One Movie Punch

Hi everyone!

Welcome back to Takeover Tuesday. I met today’s reviewer while competing in the completely unofficial #DLMChallenge in 2017. I don’t know if he ever made it to 365, and I’m not sure if he does, either, but what I do know is today’s review will probably land better in a select few of these United States, or maybe with our neighbor to the north in Canada. Either way, I’m proud to welcome Brennan Conley aka StonedHenge Comedy for today’s review, even if he forgot that today’s film has a Metacritic rating of 69, the absolute easiest number to make a joke with!

Anyway, here we go!

Oh hey, everyone! My name’s Brennan Conley from StonedHenge Comedy doing your guest review for One Movie Punch. Where you’re always One Movie Punch away from a good time. You can follow me personally on twitter @StonedHengeCom and at facebook.com/kegsneggs.

Today’s stoned movie review is “The Dangerous Lives of Altar Boys” (2002). It’s a ThinkFilm dramedy directed by Peter Care, and written for the screen by Jeff Stockwell and Michael Petroni, based on the book by Chris Fuhrman. The film follows a group of young boys in Catholic school as they learn about choice and consequence, life and death, and sex and love.  They go on a journey of self-discovery both in the real world and in the comic book world they’ve created to escape reality. Due to the duality of this film...

Du-duality. Du-du-duality.

I’ve paired “The Dangerous Lives of Altar Boys” with a delicious hybrid ...called Lucky Charms. I rolled up a fat blunt of the fruity hybrid, tasted its suh-weeeeeeeeeeeeeeeet sweetness and melted right into this coming of age story.

Now let’s get into it. (bubbling) OK, now let’s get into it.

The film sets out with a group of four boys in Catholic school, it centers on the ridiculously talented Kieran Culkin as Tim Sullivan, a troubled teen who has had to grow up way too fast, and his best friend Francis (Emile Hirsch), a young man with a wide eyed look on the world at the cusp of maturity.  The two, along with their other two friends, Wade (Jake Richardson) and Joey (Tyler Long), create a comic book called the “Atomic Trinity” to escape the strictness of the Catholic school system led by a stone cold performance from Jodie Foster as the strict one legged nun Sister Assumpta. Yes, that is a real thing. And that craziness translates well as Francis draws himself and his friends as superheroes with exaggerated strengths and weaknesses from the boys’ personalities as they battle the evil Sister Assumpta.

This is where this film truly finds a unique pace and its duality, as the story splits off into animated segments of the comic Francis is writing, mirroring the experiences he and the other boys go through. By the way, the animation was done by the awesome Todd McFarlane, and it’s insane. The boys deal with a number of issues that brought me back to growing up in an age without cell phones and Facebook. How they get into trouble and pull pranks just to keep themselves occupied. Smoking marijuana for the first time. The first time they deal with death. The time a friend in the group gets a girlfriend and she takes over his life and he disappears. In this film, it happens when Francis falls for classmate Margie Flynn (Jena Malone). Her character comes with baggage as well, and maybe the darkest backstory of the bunch, which leads to an absolutely haunting scene involving the two and a ghost in the middle of the night. Unfortunately, the boy’s comic eventually gets found at school leading the boys’ attempt  at the biggest and most insane prank they’ve ever done... tranquilizing a cougar and transporting it in a handmade cage to Sister Assumpta’s office. Both sequences of the comic and real life play out in beautiful fashion, and the stakes getting higher and higher, by the minute, escalating to a heartbreaking conclusion that you’ll have to see for yourself.

And as for the direction of the film, the director Peter Care does a great job. His background in music videos really shows as these kids glide through the scenes making me remember what it was like to hang out with my friends at that age. I almost feel like some of those scenes could be music videos on their own, including the trippy drug sequence in the film.  He also gets technical as the scene involving the ghost I mentioned earlier, could have come off as corny but was completely haunting and beautiful, due to how it was shot. And his rock hard music video attitude also translates well to the animated sequences again done by the amazing Todd McFarlane. It just really boosts the energy of the film and I was just the right amount of stoned to cheer along with their superhero alter egos.

All in all, this movie entertained me, and hit me emotionally, as I sat there melted to my chair with the help of me Lucky Charms. The deep themes of mortality and friendship are so relatable, and it definitely brought me back to the days of growing up, although, to be honest I’ve never tranq-ed a cougar and kidnapped it. I’d fight a bear though... I actually moved to Colorado this year to fight one... but the closest I’ve found is a website to sleep with one.

Anyways, if you have not seen this film... wait until you have a night to yourself, cozy up with your favorite herb, spark up that special bong, and get ready for one hell of a satisfying emotional ride. “The Dangerous Lives of Altar Boys” is one of my favorite coming of age stories, and I feel like it could be yours, too. I give it a One Movie Punch Rating of 8 out of 10.

“The Dangerous Lives of Altar Boys” has a Rotten Tomatoes score of 77%, is rated R and is currently available to rent and purchase wherever you enjoy movies.

I just want to thank you again for listening to my guest review for One Movie Punch. Please check me out on twitter @StonedHengeCom for all StonedHenge Comedy has to offer including stand-up, shorts and stoned movie reviews. With a website coming soon. But not too soon. Keep smoking and keep watching movies.

Hi everyone!

We’re taking a format break this week on a few days to get caught up on all the Netflix Original films that have appeared in the last couple of weeks. I guess this is still technically Matinee Monday, because today’s film is appearing in select theaters, but most of you will catch it on Netflix. And while I still have a few to go, I wanted to move this one to the top of the list. The reason? Iko Uwais, one of my favorite action stars, whose film from earlier this year “Mile 22” (Episode #232) didn’t really stack up against his normally action-filled performances. I’m hoping today’s film lives up to my first exposure to his skills in “The Raid”. And speaking of “The Raid”, don’t miss Gareth Evans’ latest film “Apostle” (Episode #287). It may not be a modern-day brutal action film, but it is still pretty awesome. Suggestions? Hit me up at onemoviepunch.com or on social media.

And now...

Today’s movie is “The Night Comes For Us” (2018), the Netflix Original Indonesian action film written and directed by Timo Tjahjanto. The film follows Ito (Joe Taslim), a triad defector trying to protect a young girl named Reina (Asha Kenyeri Bermudez) as his former friend Arian (Iko Uwais) and his gang attempts to kill them both.

Spoilers ahead.

Today will be a short review, because I can sum up this film in just a few sentences. The Triads control most of the smuggling in Southeast Asia, enforced by an elite group of killers known as the Six Seas. Ito, one of the Six Seas, teams up with his former crew to protect a young girl, and a whole bunch of the characteristically brutal action of the Indonesian action film scene follows. And ultimately, Ito does save Reina, at the cost of himself, and most of the folks behind his torment are taken down along the way, including his friend Arian. That’s all there is to it, so we’ll see you next week.

Did I forget to mention that Joe Taslim is an absolutely perfect Triad assassin character, elevating the performance past the mediocre story, and easily matching (and sometimes surpassing) Iko Uwais in terms of fighting skill? Or how the weapons Ito gets to use include (but are not limited to): knives, axes, hatchets, machetes, lead pipes, short blades, meat hooks, electric batons, multiple firearms, grenades, pool cues, a sack of pool balls, a metal baseball bat, and an actual broken bone, both the blunted and pointy edges? Or how Ito and his crew engage in a nearly continuous 35-minute action scene, involving Ito taking on a small group at a butcher shop, his crew defending a young girl in an apartment against 30 or so assailants armed with machetes, and Ito trying to escape from the back of a police van with five police officers? Yes, well, besides those things, there’s not much else to talk about with this film.

Did I forget to mention the opening action scene with Iko Uwais taking out multiple people in a strip club with nothing more than a great suit and a broken wine bottle? Or maybe the incredible performance by my new favorite Indonesian action character, White Boy Bobby, who reminds us what crazy actually looks like? Or the final action sequence split between a mysterious agent tracking down Triad killers who ends up protecting the young girl in close-quarters apartment building combat against two members of the Six Seas while Ito moves his way through a pool hall full of Triad gang members on his way to the most incredible brutal showdown with Arian in a metal shop, making use of all the wonderfully deadly tools around them in new and excessively horrific ways? Or how this film made me sit up and scream out “HOLY SHIT!” over thirty times because of just how much carnage is in this film from start to finish? Yes, well, besides all of that as well, there’s not much else to talk about with this film. You just have to see it, if you can stomach it.

“The Night Comes For Us” (2018) is the most brutal action film I’ve seen since “The Raid 2” (2014), proving once again that the Indonesian film scene is the reigning champion for action films, excessively violent in the same way that the “John Wick” fight choreography is excessively elegant and measured. It may not be the best, nor my favorite film that I’ve seen this year, but I can say it is my favorite film right now, and that if you love action films, and don’t mind the brutality, that this will likely be your favorite film of the moment as well, if not of all time. Don’t sleep on this if you love action films.

Rotten Tomatoes: 90%

Metacritic: 63

One Movie Punch: 8.8/10

“The Night Comes For Us” (2018) is rated TV-MA and is currently streaming on Netflix and playing in select theaters.

Hi everyone!

We’re breaking format a bit this week to get caught up on an avalanche of unannounced Netflix Original titles that have mysteriously shown up on their service. I have been taking great care to try and review every Netflix Original film this year, and it has been a challenge to keep up. So, no Sponsor Sunday this week, but if you are interested in contributing to the podcast, head over to patreon.com/onemoviepunch and check out our sponsorship opportunities. 

And now...

Today’s movie is “Pulang” (2018), the Netflix Original Malaysian drama directed by Kabir Bhatia and written for the screen by Mira Mustaffa and Ahmad Izham Omar. The film follows the story of Othman (Remy Ishak), a Malay fisherman, and his wife Thom (Puteri Aishah), from their beginnings, through World War II, and the mysterious events that occur when Othman  sets sail to earn his family money and never returns home. Now, as Thom is nearing death, she asked her grandson Ahmad (Erwin Dawson) to track down what happened to Othman.

Spoilers ahead. 

This was the first Malaysian film I have ever seen, and honestly, aside from knowing the name of the city of Kuala Lumpur, I know very little about Malaysia. So, this film was a delight for me to learn more about Malaysia, its majority Muslim population, and its very dynamic history between the end of colonization and up to the secession of Singapore. It’s important to note that this feature was a major investment for the Malaysian film scene, and is the family story of Primeworks Studios’ CEO Ahmad Izham Omar, the same grandson depicted in today’s movie. The film itself is not completely faithful to the actual story, but it is most definitely a well-made introduction to both the country and the film scene.

“Pulang” starts in the modern day, with Thom reflecting back on the first day she met Othman while caring for her dying aunt in the village of Serkam, beginning the first major act of the film, which serves as an overview of their courtship, marriage, a brief interlude in avoiding the Japanese during occupation, the birth of their son Omar, and eventually Othman’s decision to earn money abroad while sailing. It moves very nicely into a second act, when modern day Ahmad starts to put the pieces together, despite his father Omar’s dementia, based on some letters and writings he left behind. It’s an interesting mystery, set during a time when traveling abroad as a sailor or merchant marine was a long-term commitment, but one that paid very well for someone from Serkam, and with only scraps of paper to follow, we suddenly find out that Othman was living in Liverpool, England within a Malaysian sailors community in the 1960s. The first two acts are filled with sweeping shots, great effects, decent action, and keeps the mystery alive, including a harrowing trip by Thom to Hong Kong where she’s kept from being trafficked by Othman’s Chinese friend and fellow sailor, Lum (Alvin Wong), who also shows up in various parts of the story. 

It’s when we get to the third act that the film begins to accelerate and unravel at the same time. Ahmad’s journey takes him to Liverpool, and he uncovers new and profound family secrets, as Thom’s health begins to further decline back in Serkam. It creates a melodramatic race against time, to uncover the whereabouts or the remains of Othman before Thom passes away, and when Ahmad returns with the truth, we have every single thread coming together in an almost saccharine manner, a little too Hollywood for its own good, and thematically out of step with the rest of the film. I only wish it had happened slower, so that the focus could be on the relationship between Othman and Thom, and not an attempt to beat the reaper.

“Pulang” (2018) is an epic Malaysian tragedy of errors, a story of a relationship between two people during a time of great upheaval, told across time and oceans. While it struggles with the ending, it does provide an inviting look into Malaysian culture and history, while delivering a dramatic story about life and love. Fans of international or historical dramas should definitely check out this film, and maybe a few other films in the Malaysian film scene if they can find them on streaming services.

Rotten Tomatoes: NR

Metacritic: NR

One Movie Punch: 7.2/10

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

Hi everyone!

Welcome back to Streaming Saturday! We’re catching up on the Netflix Original releases, as five were released last week. For a few other recent Netflix Original films, check out “The 3rd Eye” (Episode #276), “Private Life” (Episode #279), “Nappily Ever After” (Episode #268), and “Hold The Dark” (Episode #272). And if you have any suggestions or favorites, let me know at onemoviepunch.com.

And now...

Today’s movie is “The Kindergarten Teacher” (2018), the Netflix Original drama directed by Sara Colangelo and written for the screen based on the screenplay by Nadav Lapid. The film follows Lisa Spinelli (Maggie Gyllenhaal), a kindergarten teacher who attends a night class for poetry as a creative outlet. When she discovers a five-year-old student named Jimmy (Parker Sevak) who may be a prodigy, she risks a great deal to help him develop his potential, and then tips over into full-blown obsession.

Spoilers ahead.

Everything changes when you become a parent. How you think about the world, how you interact with the world, and most especially, how you choose to develop your child to meet the challenges of the world. Parenting is generally considered one of those topics that you don’t discuss in polite company, along with money, religion, and politics. I’m not talking about discussing your child’s life, but rather how you choose to parent and how you justify those choices. My daughter just entered high school this year, and I’ve learned over the last fifteen years that who I wanted her to be and who she has become are two separate people. I’ve also learned that the parent I wanted to be and the parent I’ve become are also two different people, and this juxtaposition raises a lot of complex emotions and feelings. Feelings that only another parent with adolescent and older children can understand. If I had to pick an audience for this film, it is most definitely older parents.

“The Kindergarten Teacher” is based on an Israeli film of the same name from 2014. I’m not generally a fan of transplanted films or remakes, unless the changes in technology or society add new parameters to the story to make the effort worth it. Film-making has advanced enough now that Hollywood shouldn’t have to cherry-pick the great ideas among the poor production of some overseas markets, then repackage things for domestic consumption. However, I really appreciated Sara Colangelo’s adaptation, because while the premise of an obsessive teacher having a middle aged crisis is interesting enough, adding the weird milieu of New York metro in the late 2010s helps tell the same story from a much different cultural standpoint, one that will probably have more meaning and impact with domestic middle-aged parents of today. It’s well-written, but it’s also incredibly well-acted by Maggie Gyllenhaal, someone known to divide many folks on #FilmTwitter because reasons? I’m not really sure why. I can say, though, that she gives one of her best performances in this film, starting as your typical, struggling middle-aged middle-class teacher, and increasing the obsessive feel one moral compromise and justification at a time, while still being blinded to the social destruction she was leaving in her wake.

In addition to Gyllenhaal nailing the progressive nature of the character’s development, Colangelo also kept a general feeling of uncomfortableness, so powerful at times that the parent in me wants to look away, even though the film critic in me is also quietly obsessed with what’s transpiring. Parker Sevak’s innocent performance only adds to this slow breakdown, and the rest of the supporting cast serves well in their capacity to either feed her obsession or to increase the dissonance about her life and actions. The short running time makes the tension bearable enough, leading to not so much of a climax as a resolution, one that might give away a few too many themes at play in the film which could have been left unspoken. It’s a minor criticism, though, and with Jimmy’s final lines, you realize Lisa was probably right all along, at least about Jimmy’s talent and future.

“The Kindergarten Teacher” (2018) is a meditation on obsession, featuring a stellar performance from Maggie Gyllenhaal. Sara Colangelo’s adaptation of the original work makes use of all the opportunities in transplanting the characters and locations to New York, giving an awkward look into dealing with middle age in a world that might be losing more than we think. Fans of Maggie Gyllenhaal, or fans of tales of obsession and middle age, should definitely check out this film. Now if you’ll excuse me, I need to go pick up my daughter from school, and never leave her out of my sight again.

Rotten Tomatoes: 89% (FRESH)

Metacritic: 76

One Movie Punch: 8.4/10

“The Kindergarten Teacher” (2018) is rated R and is currently streaming on Netflix.

Hi everyone!

Welcome back to Film Buff Fridays! Don’t like horrific documentaries about child soldiers? Well, we’re back with a straight-ahead horror film for your pleasure, the fourth this week. For a few other films from the time, check out “Killer Klowns from Outer Space” (Episode #201), “Surf Nazis Must Die” (Episode #222), and “Fist of the North Star” (Episode #243). And if you have any suggestions, let me know at onemoviepunch.com.

And now...

Today’s movie is “Chopping Mall” (1986), the Concorde Pictures horror film directed by Jim Wynorski and written for the screen in collaboration with Steven Long Mitchell. The film follows a group of teenagers who hide in a shopping mall after closing in order to throw a party. However, when a freak electrical storm turns the security robots into sadistic murderers, they must do whatever is necessary to survive the night.

Spoilers ahead.

I’ve talked a lot about how cult classics come into being, either discovered in video stores or via syndicated broadcasts, especially for films from the 1980s. The reason these two routes developed so many cult classics is that the original theatrical runs for many of these classics were restricted to only a few markets, and were simply not available to a majority of the population. This film was originally released as “Killbots” in the theaters, then re-released as “Chopping Mall”, both times in limited markets. And this film has all the requirements for a cult classic, including campy dialogue with crappy one-liners, over-the-top gore, and gratuitous sex and nudity, starring the scream queens of the day. A whole generation of fans would be born discovering this film on syndication and via home release, and it would power director Jim Wynorski to one of the longest low-budget filmographies in history using the same format. And that long tail keeps the movies coming, through licensing and broadcast deals, and now, even talk of reviving “Chopping Mall” for the modern age.

None of this makes “Chopping Mall” a particularly great film, though. You could make the very best version of a film for this genre, and it will never be a great film, precisely because it trades on cheap thrills and intentionally bad acting. I’m willing to be proven wrong, but this formula is not intended for great cinema. A film doesn’t have to be great to be entertaining, and even in wide distribution, there has been no shortage of high grossing critical stinkers that are still entertaining. “Chopping Mall” scores a lot of points when it comes to the premise, which provides a built-in, predictable elimination horror story arc, and great casting for the genre, some of whom are still working today. And I have always liked the thematic potential of setting films in malls, whether that’s Romero’s “Dawn of the Dead” or Smith’s “Mallrats” or the more brooding “Nocturama” (Episode #184). I can see why a reboot would make sense in our nostalgic age.

However, the dialogue and direction are intentionally terrible, with some painfully awkward scenes, like the weird sex party in the furniture store, or when the death of one woman by fire is so very clearly a much taller and bulkier male stunt double wearing a wig. It also misses nearly every opportunity to utilize the shopping mall as a metaphor, probably because that wasn’t the tone for the film, and probably because getting access to the Sherman Oaks Galleria required signing away at least some rights in how the mall gets presented. It’s also exploitative of women in terms of gratuitous nudity, which overshadows their otherwise strong characters when it comes to taking out the killbots. Oh yeah, this is the second movie mall I’ve been to, the first being the one in Eden Prairie Center in Minnesota, where “Mallrats” was filmed. And yes, I rode the elevator!

“Chopping Mall” (1986) is a full-on campy horror film early in Jim Wynorski’s career, discovered through syndication and home releases to turn it into the cult classic it is today. I can’t say it’s a great film, critically speaking, but I will say it is entertaining with all the usual caveats for its contextual sexism. Fans of low-budget campy horror films will absolutely adore this film, but everyone else can probably give it a hard pass.

Rotten Tomatoes: 57%

Metacritic: NR

One Movie Punch: 6.0/10

“Chopping Mall” (1986) is rated R and is currently streaming on Amazon Prime, Tubi, and Hoopla.

Hi everyone!

Welcome back to Documentary Thursdays. This week, we return with a film about some women who had this crazy idea that they should be treated equally not just legally, but also socially and culturally. Crazy, right? For a few other films in that same vein, check out “Seeing Allred” (Episode #041), “Mercury 13” (Episode #116), “RBG” (Episode #200), “City of Joy” (Episode #256), and “Reversing Roe” (Episode #266). And if you have any suggestions, let me know at onemoviepunch.com.

And now...

Today’s movie is “Feminists: What Were They Thinking?” (2018), the Netflix Original documentary directed by Johanna Demetrakas. The documentary follows up with the women photographed for the 1977 photography book “Emergence” by Cynthia MacAdams, sharing their experiences about the women’s movement before, during, and after second wave feminism reshaped our notion of gender equality. The documentary features Jane Fonda, Lily Tomlin, Judy Chicago, Laurie Anderson, and many more.

Spoilers ahead.

Back in college I took a course in Feminist Philosophy with Dr. Crista Lebens at UW-Whitewater. I think it was her first year as a faculty member at the university, and I was excited to take the course with a few friends. But what I wasn’t prepared for was to have my entire worldview turned upside, so much so that I wasn’t even able to sort out the many complexities of feminism, everything from early European writings addressing gender equality to a complex analysis of ideas like standpoint epistemology and intersectionality as emergent within third-wave feminism. I clearly needed a lot of gender deprogramming, and a lot of catchup on women’s history and the fight for women’s rights, and while I can’t say that happened by the end of that semester, I can say a couple years later it finally clicked in my head, and my entire worldview changed. Oh, Dr. Lebens, if you’re listening or run across this, thank you so much for helping me understand concepts like second wave feminism and patriarchy. It will not only help with this review, but has helped immensely in raising my daughter, especially in these times.

“Feminists: What Were They Thinking?” gives us a reflective look back at second wave feminism, a period defined by women’s rights activism most prominent from the early 1960s through the early 1980s, generally marked by the publication of “The Feminine Mystique” by Betty Friedan. Whereas the first-wave of feminism was mostly focused on enfranchisement of voting and property rights, the second-wave of feminism began to challenge not just codified gender discrimination within the laws, but also social, cultural, and political expectations. MacAdams’ “Emergence” captures a lot of influential feminist activists of the time, and I really enjoyed how Johanna Demetrakas uses it as a vehicle to look back at feminist organizing as a whole. Each subject’s personal experience helps us understand the history of feminist activism, but also the issues and concerns which gave rise to that activism, like domestic abuse, involuntary commitment, and workplace discrimination. And the growing consciousness of women around the world, with a powerful segment from Malala Yousafzai’s speech before the United Nations, which I believe will come to be seen as one of the most powerful and important acts of human history. The film reminds us of where we were as a society, where we are now, where we are headed, and glimpses of how to get there. It also pulls a number of classic and subversive artistic performances that are well worth looking into if you aren’t familiar, particularly Meredith Monk’s work. 

I do have some criticism of the film, especially the lack of racial and economic diversity among the subjects interviewed. In fact, one of the major criticisms of second-wave feminism was the lack of intersectionality with other progressive organizing efforts, keeping the focus on what were primarily problems for white, middle-class women. It’s the same kind of thinking that happened within the LGBTQ community during the fight for same-sex marriage recognition, which was primarily a middle-class fight, when many other concerns for working-class and LGBTQ people of color, like health care access and police brutality, are much greater (and more pressing) concerns. The film does discuss this lack of intersectionality, though, towards the end, as the film begins to chart the future, and you can hear in the newer generations that they not only understand, but embrace intersectionality, especially for the latest wave of organizing to not just fight for the remaining causes, but to protect the rights that were secured during second-wave feminism. 

“Feminists: What Were They Thinking?” (2018) is a loving, but critical look back at second-wave feminism, exploring the spirit of those times while looking ahead to what it will take in this new wave of organizing. Johanna Demetrakas works with Cynthia MacAdams’ “Emergence” as the means by which to reflect on feminism as a whole through engaging with the featured activists and artists. Fans of feminism and political movements, or folks who want a better understanding of second-wave feminism, should definitely check out this film, along with probably every women out there. Also, I love the subversive title and believe more than one member of the patriarchy will be tricked into watching this film as an anti-feminist critique. And that puts a smile on my face.

Rotten Tomatoes: NR

Metacritic: NR

One Movie Punch: 9.2/10

“Feminists: What Were They Thinking?” (2018) is rated TV-MA and is currently streaming on Netflix and playing in select theaters.

Hi everyone!

Welcome back to Worldwide Wednesday! We’re returning with another Spanish film, but this time in collaboration with France and in the Basque language. I apologize ahead of time for butchering the names. For a few other films from the Spanish film scene, check out “Veronica” (Episode #080), “Sunday’s Illness” (Episode #171), and “The Skin of the Wolf” (Episode #192). And for another European tale of folk lore that ratchets up the weird, check out “November” (Episode #157). And if you have any suggestions, let me know at onemoviepunch.com.

And now...

Today’s movie is “Errementari: The Blacksmith and The Devil” (2017), the Netflix Original film directed by Paul Urkijo Alijo, and written for the screen in collaboration with Asier Guerrciachevarría. The film recreates a famous legend of Patxi (Kandido Uranga), a blacksmith who has captured and tortures a demon in his workshop. However, when a young orphan named Usue (Uma Bracaglia) releases him, Patxi must recapture the demon before he can cause further destruction.

Spoilers ahead.

Back in the early days of film-making, directors and producers sought out time-honored tales and works to bring to the silver screen. And while there was a great deal of original content being produced, there were also a steady stream of adaptations of older novels, plays, religious texts, and yes, folklore and fairy tales. Fast forward a hundred years and thanks to the popularity of Disney, most folks only know folklore and fairy tales and historical stories in their sanitized forms, and I would argue most attempts to recapture the truly horrific nature of Grimm’s Fairy Tales usually fall short of capturing the underlying moral lessons to be learned, instead delighting in witches eating children or violent reprisals. And there are a whole host of European folklore and fairy tales to work with, including the story behind today’s film, a Basque fable I had never heard of before.

Urkijo retreats to the Basque highlands for his version of the fable, building the story in the mid-1800s, a time of transition for control of the region. Tensions were high between the Spanish throne and the Basque regions, which adds an additional political layer to the fairy tale, playing with the theme of who is inside and who is outside the community. The costumes and sets are all nicely done, utilizing the comparatively ancient areas to tell an ancient story, but also able to include the rising aristocracy and other period-specific factors in this tale. Overall, I thought the script and direction were great, but I did notice a few problems.

For instance, I think the film has trouble splitting the difference between maintaining the morality tale feel of a fable and including the more horrific elements of the actual fable. The lighter parts made the more profound parts of the film lack some measure of gravitas, and the heavier parts blunted the effect of some of the lighter attempts at humor. I’m also divided on the effects. The practical effects, especially the makeup for the demon Sartaei (Emeko Sagardoy) and other demons was exquisite, but the overall feel of the final scene and the special effects being used didn’t seem to mesh all that well. I felt some of the cast acted way too modern for the time period, and sometimes looked way too clean for peasant life. I don’t think any of these concerns takes away from the overall film, but I do think they blunt the overall impact on some viewers. 

“Errementari: The Blacksmith and The Devil” (2017) is a Basque fairy tale brought to life in the 1800s, with a great story and direction, and mostly great visuals. Paul Urkijo Alijo delivers a solid film with a few noticeable flaws, but nothing that should prevent folks from appreciating the better elements. Fans of folklore and fables should definitely check out this film, but also anyone interested in the region at the time.

Rotten Tomatoes: 67%

Metacritic: NR

One Movie Punch: 7.6/10

“Errementari: The Blacksmith and The Devil” (2017) is rated TV-MA and is currently streaming on Netflix.

Hi everyone!

He’s baaaaaaaaaaaaaaaaaack! This Takeover Tuesday, we welcome back Andrew Campbell. I’m super jealous he was able to attend Fantastic Fest in Austin, TX this year, where he saw a bunch of films that most of us won’t see for the next few months. While today’s review isn’t one of those films, I suspect this won’t be the last we’ll hear from him. Unless you see him on a milk carton or something.

You can catch him on Twitter @anrcampbell for daily reviews and commentary. Oh, by the way Andrew, about that rating... I see what you did there. Very clever.

Here we go!

/////

Andrew here; glad to back on the podcast.  I previously reviewed “Terminal” (2018)on Episode 247, but this time I am happy to be here talking about a much better film; one that you may not be familiar with and that I hope you will check out as out Halloween approaches.

Without further ado...

Today’s movie is “Summer of ‘84” (2018), the film written by Matt Leslie and Stephen J. Smith, and directed by Francois Simard, Anouk Whissell and Yoann-Karl Whissell. Okay, that is a lot of directors, which may seem like a bad sign, but stick with me here. The film follows 15-year-old Davey Armstrong (Graham Verchere) and his three best friends as they grow to suspect that their police officer neighbor, Mr. Mackey (Rich Sommer), is the serial killer that has been targeting teenage boys in nearby towns over the past decade. Tension grows as evidence begins to mount and the group confronts the question “What do we if we’re right?”.

Spoilers ahead.

“Summer of ‘84” (2018) has a lot going for it.  The core group of teens are all decent actors with the lead being the most charismatic of the bunch - his slight lisp reminding you he is still just a kid in spite of the dark turns the film is about to take.  The script is economical in quickly conveying the rapport among the boys and establishing them as four distinct individuals.  Rich Sommer is the only actor viewers may recognize, playing a character similar to the amiable Harry Crane he portrayed on “Mad Men”, albeit with an undercurrent suggesting he may have a darker side. An excellent score sets the tone from the opening credits and the use of period music is well-executed. There is a long list of “My neighbor might be a murderer” movies – “Rear Window” and “The ‘Burbs” being two of the more beloved examples – but “Summer of ‘84” (2018) treads new ground while maintaining high tension for one hundred very short minutes.

The dialogue and mounting suspense are what make this film such a joy, but I found it does break down a bit upon repeat viewing.  If your interest has been piqued, you may want to jump before I nitpick a film that I adored upon first viewing. The problems aren’t major, but there are several issues that may show the film-makers’ inexperience; or perhaps the issues are a product of having multiple directors. There is a brief scene where two cars nearly collide - it feels like they forgot to shoot the footage and put in a still image as a placeholder for the action shot. Later, a scene where a group of children take a break from throwing a ball around at a close distance (picture the guys tossing around a football in “The Room”, only younger).  They grab a popsicle from the vaguely sinister Mr. Mackie and it feels like a scene out of an elementary school play.  A larger problem is that two of the boys come from troubled homes (one whose parents never stop fighting; the other having to take care of his depressive alcoholic mother) and it feels like the screenwriters are trying to give them the same character arc, yet by the end manages to bring closure to neither. Oh, and by the end credits you’re going to be sick to death of the word “manhunt” – the game of hide-and-seek that recurs throughout the film.

Putting my minor grievances aside, this is the rare low-budget suspense thriller that is more than just a one-note story with a mildly original premise.  The film really sticks the landing with several punctuated turns toward the end just when you’re thinking it might fizzle out.  I managed to catch this one in a fairly busy showing during its incredibly brief theatrical run which certainly heightened my enjoyment, but save this film to watch with a friend because you are going to want to discuss the directors’ choices surrounding the excellent conclusion. 

“Summer of ‘84” (2018) is a refreshing genre film set in a time period that amplifies the story. The characters could have easily walked out of a straight coming-of-age tale rather than a suspense film, which creates an unexpectedly strong emotional investment in what may look like a forgettable film on its surface.  Fans of films like The Goonies and Disturbia will enjoy this one.

Rotten Tomatoes: 66%

Metacritic: 56

One Movie Punch: 8.4/10

“Summer of ‘84” (2018) is not rated.  It is currently available for paid rental on all major platforms and will be streaming on Shudder starting October 25th- just in time for Halloween.

Thanks for listening to my Takeover Tuesday review. For your chance to contribute head over to onemoviepunch.com for more information.  Follow me on Twitter @anrcampbell for my daily reviews.  I recently attended Fantastic Fest here in Austin, which I cannot recommend highly enough for fans of genre films that want to discover unique cinematic experiences.  I hope to bring some more reviews your way in the near future as these gems from the world over gain theatrical distribution and become available on streaming services.

Hi everyone!

Welcome back to Matinee Mondays! Really only one choice this week, and the early reviews are incredible. #FilmTwitter has also been buzzing about the film. Rotten Tomatoes and Metacritic have given them their certifications. I’ll get to my review in a moment, but if you want a few other films from this cast, check out Claire Foy in “Unsane” (Episode #240), Corey Stoll in “Ant-Man” (Episode #078), Jason Clarke in “Chappaquiddick” (Episode #282) and “Mudbound” (Episode #009), and Kyle Chandler in “The Vanishing of Sidney Hall” (Episode #147). And if you have any suggestions, let me know at oneomoviepunch.com.

And now...

Today’s movie is “First Man” (2018), the Universal Pictures film directed by Damien Chazelle and written by Josh Singer. The film follows the life of Neil Armstrong (Ryan Gosling), covering the years 1961 to 1969, as he enters the Gemini and Apollo program in order to place a man on the moon. The film marks the reunion of Damien Chazelle and Ryan Gosling since the smash hit “La La Land” in 2016.

Spoilers ahead.

Back in 2014, if you had told me that Damien Chazelle would be making an Oscar-winning musical about entertainers in Los Angeles, I would have wondered who you were talking about. And even as “La La Land” was heading into theaters, and the massive love started buzzing about it, I would do a quick search and think, you mean the writer of “10 Cloverfield Lane”? And when “First Man” was announced as his next film, a historical dramatization of the moon landing through the lens of Neil Armstrong, I wouldn’t have believed you. And I’m not sure who you are, telling me all these things, but I should probably start listening to you, because “First Man” is spectacular.

Josh Singer’s script is extremely well crafted, telling a story over a very specific timeline, but delving more into the personal life of Neil Armstrong. It opens strong with an immediate humanization of Armstrong, then unfolds the events all driving towards the walk on the moon. It obviously can’t tell the entire story, even over two hours and twenty minutes, but it does hit many of the meaningful events, especially those events which affected Armstrong the most. Ryan Gosling is incredible as Neil Armstrong, not just nailing the look, but also the mannerisms of a notoriously private person. The entire cast is amazing, each providing support for Armstrong’s journey. Chazelle keeps mostly great pacing, with just a few dips over the extensive running time, but that’s more than made up by great composition, amazing first-person scenes and editing effects, and effective transitions. It’s so well done, and with all the right elements.

In fact, my favorite transition was the look at the reasoned arguments against the space program, especially given its high cost. Gil Scott-Heron’s “Whitey on the Moon” plays as multiple interviews and headlines begin to question the Apollo program. It was a bold inclusion, especially given the racial politics of the time. Oh, let me also say I find the whole fake controversy over the lack of a flag-planting scene on the moon to be ridiculous. I don’t think it would have added anything to Neil’s story, nor does it take away from the amazing efforts of so many people to make that accomplishment possible.

“First Man” (2018) is simply astonishing, an incredible look at Neil Armstrong’s journey to the moon. Josh Singer and Damien Chazelle, along with an incredible cast and excellent effects, recreate the journey, with nearly perfect pacing for such a long movie. Fans of space history, or fans of just about anyone involved with this film, should definitely check it out while it’s in theaters.

Rotten Tomatoes: 89% (FRESH)

Metacritic: 83 (MUST SEE)

One Movie Punch: 9.4/10

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

Hi everyone!

Welcome back to another week of reviews! No new sponsors this week, but we’re also still working on our Patreon campaign. It gives me a chance to fit in a couple extra Netflix Original films this week, and I can’t tell you how excited I was for this film. For a few related films from producer XYZ Films, check out “The Most Assassinated Woman in the World” (Episode #255) and “I Kill Giants” (Episode #177). And check out Dan Stevens in the live action “Beauty and the Beast” (Episode #030) and Michael Sheen in “Brad’s Status” (Episode #074). And if you have any suggestions, let me at onemoviepunch.com.

And now...

Today’s movie is “Apostle” (2018), the Netflix Original film written and directed by Gareth Evans, the driving force behind two of my favorite films, “The Raid: Redemption” and “The Raid 2”. The film follows Thomas Richardson (Dan Stevens), who returns to London in 1905 to discover his sister has been kidnapped by a religious cult. Now Thomas heads to their island to confront their leader Prophet Malcolm (Michael Sheen), and to free his sister from their grip.

Spoilers ahead.

If anyone was going into this film looking for “The Raid” in the early 1900s, they are going to be sorely disappointed. Sure, we get a few raw action moments from those angles that only Evans seems to be able to capture, but that’s all the look and feel we get from the previous franchise. Or is it? It’s easy to get blinded by the intense action of both “Raid” films, but beneath that action lies well-defined characters and tragic, almost impossible situations where “the right thing” is hard to discern. And “Apostle” has all those elements, transformed from modern Indonesia to early 20th century Britain, a time when Aleister Crowley was creating Thelema out of old occultist writings, and Lovecraft was just beginning his fiction, and all these dark elements begin to coalesce in a unique time, and it is here we meet Thomas Richardson.

One aspect of “Apostle” I really appreciate is that, similar to characters in “The Raid”, we’re only given as much information about the character as Evans allows, even as events are playing out before us. The trailer, thankfully, was pretty vague about anything but the initial premise, avoiding the depth of almost all the characters. And as we learn more about the environment, and each character’s backstory, and the mysterious secrets of the island, we begin to move away from a standard rescue story into much darker territory. We learn about Thomas’ backstory and realize that we’re no longer sure to whom the title “Apostle” actually refers to. And then things get really, really gnarly.

Because in addition to the rise of occultist writings, and alternative religious and economic ideas of the time, we also have the rise of scientific rationalism, and it is within Thomas Richardson that we see these two ideas go to war. He has clearly rejected all forms of religiosity from his personal experience, but he also comes face to face with something outside the realm of scientific rationalism. He is also up against brutal forms of punishment and control, as the serene idea of this religious community is underpinned by dark secrets and an ignorant populace. And ultimately, a failing community, as it begins to fall apart, and they start breaking out the much-hyped torture device, which while not having anything near the graphic layers of torture porn like “Saw” or “Hostel”, still packed just enough punch, and probably as tasteful as any cinematic depiction of medieval torture could be. Great script, great direction, really great cast and messaging, and to top it all off, simply awesome costumes, sets and effects, from beginning to end.

“Apostle” (2018) is a dark look into the nature of apostleship, as told through a rescue story in a remote religious community. Gareth Evans, while not bringing all the insane action of his previous films, does bring the same complex characters and difficult situations to a whole new genre. Fans of Gareth Evans’ work may not find exactly what they are looking for, but I believe will find something that helps expand our appreciation for Evans as a writer and director. And fans of occultist or alternative religious communities should definitely check out this film, as long as you don’t mind a little trepanning between community members.

Rotten Tomatoes: 77%

Metacritic: 63

One Movie Punch: 8.8/10

“Apostle” (2018) is rated TV-MA and is currently streaming on Netflix and in select theaters.