One Movie Punch

Hello film fans!

Andrew here, back with another film that debuted at Fantastic Fest here in Austin, Texas. This week’s movie made its world premiere just this past September at a midnight showing. As you might guess, the midnight timeslot is typically where you find the less cerebral, lower budget, often gorier fare. Being relegated to playing that late in the night doesn’t mean a film won’t be good, just well suited toward an audience that may be feeling a bit groggy or buzzed after a long day of film-festing. If you have the stamina to maximize your movie mileage, you can feast your eyes on up to five films per day for a full week and change. While I have never clocked five in a single day, I did pace myself so I could catch a handful of these midnighters with a rowdier, punch-drunk crowd.

Today’s movie is “You Might Be the Killer”, the slasher comedy written by Thomas Vitale, Brett Simmons & Covis Berzoyne and directed by Brett Simmons. The film follows affable Sam (Fran Kranz) who runs a summer camp that might as well sit across the water from Camp Crystal Lake. Sam jolts from a blackout while running through the woods, locks himself in a cabin and calls his best friend Chuck (Alyson Hannigan) because someone is butchering the camp counselors and, you’ll never believe this, he thinks he might be the killer.

The kinetic energy with which the film begins is exactly the right tone for this type of film. You’re thrust into the middle of the action; the kids have all gone home and camp counselors are running around in abject terror. There’s no real need to get to know any of these characters who are clearly destined for their own, unique grisly ends. Unfortunately, the pace soon slows to a crawl. We get the occasional flashback to events that took place over the prior weeks, with lame dialogue that feels a bit like “Wet Hot American Summer”, but without the tongue-in-cheek humor. The primary device of this story is a series of phone conversations between our protagonist and possible serial killer, Sam, and his friend, Chuck. As Chuck, Alyson Hannigan takes on the Jamie Kennedy role from “Scream”, deconstructing the slasher film genre and helping Sam determine if he is committing these murders as bodies continue to pile up.

Now apparently, this film originated from a lengthy, impromptu 2017 Twitter exchange between two of the writers, who came up with the plot of the film in real time, mirroring the Sam/Chuck dynamic from the film. The concept is strong, but the film’s execution (as well as some of the on-screen executions) is just not all that compelling. One of the better elements of the film is the body count tally that occasionally flashes full-screen, reminding us of the score. But as the number grows, the story gets repetitive with the plot inching forward. Fran Kranz does his best as the dopey lead, but lacks the charisma to carry the film. Meanwhile, Alyson Hannigan remains charming as ever as the empathetic friend navigating Sam through his gruesome mystery while clerking at a comic book shop.

What makes “You Might Be the Killer” (2018) fantastic?

The hook here is the subversion of the “final girl” horror film trope that is nearly as old as the genre itself. In this movie, our “final girl” is not only male, but he might also be the killer from whom he is fleeing. Unfortunately, the film delivers so much clunky exposition that any further plot twists are visible from miles away. Without giving away the ending, like many films built around a clever plot device this one fails to stick the landing.

“You Might Be the Killer” (2018) is meta-comedy, satirizing the slasher film in a way that horror enthusiasts may enjoy. Fans of meta-horror films, such as “Scream” or “The Final Girls”, might dig this one. And fans of Alyson Hannigan from her “Buffy” and “How I Met Your Mother” days will appreciate seeing her on-screen again.

Rotten Tomatoes: 64%

Metacritic: NR

One Movie Punch: 6.4/10 

“You Might Be the Killer” (2018) is not rated and is currently streaming on Shudder.

Come back next week when I’ll be reviewing “Bodied”, the 2017 Fantastic Fest Audience Award winner. I guarantee you have never seen a film quite like this comedic social commentary that takes a look at modern cultural sensitivity through battle rap. Prepare to be entertained, offended, and challenged.

Hi everyone!

Welcome back for another Netflix Original, this time our very first film from the Nigerian film scene. We haven’t reviewed many films from the African continent, but for a film from South Africa, check out “Catching Feelings” (Episode #143). And if you have any suggestions, please let us know at onemoviepunch.com or by reaching out over social media. We always love exploring film scenes outside the United States.

And now...

Today’s movie is “Lionheart” (2018), the Netflix Original Nigerian drama directed by Genevieve Nnaji and written for the screen by Ishaya Bako, Emil B Garuba, and C.J. “Fiery” Obasi. The film follows Adaeze (Genevieve Nnaji), the daughter of Chief Ernest Obiagu (Pete Edochie). After Ernest falls ill, he brings in his brother Godswill (Nkem Owoh) as temporary director for his transportation company, who must work with Adaeze to save the company after some unknown loans come due. 

No spoilers! 

I really admire Netflix’s effort to reach into some of the growing film scenes around the world, especially those finding their distinct voice in a globalizing world. The Nigerian film scene, better known as Nollywood, has become one of the largest film scenes in the world, often vying with Bollywood and Hollywood for the top spot, in terms of output if not necessarily at the box office. I’m actually kind of surprised that Netflix hasn’t found more entries to bring over, because like Bollywood, I really enjoyed watching today’s movie as a peak into parts of Nigerian culture, at the social, economic, and political level. I must admit, I felt a little lost at times, trying to decipher all the nuances, but if nothing else, “Lionheart” whets my appetite for more output, even if today’s film has some rough spots. 

Genevieve Nnaji has one of the most impressive filmographies in Nollywood, well-known since her childhood acting years, and a household name in Nigeria. Her skill as an actor shows quite well in “Lionheart”, bringing warmth and depth to Adaeze’s struggle to be accepted as a leader in a still male-dominated society, especially when it comes to the business world. Adaeze’s story is not all that different from the string of aspiring corporate female stories that dominated the American romantic comedy genre for about a decade, not to mention the not-so-subtle themes of the more chauvinistic men in the film treating Adaeze like property in a few scenes. In fact, I would have liked to have seen Godswill’s role diminished to better spotlight Adaeze, despite their great chemistry on screen, as I think the stronger focus on Adaeze would have made for a better overall story.

However, “Lionheart” is also Nnaji’s first venture behind the camera, and her inexperience shows more often than not. The two biggest challenges were tone and composition. Tone-wise, I felt the comedy and drama didn’t flow well together, although there were some great individual comedic scenes and great individual drama scenes. The tone problems were likely related to the at-times patchwork script. Composition-wise, multi-perspective shots could come across really rough, losing chemistry between the characters when reshooting from different angles. I suspect most of those problems, though, could be smoothed out with some creative editing.

“Lionheart” (2018) is the first Netflix Original acquisition from the Nigerian film scene, but very likely not their last. The overall film is better than its noticeable flaws, but they hold back the film from being something better. Dramedy fans, or folks looking for a gateway into the Nollywood scene, should definitely check out this film, and then seek out the many other offerings available out there.

Rotten Tomatoes: NR

Metacritic: NR

One Movie Punch: 6.2/10

“Lionheart” (2018) is rated TV-PG and is currently streaming on Netflix.

Hi everyone!

We’re back with another Netflix Original, this time from Argentina with a biopic of a famous cuarteto singer. For a couple other films involving the Argentinian film scene, check out “Perdida” (Episode #227) and “A Twelve-Year Night” (Episode #365). And if you have any suggestions, let me know at onemoviepunch.com or reach out over social media.

And now...

Today’s movie is “El Potro: Unstoppable” (2018), the Netflix Original biopic directed by Loreña Muñoz and written for the screen in collaboration with Tamara Viñes. The film follows the rise to fame and personal struggles of Rodrigo “El Potro” Bueno (Rodrigo Romero), the famous cuarteto singer, who helped to bring cuarteto music to Argentina and the world, until his untimely death in 2000. 

No spoilers!

Yesterday, I began my review of “And Breathe Normally” (Episode #373) with a discussion about female solidarity, and left a warning that I would be talking about toxic masculinity in today’s review. The two phenomena are related, the solidarity among women often being necessary because of the actions of toxic men. And I can’t think of a more toxically masculine subject than Rodrigo Bueno, who spent a great deal of his performing years living out the tantalizing lifestyle of his lyrics, involving illicit sexual affairs, excessive drinking, and constant partying. It’s a portrayed lifestyle that’s not all that different from today’s pop music, one only for those privileged enough to be able to afford it, monetarily and socially. As a young man, wholly unaware of his privilege, it sounded like some amazing paradise, because I was going to live forever and never have to deal with the consequences of my actions. As an older man, and father, I’ve come to appreciate never really experiencing that lifestyle, especially as the #MeToo movement continues to uncover all the toxic masculinity from previous generations, a necessary step towards a healthier society, but also one that will require a lot of men to confront themselves, and more importantly, others. I just have concerns about whether today’s film learns the right lessons from Rodrigo’s life.

“El Potro: Unstoppable” is a surprisingly faithful look at Rodrigo’s music and lifestyle, from his first single to his final concerts. For those unfamiliar with cuarteto, it is regional music style born in Córdoba, Argentina, a mixture of Spanish and Italian music and instruments with a generally upbeat tempo. It’s infectious, and Rodrigo was one of the major reasons for the genre’s lasting popularity. The concert shots, and the sound mixing, are both top notch, helping to capture not just the music, but also the incredibly rabid fanbase and temptations all around him. Celebrities, particularly in the days before profligate social media, had access to a special kind of exclusive, often libidinous lifestyle. And as long as that lifestyle isn’t directly harming anyone involved, it’s their world, but the fact was that Rodrigo was hurting people with his lifestyle. Not just his practically abandoned wife Pato (Malena Sánchez) and their son, but including whatever percentage of women likely left his hotel suite having been sexually assaulted. It looks quite tantalizing on the screen, but it also comes with a great deal of disgust, at least for me.

Now, my criticism of Rodrigo as a subject doesn’t mean I disliked Rodrigo Romero’s performance. If we’re going to have a film about a toxically masculine subject, flaunting his privilege and excess and being almost directly responsible for his untimely end, then I couldn’t ask for a better performance from Romero. The supporting cast is also above average, although generally fade into the background much like the folks who supported the actual musician. It’s probably the best film about Rodrigo’s life that could be made, but the question remains why? The film does make a weak effort to scapegoat Rodrigo’s drug use, and sometimes makes him out to be a lost, little boy at heart when he gets caught, but neither of those aspects of his life explain what boils down to toxic, male privilege.

“El Potro: Unstoppable” (2018) is a beautiful film about a terrible, yet popular subject, that also serves as an introduction to the early cuarteto music scene. While the film excels with the musical portions, and has great performances, the overall story seems to miss the right lessons to be learned from Rodrigo’s toxically masculine lifestyle. Music fans, or fans of Rodrigo’s music, should definitely check out this film, but there’s a high risk you’ll be disappointed at the messaging.

Rotten Tomatoes: NR

Metacritic: NR

One Movie Punch: 6.6/10

“El Potro: Unstoppable” (2018) is rated TV-MA and is currently streaming on Netflix.

Hi everyone! 

Welcome back to another Takeover Tuesday. Or it would be, if there’s a brave soul out there willing to write and record a review for this very podcast. Head on over to onemoviepunch.com/takeover-tuesday for more information, then reach out to us either on the website or over social media. We would love to have you on the podcast.

In lieu of a guest review this week, we’ll be taking a look at another Netflix Original, this time an Icelandic drama involving asylum seekers. For a few other films and documentaries about asylum seekers, check out “Fire at Sea” (Episode #151), “Human Flow” (Episode #074), and “A Ciambra” (Episode #241).

Also, how about those Golden Globes? We’ve reposted our reviews for the winners, and next week, we’ll have a few new reviews for some winners and nominees, along with Sunday’s throwback episode for “Bohemian Rhapsody”. We’ll be linking to reviews from our partners and correspondents. If you want your review included, reach out to us over social media.

And now...

Today’s movie is “And Breathe Normally” (2018), the Netflix Original Icelandic drama written and directed by Isolde Uggadottir. The film follows Lára (Kristín þóra Haraldsdôttir), an Icelandic single mother, whose path intersects with and directly affects Adja (Babetida Sadjo), an asylum seeker from Guinea-Bisseau attempting to fly through to Toronto. Over time, the two come to rely on one another, as Adja’s asylum claim is evaluated. Apologies for any and all mispronunciations.

No spoilers!

As a former labor and political organizer, when I think of the term solidarity, I envision workers coming together for a common purpose, usually a fair contract or the remediation of grievances. We see a lot of solidarity in the streets now, everything from the yellow vests in Europe to the multiple marches against fascism in the United States. Labor solidarity, citizen solidarity, national solidarity... we find common cause in many ways. But there’s a much older, deeper solidarity that exists within society, as old as patriarchy, and that’s solidarity among women. I can’t speak to that experience, obviously, as someone who identifies male, but I do listen to and believe women when they talk about their experiences, especially when dealing with men. I may not be able to intrinsically understand a women’s experience, but I certainly understand men, especially the toxic masculinity that seems to be everywhere, and a mere glance at any part of recorded history will back that up. I also pay attention to films like “And Breathe Normally”, which bring not just a female perspective to single parenthood and asylum seekers, but also explore that deeper solidarity among women.

PS: If you want to hear me rant more about toxic masculinity, be sure to check out tomorrow’s review for “El Potro: Unstoppable” (Episode #374).

Uggadottir’s debut feature-length film is a tale about solidarity, but also about identity, whether that’s the identity we give ourselves, or the identity imposed on us by others. The film begins with notions of identity, introducing Lára and Adja from their separate worlds, emphasizing their differences, while also demonstrating the social and power relationships between them. Lára flagging Adja’s passport leads to Adja’s detention in Iceland. Of course, the Icelandic system for processing asylum seekers is far more humane than the United States, allowing free movement while their claims are being processed, and even providing temporary residences. The perfect conditions for having their lives intersect, and not unlike many stories and films about colliding worlds, creates the space to find their important, and arguably more fundamental, similarities. It may be a familiar story in some ways, but it becomes a distinct and substantive story with Uggadottir. 

Haraldsdóttir and Sadjo really work well together on screen, each showing a great deal of emotional growth in their performances. They really capture that sense of female solidarity, despite their initial and understandable distrust of one another. Patrik Nükkvi Pétursson also gives a great, if limited performance as Eldar, Lára’s son, with an especially funny dialogue with Adja. Overall, the film has nice progression, with good use of montages to tell a lot of story in a small amount of time. The sets capture the stark countryside and weather of Iceland, and the costumes all work well for the film. I did find some scenes to feel a little empty, as if I wasn’t sure what emotion to fill it with, but never in a way that made me disengage, especially as the film heads towards its somewhat predictable, although wholly satisfying ending.

“And Breathe Normally” (2018) is a tale about identity and solidarity, and in particular, the solidarity among struggling women, especially when society fails to support them. Uggadottir’s debut may tell a story with a familiar premise, but it is a well told story, simultaneously shining a light on asylum seekers and single motherhood as well. Drama fans, or fans of films about female solidarity, should definitely check out this film.

Rotten Tomatoes: 86%

Metacritic: NR

One Movie Punch: 8.0/10

“And Breathe Normally” (2018) is rated TV-14 and is currently streaming on Netflix.

Hi everyone!

Hope you all enjoyed yesterday’s flashback for “Sorry to Bother You” (Episode #371). We’re back with another fresh review today, for a different kind of zombie film that split the audience. I’m still not sure how I feel about it, but if you want a few films involving today’s actors, check out “Pirates of the Caribbean: Dead Men Tell No Tales” (Episode #018), “Sunday’s Illness” (Episode #171), and “22 July” (Episode #286). And if you have any suggestions, head over to onemoviepunch.com to drop us a suggestion, or reach out over social media.

And now...

Today’s movie is “The Night Eats The World” (2018), the French zombie drama directed by Dominique Rocher and written for the screen in collaboration with Guillaume Lemans and Jérémie Guez, based on the novel by Pit Agarmen. The film follows Sam (Anders Danielsen Lie), who stops by a raging party in Paris to pick up some cassette tapes he left behind. After falling asleep in a back room, he wakes to find Paris overrun with silent zombies, and does his best to survive in the apartment.

No spoilers!

I’m a huge fan of zombie movies, which you can check out in my reviews for “Ravenous” (Episode #066), “Cargo” (Episode #139), “Day of the Dead: Bloodline” (Episode #140), “White Zombie” (Episode #152), and “Overlord” (Episode #316). Each one of those reviews contain some of my thoughts about the use and abuse of zombies as a plot device, both overall I think it provides a neat lens through which to examine society. It has also come to represent a genre all to itself, because now we see many fusions with other genres, like zombie comedies, zombie dramedies, zombie action, zombie horror, zombie musical, and even zombie romance. All those just in the past year. I would also say one of the best pieces of evidence is “The Night Eats The World”, essentially an art-house zombie film, and I think we’re all the better for its creation.

Dominique Rocher rides the line between stark zombie realism and a more introspective look into being alone during the zombie apocalypse. We might be tantalized by the idea of a single hero bravely taking out an entire city of the walking dead, but when the shuffling zombies are replaced with the swifter zoombies in Rocher’s world, isolation becomes a means of survival, both short-term and long-term. Sam’s story arc follows the general outbreak pattern, first finding physical security, then working on resource security, then attempting to keep sane in the days that follow. Rocher utilizes the general audience’s knowledge of zombies to do some clever foreshadowing, but sometimes lingers too much on the more mundane aspects of zombie survival. As an aforementioned zombie fan, I didn’t have too many facepalm moments, which I normally chalk up to a world that never heard of zombies before. All the zombies are well done, especially the performance by the great Denis Lavant as a trapped zombie, who acts as a sounding board sometimes for Sam, and I really appreciated the scene composition for quite a few of the zombie-laden scenes.

It’s the second part of the film that really delves into an art-house vibe. Sam is a percussionist, and once everything is situated, he begins reviewing his tapes and adding new layers with improvised and found instruments. It becomes part of the score and soundtrack, and also a measure of his ability to cope with the situation at any given time. In fact, I would argue that Sam’s plight is actually a metaphor for depression, everything from not wanting to be at the initial social gathering, to struggling with the day-to-day after great life changes, to finding safety and survival in staying indoors, away from other people. Sam is the epitome of the introverted musician, whose very craft, which he wants to share, also draws the very thing that will hurt him the most. The character is well played by Anders Danielsen Lie, demonstrating a surprising range as the film evolves, and helping to overcome some of the slower portions.

“The Night Eats The World” (2018) is an art-house zombie film, perhaps not the first of its kind, but definitely its own distinct addition to the exploding list of zombie movies. Dominique Rocher captures the great performance by Anders Danielsen Lie, bringing a few new ideas to an oft-copied genre. Zombie fans, or fans of introspective film-making, should definitely check out this film, but beware, it is still a zombie movie, and does have its gruesome moments.

Rotten Tomatoes: 81%

Metacritic: 50

One Movie Punch: 7.8/10

“The Night Eats The World” (2018) is rated TV-14 and is currently streaming on Amazon Prime and Hoopla.

Hi everyone! 

Year two continues to unfold, and today is Sponsor Sunday. Or it will be, once more of you head over to patreon.com/onemoviepunch to sign up at any level for a chance to tell us what movie you would like to have reviewed, within some reasonable limitations. 

So, what happens when it’s not Sponsor Sunday? Well, we’re going to dig into the archives for a previous episode. Maybe it’s a film recently available on the major streaming services. Maybe it’s a film related to another film being reviewed that week. Maybe it’s a film nominated for an award or causing some controversy.

Today’s film will be my number one film from 2018, Boots Riley’s “Sorry to Bother You” (2018). I’ll get to my review in a minute, but if you want to check it out, it’s streaming on Hulu, or available for rental or purchase at most digital outlets. It is currently at a 93% Certified Fresh rating on Rotten Tomatoes, and sitting at a very strong 80 on Metacritic. Now’s your chance to witness the madness!

Today’s movie is “Sorry to Bother You” (2018), the debut feature-length film written and directed by Boots Riley, the driving force behind The Coup and Streetsweeper Social Club, and activist extraordinaire. The film follows Cassius Green (Lakeith Stanfield), a black telemarketer in a weird parallel universe who adopts a white accent to follow the fast track at his sales company, entering a bizarre, yet honest world of wealth and privilege.

Spoilers ahead.

I want to start this review with the time I met Boots Riley before a show in Los Angeles. November 6th, 2014. My good friend was in my area doing some union organizing, and I worked it out to head back home with him. Once the work was done, he yells out, “Oh shit! The Coup is playing in LA tonight!” And I was like, “Who are The Coup?” which was followed by my friend berating my ignorance and loading up everything Boots ever did while we drove down to Los Angeles. Absorbed all the music, read all the articles, and after grabbing a bite to eat, we were hanging outside the venue when he walked up. I was stoked. He was conserving his voice for the show, not talking to anyone. I was disappointed... until I heard the music, and the intensity, and the sheer energy from The Coup, and while my buddy was crashed out in the passenger seat, I spent the entire drive to San Diego playing The Coup on repeat. When I heard they were letting him do a movie, and that it was going to have the same title as The Coup’s 2012 album, I was in. 

I loved so much about this film, too much for a podcast with this format, pardon me while I ramble on a bit. The trailer doesn’t even give you a tenth of the scope of this film. It gives you the barest of introductions to the many themes at play. Cassius Green, whose very name is a play on words, is situated in a parallel universe that removes the fig leaf from the economic and social oppression of our current society, one with a perverse sense of humor and arguably more honest than our own. A deceptively simple premise becomes increasing more complex and bizarre as more and more of this world, and the billionaires running it, opens up to us as Cassius first tries to organize the workers, then climbs the ladder by trading those principles for a paycheck, then realizing the world is more insane than he ever imagined, and thankfully, fighting back. Cassius, who begins by questioning his purpose and the meaning of everything, ends by finding his own purpose and meaning... and still has some pretty huge problems afterwards. I’m doing my best here not to reveal too much about the story, though, because frankly, you probably wouldn’t believe me.

Seeing really is believing with “Sorry to Bother You”. You need to take the surreal journey with Cassius, and meet the other important characters like Detroit (Tessa Thompson), his activist/artist girlfriend, and Squeeze (Steven Yeun), the workplace union organizer. You need to see the distinct style and amazing details that merit a second or third viewing, every one of which is a commentary on our current society, and not just the oligarchs, but the vast populations of people too comfortable to care and too myopic to see our society’s inherent contradictions and daily hypocrisies. You need to be shocked by the corporate endgame and the chaos that follows, and feel the disappointment when things don’t turn out the way you would expect, even though it’s how it turns out every single day here. I haven’t seen an aesthetic this simultaneously insightful, satirical, and acerbic since Kurt Vonnegut. Simply amazing.

“Sorry to Bother You” (2018) is subversive and revolutionary, a film that pushes our country’s nose in its own mess, unmasking the economic realities of our country. Boots Riley has made something incredible, a film that embodies nearly all the many ideas and themes from his life’s work as an artist and an activist. I could literally go on for hours about this film, but I will end by saying if you want to see a truly unique film that satirizes everything about our current society, then you should definitely check out this film. 

It’s everything we need right now.

Hi everyone!

I remember seeing today’s movie show up on Rotten Tomatoes as a new release with a limited run at the theaters, and remember when I placed it in my Netflix queue, and remember when it became certified fresh after hitting streaming services. I also remember it sitting there most of the year, waiting for an opening, and being pulled from the schedule more than a few times because of another, more pressing film. Now that more regular contributors are coming on board, I hope to return to gems like today’s film, as long as we keep up with all the new Netflix Originals on the way for 2019.

Also, if you need a new year’s resolution, consider contributing to your favorite podcasts. You can contribute our way at patreon.com/onemoviepunch at any level. All proceeds will go towards hosting costs, and to help us expand along with our audience. And if you need convincing, head over to onemoviepunch.com and check out the ever growing list of reviews using our blog tags. Every bit helps!

And now... 

Today’s movie is “Mohawk” (2017), the Dark Sky Films and Snowfort Pictures historical thriller directed by Ted Geoghegan and written for the screen in collaboration with Grady Hendrix. Set during the War of 1812, Okwaho (Kaniehtiio Horn), a Mohawk warrior, must flee with her village into the wilderness after one of her lovers burns down an American camp. Pursued by a group of American officers, she and her companions must fight for survival in the harsh frontier.

No spoilers!

Hollywood has generally not been kind to the First Nations, often depicted as ignorant savages that needed civilization at the point of a bayonet and with the backing of the church. Last year I reviewed two films involving the First Nations, one of the earliest documentaries ever made called “Nanook of the North” (Episode #112), and one of the first fictional films to draw heavily from the First Nations, “Daughter of Dawn” (Episode #105). I had some significant problems with both films, mostly because of the obvious European cultural bias, but I also appreciated the surprising authenticity brought to both films. I had concerns about today’s film, with a gut reaction to avoid it for fears of appropriation, but as the critics weighed in, and I did more research on the film, I knew I had to see it, and I’m really glad I did.

Kaniehtiio Horn identifies as Mohawk, and her mother was a political activist for the Kahnawake nation. Horn not only plays the lead character, but also served as cultural consultant. It’s an important role, especially when dealing with the tale of mixed morality and situational ethics brought to today’s film. I’m not talking just about Okwaho’s polyamorous relationship with fellow Mohawk Calvin Two Rivers (Justin Rain) and British rabble-rouser Joshua Pinsmail (Eamon Farren), which may confuse monogamists out there, but that Calvin and Joshua are specifically trying to urge the Mohawk into war with the United States during The War of 1812. The United States has never been a friend to the First Nations, and quite frankly are directly responsible for the genocide which occurred for centuries after the first colonies appeared. However, genuine work towards a lasting peace was often upset by individual actors, and while there are discussions about the larger political and social relationships between the two nations, the film boils down to individual actors making poor choices, then continuing to act in response to each individual event.

It’s the kind of story that would scare any major Hollywood production company, because it is ripe for social backlash from all sides. The unique power of low-budget production and distribution companies like Dark Sky Films and Snowfort Pictures is being able to take chances on films like “Mohawk”, and find surprising success. Everything about this film screams potential, including being able to leverage the previous success of “Assassin’s Creed III”, an open-world game set just before the American Revolution with a half-Mohawk, half-European protagonist struggling with living in two divergent worlds, on which Horn also worked as a voice, and which faced all sorts of knee-jerk criticism. It may not find that success at the box office, but many classic and cult favorites don’t find their audience until they leave the theater. The audience for “Mohawk” will continue to grow, and perhaps there might even be a few sequels, if we’re lucky.

“Mohawk” (2018) is future cult classic, a low-budget historical action-horror dealing with mixed morality and situational ethics during a time of war and genocide. While it may lack the production value of today’s box office smashes, it more than makes up for it with an overall great quality in every other respect. Fans of historical films, especially from the post-colonial time period, should definitely check out this film, along with any fan of low-budget cinema.

Rotten Tomatoes: 83% (CERTIFIED FRESH)

Metacritic: 70

One Movie Punch: 8.2/10

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

Hi everyone!

Year Two continues, and today, I am revealing our first regular weekly correspondent, Andrew Campbell. Andrew has contributed two previous reviews for Takeover Tuesday, not to mention a loyal financial contributor. I have to admit, I feel a little like Tom Sawyer having him as a regular contributor, but he’s also been a reliable person to bounce ideas off, especially in designing Year Two of One Movie Punch. You’ll be able to find his reviews at onemoviepunch.com using the Fantastic Fest blog tag. And if you want to become a regular contributor to One Movie Punch, head over to patreon.com/onemoviepunch and show the new team some love. Even the smallest amount will help us offset our hosting costs and help us expand with our audience.

And now, One Movie Punch presents... The Fantastic!

Hello film fans! My name is Andrew Campbell and if my voice sounds familiar, it’s because I made a couple Takeover Tuesday appearances on One Movie Punch in 2018, focusing on lesser-known films that I thought might interest listeners of the podcast. I enjoyed the experience so much that I have joined the team this year.

Every Friday, I will present a film that debuted at Fantastic Fest. This festival runs for one amazing week each fall at the Alamo Drafthouse in Austin, TX. For the past 14 years, Fantastic Fest has debuted a wide range of genre films, as the festival itself has gained prestige. This includes larger budget works such as “There Will Be Blood”, “Zombieland”, “Split”, and last year’s “Halloween" sequel. At the same time, the festival hosts dozens of independent films and oddities from the U.S. and the world over, many of which have gone on to become cult hits, such as Jeremy Saulnier’s “Green Room”, David Robert Mitchell’s “It Follows” and, I hate to even say it, Tom Six’s “Human Centipede”.

Most weeks I will select one of the 50-60 films that premiered at the 2018 fest. The majority of these pictures have not yet been widely released in U.S. theaters or on streaming services. I’ll try time my reviews so that you, the listener, will have a way to access each film if your interest is piqued. Occasionally, I will reach back into the archives to cover an older film, typically one that’s available for streaming. I vow to do my best to avoid major spoilers, so feel free to listen to the end each week or hit pause if you want to check out the movie and come back later on.

I would love to hear what you think of these films through our social media channels. If you would like to nominate a film from the library of nearly a thousand that have played Fantastic Fest, please see the show notes for a link to a Letterboxd page that contains the complete list.

So let’s start this journey. Keep an open mind and together we are going to explore some unique films. Maybe even some fantastic ones.

Today’s movie is “The Invisible Guest”, the Spanish film written and directed by Oriol Paulo. “The Invisible Guest” made its U.S. premiere at the 2016 Fantastic Fest. The film follows wealthy businessman Adrián Doria (Mario Casas), accused of murdering his lover Laura Vidal (Bárbara Lennie), who is holed up with his new attorney Victoria Goodman (Ana Wagener). An eyewitness is hours away from stepping forward and the minutes are counting down as they work through the theories, lies, and truths that lead up to this moment.

“The Invisible Guest” wastes no time as Victoria Goodman, an expert witness preparation specialist, arrives at the swank apartment of Doria, tasked with three hours to gather information and build him an air-tight story protecting him from a murder allegation. What follows is a series of narrations taking us through a tragic event, and an alleged cover-up. As the film progresses, we are presented with alternate viewpoints and potential truths. The director does a masterful job illustrating these different versions of events, with shifting narrators and flashbacks nested inside of flashbacks. The titular ‘invisible guest’ refers to the supposed murderer, who somehow committed the crime without leaving a trace. Determining the identity of this invisible guest and how they pulled it off are but two of several interwoven mysteries.

What makes this film a challenge for American audiences at the same time heightens the realism. The primary characters tend to speak very quickly. So leave your cell phone on the charger and make sure you’re ready to focus for 90 minutes. The English subtitles fly across the screen for the first 15 and it takes about that much time before the film truly hooks you in. Now, the nice thing about foreign films such as this one is being presented with a cast of highly talented actors, likely all of whom are unknown to listeners of this podcast, as they were to me, allowing you to identify with them solely as the characters they are portraying. With mainstream motion pictures it’s easy to get distracted by celebrity actors, especially if you’re an avid film buff. Perhaps even more distracting is when you spot a character actor, and you can’t focus on the movie until IMDb tells you who they are and reminds you what you just saw them in. I mean, is it just me, or was Ann Dowd in every movie released last year? All that said, stick with this film for a short while to ensure you understand who these characters are, and the payoff will well be worth it.

What makes “The Invisible Guest” fantastic?I enjoyed the film immensely and would recommend it to fans of mysteries and crime thrillers. It is fast-paced, but light on action. The way the story unfolds in layers points to an incredible screenplay. The director does excellent work framing the shifting story, but there may be some nuances lost in translation – say, for instance, the bland title.

“The Invisible Guest” (2016) is a taut and mysterious thriller that rewards viewers who make the effort. Prime for an English-language adaptation, I would not mind seeing this film remade, so long as they don’t dilute the complex story. Fans of films that use multiple unreliable narrators such as “Memento”, or even “Clue”, will enjoy this film.

Rotten Tomatoes: 63%

Metacritic: NR

One Movie Punch: 7.8/10

“The Invisible Guest” (2016) is not rated and is currently available for streaming on Netflix.

Come back next week where I’ll be reviewing “You Might Be The Killer” (2018), a slasher movie send-up starring Fran Kranz and Alyson Hannigan that comes with a bizarre backstory.

Hi everyone!

Welcome back for another stop-motion animation film streaming on HBO, this one receiving a lot of Oscar buzz, and two Golden Globe nominations. It’s one I missed both times it was in the theaters last year. Check out yesterday’s review for “Early Man” (Episode #367) for another stop-motion animation film, or head over to onemoviepunch.com to search on the animation blog tag. You can also check out my review for “Moonrise Kingdom” (Episode #068) for another Wes Anderson film.

While you are surfing the Internet, please also consider popping over to patreon.com/onemoviepunch to kick in a small amount every month to help keep this podcast going. All proceeds go towards hosting costs, and with your help, we can continue to grow with our audience. 

And now...

Today’s movie is “Isle of Dogs” (2018), the Fox Searchlight stop-motion animated film written and directed by Wes Anderson, based on a story in collaboration with Roman Coppola, Jason Schwartzman, and Kunichi Nomura. After an outbreak of dog flu, Megasaki Mayor Kobayashi (Kunichi Nomura) banishes all dogs from the country to Trash Island to prevent further infection. Now his ward Atari Kobayashi (Koyu Rankin) must find his way to the island to rescue his dog, and learns a lot about himself and the mysterious illness along the way. The film has been nominated for two Golden Globe awards, one for Best Animated Picture and one for Best Original Score.

No spoilers!

“Isle of Dogs” is the second Wes Anderson film I’ve reviewed for the podcast, although certainly not the second film I’ve seen. I mentioned in my review for “Moonrise Kingdom” (Episode #068) that folks either love or hate his aesthetic. I think that depends on how well folks can identify with the subject matter first, which tends towards middle and upper class white folks dealing with middle and upper class white problems. “The Royal Tenenbaums”, “The Life Aquatic”, and “Moonrise Kingdom” fit that mold rather well. Anderson likes to poke fun at all the white privilege in his films, which I absolutely love, but sometimes it can lead to some odd, perhaps unintended choices, like today’s film heavily borrowing from Japanese culture. My gut reaction was to accuse Anderson of appropriation, but my teenage daughter, who is taking Japanese language and culture lessons from the local Buddhist temple actually set me straight, talking quite adeptly about how Japanese culture has sought to export itself in the last fifty years, and particularly to the United States. So, while I have concerns about who profits monetarily from this film, I also know that culturally speaking, everyone will probably profit from this film as well.

“Isle of Dogs” is both a journey tale and a morality play. It’s a journey tale not just for the lead human Atari, but also for the lead dog, Chief (Bryan Cranston), as both characters grow over the course of the film, coming to grips with their past, present, and future. Atari’s journey through Trash Island is much larger and longer than teased by the trailer, and the cast of characters is much larger than one might expect. Anderson’s auteur status, along with his close collaborations with multiple stars from his previous work, brings in the rest of the ensemble cast, with well-developed human and canine characters, even if they have comparatively limited roles. The journey deals with very serious themes, including a number of moral ideas, but in a humorous way, with a lot of great dog-based dialogue laden with double meanings. The multi-language format of the film, along with the intentional translations to English, takes some getting used to, but ends up working well. And despite my initial concerns about appropriation, the inclusion of various Japanese culture elements was well done.

Wes Anderson, strictly speaking, may not be everyone’s cup of tea, but I would challenge anyone not to marvel over the incredible stop-motion animation used in this film. Weeks were spent on making even a few seconds possible, especially the incredible fight scenes. You can see how much the animators had learned and evolved since “The Fantastic Mr. Fox”, most of which returned for this production, adding even more detail and rotating camera perspectives, some requiring an incredible amount of work, and some utilizing classic animation techniques to do a lot with very little movement. It’s another stunning (and yes, nostalgic) homage to the stop-motion animation of yesteryear.

“Isle of Dogs” (2018) is an incredible mélange of cultures and stories, as developed by Anderson’s close collaborators, and distilled down into a consistent aesthetic by Anderson himself. Anderson calls on all his previous collaborators, plus a few new folks, to voice the cast of characters, and an army of animators to transform it into a beautiful film. Wes Anderson and stop-motion animation fans should definitely check out this film.

Rotten Tomatoes: 89% (CERTIFIED FRESH)

Metacritic: 82 (METACRITIC MUST SEE)

One Movie Punch: 8.8/10

“Isle of Dogs” (2018) is rated PG-13 and is currently streaming on HBO.

Hi everyone!

Welcome back to the podcast, as I’m continuing my exploration of Certified Fresh films found on HBO right now. Between today’s film, and tomorrow’s film, I’m covering the stop-motion animation genre pretty well.

Year Two continues to unfold here. We’re spoiler free now, for recent films, and the website will be undergoing some major reworking over the next few months. We’re also going to debut our first regular correspondent on Friday. I’ll leave it a surprise, but I can assure you it will be fantastic!

If you want to help us grow, head over to patreon.com/onemoviepunch and sign up for a small monthly donation to help pay for our expenses. It’s still a labor of love, but as our audience continues to grow, we want to be able to continue growing with it. All proceeds go to paying hosting costs. We’ll be sure to shout you out on the podcast as well!

And now...

Today’s movie is “Early Man” (2018), the Aardman Animations stop-motion film directed by Nick Park, and written for the screen by Mark Burton and James Higginson, based on a story by Nick Park and Mark Burton. The film follows Dug (Eddie Redmayne), a stone age man whose family village and fertile valley are invaded by a bronze age tribe intent on strip-mining, lead by Lord Nooth (Tom Hiddleston). After being driven from their home, Dug makes a bet with Lord Nooth to either reclaim the valley, or condemn his family to eternal servitude.

No spoilers!

Aardman Animations has produced some of the greatest stop-motion content ever, from the multiple adventures of Wallace & Gromit, to the surprise hit “Chicken Run”, and the show I watched more than any other while raising my daughter, “Shaun the Sheep”. The characters are so endearing, and the comedy is incredibly smart, but what always captures my attention the most is the top notch animation, a far cry from virtually all earlier animators, and on the same level as Laika Entertainment, the geniuses behind “Kubo & The Two Strings”. Animation allows us to tell stories that simply wouldn’t work as a live action film, and especially if that’s a dodgy origin story about the beautiful game, aka football, or soccer to Americans. It is so ridiculous that it could only come from the mind of Nick Park, and I’m glad to have seen it on the screen, with the same level of care and attention brought to all his previous output.

Speaking of Far Cry, as a reward to myself for finishing up a year of reviews, I have been playing through Far Cry Primal, which is dramatically different, but also surprisingly similar to “Early Man”. Both are adaptations of life for prehistoric man. Both are set in an isolated valley where invading forces are seeking to kill or enslave the indigenous population. Both have lead protagonists that are clearly smarter, though not much smarter, than their fellow villagers. And both hinge their hopes and dreams on an ultimate victory over that force. I’m not sure which one is the more faithful adaptation, but I found the parallels quite funny. I feel like there’s a video game fan video in there somewhere, too. However, I think both properties also speak to some fundamental, perhaps even instinctual inclinations, whether that’s hunting an animal, or competing in sport, or even the more violent tendencies towards one another. “Early Man” is able to talk about ideas like colonization, the foundation and ridiculousness of monetary economies, and how that economy destroys the environment and the social fabric, in a humorous way, the same way that much of Nick Park’s work can speak on multiple levels, and in some ways a lot more accessible than dumping multiple hours into an open world video game. Almost 30 hours so far.

Park’s animation style, along with the influence of his back catalog, allows him to work effectively with caricatures as characters. Every member of Dug’s village, along with Lord Nooth’s charges, are delightfully over the top, exaggerated by a combination of great dialogue and voice work, and as mentioned before, a subtle representation of more serious ideas. If the film falls short anywhere, it’s that all these larger ideas need to be teased out of the story, especially as the film transitions from a tribal conflict in the world to a tribal conflict on the pitch. It’s a fun ride, from start to finish, but it feels like two or three separate films mashed together, further complicating any larger meaning or messaging.

“Early Man” (2018) is another great work from Nick Park and Aardman Animations, in a long line of pinnacle stop-motion animated content. Using his signature combination of the absurd and pedestrian, Park mashes together a prehistoric origin story for football at the coming of the bronze age that only he could have envisioned and executed so well. Nick Park fans, or fans of animation in general, should definitely check out this film.

Rotten Tomatoes: 81% (CERTIFIED FRESH)

Metacritic: 68

One Movie Punch: 8.4/10

“Early Man” (2018) is rated PG and is currently streaming on HBO.