene felt like it was an oil painting. I am talking about Stanley Kubrick’s “Barry Lyndon” (1975). Never before have I seen a film come so close to delivering the experience that Kubrick’s masterpiece did. This film is built upon one of the year’s (if not THE) best screenplays, and brought to life by an incredible lead and supporting cast. There is literally nothing about this screenplay, the casting, or any of the other elements that I would change. Every scene of a screenplay should begin as close to the end of the scene as possible and every scene needs to point to the realization at the conclusion. And this screenplay does precisely that. Even the development of the characters can be witnessed through the physical movement and dialogue of the characters. Not that commitment to the guidelines of screenwriting means the screenplay lacks imagination–definitely not. There is plenty of imagination in this story but it delivers every emotional beat, every turning point, every action with a powerful punch. The characters contain multiple layers and each scene reveals something new to add to these multidimensional characters. Sometimes it may be a subtle nuance that we learn about a character or it could be a big reveal that was hinted at earlier in the story. At times, your senses are assaulted with a sequence of actions that are wildly erotic or offensively contemptible. It’s that oscillation between extremes that keeps this drama titillating.

Yorgos couldn’t have asked for a better cast. The ensemble cast that makes up “The Favourite” (2018) is stellar. And there is lots of eye candy to go around. Whether we are talking the royal court, parliament, or even the servants, there are lots of pretty guys and gals whom make up this phenomenal cast. Beyond the look of the cast, the talent is breathtakingly good. Delivering figuratively sucker-punches one moment and conveying something seductive through the use of subtlety the next, the breadth of talent on display in this film is remarkable. Heavy dramedies like this one require chemistry levels near perfection. Because it is a character driven story that is supplemented by actions; therefore, it’s imperative that the actors work well together in order to never allow the audience to slip out of the story. Everything about this film works flawlessly. 

Rotten Tomatoes: 94% (CERTIFIED FRESH)

Metacritic:90% (MUST SEE)

One Movie Punch: (9 OF 10)

“The Favourite” is rated R and is available in select cinemas nationwide.

Hi everyone!

We’re back with another week of reviews, this time including four Golden Globe winners and/or nominees, two Netflix Originals, another great Fantastic Fest pick from Andrew, and introducing a few new reviewers. It’s part of our continuing expansion at One Movie Punch, which you can help support by heading over to patreon.com/onemoviepunch to sign up for a monthly contribution of any size. Sponsors become eligible for Sponsor Sundays, where you can tell yours truly to review a movie.

No new sponsors this week, so we’re going to take a look back at “Bohemian Rhapsody”, which won the award for Best Motion Picture Drama, and scored Rami Malek the Best Actor in a Motion Picture Drama award. It was one of the more controversial picks at the Golden Globes given the poor critical reviews, and general chaos behind the scenes. If you don’t believe me, check the show notes for links to reviews from our partners, including… Andrew Campbell: twitter.com/Anrcampbell/status/1058568940123766784

Ryan L. Terry: rlterryreelview.com/2018/11/02/bohemianrhapsody/

Two Views Movies: twoviewsmovies.com/episode-67-bohemian-rhapsody/

Moviedrone Podcast: podbean.com/media/share/pb-5msx4-9d960e

You’ll hear my review in a minute, but if you want to check out the movie, it is still playing in select theaters, with a streaming debut later this month. It is currently sitting at a 62% at Rotten Tomatoes and a 49 on Metacritic.

Enjoy the review! 

Today’s movie is “Bohemian Rhapsody” (2018), the 20thCentury Fox biopic about Queen directed by Bryan Singer and written for the screen by Anthony McCarten, based on a story in collaboration with Peter Morgan. The film follows Freddie Mercury (Rami Malek), and the rest of Queen, from their initial meeting, their climb up the charts, a string of hits, a string of tragedies, and their eventual reunification for one of the greatest concerts in music history.

Sometimes being a film critic means not getting to fully enjoy a film as much as other folks. I’m not being snotty or mean when I say that, but once you watch enough movies, it changes the way you view films, and honestly, it makes some films harder to enjoy. I actually envy folks who can just sit back and enjoy a film, because there is a lot to enjoy about “Bohemian Rhapsody”, and a lot I did enjoy about it. But it was also a big task. We’re talking about the story of Freddie Mercury. We’re talking about the story of Queen. We’re talking about the story of the music and its legacy. And in today’s film, we’re talking about all three of them mashed into one chronological narrative. That’s swinging for the fences, and this film didn’t quite hit the mark.

Two major sources of confusion for me. First, the film tries to be both a film about Queen as a group and a film about Freddie’s story as an individual. Yes, as the film addresses, the media and many fans had trouble telling the two apart, but in trying to tell a blend of both, neither is really done justice. Committing either way would have allowed a deeper look into the rest of the band, or a better focus on the inner turmoil of Freddie. And with such a strong, dare I say Oscar-worthy performance by Rami Malek, I would go with a full-on Freddie Mercury biopic, starting well before Queen is founded and ending with his funeral.

I did say two sources of confusion. The second is the title. Why call the film “Bohemian Rhapsody”, which feels like a title that tests well in a focus group, rather than have any real meaning to either Queen’s tenure as a band, or Freddie’s life, at least not how it’s presented in the film. A film with a title like “Bohemian Rhapsody” should be ninety or so minutes of the process of making that song, from their initial proposal through its poor reception, and how the cryptic lyrics reflect back on Freddie’s life. I saw all those elements clearly during this film, and I think that became the film I wanted to see, a film within the film if you will. I didn’t want to see a montage of how they created three other hits by arguing in a studio, like a really obvious game of Name That Tune. This is the curse of watching too many movies, and it’s one of the major reasons why sometimes critics can’t predict what will score well with large numbers of fans, if the box office for today’s film is any indication.

“Bohemian Rhapsody” (2018) is a dynamic, chronological look at Queen, Freddie Mercury, and the string of hits that defined their legacy. While it fails to commit to any one of the multiple stories that could be told, a strong performance by Rami Malek and great sound editing make up for some missed opportunities, and creates a roller coaster ride of music, comedy and tragedy. Fans of Freddie Mercury, or Queen, or their music should definitely check out this film, and especially folks who may have only encountered Queen from their greatest hits album.

Hi everyone!

Welcome back for the final entry into the Godzilla animated trilogy from Polygon Pictures and TOHO Animation. I’m a huge Godzilla fan, and this trilogy has been a delight to pass the time while waiting for “Godzilla: King of the Monsters” later this year. If you want to check out my reviews for the first two films, check out “Godzilla: Planet of the Monsters” (Episode #340) and “Godzilla: City on the Edge of Battle” (Episode #341). It’s not the canon you are used to, but it is a wonderful reimagining that should not be missed. And if you have any Godzilla favorites, let us know at onemoviepunch.com or reach out over social media.

Oh yeah, I don’t talk much about my charity work, but I’ve recently started an important organization dedicated to preserving movie impressions by British podcasters. The organization is called the Marc’s Movie Impressions Preservation Society, and you can learn more about this important work by subscribing to the Moviedrone podcast at moviedrone.podbean.com.

Here’s a promo with more information. 

Today’s movie is “Godzilla: The Planet Eater” (2018), the Netflix Original animated film directed by Hiroyuki Seshita and Kôbun Shizuno, and written for the screen by Gen Urobuchi. The film takes place in the aftermath of the epic battle between Godzilla and Mechagodzilla, where the remaining alien ally, known as the Exif, reveal themselves as a death cult to summon the object of their affection, the mighty King Ghidorah.

No spoilers!

I’ve warned folks pretty consistently that if you’re looking for Godzilla smashing urban centers and fighting other kaiju, that this trilogy will deliver flashes of that action, but remains more focused on the humanoid alliance, and their individual intentions, in dealing with Godzilla. It’s not everyone’s cup of tea, and many critics have found the films disappointing because of that. However, I have always primarily been interested in the philosophical and social implications of Godzilla, as a metaphor for the Atomic Age, and the self-destructive capability of civilizations in the pursuit of power. Without that symbolism, the films end up being just a bunch of hokey rubber suit monsters destroying scaled urban centers. The warning remains in effect for this final entry in the trilogy, equal parts philosophy, politics, action, and an epic kaiju battle for the fate of the entire world.

If nothing else, everyone should just watch the title sequence at the beginning of this film, because it is one of the most visually astounding things I’ve seen in quite some time. Even my spouse, who has no attachment at all to Godzilla, was enraptured by it. I must have watched it three or four times before watching the rest of the film. Even tweeted/posted about it if you are following along. It’s part of the great animation brought to life throughout this film, a combination of painted backgrounds, standard Japanese animation techniques, and visual effect overlays. “Godzilla: The Planet Eater” keeps the same visual aesthetic as the first two films, while also introducing a new version of King Ghidorah, delightfully reimagined in a brand-new way, in the same spirit as Mechagodzilla in the previous entry. It helps get away from the impossible to retcon origins of King Ghidorah from all the previous entries, and folks who don’t dig this version can always wait for his appearance in the live-action CGI fest later this year. 

The voice cast turns in their above average performances, as in the previous two entries. Top animation and great messaging are combined with an excellent, if heady script that can read like a philosophical discussion more often than not. For folks who could care less about those portions, the film may seem a little slow at times, but I found myself enraptured as the team moves through the final act of a well-planned trilogy of films, offering a complete story and leaving enough little easter eggs along the way to promise more, if they want. Without spoiling anything, there is a rather large easter egg that plays a pivotal role. I could easily see new stories, or even better, a couple, stand-alone prequels that focus more on the initial exodus from Earth, or the mysterious connections between the Exif and humanity as a whole, in all its forms throughout the ages.

“Godzilla: The Planet Eater” (2018) is a stunning, heady conclusion to the re-imagined animated trilogy, endowed with great animation and strong messaging. It may not be for all Godzilla fans, but definitely for those who appreciate the direct messaging within the canon. Fans of Japanese animation, or Godzilla, should definitely check out this film, along with the other two. Everyone else, be ready for a thinker, and adjust expectations accordingly.

Rotten Tomatoes: NR

Metacritic: NR

One Movie Punch: 9.2/10 

“Godzilla: The Planet Eater” (2018) is rated TV-14 and is currently streaming on Netflix.