One Movie Punch

Hi everyone!

Welcome back to Worldwide Wednesday! If you haven’t heard a peep about this film, you aren’t alone. Every now and again, Netflix debuts a film that flies completely under the radar. However, I suspect this will be the first of many from the Indonesian film scene, which is exciting for me. For a few other recent Netflix Originals, check out “Hold The Dark” (Episode #272), “Quincy” (Episode #270), “The Angel” (Episode #269), and “Nappily Ever After” (Episode #268). No shortage of Netflix Original films nowadays!

And now...

Today’s movie is “The 3rdEye” (2018), as known as “Mata Batin” (2017) the Netflix Original horror film directed by Rocky Soraya and written for the screen in collaboration with Riheam Junianti and Fajar Umbara. The film follows Alia (Jessica Mila), and her younger sister Abel (Bianca Hello), who are reunited after their parents’ sudden death. They move back into their former home, and Abel reveals the curse that has plagued her all her life, the ability to see the dead trapped between this world and the next. And some of those dead have plans for both sisters.

Spoilers ahead.

A little background on Rocky Soraya. He’s a big producer within the Indonesia genre film scene, first as just a producer, then branching out into directing his productions, which contain multiple attempts at finding the right franchise, much like “Paranormal Activity” or “The Purge” in the United States. Low cost, high profit. I’m not that familiar with his work as I probably should be, as my exposure to the Indonesia film scene has been limited to the intense action films with Iko Uwais, who has a film coming this month on Netflix. I suspect if this film is a hit with the Netflix audience, we’ll see quite a few more imports from his extensive back catalogue.

I’m not sure that will happen, however, unless the price is right. One problem with trying to make a low-budget genre franchise is that the most original ideas are the ones that generally succeed, and “The 3rdEye” doesn’t feel all that original. Rather, it feels like the Indonesian version of about three different supernatural horror films, complete with classic jump scares and background imagery. I thought the story, as a whole, was all right, but that it borrowed a lot from similar films. I also found the significance of Davin (Denny Sumargo), Alia’s boyfriend, to be exceedingly convenient, and the stinger scene foreshadowing a sequel to be exceedingly obvious.

Outside of the story, I had this feeling the whole time that I was watching a television movie, which is ironic after my comments for “Hold The Dark” (Episode #272). The opening credits seemed to take forever, and random credits would appear as the story is advancing. The acting felt amateur at times, which is not surprising given the lack of credits for both leading ladies. I really liked the sets, but found them to generally have way too much lighting for a horror film, with very little shadow work, so much light that it blunted the amount of fear or terror I might have experienced. The thing is, despite all these thoughts, I still enjoyed the film, and for genre fans, that generally enough for a recommendation.

“The 3rd Eye” (2018) is a supernatural horror mashup film from Rocky Soraya containing possession, a haunted house, and travels to dreamworlds. It also has a sequel currently being filmed for release later this year, possibly early next year, so whatever you may think, the franchise will continue. Fans of any of the previously mentioned sub-genres of horror should probably queue up this film, and start getting familiar with the Indonesia genre film scene. I have a feeling we’re going to see a lot more.

Rotten Tomatoes: NR

Metacritic: NR

One Movie Punch: 7.0/10

“The 3rd Eye” (2018) is rated TV-MA and is currently streaming on Netflix.

Hi everyone! 

Welcome back to Takeover Tuesday!

We’re still looking for collaborators for later this month, like today’s collaborator, Ryan L. Terry, who teaches screenwriting and has a vast knowledge of movies both young and old. You can check out his blog at RLTerryReelView.com for his semi-regular posts, or catch him on social media, on Facebook at rlterry, on Twitter at RLTerry1, and on Instagram at RL_Terry. He’s passionate not just about movies, but about the diverse online community surrounding movies.

Oh, and if you like what you hear, and think you could write and record your own short review, head over to onemoviepunch.com/takeover-tuesday and check out the process, then reach out to us to get involved.

TOWANDA! 

Here’s a quick promo.

Hi, I’m Ryan, and I’m excited to have the opportunity to speak with you today on One Movie Punch’s Takeover Tuesday. Outside of my day jobs in Creative Services for Disney on Ice and teaching screenwriting at the University of Tampa, I love experiencing and writing about movies and theme parks. Do you love deep explorations of cinema and themed entertainment? Then connect with me social media! My favorite director is Alfred Hitchcock and favorite genre is horror. “Jurassic Park”, “Sunset Blvd”, and “Psycho” top my favorite films list. And as a blogger and proud member of the #FilmTwitter community, I don’t host my own podcast, but I’d love the opportunity to be a guest on yours. RLTerry1 on Twitter, and you can find my blog from there.

Today’s movie is “Fried Green Tomatoes”, directed by Jon Avnet and written for the screen by Carol Sobieski and Fannie Flagg, based on Fannie Flagg’s novel “Fried Green Tomatoes at the Whistlestop Café”. Universal Pictures’ quintessential American cinema classic “Fried Green Tomatoes” is a heartwarming, unapologetically sentimental film that reminds us that the best thing in life is “friends, best friends.”

On one of trapped housewife Evelyn Couch's (Kathy Bates) Wednesday nursing home visits with her husband, she encounters Ninny Threadgoode (Jessica Tandy), a colorful old woman who brightens Evelyn's outlook by sharing tales from her past. As Ninny recounts the exploits of her free-spirited childhood friend Idgie (Mary Stuart Masterson), owner of a small Alabama café in the 1920s, and the bond Idgie shared with her friend Ruth (Mary-Louise Parker), Evelyn gains the confidence to change her own life for the better.

I’m not sure about you, but I am not entirely a fan of movies that feature a couple of people sitting around in the present talking about a story from the past. And all the while, we get flashbacks to that earlier story. What is the point? Why not just tell the story from the past and let that be your movie? I just don’t get it. There are some exceptions... take “Citizen Kane”for instance – it worked! But contrary to my predisposed dislike for movies that principally rely upon flashbacks to tell the story, this movie surpasses all expectations! The story in the present features Mrs. Ninny Threadgoode and Ms. Evelyn Couch. Ninny tells Evelyn a story from her hometown that follows Idgie and Ruth through a wide range of bittersweet events that test their loyalty to each other. In the process, it also offers a portrait of a lulling, rustic, Klan-ridden Alabama in which the characters’ willful innocence often gives way to harsh racial realities. One of the reasons Director Jon Avnet’s “Fried Green Tomatoes”survives the flashback structure is that it devises an interesting character to be the listener to the long-ago tale. Each story is captivating! Because of the two stories being told concurrently, it takes a little while for this film to grab hold of you; but when it does, you will be hooked on the homespun humanity, intimacy, romance, and yes even a murder mystery. Of course, it’s a murder mystery that Angela Lansbury easily could solve in her sleep.

The film is also an early breakthrough for queer cinema because it contains a subtextual world of queer thematic elements and symbolism. It’s presented very clearly in Flagg’s novel that Idgie is a lesbian and she and Ruth are a couple despite the mores in the South at the time (and still to this day somewhat). The movie brings these elements out indirectly through powerful subtext that is not exactly trying to hide, interestingly enough. Because the movie was released prior to films showing healthy homosexual relationships just as normal as heterosexual ones, the film got creative in how to acknowledge it while not polarizing audiences at the time. By and large, the small town of Whistle Stop was certainly not small-minded. Showing the progressive nature of this “knockabout place” in how it largely feels about minority communities, the town accepts the two of them and no questions are ever asked about their relationship. Idgie and Ruth in particularly display extremely progressive ideals, for the day, because two of their closest friends are members of the town’s black community. Big George and Sipsy (Cicely Tyson) are important to Idgie and Ruth, and would do anything for them.

The stories from the past and present are both full of social commentary, containing an important message for women or anyone who feels that they cannot be progressive, independent, and successful because of antiquated ways of a relationship or society. With Ninny and her stories as inspiration, Evelyn learns that she can be more than her girdle-wearing, dinner-making, frumpy dress self. Evelyn is so fired up by Ninny’s stories of Idgie’s escapades, that she begins to take control of her life. She gives up her candy bars for aerobics, stops trying to please her misogynistic redneck of a husband and begins a career as a Mary Kay sales professional. Through her many visits to spend time with Ninny, she also becomes as passionately devoted to Ninny as Ruth was to Idgie, with this one being a platonic relationship.

After 27 years, “Fried Green Tomatoes” (1991) still holds up. If you enjoy great dialog and excellent character development, you will fall in love with this movie. The four leading ladies deliver outstanding performances! It is of no surprise that this movie has stood the test of time.

Rotten Tomatoes: 73%

Metacritic: 64 One Movie Punch: SOLID 9.0/10

“Fried Green Tomatoes” (1991)is rated PG-13 and is currently streaming on many different services.

Thanks for having me on the show today! If you like what you heard, I’d love to connect with you on social media. You can find me on Twitter at RLTerry1, or visit my blog at RLTerryReelView.com, and that’s reel with two e’s. You can also follow @ncootnovel (that’s N-C-O-O-T-Novel) for updates on my forthcoming novel.

Thanks to all of you for listening. My name is Ryan, and you are listening to One Movie Punch!

Hi everyone!

Welcome back to Matinee Mondays! This week I decided to go back and catch a film that got so much love from #FilmTwitter. I mean, they had me at Paul Feig postmodern neo-noir film. For two other postmodern style films, check out “Ingrid Goes West” (Episode #034) and “Tully” (Episode #134). And of course, check out Henry Golding’s performance in “Crazy Rich Asians” (Episode #253). And if you have any suggestions that fit this very odd mold, let me know at onemoviepunch.com.

And now... 

Today’s movie is “A Simple Favor” (2018), the postmodern neo-noir film directed by Paul Feig and written for the screen by Jessica Sharzer, based on the novel by Darcey Bell. The film follows mommy blogger Stephanie Smothers (Anna Kendrick), who is investigating the disappearance of her good friend Emily Nelson (Blake Lively), with the help of Emily’s husband Sean (Henry Golding). What starts as a well-intentioned investigation takes some extremely bizarre turns, revealing a lot more than expected, and culminating into a spectacular ending.

Spoilers ahead.

Paul Feig has had an incredible run of films since bridging from the television world. I remember laughing my ass off watching “Bridesmaids”. I enjoyed both “The Heat” and “Spy”, even if both were a little too slapstick for my tastes. And I really wished “Ghostbusters”, or as it appears to be known as now, “Ghostbusters: Answer the Call”, hadn’t been pre-judged by all the toxic masculinity that permeates some parts of fandom, because I loved it. When I first heard about this film, and not knowing much more, I figured I could wait until it hit streaming services, but #FilmTwitter was quick to point out the error of my ways, especially as a fan of film noir and postmodern stories, and now, their intersection. My wife and I attended a Thursday night showing, a week after the premiere, which still had about twenty people in the theater. And after seeing the film, I think it will be a slow burner at the box office, as long as theaters don’t give up hope.

“A Simple Favor” moves back and forth between the way we present suburbia and a hyperbolic suburbia based on how suburbia actually is. Stephanie is brought to life by Anna Kendrick, nailing both the mommy vlogger side, and the shocking complex and amoral life she has been trying to cover up. Emily’s character is given similar care by Blake Lively, nailing both the power mom side, and her mysterious past unfolding throughout the film. Even Sean has two sides, although we never get a straight answer out of anyone. The cast is excellent, including the awesome supporting cast of Emily’s past acquaintances, and the local school’s background parents who provide great comic relief and represent the viewer. It’s a bizarre mystery, and it is carried by the cast from start to finish.

The film isn’t just the cast, however. I found the film to be engaging from the get go, with any potential lull being prevented by another shocking discovery. “A Simple Favor” is an exercise in redirection, leveraging selective flashbacks at key moments to recast the previous stories. It’s the kind of film you get to view once without spoilers, then want to see again to find all the details you missed. I really loved the French mod pop tunes that helped tie the entire aesthetic together. I hope I can get a hold of a soundtrack or playlist for the music. I was entertained, I was shocked, and I learned a new word, at least for me, although it’s not polite to repeat in podcast company. If you’ve seen the film, you know what I’m talking about.

“A Simple Favor” (2018) is a postmodern suburban noir comedy, expertly translated to the screen, and delivered by a combination of excellent acting and stylish composition. Paul Feig’s latest film takes the best of his comedy work and injects it into a new genre for him to explore, on par with the themes of David Lynch’s look at the seedy underbelly of suburbia. Fans of Paul Feig will definitely appreciate the comedy, but they will also appreciate the outrageous and engaging story that accompanies the punchlines, and I would definitely recommend this film to all film noir and depraved suburbia genre fans.

Rotten Tomatoes: 84% (FRESH)

Metacritic: 67

One Movie Punch: 9.6/10

“A Simple Favor” (2018) is rated R and is currently playing in theaters.

Hi everyone!

Welcome back to Sponsor Sunday! No new sponsors this week, but we will begin a multi-week Patreon campaign next month to raise sponsors for the podcast. One of those benefits is selecting a film for me to review on Sundays, and much more. If you want to check out our sponsorship levels right now, head over to patreon.com/onemoviepunch and consider pledging at any level. Much more is on the way, however!

And now...

Today’s movie is “The Endless” (2017), the science fiction thriller written by Justin Benson and directed in collaboration with Aaron Moorhead. The film follows two brothers, Aaron (Aaron Moorhead) and Justin (Justin Benson), who escaped a UFO death cult years ago. However, a mysterious videotape encourages them to check back in on the group, and the journey contains unexplained phenomena that begin to challenge their beliefs.

Spoilers ahead.

People throw around the word Lovecraftian a lot. And when most people use the term, they mean there’s a monster that is akin to one of the many Lovecraftian gods, or more generally speaking, any supernatural horror tale involving madness, almost exclusively focused on the Cthulhu mythos. However, H.P. also wrote some dream-like, reflective, surrealistic works that bordered on the sublime. And, since we’re being honest, some pretty direct racism in more than a few works. But it wasn’t just the ideas that made Lovecraft a literary figurehead. His writing has a way that affects you emotionally, deep in terror while reading from the Cthulhu mythos, or sheer astonishment in his lighter writings. “The Endless” is probably the first Lovecraftian film that fits not just some, but all of the criteria, and for a Lovecraft fan like me, that’s amazing.

“The Endless” is a modern Lovecraftian story, using modern science fantasy themes like UFOs, death cults, time loops, and multiple dimensional barriers to tell a deceptively emotional story. I mean, they even put a quote in the opening credits. Aaron and Justin are guided by a mysterious videotape that arrives with a message from their former commune, and it makes them react very differently as folks who have gone through deprogramming. One doesn’t see their current “modern” life as better than what they had in the commune. The other simply doesn’t want to deal with any of it, and here we have one videotape creating a conflict which lasts the rest of the film. So much complexity in a setup, and the beauty of the writing is that almost every detail in the beginning has a callback at some point in the film, especially as the madness is unfolding around them. And much like Lovecraft’s characters, instead of trying to reject what they see, they have to embrace and push through the madness if they hope to survive.

The film’s dialogue is chock full of big ideas, everything from one’s purpose in life, to the effect each supernatural or science fantasy idea has on their reality, ethics and identity. It’s definitely a thinking film, and there’s no doubt that will turn away some viewers. The subtle special effects, like the three moons in the sky, land a lot better than some of the larger effects. And the final scenes have some rough dialogue, which for an unengaged viewer might be a reason to give it a thumbs down. As for me, though, I was more than willing to forgive the flaws, especially because the rest of the film is incredible and truly Lovercraftian. They have a giant evil space god and everything!

“The Endless” (2017) is a philosophical science-fantasy film clearly and intentionally influenced by H.P. Lovecraft. Justin Benson and Aaron Moorhead, along with a great supporting cast, deliver a refreshingly unique film that opens up many more possibilities. Fans of Lovecraft, and I’m talking the folks who’ve read the material, should definitely check out this film. Everyone else, just know going in that it’s going to get weird and there are going to be a LOT of big ideas, and if neither of those are dealbreakers, then queue it up and prepare to have your mind blown.

Rotten Tomatoes: 95% (FRESH)

Metacritic: 80

One Movie Punch: 9.0/10

“The Endless” (2017) is rated TV-MA and is currently streaming on Netflix and Hoopla.

Hi everyone!

Welcome back to Streaming Saturdays! Today’s film is one that was delayed by Netflix in part as a retaliation against the Cannes Film Festival’s rules for movie consideration. I know, I hate it when the oligarchs can’t play nice, too. What really sucks is that today’s film was also a contender for Cannes, and had to be delayed to this weekend. Does it live up to the subversive hype? I’ll let you know in a minute, but if you want to see another film by director Jeremy Saulnier, check out “Green Room” (Episode #054). And if you have any suggestions, or any feedback about Netflix versus Cannes, let me know at onemoviepunch.com. 

And now...

Today’s movie is “Hold The Dark” (2018), the Netflix Original thriller directed by Jeremy Saulnier and written for the screen by Macon Blair, based on the novel by William Giraldi. The film follows Medora Slone (Riley Keough) whose son, and two others, have presumably been killed by a pack of wolves in the Alaskan wilderness. She calls in naturalist Russell Core (Jeffrey Wright) to hunt down the wolves responsible, but when he makes a startling discovery, and when Medora’s spouse Vernon (Alexander Skarsgård) returns home, he starts on a bloody path of revenge that uncovers some dark secrets.

Spoilers ahead.

I love intentional filmmaking, especially filmmaking that understands how to bring all the elements in a film together towards a unified expression. I’ve seen that process with the biggest of blockbusters, like “Avengers: Infinity War” (Episode #120), and with smaller films, like one of my personal favorites, “Mirrormask” from Neil Gaiman and Dave McKean. And the hardest part of intentional filmmaking is to not make it either too obvious or too abstract. I spoke a great deal in my review for “Green Room” (Episode #054) about how Saulnier’s experience as a cinematographer has influenced his direction, and today’s film is no exception.

“Hold the Dark” continues Saulnier’s technique of using color to communicate meaning, but instead of green or blue, this film focuses on black and white, and even more importantly, the grey that appears at the edges. The Alaskan wilderness, especially during the winter months, has long dark nights and blindingly white snow during the day, but within human settlements, it’s gray everywhere, much like how living on the frontier is in the gray part of civilization. We often think of ourselves as somehow above the animals, but Vernon Sloane’s path of destruction cares nothing for morality or other higher orders of thinking. His path, from after he identifies his son, to when he finally catches up with Medora, is one of calculated, sociopathic rage, which made me sit up in my seat more than once, and mumble, “Holy shit...”. And the beauty of Saulnier’s filmmaking, and Macon Blair’s writing, is that while I would never condone Vernon’s actions, I could understand them, and for this dark material, that’s both fascinating and frightening.

The entire cast is great, and I haven’t even gotten to James Badge Dale as Donald Marium, local law enforcement tracking Vernon, or Julian Black Antelope as Cheeon, Vernon’s friend, who makes an amazing last stand reminiscent of Peckinpah’s “The Wild Bunch”. From beginning to end, I was completely engaged, and didn’t mind the two hour running time one bit. It’s a film like this that makes me really frustrated with the larger social debate about what constitutes “a real movie”, whether that requires a formal theater presentation, and given the incredible production value of modern television, whether the distinction of a so-called “television movie” or “direct to streaming movie” even makes sense. Saulnier has created an amazing film, way better than many films that actually made it to the theaters, and yet, it’s somehow not eligible for certain festivals and award shows.

“Hold The Dark” (2018) is a gritty frontier tale, told in modern times, and utilizing ancient lands and themes. Macon Blair’s adaptation and Jeremy Saulnier’s direction are exquisite, along with the rest of the cast. It’s not for the faint of heart, and it is most definitely a dark and violent film, but it also has some of the most stunning cinematography and camera work I’ve seen all year. Fans of Macon Blair or Jeremy Saulnier should definitely check out this film, along with anyone else who loves a good depressing story of tragedy.

Rotten Tomatoes: 70%

Metacritic: 64

One Movie Punch: 9.6/10

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

Hi everyone!

Welcome back to Film Buff Fridays! We’re going with a more recent and widely celebrated noir film, which has also had some social problems since its release. For a few other film noir classics, check out “Sunset Boulevard” (Episode #077), “The Stranger” (Episode #215), and “Touch of Evil” (Episode #229), which also had some social issues with casting. And if you have any favorite film noir classics, let me know at onemoviepunch.com. 

And now...

Today’s movie is “Chinatown” (1974), the film noir classic directed by Roman Polanski and written for the screen in collaboration with Robert Towne. The film follows Private Detective J.J. Gittes (Jack Nicholson), who begins investigating an adultery case for Evelyn Mulwray (Faye Dunaway), and stumbles across a wide-ranging criminal conspiracy over water and property rights. The film was nominated for eleven Oscars and won Best Original Screenplay for Robert Towne.

Spoilers ahead.

I’m a little nervous writing this review, particularly after seeing Hannah Gadsby’s “Nanette” and her scathing and correct attack on Roman Polanski, particularly in the wake of #MeToo and the growing backlash against years of sexual harassment and abuse. I mean, the man drugged and raped a thirteen-year-old girl and fled the country because he was afraid of going to jail. The same man went on to win Best Director for a later film, receive a standing ovation, and having the award accepted by Harrison Ford himself. Whenever folks are shocked by the latest uncovering of how utterly horrific Hollywood can be, especially to young women, I now just shrug my shoulders and point to Polanski. Gee, why wouldn’t women want to report issues in that environment, one that literally cheers a child rapist? So, let’s take it a step further and ask why would anyone want to signal boost Polanski at all, and I admit, I’m not sure doing this review is the right thing. Sure, he was a great director, but he’s also a piece of shit, who is still wanted for crimes in the United States.

But I also know that many of these films were important to film-making as a whole, and that Polanski’s work has had great influence. It would also be easier if the films weren’t so well made, and made during a period before Polanski crossed an unforgivable line. Polanski, in some ways, is to the late 1960s and early 1970s, what Tarantino would become for the 1990s and early 2000s. Both went back to earlier film genres to make their own versions. Both utilize classic and upcoming actors in new, edgier ways. Both love the shock value of overt racism and sexism in some of their work. In fact, one of the absolute worst parts of “Chinatown” is the casual racism towards the Chinese throughout the entire film, which serves no other purpose than to make J.J. Gittes look like the racist, hard-boiled detective he ends up being. “Chinatown” ups the ante on so many levels, even compared to the more salacious pre-code noir films, and being able to get away with more adult-oriented thematic material as film standards began to loosen in the late 1960s. I would argue that was a big reason the film got noticed and also why it appealed to such a large audience and the critics, the same way Tarantino made his splash with “Pulp Fiction”. 

Nicholson nails J.J. Gittes, though, a little too well and little too real at times. Faye Dunaway is also great as Evelyn Mulwray, along with the rest of the cast. They all deserved their nominations. The direction was consistent, with great music, but perhaps a bit slow, especially for a two hour, ten minute running time. I did notice more than a few anachronisms for 1938 in the background, along with some of the dialogue choices. And frankly, I wasn’t a fan of the ending, especially Katherine Mulwray (Belinda Palmer) being taken by her father/grandfather Noah Cross (John Huston). It’s messed up, and it completely overshadows the larger political issues at work during the infamous Water Wars, and a plot point quite similar to the second season of “True Detective”. The thing is, the characters are great, and it made me wish they did complete the planned trilogy of films, but the poor showing for “The Two Jakes” (1990) killed that idea. I would even love a J.J. Gittes trilogy reboot that does a better job of contextualizing the sexism and racism, but only if not a single cent goes to Polanski. Because I feel guilty enough just streaming it, especially if any royalties are going his way.

“Chinatown” (1974) is a neo-noir film that takes place amidst the political and familial intrigue of the Los Angeles Water Wars. Jack Nicholson, Faye Dunaway, and the rest shine in their roles, even if the story is ultimately tragic and depressing. Fans of neo-noir films will definitely enjoy this film, but may also be put off by the graphic nature of some themes, or for even indirectly supporting one of Hollywood’s garbage people. 

Rotten Tomatoes: 98% (FRESH)

Metacritic: 92 (MUST SEE)

One Movie Punch: 7.8

“Chinatown” (1974) is rated R and is currently streaming on Amazon Prime and Hoopla.

Hi everyone!

Welcome back to Documentary Thursdays! Third documentary this week, which is somewhat unusual for us, but there are so many being released right now by Netflix and in theaters that this was bound to happen. Today’s Netflix Original is a much lighter viewing, following the life of the legendary Quincy Jones. For other light-hearted documentaries, check out “Disneynature: Born in China” (Episode #067), “Faces Places” (Episode #130), “Stop Making Sense” (Episode #179), “Won’t You Be My Neighbor?” (Episode #193), and “44 Pages” (Episode #221). And if you have any suggestions, let me know at onemoviepunch.com.

Here’s a quick promo.

Welcome back!

Today’s movie is “Quincy” (2018), the Netflix Original documentary written and directed by Rashida Jones and Alan Hicks. The documentary follows the life of Quincy Jones, perhaps the most influential music producer of all time, and major influencer in mainstreaming Black America into popular culture. The documentary contains a combination of Quincy narrating his own life, interviews with friends and admirers, and a look into his everyday life in his old age.

Spoilers ahead.

Here’s the thing with Quincy Jones. Unless you’ve done your research on him, you probably don’t know just how influential he has been, nor how prolific his credits are. 34 film scores, 16 studio albums, and countless production credits, including Herb Alpert, Louis Armstrong, Count Basie, Tony Bennett, Ray Charles, Sammy Davis Jr., Aretha Franklin, Dizzy Gillespie, Lesley Gore, Michael Jackson, Dinah Washington, and Frank Sinatra, among many, many others. And he did some or all of that songcraft, whether that was producing, conducting, composing, or arranging. It’s one thing to be a popular culture figurehead that has a team of artists working for you. It’s quite another to get that work done yourself. James Brown may have been the hardest working man in show business, but I’m pretty sure Quincy Jones was a close second.

“Quincy” is obviously a work of love and also of concern, brought to life in part by Quincy’s daughter Rashida Jones, and bouncing between a chronological narrative of Quincy’s life and his more modern lifestyle and health troubles. Bouncing between the two narratives can be pretty jarring, especially because I was way more interested in his production credits and his influence than his work in later years. In a strange way, it gave the documentary about one of the greatest arrangers and producers of our time a weird, almost bad rhythm. I would have almost appreciated two documentaries: one about his life leading up to now, and one about his life now after suffering from health problems. Or perhaps just one focus and cutting about a half hour from the running time.

And because this is a work of love, we don’t dip at all into some of the controversies that have surrounded Quincy’s life. I’m not talking about the multiple marriages and children, which was actually treated rather matter-of-factly as either being mutual choice or his fault. I am talking about some of the more scandalous comments from his recent Vulture interview, but also other comments that have been made over the years. And honestly, I’m okay with that not being included in this documentary, because this is how he would like to be remembered. He’s also done more for black empowerment and advancement than most folks, which doesn’t forgive any of his flaws, but certainly gives them the right perspective, especially in retrospect. 

“Quincy” (2018) is a comprehensive documentary about the life of Quincy Jones, one of the most prolific and influential music producers in history. A combination of modern-day health struggles and chronological look at his life, Rashida Jones and Alan Hicks create a heart-filled look at the man and his work. Fans of music or movies or art or just people should definitely enjoy this film, and I can guarantee that you will learn something you did not know.

Rotten Tomatoes: 86%

Metacritic: 60

One Movie Punch: 7.4/10

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

Hi everyone!

Welcome back to Worldwide Wednesday! We’re heading back to the Israeli film scene for a film about a spy within the Egyptian government. For another film from the Israeli film scene, check out “Maktub” (Episode #170), a hilarious crime comedy. And if you have any suggestions, let me know at onemoviepunch.com

And now...

Today’s movie is “The Angel” (2018), the Netflix Original political thriller directed by Ariel Vromen and written for the screen by David Arata, based on the novel by Uri Bar-Joseph. The film follows the life of Ashraf Marwan (Marwan Kenzari), who worked within the highest levels of the Egyptian government as an Israeli spy, influencing multiple events in the region and elsewhere during his lifetime.

Spoilers ahead.

Anyone who tries to simplify the situation in the Middle East is likely deluding themselves on some level. It’s what happens when colonial powers arbitrarily draw lines to separate lands for oil extraction, and work to remain everyone’s friend for cheap oil and military hardware sales. It’s also what happens when a country establishes itself in the middle of British mismanagement and oversight, creating a two-way exodus of families based on religious and ethnic factors. And then add any number of larger superpowers attempting to fight proxy wars using the region to control those same oil reserves and shipping lanes, and you’ve got a giant mess. And there’s enough atrocities and heroism on both sides to write your own narratives, as often happens when individuals want to debate Israel/Palestine, or just an unbelievable mess of destruction in Syria, or perhaps the ethnic cleansing happening right now in Yemen. I’m not sure I trust any of the people in government within the region at this point, but I do know that I feel for the people who end up being victims of this ongoing insanity, and I don’t mind calling out atrocious behavior when I see it. But it also means that watching a political thriller like today’s film becomes an exercise in futility.

“The Angel” is ostensibly a biopic about Ashraf Marwan, who was the son-in-law of President Nasser, the leader of Egypt after the Six Day War in 1967, when Israel gained, among other territories, the entire Sinai Peninsula from Egypt, and destroyed the Egyptian Air Force. According to this film, Marwan wanted Egypt to align with European interests over Russian interests, and decided to start working with Israeli intelligence via his London residence. We see a series of events take place from the Six Day War leading up to the Yom Kippur War, with Marwan placing himself and his family in various forms of danger, and sacrificing a great deal to try and limit the destructiveness of what would be the Yom Kippur War, and allowing Israel to remain in existence, at least if you agree with the source material. The film is quite coy about whether Marwan was a double agent, actually working to ensure Egypt was returned the Sinai Peninsula, as it was during the Camp David Accords, which we learn via a series of text statements at the end.

I do have a lot of criticisms about the film, though. The beginning sequence to set the historical stage feels very much like propaganda, with some very heavy-handed dialogue about the geopolitics and the role of capitalism and democracy. Marwan is completely unlikeable, clearly a flawed character who tries to find some sort of redemption for the right reasons, but just kind of ends up being a mess. Even the foreshadowing opening is a subtle bait and switch about Marwan’s character that does little to help define him. Gaddafi’s character was a cartoonish Bond villain, so much so that it overshadowed the terrible person he actually was. And the rest of the cast is all right, even as the story seems to drag towards the end, and never really comes to a proper ending. It might be interesting to folks who aren’t familiar with the history, but also might be too “Hollywood” for folks who are.

“The Angel” (2018) is an engaging political thriller that tracks one man’s efforts to influence a volatile region of the world. It can be heavy-handed with ideological positions, and never really defines Ashraf Marwan as a character, but it does have a clever ending despite some obvious flaws. Fans of geopolitical thrillers about the region will definitely enjoy this film, but they may find the messaging overtly political or simplified, and if there’s any hope for lasting peace, we’re going to need to stop simplifying both the history and the future of the region.

Rotten Tomatoes: 86%

Metacritic: NR

One Movie Punch: 6.8/10

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

Hi everyone!

We’re taking a week off from Takeover Tuesday as we work to retool the process. However, we’re also look for collaborators for the month of October. If you might be interested in writing and recording a review for this podcast, head over to onemoviepunch.com/takeover-tuesday to read up on the process and to get in contact with me. You can even see some of the benefits I can offer for participating.

And now...

Today’s movie is “Nappily Ever After” (2018), the Netflix Original romantic dramedy directed by Haifaa Al-Mansour, and written for the screen by Adam Brooks and Cee Marcellus, based on the novel by Trisha R. Thomas. The film follows Violet Jones (Sanaa Lathan), who has a seemingly perfect life with upward mobility and a well-maintained head of hair. However, after she loses her hair in an accident, her life begins to fall apart, and she begins re-evaluating the direction of her life. 

Spoilers ahead.

I can imagine folks who haven’t studied African American history to see this film as all fluff, just a black woman who is obsessed with her hair that discovers she just doesn’t have to meet other people’s standards anymore and grows as a person. And sure, without understanding African American history, you could easily summarize the film in this way. But the film is actually a larger discussion about long-standing attempts to “Europeanize” African Americans, from how they were forced to dress themselves as slaves, to what was expected by white business owners for employment, to how they needed to look and act to be accepted into suburban neighborhoods. It’s also a discussion about the counter-culture back to African fashions for some populations, and an effort to invent a new style for new generations, and all the politics and social cues that go into that. It’s not just hair, and to minimize it in that way is also part of that “Europeanization”, even if we call it “The American Way” today.

“Nappily Ever After” takes those themes and builds a romantic dramedy around those premises, creating a strong story of personal growth for our initially flawed protagonist, Violet. The film is structured around six stages in her life: her actual hair; a weave after her hair is ruined; a blonde dye job; an emotional shaving experience; regrowth, and finally, nappily. Each hairstyle before bald is because someone has done something to her, and each hairstyle afterwards is because she has done something for herself. But despite the structure, and strong messaging, the rest of the film just kind of happens. Things go bad between Violet and her current boyfriend Clint (Ricky Whittle), who is pretty much a perfect douchebag. Then she meets hairdresser Will (Lyriq Bent) and his show-stealing daughter Zoe (Daria Johns), who both think she should just be herself. Then she has a rough night out and decides to shave it off, which is a key moment in the novel, but that doesn’t translate well to the screen.

Then her relationship with Will falls apart trying to appease her mother Paulette (Lynn Whitfield), which is followed by a surprise engagement with Clint, and the expected resolution at the end. The rest of the time, we get little nuggets of wisdom about the relationship between the beauty industry and people of color, or an ongoing joke about how well-endowed Violet’s father Richard (Ernie Hudson) might be. It ends without much resolution, except that Clint is out of the picture, and she’s working on something with Will for the next film in the franchise. The message is definitely there and definitely clear: You do you, but know why you are doing you, and make sure it’s only you doing you and no one else. It just stumbles getting there, and never really seems to come together as well as I had hoped.

“Nappily Ever After” (2018) is a romantic dramedy taking a look at the relationship between black women and their hair, at the individual and the social level. It has troubles keeping things together throughout, but it ends up being all right in the end, even if a little heavy handed and rushing through some key scenes. Fans of romantic dramedies or personal growth stories will definitely enjoy this film, and may learn a few factoids along the way that will help folks reconsider all our beauty standards and choices, or at least making sure they are our own.

Rotten Tomatoes: NR

Metacritic: NR

One Movie Punch: 7.2/10

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

Hi everyone!

Welcome back to Matinee Mondays! I only had one choice for this past weekend, especially given this moment in history in the United States. The country is falling apart in multiple ways, and the elections coming up will be important. For other films looking at the structural failings of the country, check out “Minding The Gap” (Episode #242) for a look at Rockford, IL; “Crime + Punishment” (Episode #249) for a look at police officers fighting against racist policing and immoral quotas; “The Bleeding Edge” (Episode #214) on the effects of unregulated capitalism on health care; “Recovery Boys” (Episode #186) and “Take Your Pills” (Episode #081) on the effects of prescription drug abuse; and “Whose Streets?” (Episode #172) for a look at police brutality and why #BlackLivesMatter. I could go on, because there are a lot of problems we need to fix, but if you have any favorites, let me know at onemoviepunch.com

And now...

Today’s movie is “Fahrenheit 11/9” (2018), the political documentary written and directed by Michael Moore. The documentary takes an in-depth look at the United States in the era of Donald Trump, how we got to this point, and what it will take to repair the damage being done on a daily basis, all with Michael Moore’s direct commentary and insightful stunts.

Spoilers ahead.

Let me tell you a story that goes all the way back to 2004, when my daughter was born, and when I was offered a job on the west coast that required me to fly out for an interview. I had previously worked in Los Angeles as a consultant, and that work had lead to this opportunity. I loved flying out, getting the rental car, and driving all the way up to Ventura County to crash at a friend’s place and do the interview. By the way, nailed it. However, instead of turning right around and heading back, I made some plans to head up to Santa Barbara, and found myself driving up PCH, having finished interviewing for a state job, and going to see friends for sushi and craft beer. How does it get any more California back in 2004? Your friends snagging you a ticket for opening night of “Fahrenheit 9/11”, and then having your blossoming progressive mind melt to hear someone who understands the world as it is, not as we want it to be.  And the best part of the night was heading back with said friends, getting a few bong hits in us (illegal at the time, I know!), and discussing the general mess the country was in, heading towards an important election. Once we moved out to California full time, I was motivated to get involved in local politics and community, a decent part of the reason being that film. I was so stoked to see his future movies, and wondered if he would do a sequel of sorts, but dear God, I never imagined it would be like this.

I honestly believe we’re a little too far down the nationalism hole right now for this film to have the necessary effect to turn the ship around. Moore does a whole segment comparing the build-up to Nazi Germany and comparing that to actions being taken in the United States. I especially loved having Trump’s speeches lip-dubbed to Hitler’s recorded speeches, showing how nationalist our rhetoric has become. The problem is, we’ve spent so much time calling the other candidate Hitler that we refuse to admit it’s happening right before our eyes. Politically motivated shootings, open racism in the streets, militarized police forces, families being separated and placed into internment camps, public shaming of abuse victims, and threats of civil war. And it’s all happening from or with the backing of one section of the populace, waving the flag like a call to arms. I was naïve to think it couldn’t get worse than George W Bush, even as my older friends smirked when I said it. Is it an unfair comparison? I don’t think so at all, or at least I have yet to hear good explanations for all the extremely shady shit happening in our name.

Now, it’s not a perfect documentary by any means. It’s actually more like a videologue of how much things have changed in the last two years, including the absolutely dismal performance of the Democrats at the polls based in part on their internal divisiveness, how Trump came to power despite everything, the threat he continues to pose, and how it relates to the still unresolved Flint Water Crisis. But it also captures glimmers of hope among the wreckage, including the nationwide organizing by teachers beginning in West Virginia, the nationwide organizing by women for multiple marches, and the inspiring work of the high school students who vowed to end school shootings after one happened to them. It also shows candidates who stand on principle taking seats away from establishment politicians in both parties, in a belated attempt to retake the electorate. The ending includes the footage from Emma González’s powerful silence, but much like yesterday’s film, I think more specific direction is warranted, especially if the threats are as dire. But in today’s case, I actually kind of admire another old white guy recognizing that in many respects, he just needs to get out of the way to let the people already doing the heavy lifting to continue organizing. Tell me where to be to fight back, and I’ll be there. So should all of you.

“Fahrenheit 11/9” (2018) is Michael Moore’s videologue from the past two years, containing an overview of the carnage caused by the current administration, how we got there, and the people fighting back against encroaching fascism. It may not offer direct answers, but it does paint a vivid picture of the last two years, and a warning for the next two years. Michael Moore fans will definitely enjoy this content, but I suspect most folks will find difficulties with the politics or for the reasons we’re in this mess. Also, a farewell to any of the last conservative fans of the podcast. I’m sure if you weren’t tired of my political and social ravings, you will be now. 

Rotten Tomatoes: 80% (FRESH)

Metacritic: 71

One Movie Punch: 8.4/10

“Fahrenheit 11/9” (2018) is rated R and is currently playing in theaters.