One Movie Punch

Hi everyone!

Only one episode today as I want to make sure tomorrow’s guest gets the day to himself on Takeover Tuesday. On Saturday. I know, I know... getting caught up is so confusing! Once that first day without a podcast went by, after 313 consecutive days, and the last one while under evacuation with the smartest of technologies, I began fluctuating between a mounting pressure to start producing right away and, honestly, a bit of relief from the constant grind to maintain this podcast. The second day in the trailer was eerie, after the wind died down, and with that came the heat. We finally got settled in, and got cleaned up with clothes I had bought the day before because I packed everything but clothes. Twenty years of writing, most of which are the only copy, saved. Clothing to survive the elements? Swing and a miss. We had gotten word that the major threats to our homes in the neighborhood had been averted, but air quality was horrible, especially without filtration systems. Getting cleaned up helped a lot, and I knew finally that the podcast could wait, and that yes, a wildfire evacuation was a completely legitimate reason. And with that acceptance, I also started to miss it, just a little bit, and to look forward to getting back to it. Almost as much as I would definitely enjoy a few days off in the process. I felt much better about everything... at least until the wind changed direction again, and the smoke started heading back our way.

More on my adventures next episode. You can hear the start of the story before my review of “Outlaw King” (Episode #314) and “A Prayer Before Dawn” (Episode #315). Let me know if you’re listening by sharing this episode, or just reaching out, with #WelcomeBackOMP. Once we’re back to full speed at the podcast, we’ll be churning out a couple episodes a day to get caught up. I can tell you in getting these first few episodes ready that I really did miss the work.

I didn’t just miss the work, though, but also the many fans I want to thank. Fans like Ryan L. Terry, who reached out quite a few times while I was navigating both evacuation and repopulation. It’s always great to hear from fans and collaborators, because it’s folks like Ryan that make podcasting worth it, especially in the expansive world of #FilmTwitter. If you haven’t yet, you should definitely follow him on social media and check out his blog. It always made me smile to see you check in, and your encouragement mattered a lot in finding the acceptance I talked about earlier, to let it go for a while and focus on what was important. Thank you so much, Ryan! More details on Ryan in the promo, and the review to follow after that.

Today’s movie is “Overlord” (2018), the Bad Robot and Universal Pictures production directed by Julius Avery and written for the screen by Mark L. Smith and Billy Ray, based on a story by Billy Ray. The film follows a group of United States paratroopers who head into Nazi-occupied France to destroy a radio tower. However, while attempting to achieve their objective, the group discovers a much more sinister experiment being conducted by the Nazis, and regroup to face this new horror.

Spoilers ahead.

I’m going to say right off the bat that I gave this film the highest rating I could given the following two factors. First, the entire premise is lifted from the Wolfenstein franchise, or from “Captain America: The First Avenger”, or really, from both, and every World War II film that inspired either property. It is almost the epitome of a derivative film, which brings us to the second factor, and the worst criticism of a derivative film: it breaks no new ground while reworking obvious source material. I was really hoping this film was going to end with B.J. Blazkowicz showing up to work with the survivors, because it would have been a solid ten for me. As it is, well, it’s not that, but it’s still a beautiful film to watch.

“Overlord” has one hell of an opening sequence. We’re launched right into an air raid across enemy lines, with the soldiers tasked with destroying the radio tower, a key objective that will enable the invasion at Normandy to succeed, or so we’re told. Enemy fire damages the plane, however, and the surviving members parachute, with the viewer following Boyce (Jovan Adepo), whom we follow for most of the film. The entire sequence, from the throwback title frames through Boyce dragging himself to safety with the survivors was intense. The film also finishes strong, with a great long-take escape from the Nazi experimental research and radio tower as it was blowing up. Both experiences felt like modern AAA video game titles such as Tomb Raider, Uncharted and Call of Duty: Whatever, especially shots from the first and third person perspectives, and when introducing new locations. It makes me wonder how many more directors will be influenced by the incredible advances in console video games. And it was also further proof of my secret Wolfenstein prequel hypothesis.

Of course, this film isn’t a secret Wolfenstein prequel, no matter how much I would love it to have been. And this film isn’t a Captain America film, even if the Nazi boss and scientist combo are almost mockbuster clones of Red Skull and Arnim Zola. And this film isn’t even really a World War II film, no matter how many “war is hell” scenes and dialogue exchanges we get. It’s really all of those films, and none of those films, pieces of which are blended together, but blended together well, not just with the action scenes, but also with costumes, sets, and definitely the practical and special effects surrounding monster makeup and design. But no matter how well done it may be, it never, ever breaks new ground, and that’s where I was left disappointed, mostly in myself for wanting more than this film had to offer, the curse of the forgiving critic.

“Overlord” (2018) is a fun World War II Zombie film, set behind enemy lines and against everyone’s favorite modern enemy. While it is cobbled together from a number of classic films and franchises, it does so really well, and delivers an enjoyable film, as far as World War II Zombie films go. Fans who don’t mind the subject matter and premise will very likely enjoy this film, but fans of any of the influencing films and properties may wish it was something else. Like a secret Wolfenstein prequel. Okay, I’ll stop now.

Rotten Tomatoes: 81% (CERTIFIED FRESH)

Metacritic: 60

One Movie Punch: 7.0/10

“Overlord” (2018) is rated R and is currently playing in theaters and is definitely not a secret Wolfenstein prequel.

Hi everyone!

Here’s a bonus episode for today, as I work to get caught up. If you’re not sure what I’m talking about, go back and download my review for “Outlaw King” (Episode #314), where I spoke about having to be evacuated due to the wildfires in California, and how it puts a lot of things into perspective. It’s actually the second time we have had to evacuate, the first time being five years ago during the Springs Fire, where I could actually see the fire burning down the hill right out our window. That evacuation was a certifiable clusterfuck, but this one, as far as leaving behind everything you hold dear goes, was much better. It made the hour on the road to go four miles not seem so bad.

I’ll be continuing this narrative with each episode as we get caught up. Let me know if you’re listening by sharing this episode and using #WelcomeBackOMP, or reach out over social media. I’ll add you to my list of people to thank as we get caught up. 

Today’s second thank you is Andrew Campbell, my one and only sponsor at patreon.com/onemoviepunch. He reached out right after I posted the first update and asked if there was any way he could help. Unfortunately, I was limited to my laptop and phone, which I used to post the last episode I had ready, with winds gusting up to 60 or so miles per hour. Recording in the motor home we were sheltering in was going to be impossible. I wish I could have turned things over to someone, and that’s a lesson I hope to take into next year. So, Andrew couldn’t help then, but check back in a little later with the podcast.

Andrew’s a good person. Here’s a promo to remind you, and we’ll hit the review up after that.

Today’s movie is “A Prayer Before Dawn” (2017), the international biopic directed by Jean-Stéphane Sauvaire, written for the screen by Jonathan Hirschbein and Nick Saltrese, and distributed by A24 and DIRECTV. The film follows the true story of Billy Moore (Joe Cole), a British boxer who winds up in a Thai prison after being arrested on drug charges. However, after watching the fates of his fellow inmates, he strives to join the prison Muay Thai boxing team for a chance at freedom.

Spoilers ahead.

Also, some trigger warnings. This film has one graphic scene of sexual assault in prison, which while pertinent to the story, is definitely not going to be possible for everyone. If the content will be a problem for you, skip this movie and the review, and come back tomorrow.

For some reason, this year appears to be the year of movies and television involving prisons and fighting rings, both legal and illegal. Already this season on the CW, both “Arrow” and “Riverdale” have Oliver and Archie fighting in prison. Earlier this year, I watched “The 4th Company” (Episode #108), which was a juvenile detention exploiting prisoners for American football. And today, I’m reviewing a film with almost the exact same plotline, which rather than focusing exclusively on the tantalizing thought of underground or exploitative prison fights/sports, takes a true story of redemption done in an art-house style, and while it pulls no punches (pun very much intended), it does deliver a beautiful, if brutal film.

“A Prayer Before Dawn” follows Billy Moore, who has a mean problem with yaba, a mixture of methamphetamine and caffeine, which can be taken in pill form, or can be freebased. As you can imagine, it’s highly addictive, and comes with intense withdrawals, which after Billy makes it to prison, becomes the first of many dangers to avoid, along with the aforementioned rape scene, the threats upon his life for being unable to pay for drugs, and the additional exploitation by the guards. Thai prisons are not known for their concern for human rights, so the fact that Billy Moore survives at all is somewhat of a miracle. Joe Cole’s performance feels realer than most other kickboxing films, communicating a great deal of emotion without a lot of dialogue, and always a little frightened by his environment and himself.

Jean-Stéphane Sauvaire has a great talent for finding the right filters and sequences to tell this story, melding them with great sound editing that is part washed out movie score, part regional instruments and flavors. And this beauty is counterbalanced by the brutality of the environment and the actors within the story, many of which were actual prisoners, bringing intensity to their supporting performances. And best of all, while the film contains more than a few fights, within and outside the ring, the focus is firmly on Billy Moore’s attempt at redemption, taking him to the brink of death, and obviously since it is based on his memoir, takes him away from the brink, with a well-placed cameo by the real Billy Moore to drive home the story. Really well done.

“A Prayer Before Dawn” (2017) is a redemption story masquerading as a prison fight movie, luring viewers in a delightful bait and switch that elevates films with similar themes and stories. Joe Cole is spectacular and Sauvaire finds new, beautiful, and brutal ground for the genre, which would be hard to deny, especially with a podcast called One Movie Punch. Fans of prison films, or martial arts films, or most importantly, stories of redemption, should definitely check out this film, but heed all the very real trigger warnings and act appropriately.

Rotten Tomatoes: 92% (FRESH)

Metacritic: 76

One Movie Punch: 8.8/10

“A Prayer Before Dawn” (2017) is rated R and is currently streaming on Amazon Prime.

Hi everyone!

I don’t know if you’ve heard, but wildfires are burning throughout California, where this podcast is located. In fact, the wildfires were burning so close a couple weeks back that my family was forced to evacuate. I was working diligently on finishing up a few podcasts when I got the call from my spouse, who warned me about a quickly spreading fire. I began packing immediately, grabbing everything I thought was right, even if I may not have grabbed all the right things, and within thirty minutes, received the mandatory evacuation notice, scrambling to fit as much as we could into our car before heading out of the danger zone. My family was lucky, but many others were not, so if you haven’t yet, and if you’re able, please find a reputable wildfire relief organization and give a little bit for those who have lost so much. And thank a firefighter the next time you see one.

The whole experience put a lot of things into perspective, not just for my personal life, but for this podcast, and the wonderful community that surrounds #FilmTwitter. A great deal of time and effort goes into each episode, and the feedback and support from my fans and collaborators make that process worthwhile. I’ll be telling our evacuation story over the next few episodes as we get caught up, starting with today’s episodes. Let me know you’re listening by sharing this episode with #WelcomeBackOMP. I promise to return every greeting I receive, and will add each of you to my growing list of people to thank.

Speaking of people to thank, I’ll be taking a little time every episode to thank those who reached out during the fire. And first up? The Moviedrone Podcast. I’m not sure if it was just the timing of their recording, but Marc and Steve were kind enough to wish us well the last couple of weeks on their podcast. Thanks so much guys for your support, and for the legal record, I never received anything from their podcast which could have potentially been submitted for insurance. Not sure what I’m talking about? Check out their last few podcasts for the story. And believe me, it’s a story all right. For those of you that don’t know them, here’s a quick promo, and then we’ll get to today’s review.

Today’s movie is “Outlaw King” (2018), the Netflix Original historical drama directed by David Mackenzie, and written for the screen in collaboration with Bathsheba Doran and James MacInnes, with additional writing from Mark Bomback and David Harrower. The film follows the life of Robert The Bruce (Chris Pine), a contemporary of William Wallace who claims the Scottish throne after Wallace’s execution and rebels against the British. Get your kilts and spears ready!

Spoilers ahead.

If there’s one thing that this film has taught me, it’s that there is a rich historical drama series to be created from the combined story of William Wallace and Robert the Bruce, that could explore the conditions leading up to Scotland’s independence. Folks loved “Braveheart”, but “Game of Thrones” has made the idea of a long-form, brutal medieval series exciting. So many great characters and so many great storylines, but definitely as a longer series, not a film. Because while today’s film absolutely nails the look and feel of the time, it’s clearly too much, or perhaps not enough story for this film.

“Outlaw King” picks up as the Scottish lords are kneeling to the British throne in the wake of William Wallace’s failed rebellion. We’re introduced right away to Robert the Bruce, who struggles with the fate of his family and his country, but quickly sees the result of high taxes on a recovering nation, and the lingering feeling of revolution among the people. We don’t get a whole lot of his upbringing, nor a whole lot of his role during the rebellion, but for folks not familiar with the history, we’re also not given enough reason to commit to Robert’s cause, aside from the truly horrific nature of British rule. And we’re taken all the way to the British defeat against the Scottish rebel army, thus confirming Robert the Bruce as the legitimate king of an independent Scotland. However, it ends up being more of a history lesson masquerading as an exciting montage rather than telling a complete story, something definitely more suited to a limited or extended series.

Now, for all my criticisms of the story, I did find the cast, direction, costumes, and sets to be above average, sometimes even bordering on exceptional. Chris Pine is great as Robert the Bruce, despite the storytelling concerns. I thought the individual scenes were well directed, especially the battle scenes, which took all the many lessons learned from “Game of Thrones” and other epic fantasy films from the last two decades to deliver some excellent realism. Lots of great shots, but it does struggle between those scenes to be something more.

“Outlaw King” (2018) is a beautiful film to watch, but it can’t offset the difficulty of fitting this story into a feature-length film. David Mackenzie and Chris Pine bring Robert the Bruce’s story to life, with the help of excellent costumes, sets, and action scenes. Fans of historical dramas should definitely check out this film, but be ready to be left wanting more, and not necessarily in a good way. 

Rotten Tomatoes: 60%

Metacritic: 60

One Movie Punch: 7.4/10

“Outlaw King” (2018) is rated R and is currently streaming on Netflix and playing in select theaters.

Hi everyone!

No Film Buff Friday today because we are F-I-N-A-L-L-Y catching up on Netflix Originals. In fact, this film gets us caught up after a few weeks of format breaks, and yes, I am not very happy that it’s a holiday film this early in the year. But I said every Netflix film, and after checking out Netflix’s schedule for November, this won’t be the last. For a few other Netflix films from the previous weeks, check out “Gun City” (Episode #311), “The Other Side of the Wind” (Episode #310), “Jefe” (Episode #308), and “Dovlatov” (Episode #307). And if you have any suggestions, let me know at oneomoviepunch.com or reach out over social media.

And now...

Today’s movie is “The Holiday Calendar” (2018), the Netflix Original holiday film directed by Bradley Walsh and written for the screen by Amyn Kaderali and Carrie Freedle. The film follows Abby Sutton (Kat Graham), who is given an antique advent calendar while preparing for the holidays, which also appears to predict the future. Now as she marks each day, she wonders what her future has in store for her, even as her life falls apart this holiday season.

Spoilers ahead.

I’ll be honest up front and say that I struggle with a great number of holiday films, and that comes from their increasing prominence in our content streams around the holidays. Classics like “It’s a Wonderful Life!” and “Miracle of 34thStreet” are increasingly being forced out by a barrage of holiday films, increasing via the theaters year after year, and increasing even faster on DVD, Blu-Ray, and on streaming providers. Much like holiday music around this time of year, and pretty much anything related to the holidays, it’s a huge industry, and while “A Charlie Brown Christmas” and “Die Hard” may speak to my generation perfectly, older films either don’t appeal to the modern generation, or contain painfully awkward racism, like “A Christmas Story”. So, we’re going to continue to getting holiday films, and unfortunately, many of them are going to look like today’s film.

“The Holiday Calendar” feels like any number of quickly produced holiday films that have premiered on television during my lifetime, with a clearly defined story structure using a clearly defined plot device, used to change the hearts and minds of at least one person within the film that has lost some measure of what is considered “the holiday spirit”. And let’s face it, what we mean by the “holiday spirit” today is a lot different from the “holiday spirit” of Dickensian Christmas on which our current consumerist Christmas was based, which was based on relatively modest religious holidays prior to that, which was itself a cover up of long-standing Winter Solstice festivals by pre-Christian Europeans. I mean, this film even calls the Advent Calendar a “holiday calendar”, and while I’m not a “War on Christmas” nutter, I do think the abstraction of Christmas is a needless level of political correctness, even if it is the plot device driving the rest of the story.

And what an unrelatable story it is. Abby Sutton is a self-described starving artist photographer in the most racially, but not culturally diverse town in America, who hates her photography job at the department store, even though it apparently helps her afford a downtown loft space twice as big as my townhome. Poor Abby Sutton doesn’t like her life, nor feels like she’s met her parent’s expectations, but she’s working through it with her male friend Josh Barton (Quincy Brown), back from travelling abroad for a few years, and clearly interested in Abby more than a friend. And after a brief relationship with a seemingly perfect doctor named Ty (Ethan Peck), realizes with the help of the magical holiday calendar that Josh was the one who has always been there for her, and would always be there for her. And he is at the end, when, spoilers, it turns out he’s a secret millionaire, who buys the studio space she’s been dreaming about for years, along with the rest of the building. If you’re wondering what exactly the holiday message is supposed to be, join the club. All I saw was a privileged photographer getting everything else she wanted at the end, and maybe that’s just how shallow our current holiday spirit has become. Then again, I think “Die Hard” is a Christmas masterpiece, so what the hell do I know?

“The Holiday Calendar” (2018) is a saccharine holiday film about a middle-class photographer struggling with her privileged, but somehow unfulfilling life. While it is entertaining enough for an uncritical viewing, it also lacks a great number of the themes worth exploring in a holiday film. Holiday film fans may enjoy the film for what it is, but folks looking for the next great holiday classic may need to keep searching.

Rotten Tomatoes: NR

Metacritic: NR

One Movie Punch: 5.6/10

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

Hi everyone! 

Welcome back to Documentary Thursdays! We’re back with the second part of a two-episode series, the first being the subject of today’s documentary, “The Other Side of the Wind” (Episode #310). If you haven’t yet heard that episode, go give it a listen, then come back here. For another film from director Morgan Neville, definitely check out my favorite documentary of the year, “Won’t You Be My Neighbor?” (Episode #193). And if you have any suggestions, let me know at onemoviepunch.com or reach out over social media.

And now...

Today’s movie is “They’ll Love Me When I’m Dead” (2018), the Netflix Original documentary directed by Morgan Neville. The documentary follows the last fifteen years of Orson Welles’ life, when his star in Hollywood had waned, and he placed his hopes of a comeback on a film entitled “The Other Side of Wind”, financed as he could afford it, and left unviewed in a film vault for years. It also covers the recent restoration of the film, and a larger look at Welles in the history of film-making.

Spoilers ahead.

I think anyone who watches “The Other Side of the Wind” should watch this film afterwards, because it is an excellent companion piece that explores the interconnected nature between the film and Orson Welles’ life while envisioning and filming it. If you’ve seen the source material, then you’ll know that in order to even begin understanding the film, you need to have some context, and this film is as much about the hype surrounding the film as it is about the film itself. But, I mean, what else can you expect about a documentary about a director and a film shot as a no-holds-barred documentary-style film about an aging director trying to make a comeback film, which is screened even though its unfinished within the movie, and on the last day of said director’s life?

It’s a unique film that could only be made by someone like Orson Welles, and I think he knew that when he began envisioning what would become “The Other Side of the Wind”. It’s a suspicion that’s confirmed by the folks interviewed for today’s documentary, as they could see the obvious parallels between Hannaford and Welles, and no matter how much footage we also see of Welles claiming over and over it’s not meant to be autobiographical. However, I also want to caution folks about the dangers of watching this documentary before seeing the film, because while I think it does an above-average job in documenting the film and Orson Welles, it will also unintentionally influence your appreciation, maybe with critical insight, or maybe with the hindsight opinions of those involved, who have their own bitter feelings about the production.

Here’s another level of abstraction that may also blow your mind. I’m writing a review about a documentary about a documentary-style film about an autobiographical character showing a mockery of a film he didn’t want to make, and I’m supposed to spend my time looking at the style and structure of the documentary, not spend time talking about the actual content. I felt the documentary itself was above average, but couldn’t hold a candle to the source material, and despite excellent footage and interviews, and succeeding in telling the story, the documentary feels like it is just piggybacking on the larger story, which is perhaps better told by the film itself, once we have all the pieces, even if we could only get those pieces from a documentary like this. No matter how well-produced today’s documentary was going to be, it would never be the best possible documentary for “The Other Side of the Wind”, because the film actually ends up being its own documentary. 

“They’ll Love Me When I’m Dead” (2018) is a vital companion piece to “The Other Side of the Wind”, providing a lot of context missing after decades of the film being unavailable to the public. The documentary is well-composed and contains a lot of great footage, but it may also be intrusive for viewers still forming opinions about the source material. Fans of Orson Welles, or Morgan Neville, or “The Other Side of the Wind” in particular should definitely check out this film, but maybe watch the original film a few more times to solidify your own impressions before having them shaped by others.

Rotten Tomatoes: 89%

Metacritic: 80

One Movie Punch: 8.2/10

“They’ll Love Me When I’m Dead” (2018) is rated TV-MA and is currently streaming on Netflix.

Hi everyone!

Welcome back to Worldwide Wednesday! We’re taking a quick break between Orson Welles features to shoehorn in a film from both the Spanish and French film scenes, covering 1921 Barcelona fighting between rising corporate and government fascists against trade unionists and anarchists. Gosh, that doesn’t sound like any place we know! For a few other films from the scene, check out “Veronica” (Episode #080), “Sunday’s Illness” (Episode #171), “The Warning” (Episode #213), and “The Laws of Thermodynamics” (Episode #244). And if you have any suggestions, let me know at onemoviepunch.com or reach out over social media.

And now...

Today’s movie is “Gun City” (2018), the Netflix Original historical thriller directed by Dani de la Torre Alvaredo, and written for the screen by Patxi Amézcua. The film follows the mysterious Aníbal Uriarte (Luis Tosar), a Basque member of the Information Brigade sent to discover who robbed a train transporting military weapons. His search will take him though the worlds of corrupt investigators, corporate control, human trafficking, and the anarchist resistance, where he’ll meet Sara Ortiz (Michelle Jenner), and begin to question his loyalties.

Spoilers ahead.

I think a lot about the rise of fascism nowadays, especially given the current political mood in the United States. Fascism isn’t something that happens overnight, but more like the frog in boiling water metaphor, where slow changes in temperature are ignored until it’s too late. Economic depression, wealth inequality, violent reactions to peaceful protest, overt nationalism. And I think it’s important to understand the time periods before other fascist societies came into existence, like the tense years before the 1923 military coup in Spain. We see many of the same factors in 1921 Barcelona as we do today, even if a more overt fascism in Spain was still fifteen years away, after a civil war backed by the German and Italian fascists. It was also a complex time, with powerful actors doing as they wish, no matter what the law might have said at the time, a lesson we should learn for today’s environment.

“Gun City” centers around an investigation into a military transport hijacked by unknown forces, adding to an already precarious political and military situation within Spain. Much like the state of today’s leftist politics within the United States, the trade unionists/anarchists of the time are split between the majority of folks, who want to take peaceful, civilly disobedient action against power, and those who believe violent resistance is either inevitable or preferable. No side is morally pure, even if one side might be considered ideologically pure. Aníbal Uriarte is our guide into this world, himself a mystery that has questionable and inconsistent morals when it comes to the horrific treatment of women and children, just as happy to shoot someone as rescue another. Luis Tosar’s performance is mysterious from start to finish, rarely giving away anything unless absolutely necessary, and while I can’t say I liked him, I did respect him from time to time, and as often as I hated him.

I don’t have a lot of bad things to say about this film. It reminded me of what American film noir would look like in a pre-fascist society, but with the obvious analogous European cultural stylings.  The costumes, sets, and special effects all creative an immersive feel to the historical period, which really stands out. I felt like I got a complete story as well, even if I could see other stories using the remaining characters, perhaps even charting the next couple of years leading up to the military coup. It seems like a shame to waste all the incredible effort that went into building this world so well, especially given the historical moment we’re living through today.

“Gun City” (2018) is an excellent historical drama about a complicated moment in history, set in the years before a military coup in 1920s Spain, with a special emphasis on costumes and sets. While the film can deal with some very disturbing themes, it also never treads too far into the darkness, and provides enough of a feeling of justice towards the end to make the journey worth it. Fans of historical dramas, or pre-war noir films, should definitely check out this film, along with anyone else that’s interested in the nature and operation of pre-fascist societies.

Rotten Tomatoes: NR

Metacritic: NR

One Movie Punch: 8.2/10

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

Hi everyone!

We’re taking a break from Takeover Tuesday this week to take a look at a very special film, the last one, in fact, from the great Orson Welles, finally available after decades. It will be the first of two episodes about this film, with today being the actual film, and Thursday being the documentary about the film, entitled “They’ll Love Me When I’m Dead” (Episode #312). For a couple other Orson Welles films, check out “The Stranger” (Episode #215) and “Touch of Evil” (Episode #229). And if you have any favorites, let me know at onemoviepunch.com or reach out over social media.

And now... 

Today’s movie is “The Other Side of the Wind” (2018), the Netflix Original production directed by Orson Welles and written for the screen in collaboration with Oja Kodar. The film follows Jake Hannaford (John Huston), an older filmmaker attempting a comeback with his latest film, titled “The Other Side of the Wind”. After wrapping up filming for the day, the cast, crew, and a host of invited documentarians are invited to Hannaford’s 70th birthday party in the hills, for a special incomplete screening of the film, and which ends up being his last day on earth.

Spoilers ahead.

The great challenge for reviewing today’s film is not revealing too much about how the film was made or what was happening behind the scenes, especially for a film that is so clearly autobiographical. I want to save as much of that for the upcoming episode about the documentary, but I’m sure bits from that documentary will make their way over into this film review, just as commentary that should be in this review will end up over there. Can we even separate the two, based on his own interviews about the film, and all the eerie parallels to real people in his life? How does someone who has made arguably the greatest film of all-time so early in his career pull off a similar achievement? And more importantly, are these the kinds of questions that even matter about film-making? 

“The Other Side of the Wind” feels a lot like Orson Welles feeling his way through an idea that transforms the way we look at film-making, by deconstructing the lines between fact and fiction, and between the film-maker, film-critic, and film-viewer. The lines were also blurring across the film industry, changing and evolving in pursuit of profit, leaving behind talent and vision for greater ticket sales, even while experimental film was finding a new home playing with evolving technology and lower film costs. The main story, following the end of filming one day and the ensuing birthday party afterwards, is seen through the cameras of the documentarians paid to film the events, without any concern if they catch other cameras in their footage, and filming on a number of different kinds of film, which is then edited down and combined with avante-garde jazz solos in the background. It is surprisingly difficult to watch, and takes time to acclimate to the near constant jump-cuts, almost adopting the slightly nauseating cut-up video technique by William S. Burroughs, but once you’re there, it’s hypnotic, and the loathing can truly begin. 

You see, I don’t think this film is so much of a love-letter to film-making, as “Citizen Kane” can be seen, but rather a huge “fuck you” to the future of the film industry, more than willing to exploit new talent as they are to throw away old talent. It’s a tough thing to understand, especially in today’s content tsunami, but there are also exponentially more people clamoring for those dollars, using every single means at their disposal to climb above the noise for funding, which normally comes with strings attached. Strings that wanted films that Welles is so clearly lambasting in the interior film, screened in three segments over the course of the party, with the final showing in a drive-in movie theater of all places, another newer feature of the movie landscape, even if Welles himself had pioneered outdoor film showings. It’s full of imitations of what Hollywood seemed to want from so-called “high cinema” in 1970, sometimes just cleverly concealed pornography, and yet, while the story is almost non-existent in the interior movie, the individual scenes are clearly and classically Welles. As if he were saying, “Sure, I know this is what you want, and I don’t want to do that kind of film, but if you wanted to know what it looks like, check this out.”

But I think what started as an inspired and fun idea evolved into a project with a larger vision, no doubt influenced by his continuing difficulty to secure funding for the film, and not wanting to lose the earlier pieces he was inspired to make as time allowed. The genius editing allows Welles to create a smoothness within the rough jump cuts and stock changes, and while we can never be sure that the final cut was exactly what he wanted, it is good to know from the documentary that it was at least close to completion when the footage was lost to the producers. More on that in Thursday’s documentary review.

“The Other Side of the Wind” (2018) is an astounding film, well ahead of its time on a number of levels, and unfortunately lost for decades in legal limbo. It was the project that drove Orson Welles in the late period of his career, weirdly autobiographical, and a simultaneous critique of the film industry, himself, and those around him. Fans of Orson Welles, or experimental film-making, should definitely check out this film. But be ready for an onslaught of the senses, and to see a side of Orson Welles he may have been hoping that we would never, or perhaps always, see.

Rotten Tomatoes: 81%

Metacritic: 80

One Movie Punch: 10/10

“The Other Side of the Wind” (2018) is rated R and is currently streaming on Netflix and playing in select theaters.

Hi everyone!

Welcome back to Matinee Monday! Today’s film should probably win best trailer, and by the time I’ve gotten to this point, one of the most viewed trailers I’ve seen this year, at least for me. For a few other music-related films from this year, check out “Paradox” (Episode #086), “Stop Making Sense” (Episode #179), “The After Party” (Episode #237), and “Been So Long” (Episode #306). And if you have any suggestions, let me know at onemoviepunch.com or reach out over social media.

And now...

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

Spoilers ahead.

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

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

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

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

Rotten Tomatoes: 59%

Metacritic: 49

One Movie Punch: 7.4/10

“Bohemian Rhapsody” (2018) is rated PG-13 and is currently playing in theaters.

Hi everyone!

Welcome back to another week of reviews. By now, many of you have heard the news that we’ve ended our agreement with Society Bytes Radio for the One Movie Punch Weekly Digest. Don’t worry, the show isn’t disappearing, but will be reformatted and relaunched as a weekly podcast. If you have any ideas about what that should look like, I’d love to hear it. You can reach out to me at onemoviepunch.com and over social media.

We’re also breaking format slightly again this week, as we keep reviewing and posting Netflix Original films. And it’s going to be a busy week, with a new Orson Welles film and a documentary about its making, and the start of... *sigh*... the holiday movies. All that, and more this week on One Movie Punch.

And now...

Today’s movie is “Jefe” (2018), the Netflix Original Spanish and Portuguese comedy directed by Sergio Barrejón, and written for the screen by Natxo López and Marta Piedade. The film follows César (Luis Callejo), a CEO of a major company who seemingly has it all... until he doesn’t. Now he has six days to save his company, and the rest of his life, with the surprising help of a night shift cleaning lady named Ariana (Juana Acosta).

Spoilers ahead.

I’m still not quite sure how I feel about today’s movie. “Jefe” is one of those films where the protagonist is intentionally unlikeable. I mean, we’re talking a privileged and entitled piece of shit CEO, who is routinely sexist, racist, and homophobic, and has a mean drinking and cocaine problem. And we’re going to see him have his world crumble around him, which would be funny if what is happening to him wasn’t happening to so many others right now in society. We have this guilty pleasure, thematically speaking, of seeing the powerful fall and the upper class lowered, but it also feels a bit like self-hate, because that means we know, or at least believe, that what most of us have is not just lesser, but somehow a punishment. By rooting for his downfall, I’m ridiculing my own condition, and that makes me uneasy.

“Jefe”, much like yesterday’s episode, “Dovlatov” (Episode #307), is a six-day journey through the life of César. It’s the last comparison I would make between the two films, though. César struggles during the day to save his company, while spending his evenings recklessly pursuing a cleaning woman, and rarely leaving the office. Luis Callejo gives a great performance of an unlikeable character, comedically expressive as César’s life deteriorates. It’s clear even as the film approaches its climax, and the mystery behind who bankrupted the company is revealed, that we’re not going to get a redemption story, but merely an invitation to one. It’s funny, and when you accept the shallowness of the story and the themes, you can get a great deal of entertainment out of the film.

But honestly, I can’t think of anything more privileged than a CEO who, spoilers, is forced to sell his shares as part of a cleverly constructed corporate ploy, walking away with more money than almost anyone else is likely to see in their lifetimes. And he’s still given another shot at redemption, like some sort of privileged social baptism? No thanks, and that’s the biggest drawback of this film. If we had seen César actually find redemption and reform the atmosphere of his company, not to mention himself, then we’re heading in the right direction. And there’s no performance or direction that can save the film from its scripted ending. Not even the excellent original soundtrack by Jimmy Barnatán & The Cocooners, which I highly recommend anyone who loves guitar-driven blues to check out.

“Jefe” (2018) is a dark comedy about one boss’ downward spiral, set over six days confined within an office building, and with a cast of interesting, but mostly unlikeable characters. It may not have the sense of completion every audience might be looking for, but it does excel at situational comedy, and keeps you thinking and hoping until the end. Fans of corporate comedies, who can look past the very real fallout when companies fail, should check out this film for a fun ninety minutes.

Rotten Tomatoes: NR

Metacritic: NR

One Movie Punch: 6.8/10

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

Hi everyone!

Welcome back to Streaming Saturdays! Today we continue getting caught up on Netflix Originals, this time with a collaboration between Russia, Poland, and Serbia. For a few other films from the various film scenes, check out “The Road Movie” (Episode #102), “Forgive Us Our Debts” (Episode #129), “November” (Episode #157), and “Loving Vincent” (Episode #175). And if you have any suggestions, let me know at onemoviepunch.com.

And now...

Today’s movie is “Dovlatov” (2018), the Netflix Original international film directed by Aleksey German and written for the screen in collaboration with Yulia Tupikina. The film follows six days in the life of then-unrecognized writer Sergei Dovlatov (Milan Maric), as he attempts to get his work published in 1970s Soviet Russia. The film explores the social milieu of the time, his struggles to not alter his voice, and the weird worlds he inhabited in Leningrad or St. Petersburg.

Spoilers ahead.

Sergei Dovlatov would eventually emigrate to the United States eight years after the events in this film, and arguably, when he was taking more interesting actions than the events portrayed in this film, at least on the outside. But that would be a film about Dovlatov’s life and not the inspiration for his unique pedestrian and defiant look as an aspiring writer in Soviet Russia, especially with his relationship to future Nobel Prize winning Iosif Brodsky (Artur Beschastny), and the complex state machinery involved for any writer to be accepted. And this film is immersive, covering six full days of events over two hours, letting you feel the same environment that inspired Dovlatov. If you aren’t ready for that, then you aren’t going to appreciate this film. But if you are ready for it, then you’ll find an excellent, Dovlatov-esque look at his own life.

“Dovlatov” is a writer’s film, especially for writers who suddenly find themselves on the outside of their own societies. Watching Dovlatov careen about his life felt very much like many of the scenes described by Kerouac during his stationary moments, unfulfilling work juxtaposed against scenes full of dissidents and artists and black marketeers, playing jazz records, drinking, smoking, all looking for more meaning than what the rest of their days presents to them. German captures these moments with some great moving camera work, single taking some sections to tell a lot of story without a lot of dialogue. Outside of those moments, however, we see the dull, dreary, and measured existence of everyday Russia, accepted as a matter of course by many. Excellent locations, sets, and props brought back the feel of Soviet Russia.

Without Dovlatov uttering a single word, we would understand where he found so much inspiration in his resistance to the society around him. But Sergei Dovlatov was no mute, and generally, it was his mouth that got him into trouble more often than not. Milan Maric takes the struggling, slightly depressed writer and adds a laconic sarcasm that confuses more often than clarifies, and moving between the two identities he adopted to deal with society, one official and one genuine. Every society has some measure of that dual identity, but many of us don’t have to worry about being arrested for it, and especially since his daughter and ex-wife may suffer as well. It’s another layer of consideration that weaves in and out of Dovlatov’s story, and another layer that Maric really nails. A unique time for a unique individual during a time of conformity.

“Dovlatov” (2018) is a look at six formative days in the life of Sergei Dovlatov and his earlier struggles to gain recognition in a controlled system. Aleksey German delivers a moving period piece that transports the viewer back to 1970s Leningrad, and gives folks a sense of the environment and inspiration for such a celebrated writer. Fans of historical drama or aspiring writers, who don’t mind a more contemplative approach to films, should definitely check out this film. It may not be for everyone, but it was certainly for me. 

Rotten Tomatoes: 78%

Metacritic: 68

One Movie Punch: 9.6/10 

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