One Movie Punch

Hi everyone! 

Welcome back to our second Spielberg film this week, his most recent offering that may have the greatest collection of intellectual properties ever assembled. It’s also a likely contender for a few technical Oscars this year, although it received no Golden Globe nominations. You can check out our review of “The Post” (Episode #353) from earlier this week for another Spielberg film. And if you have any suggestions for future reviews, let us know at onemoviepunch.com or reach out over social media.

And now...

Today’s movie is “Ready Player One” (2018), the animated adventure epic directed by Steven Spielberg, and written for the screen by Zak Penn and Ernest Cline, based on Ernest Cline’s best-selling novel. The film follows Wade (Tye Sheridan), a resident of a hyperurbanized suburb in the near future, who spends his time in the shared online world known as The Oasis. Upon the death of the creator of The Oasis, an Easter Egg is activated somewhere in the world that will grant the finder ownership of the entire virtual world. Now Wade competes with billions to find the prize. 

Spoilers ahead. 

Ernest Cline’s “Ready Player One” was one of the more popular works of fiction to hit shelves, appealing to gamers, dystopian future fans, and nostalgic adults alike. Of course, bringing this work of fiction to the big screen given the sheer number of referenced intellectual properties is legally impossible. It is also a story that doesn’t translate well to the big screen, taking place over multiple years, so adaptation requires overcoming a lot of hurdles. Hurdles that require partnerships among major production houses that only one person could probably command: Steven Spielberg. In fact, Spielberg’s team worked to secure as many of the intellectual properties as possible that were unavailable to their production partners. Once they had all the toys they could play with, the film could finally be adapted to fit the format.

Fans of the novel had mixed reactions to this film adaptation. It is easily one of the greatest works of eye candy the big screen has ever seen. Every scene inside The Oasis is breathtaking, even overwhelming at times, especially on the small screen. The animated action is so well done, and the uniformity brought to all the avatars and properties within the virtual world was impressive. In fact, it was so good that it made the live-action parts feel out of place, despite the slick set design for the IOI war room. After watching the film, I realized I wouldn’t want to live outside The Oasis, either, despite efforts in the messaging to prioritize the real over the virtual.

I wasn’t a fan of all the changes made to the story either. I don’t see Halliday (Mark Rylance) being a huge fan of racing games, even if he might be skilled at them. I also wasn’t a fan of replacing the Blade Runner segment for The Shining, although I understand the legal ramifications surrounding the rights during production. And despite all the times I enjoyed being able to identify the pop culture references on the screen, I felt the final act was way too drawn out, and in spots, unbelievable. No one figured out how to go backwards after five years of racing attempts? Not one person in that crowd tried to tackle the guy with the gun, even after he bombed their neighborhood? IOI doesn’t just move their debt slaves into some other money-making operations? I feel like the plot was altered so much to make it visually appealing that it lost its way, building towards perhaps one of the least climactic endings for a world-changing event. 

“Ready Player One” (2018) is a dazzling spectacle of pop culture, processed and distilled in a stunning virtual world, hindered by changes necessary for an effective adaptation. It may not hit all the right notes, but the sheer size of the project makes it a landmark film by bringing together so many disparate intellectual properties, similar to both “Toy Story” and “Ralph Breaks The Internet”. Fans looking for a hefty dose of mindless nostalgia, or folks who were fans of the novel, should definitely check out this film, but beware it may not scratch every itch you might have.

Rotten Tomatoes: 73% (CERTIFIED FRESH)

Metacritic: 64

One Movie Punch: 8.0/10 

“Ready Player One” (2018) is rated PG-13 and is currently streaming on HBO.

Hi everyone! 

Welcome back for another film streaming on HBO, which was also a surprise hit earlier this year in the theaters and among the critics. We’re trying to review as many Certified Fresh movies as possible from this past year, and will be continuing to do so next season. If you have any favorites form earlier this year, and you can’t find a review for it at onemoviepunch.com using the Certified Fresh tag, then let us know, either at the website, or by reaching out over social media.

And now...

Today’s movie is “Game Night” (2018), the dark comedy directed by John Francis Daley and Jonathan Goldstein, and written for the screen by Mark Perez. The film follows a group of couples gathering to participate in an interactive game night. However, when actual criminals become involved, the couples continue participating, oblivious to the danger around them. 

Spoilers ahead.

Not every film has to be a cinematic masterpiece to be a great movie, crafted lovingly from deep source material into a screenplay that resonates with a wide audience, drawn from years of study and practice. Often, producers just need to hear the right concept to greenlight a film for script development, hopefully one day turning into a film we get to appreciate on the big or small screen. The premises are often drawn from popular culture, and among the surburban and hipster classes, there has been an increasing fascination with game nights. My grandparents used to play cards every week with their friends. My family loves to play board games on breaks. Our town even has a game house where you can play any game on their extensive shelves. Add to that the more interactive murder mystery shows and escape rooms, and games are a key part of our culture. So, take that concept, and turn it into an action comedy with an ensemble cast, and you got a script in the making.

It isn’t just about having a great premise, however. “Game Night” takes the premise and expands the story using the characters within the film, filling those roles with an impressive cast of actors. The focus might be more on Max (Jason Bateman) and Annie (Rachel McAdams), not to mention Max’s brother Brooks (Kyle Chandler), but the rest of the cast get plenty of moments to shine. The chemistry among them is well done, as a group and between each character, which you can see play out not just sitting on the couch or in the car, but also in an impressive moving camera long-take in a mansion while they were attempting to steal something. Most of the characters even grow a little bit in the process, revealing a surprising depth for a concept film. 

“Game Night” is full of twists and turns, some foreshadowed using repetitive mentions, some completely out of leftfield, which kept me on my toes the entire time. The dialogue is funny, with a lot of taboo one-liners pushing the edges of action comedies. “Game Night” also keeps a great, light-hearted tone throughout the film, despite the obvious danger surrounding them, and increases the pace as the film progresses to its hilarious conclusion, including a stinger suggesting more adventures to follow. It seems like a no-brainer to move forward with a sequel, assuming reassembling the cast is possible, and assuming they can strike gold twice with the same premise. 

“Game Night” (2018) is a hilarious concept comedy with an exciting story and an impressive cast. The film never takes itself too seriously, even when facing some really incredible danger. Comedy fans, and concept film fans, should definitely check out this film, and then join the club with those waiting for a sequel.

Rotten Tomatoes: 84% (CERTIFIED FRESH)

Metacritic: 66

One Movie Punch: 8.4/10

“Game Night” (2018) is rated R and is currently streaming on HBO.

Hi everyone!

We’re back with another film streaming on HBO, this time with a film heavily divided among critics, similar to the reviews for “mother!” (Episode #245). It’s our first Gore Verbinski film for the podcast, but certainly not the last. If you have any suggestions, let me know at onemoviepunch.com or reach out over social media.

And now...

Today’s movie is “A Cure for Wellness” (2017), the science fiction thriller directed by Gore Verbinski and written for the screen by Justin Haythe, based on a story developed with Gore Verbinski. The film follows Lockhart (Dane DeHaan), an ambitious executive sent to retrieve CEO Pembrooke (Harry Groener) from a mysterious and elite spa in the Swiss Alps. After arriving, Lockhart meets Director Volmer (Jason Isaacs), and breaks his leg in an accident while trying to leave. Now Lockhart must find Pembrooke and escape before it’s too late. 

Spoilers ahead.

You can’t tell every story using film as a medium. Some stories require a different kind of relationship with the audience, one that needs to be built with a lot of backstory and over a longer span of time than can comfortably fit within a film. It doesn’t matter how great the story is if it doesn’t fit the medium. Case in point, “A Cure for Wellness” has an excellent story, one that spans both time and society, delves deep into philosophical matters, and weaves an impressive Gothic tale for the modern era. It is an expansive story, better suited for a limited series. It is also a cerebral story, better suited for a written format. It’s just not right for the screen, or rather, it can’t be made to fit the screen with the intended impact, at least not without losing a significant portion of an increasingly impatient audience.

Verbinski attempts to overcome these limitations in two ways. First, the cerebral aspects of the story are moved into equal parts visual hallucinations and intentionally empty performances, neither of which can best capture the subtleties of losing one’s grip over reality. Second, the expansive nature of the story is told using a breadcrumb trail of lore that Lockhart discovers prior to arriving, from the people he meets, and the information he learns during his stay. A written work would bury the key details within paragraphs of lore, making them difficult to piece together until the appropriate moment. However, the film format requires distilling the dialogue down to the bare minimum needed to tell the story, and avid genre fans will be able to connect the dots too fast. The story tips its hand too much, telegraphing the sequence of events to follow, and makes the final act felt like it’s going through the motions.

It feels way too long, at nearly two and a half hours, despite being visually stunning in nearly all respects. The cast does their best with the script, but the performances almost uniformly seem to deteriorate as the film trudges on. It’s sort of a shame, really, because the film uses water as a metaphor really well, and looks at the effects of ambition on the individual and society, and when all is revealed, a look at how short-sighted humanity has become while achieving more than ever before. Great themes and excellent effects are not enough to make a great film, though, and the mismatched format for the story ultimately creates too many problems in execution.

“A Cure for Wellness” (2017) is a cerebral story told through a journey into madness, spanning centuries and dealing with too many themes and too much backstory to comfortably fit the film format. Verbinski and Haythe take a shared story and do their best to adapt it to the screen, but the film ultimately ends up too long and too cerebral for its own good. Fans of films that make you think, and fans of gothic horror tales, may want to make the commitment to watch the film, but it may leave you unsatisfied if you lose patience.

Rotten Tomatoes: 43%

Metacritic: 47

One Movie Punch: 7.4/10

“A Cure for Wellness” (2017) is rated R and is currently streaming on HBO.

Hi everyone!

Welcome back to the podcast, as we transition from Netflix Originals to four great films currently streaming on HBO. Today is the first of two Spielberg films this week, today’s an Oscar contender in 2018, and this Saturday’s review is likely an Oscar contender for 2019. Today’s film is amazingly the first Spielberg film we’ve reviewed for the podcast. If you have any suggestions, contact us at onemoviepunch.com or reach out over social media. 

And now... 

Today’s movie is “The Post” (2017), the Oscar-nominated historical drama directed by Steven Spielberg and written for the screen by Liz Hannah and Josh Singer. The film follows Washington Post CEO Kay Graham (Meryl Streep), who works with her editor Ben Bradlee (Tom Hanks) to expose the various deceptions of the United States government throughout the Vietnam War, at the risk of their company, careers, and freedom. The film was nominated for Best Picture and Meryl Streep was nominated for Best Actress at the 2018 Oscars.

Spoilers ahead.

Steven Spielberg was probably the most influential director during my childhood, especially the movies during his meteoric rise after the success of “Jaws”. “Close Encounters of the Third Kind”, “Raiders of the Lost Ark”, “E.T.”, “Hook”, and especially “Jurassic Park”. All the family friendly films that will inspire generations to come. However, when I got to college in the late 1990s, and when I had a little extra spending money, I went to see “Saving Private Ryan” and had one of the most uncomfortable moviegoing experiences of my life. It made me realize there’s a whole other side to his career, and I went back to watch “The Color Purple”, “Empire of the Sun”, “Amistad”, and “Schindler’s List”. I did a lot of growing up at the rental store that year. It also made me realize why everyone wants to work with Spielberg at least once in their career, and sometimes, quite a bit. He is truly a master of the craft, and today’s film is no exception.

“The Post” definitely falls into the latter group of films, tackling the events leading up to the leak of the Pentagon Papers, a study commissioned from the Rand Corporation to evaluate US involvement in Vietnam and the surrounding countries. It is one of the most significant events in our nation’s history, and one that has great bearing on today’s journalism. Spielberg’s choice to focus on the Washington Post helps frame the larger issue, but at the expense of telling the story of Daniel Ellsberg (Matthew Rhys) who mostly acts as a supporting character. It is still a compelling story, however, one which Liz Hannah and Josh Singer use to criticize the press for their often too-close ties to government for access as much as it praises them in the end for doing the right thing in the public interest to bring an end to an unjust war. It is also an important story, even if it boils down to elite actors still deciding what’s in the public interest. I wish today’s press had even an ounce of the courage or capability of the newsrooms depicted in this film, because we might be in a better place than we are now.

Social and political criticism aside, Spielberg uses his pull to assemble an amazing cast of A-list celebrities, for both leading and supporting roles. Meryl Streep, Tom Hanks, Bob Odenkirk, Bradley Whitford, Bruce Greenwood, Alison Brie, Jesse Plemons. The cast is simply amazing, but Spielberg knows how to capture every moment in this film, with amazing moving long takes in tight spaces and well-crafted montages to carry the story. Every moment builds towards the publication, using great sets, period-perfect costumes, and the right filters and color patterns to capture the era. All those details that help a film transcend from good to great, and in Spielberg’s case, from great to exceptional.

“The Post” (2017) is a focused look at the role of the press in the leak of the Pentagon Papers, with an incredible cast of characters, and directed by one of the best film-makers of all time. Informative, engaging, and insightful, both as a story, and as a larger look at the relationship between the press and the government. Fans of Spielberg’s work, or anyone who wants to know just how badly we managed the Vietnam War, should definitely check out this film. And I hope the stinger scene one day leads to a sequel of sorts to cover the fall of Nixon.

Rotten Tomatoes: 88% (CERTIFIED FRESH)

Metacritic: 83 (MUST SEE)

One Movie Punch: 9.2/10

“The Post” (2017) is rated PG-13 and is currently streaming on HBO.

Hi everyone! 

Welcome back for the second of two limited theater run Netflix Originals, which has been receiving a great deal of buzz and a few Golden Globe nominations. If you haven’t yet, go back to our timeline and search for #GoldenGlobes2019 to see our reviews for nominated films. We’re working out our watch list for the others, but if you think we should review something first, let us know at onemoviepunch.com or reach out over social media.

And now...

Today’s movie is “Roma” (2018), the Netflix Original Mexican drama written and directed by Alfonso Cuarón. The film follows Cleo (Yalitza Aparicio), a domestic worker for a middle-class family in the Roma neighborhood in Mexico City. Set during the 1970s, the film draws heavily on Cuarón’s own experiences growing up in a time of social and political turmoil. The film has been nominated for three Golden Globe awards for Best Director, Best Screenplay, and Best Foreign Language Film.

Spoilers ahead.

The first Alfonso Cuarón film I ever saw was 1998’s “Great Expectations”, as a fan of the original work of Dickens. The film was clearly trying to ride the success of 1996’s “Romeo + Juliet”, the most recent classic modernization to find some success. Honestly, I didn’t like it, but I also didn’t know who the director was, either. Now, the first Cuarón film I saw where I knew it was him was “Y Tu Mamá También”, which I rented to watch with my wife, and was captivated watching a part of the world I knew relatively little about being brought to life so lovingly, and so incredibly well. I would argue Cuarón is at his best when he is able to both write and direct, or at least have substantial input on the script, to help align everything towards a unified vision. His films have also had enough success that he can create the films that he wants to create, and now spend a little more scratch to make them happen. If anyone else had come forward to propose a nostalgic look back at 1970s Mexico City, they would have been turned away. But this is Alfonso Cuarón, and if anyone can make that film not just good, but exceptional, it is him. And he did. 

Nostalgia is a funny feeling, an emotional shortcut to the strong attachments made during our formative years. When we’re young, nostalgia manifests as homesickness, a desire to return to that which we’re familiar, especially if we’ve left our hometowns for other locations. When we’re older, after you’ve learned Tom Wolfe was right about never being able to go home again, it develops into an incurable longing for certain aspects of the past. “Roma” is a work of reflective nostalgia, a deep-dive into an eventful time around Mexico City, including a massive earthquake and the Corpus Christi massacre, as told directly through the story of Cleo, and indirectly through the background story of her host family. Everything is woven together into a moving tapestry, a feeling accentuated by Cuarón’s use of slow panning long takes, sometimes involving one or two people, sometimes involving large gatherings. It’s so refreshing in a film industry addicted to jump cuts. Every scene embraces one or two key emotions, and is able to breathe. No scene overstays its welcome, and often contain hidden details in the backgrounds. Really exquisite film-making.

The cast is excellent and authentic, even when the story can seem absurd. The locations around Mexico City and in the countryside are well chosen, with great background effects that deliver a period-perfect experience. The black and white filter provides an extra layer of nostalgia, even as the story can also have deadly serious scenes that would have been taboo for film-making at the time. We can see Cuarón’s childhood nostalgia as exemplified by the children up against the very real social and economic challenges of the time. In fact, you can view the film through a number of different lenses, as I suspect film critics and scholars will be doing for a long time. From the beginning throwback opening credits scene to the patient ending credits, I was captivated, and already cannot wait to see what he does next.

“Roma” (2018) is a cinematic masterpiece, from one of the most talented writers and directors of our time. Alfonso Cuarón weaves a moving tapestry of nostalgia, creating a complex story capturing multiple aspects of Mexico City in the early 1970s. Fans of Alfonso Cuarón, or fans of excellent film-making, should definitely check out this film. We’ll see it at this year’s Oscars for sure.

Rotten Tomatoes: 98% (CERTIFIED FRESH)

Metacritic: 96 (METACRITIC MUST SEE)

One Movie Punch: 10/10

“Roma” (2018) is rated R and is currently streaming on Netflix and playing in selected theaters.

Hi everyone!

Welcome back to another Netflix Original film, one of two streaming offerings with limited theater runs. It’s an intriguing new strategy by Netflix, as they continue to morph their distribution methods now that streaming has come to stay. The strategy also allows Netflix to promote potential Oscar films through widespread availability prior to award shows, a conversation which I’ll continue tomorrow for “Roma”, which has been receiving nearly all the Oscar buzz. If anyone out there has actually seen a Netflix Original film in the theaters, outside of a film festival, let me know where and when. You can reach the podcast at onemoviepunch.com or reach out over social media. 

And now...

Today’s movie is “Dumplin’” (2018), the Netflix Original comedy directed by Anne Fletcher and written for the screen by Kristin Hahn, based on the novel by Julie Murphy. The film follows Willowdean (Danielle Macdonald), the plus-size daughter of her beauty pageant mother Rosie (Jennifer Aniston), who refers to her as Dumplin’. When Willowdean enters the local beauty pageant contest as a protest, she inspires other women to do the same, and sets out for advice from the local drag show. The film has received a Golden Globe nomination for Best Original Song.

Spoilers ahead.

Independent films have the luxury of being able to blur the more formulaic lines between drama and comedy, often able to tell fuller and richer stories in the process. I often feel that’s because the filmmaker has the luxury of creating a vision instead of playing for the widest audience, and most importantly, able to take chances, like a shot across the bow of beauty pageants. Beauty pageants, from their less than flattering origins, to their often complicated and scandal-ridden present, certainly have a lot of catching up to do with the rest of mainstream feminism, which makes “Dumplin’” as a story a great premise, and ultimately does for teen beauty pageants what “Little Miss Sunshine” seemed to do for child pageants. It also helps to have the film set to the music of Dolly Parton, herself a character study in self-acceptance and expression, and one of those lucky folks mentioned earlier who could have a clear vision *and* play to the largest audience.

In fact, Dolly Parton is the musical backbone to this entire film, and a strong role model for many people, women and men alike. Her reach is so far as to put conservative country fans, proud drag queens, and music critics all in the same room. She was also, in her own way, a rebellion against more conservative beauty standards. Her career provides a great canvas on which to tell Willowdean’s story, rebelling against the more consumerist beauty standards sold via the media, and echoed through every asshole out there fat-shaming people. From the tiniest physical cues to the cruel jokes by stand-up comedians, to the vilest name-calling that is thankfully absent from today’s PG-13 rated movie. Danielle Macdonald does well as Willowdean, navigating her drop in confidence when her sought-after co-worker expresses interest in her, and shining as she gives her all and grows to accept herself even more than before.

So, incredible meaning and message, and excellent costumes, sets, and music. Everything in place to create something amazing, and yet, the film never seems to rise above a standard independent drama. Great scenes are stitched together with only okay montages, and the constant references to Dolly Parton, much like the entertainer herself, tend to steal the show. We always sort of know where we’re headed, and the stakes are never really too high. I most definitely built an attachment to the characters, and cried quite a lot watching the film, but I also identified a great deal with Willowdean’s own struggle for self-acceptance, as an overweight child during most of my school years. However, all of that comes from excellent source material and personal connection, not really this particular adaptation. It is still a great film, but I felt there could have been much more. 

“Dumplin’” (2018) is a heartwarming film about self-acceptance, told through a plus-size teenager entering a beauty pageant, and backed with the music of Dolly Parton. It does justice to the source material, bringing the story to life with excellent performances, but there’s nothing revolutionary about the mostly standard storytelling technique. Fans of self-acceptance dramas, or teen romances, should definitely check out this film, along with any fans of Dolly Parton.

Rotten Tomatoes: 74%

Metacritic: 52

One Movie Punch: 8.4/10

“Dumplin’” (2018) is rated PG-13 and is currently streaming on Netflix and playing in select theaters.

Hi everyone!

Welcome back to another week of movies. This week will be a combination of Netflix Original films, and some great films from last year and earlier this year currently streaming on HBO. It’ll be the format for the rest of year, with one or two movies currently in theaters. We put out the call for contributors to join the team for next season, and the response has been exciting. If you want to get involved as a regular contributor on the podcast, let me know at onemoviepunch.com or reach out over social media. Exciting times are ahead!

And now...

Today’s movie is “5 Star Christmas” (2018), the Netflix Original Italian holiday film directed by Marco Risi, and written for the screen by Enrico Vanzina, based on the short story “Out of Order” by Ray Cooney. The film follows Prime Minister Franco Rispoli (Massimo Ghini), as he attempts to turn a political trip to Budapest into a secret tryst with his political rival Senator Giulia Rossi (Martina Stella). However, after finding a dead body in the Prime Minister’s hotel room, the two must act quickly to avoid scandal.

Spoilers ahead. 

Everyone reacts differently when the holidays come around. Some folks dress themselves up in their favorite sweaters, turn on the classic holiday movies and songs, and get everything just right. It’s a magical time of year, when hope and happiness return. For most of us. The rest, well, we can’t help but rebel against things when they go from sweet to saccharine, seeking out the non-traditional, everything from “Christmas in Hollis” on the radio to “Die Hard” on the screen. The very irreverence speaks to some of us, which is why I absolutely adore “Love, Actually” no matter how many haters there are, and why I loved today’s film: an irreverent Italian political sex comedy and holiday film.

If you are looking a strong Christmas message, give up right now. “5 Star Christmas” is a situational comedy of errors, from start to finish, that complicates itself with every step. Rispoli and Rossi are a fun couple, but they are just the tip of the iceberg, especially when Rispoli’s assistant Walter Bianchini (Ricky Memphis) is dragged into things, and the sudden appearance both Rispoli’s wife Marisa (Paola Minaccioni) and Rossi’s husband Roberto (Massimo Ciavarro) . Everyone tries to hide their sins from each other, culminating in an explosive confrontation that is as scandalous as your average foray into Italian politics. A great cast with a funny story. 

But it’s a story I’ve also seen pretty recently, or at least a form of it. “5 Star Christmas” feels an awful lot like an Italian episode of “Veep”, with all characters a mixture of naked ambition, petty concerns, and a lack of dignity for the office. The dialogue between characters and the pacing of the story feels similar as well. However, the film is a lot less mean than “Veep”. It has nothing to do with Christmas as a holiday in the slightest, but it does deliver a morality tale about fidelity above everything else, and sometimes, above everyone else as well. Fun, irreverent, and engaging.

“5 Star Christmas” (2018) is the Italian sex comedy and holiday film we deserve, a fun look into the misguided ambitions of politicians caught in a number of compromising situations. It is not a film that celebrates the holiday spirit, but it does provide a hilarious counterpoint to a generally heartwarming season. Fans of situational comedies, who don’t mind an extra dose of irreverence, should definitely check out this film.

Rotten Tomatoes: NR

Metacritic: NR

One Movie Punch: 6.8/10 

“5 Star Christmas” (2018) is rated TV-14 and is currently streaming on Netflix.

Hi everyone!

Welcome back to the last entry in our Netflix Original catchup week, although in the time it has taken to review these films, three more films have become available. I have loved reviewing every film acquired by Netflix this year, despite a few stinkers, and because of some real gems. I don’t know if anyone else has struggled through them all, but if you want to have me on your show or podcast to discuss the Year in Netflix, reach out to me at onemoviepunch.com or over social media. It has been a long road, and I hope I can put all that viewing time to good use.

And now...

Today’s movie is “Mowgli: Legend of the Jungle” (2018), the Netflix Original live-action and animated film, directed by Andy Serkis and written for the screen by Callie Kloves, based on Rudyard Kipling’s “The Jungle Book”. The film follows the origin story of Mowgli (Rohan Chand), a child raised by wolves in the jungles of India, who works to be accepted by the other animals. However, one tiger named Shere Khan (Benedict Cumberbatch) refuses to accept him, placing the two of them on a collision course.

Spoilers ahead.

Rudyard Kipling. People are divided about his work, especially as the world comes to grapple with the long-term effects of European colonization. One need only read Kipling’s poem entitled “The White Man’s Burden” to understand the lens through which he viewed the world, as one where Europe needed to bring “civilization” (whatever that means) to the world. It takes simple premises, like a boy growing up in the jungle, and endows them with subtle, yet purposeful meaning. It also doesn’t read very well as time has passed, a problem with not just Kipling, but Twain, Lovecraft, Edgar Rice Burroughs, and other “celebrated” white fiction writers from which so many were inspired, who also added their own subtle and not-so-subtle racist or imperialist views. I am in no way saying these works cannot be appreciated for what they are, but I am definitely saying that we are under no obligation to place those works within a historical context. We just need to be able to balance those two ideas in our mind while we appreciate their work, and not waste time denying the obvious racism and imperialism that permeated their works at the time. It also means that when we adapt these works, we need to take care to address the outdated ideas, whenever possible.

“The Jungle Book” has been adapted many, many times, for a variety of different media. The most famous adaptation is by far Disney’s 1967 animated film, that introduced so many future generations to Kipling. Disney heavily sanitized the darker elements of Kipling’s work into a musical extravaganza, one that stays well away from most socially challenging aspects. It was an effective and successful adaptation, successful enough to transform the same sanitized story into a live-action adaptation by Jon Favreau. Disney did a similar sanitized reversion of another socially complicated work for “John Carter”, based on Edgar Rice Burroughs’ work “A Princess of Mars”, whose protagonist was an unrepentant Confederate soldier. So, it begs the question why would Warner Bros want to make another live-action animated adaptation of Kipling’s work, and if so, what direction would they take to counteract the concerns within the source material? And how would it stave off feeling like a mockbuster remake of a Disney work?

“Mowgli: Legend of the Jungle” does a pretty good job answering those questions, although not without some lingering messaging concerns. The animation is quite stunning, which from the beginning helps elevate the film well beyond b-movie/mockbuster status. It’s greatly aided by Andy Serkis as director, especially with his extensive work with motion capture, and it has an excellent cast of voices. It is a beautiful and dark film to watch, more in line with the original work of Kipling. However, I think the messaging falls a bit short to counteract the built-in racism and imperialism within the source work, no matter how much the messaging may push an ecological coexistence between man and the jungle over the steady colonization and exploitation of Indian resources, and no matter how much of a drunkard they make the English tiger hunter out to be. And that’s because Bagheera, Baloo, and Shere Khan all still represent different aspects of colonization, as Kipling intended. It’s inescapable for quite a few of these adventure books with great premises from the era, but Serkis and Kloves manage to handle most of those issues well. Just not well enough. I can only hope that further stories cleared for animation in this series can help overcome those issues even further.

“Mowgli: Legend of the Jungle” (2018) is a stunningly rendered live-action adaptation of a racist and imperialist work with a clever premise. While it provides a more faithful adaptation of Kipling’s work, it also comes with some of its baggage, despite many efforts made to minimize that influence. Fans of live-action animated films, or considered fans of Kipling’s work, may appreciate this film, but may also want something more, or maybe different, from it.

Rotten Tomatoes: 54%

Metacritic: 51

One Movie Punch: 7.0/10

“Mowgli: Legend of the Jungle” (2018) is rated PG-13 and is currently streaming on Netflix and playing in select theaters.

Hi everyone!

Welcome back to our Netflix Original catchup, our sixth international film this week, this time from Malaysia. For a review of the other Netflix Original Malaysian film from this year, check out “Pulang” (Episode #294) for a sweeping historical drama. And if you have any suggestions, let me know at onemoviepunch.com or reach out over social media.

And now...

Today’s movie is “Crossroads: One Two Jaga” (2018), the Netflix Original Malaysian drama directed by Namron and written in collaboration with Ayam Fared, Pitt Hanif, Amri Rohayat, and Muhammad Syafiq. The film is set on the streets of Kuala Lumpur, as a diverse cast of individuals surrounding migrant workers struggles to survive, crossing paths in dangerous and ultimately deadly ways.

Spoilers ahead.

Immigration is a hot topic right now, largely driven by the disturbing political and social punditry on cable news, casting immigrants as either hard-working individuals seeking a better life or the worst of the worst looking to exploit any country they enter. The focus is generally on the immigrants themselves, not on the systems and industries that exploit immigrants for slave wages and unsafe working conditions, from transporters and landlords and employers alike. The lack of focus on the latter part makes it much easier to stereotype all migrants, for better or worse, but it lacks the context that simply cannot be communicated over cable news, or most of the mainstream news media. However, film offers a way to help us understand the conditions which migrants face, and that’s the context in which to appreciate today’s film.

“Crossroads: One Two Jaga” may be set halfway around the world on the streets and slums of Kuala Lumpur, but the challenges faced by migrant workers are only different from any other country in scale. Each character represents a different aspect of the systems surrounding migrant workers, or the diversity among migrant workers. We meet Sugiman (Ario Bayu), the idealistic hard worker who believes in a better life for himself and his son. We also meet his sister Sumiati (Asmara Abigail), who is being exploited by her employer, and wants to return home. We meet Sugiman’s employer, who seems to care for each worker in the moment as easily as he asks his son to burn a migrant worker’s body who died on a construction site. We meet two street level cops, one taking bribes, the other an idealist, and the cops above them who run a migrant worker protection racket. We meet foreign investors who are paying off the police to retain their workers, and being extorted at all levels. It’s a great ensemble cast of characters, all of which feel very real, and an impressive feat for a film with only an 80 minute running time.

Namron weaves their stories together in a way that reminded me a great deal of Soderbergh’s “Traffic” (2000), but for migrant workers. The characters meet and depart from each other, sometimes directly, sometimes seen only in the distance. Excellent locations around Kuala Lumpur are utilized, showing the diversity in living conditions and expectations. I really loved how the film reached its climax, with a chaotic yet enthralling fight in the rain. Nearly every scene is well produced, with one really rough dream sequence that felt out of place, and a choppy ending sequence that finishes the story. Between this film and “Pulang”, I can’t wait to see more from Malaysia.

“Crossroads: One Two Jaga” (2018) is a Malaysian drama that weaves together an ensemble cast of characters to explore the lives of migrant workers in Kuala Lumpur. Namron manages to deliver an exceptional story at the pedestrian level of society, perfectly capturing the interwoven nature of migrant workers within the communities they serve. Fans of Malaysian cinema, or folks who want to see a dramatize look at being a migrant worker, should definitely check out this film, especially with the short running time. You won’t be disappointed.

Rotten Tomatoes: NR

Metacritic: NR

One Movie Punch: 8.8/10

“Crossroads: One Two Jaga” (2018) is rated TV-14 and is currently streaming on Netflix.

Hi everyone!

Welcome back to another episode in our Netflix Original catchup series. Today’s film comes from Norway, one of my favorite film scenes despite so few reviews this year. For another film from the scene, check out the critically acclaimed “22 July” (Episode #286), then follow that up with any of their wonderful horror films. And if you have any suggestions, let me know at onemoviepunch.com or reach out over social media.

And now...

Today’s movie is “Battle” (2018), the Netflix Original Norwegian drama directed by Katarina Launing and written for the screen by Maja Lunde. The film follows Amalie (Lisa Teige), an affluent teenage dancer whose family suddenly loses everything, and move into the city. Apart from everything she knows, she strikes up a friendship with hip-hop battle dancer Mikael (Fabian Svegaard Tapia), and learns how to dance in a new way.

Spoilers ahead.

Folks watch dance movies for two reasons. First, they love stories that involve competitions, and whether that’s competition for a spot, or competition for a prize, the built-in narrative structure allows us to see interest, training, conflict, and ultimately, success, not always measured in winning. Second, they love the dancing segments, especially if they explore energetic dance styles, from cheerleading to step to today’s dance genre, hip hop battle dancing, born in the United States by hip hop dance crews, from standard b-boy steps all the way to crumping. Earlier this year I reviewed “Step Sisters” (Episode #023), a controversial film about a mostly white sorority training and competing in a step competition, traditionally a black fraternity, sorority, and cultural activity born out of a shared history. Hip hop dance crews, however, don’t have the same kind of singular cultural ownership, and hip hop has become a global phenomenon, spreading into multiple countries, including Norway, the location of today’s film.

I was intrigued by a Norwegian hip hop battle dance film, not because I find the idea incredulous, but because the film has an opportunity to showcase the impact of hip hop and the increasing diversity of Scandinavian countries, Norway in particular. We start, appropriately enough, when our protagonist Amalie is living the affluent life, but also training hard in modern dance, with access to multiple spaces to practice. And then suddenly, her father asks everyone to leave, and the debt enforcement agents swoop in to claim all property and whisk them away to Oslo. Amalie is brought low in a flash, and tries to balance her new life with her old life, and honestly, making a lot of bad decisions in the process. She meets Mikael while searching for a spot to practice, but hooks up with him while maintaining her relationship with Aksel (Vebjørn Enger) in her previous life, where she is also lying to everyone else to keep a sense of her privilege. It makes her wholly unlikeable, which is a terrible role for Lisa Teige after her cult success with “Skam”.

The film contains two separate competitions. Amalie is competing for a spot in a modern dance troupe while also training with her newfound hip hop crew for a future battle, both energetic styles in their own way. However, with the exception of a wonderful choreographed scene using BBD’s classic “Poison”, the rest of the segments fall flat. The modern dance segments follow the same sequence, and contain too many jump cuts. The other hip hop segments didn’t have loud enough music, and lacked the energy of an actual battle dance venue. And sin of sins in a dance movie, I actually found the final battle dance between Amalie and Mikael to be  horrible, with Amalie clearly outmatched, and watching it slowly devolve into a public make out session after the hip-hop beats are replaced with some washed out indie electronic music meant to express love. The fact it ends with Amalie finding herself, getting the man she was so clearly slumming with, and redeeming her previous battle dance performance with so much garbage was nauseating.

“Battle” (2018) is a romance dance film, with an unlikeable relationship between an affluent teen made low and the boy she slummed it with before getting caught by her friends. The film scores well enough with the competition format, but often fails to effectively capture both dance styles on film. Fans of romance dance films will probably eat this up, but folks looking for great choreography may want to look elsewhere. 

Rotten Tomatoes: NR

Metacritic: NR

One Movie Punch: 5.6/10

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