One Movie Punch

Hi everyone!

Welcome back to another week of reviews. No new sponsors again, so it gives me a chance to catch up on Netflix Originals this week. A whopping five films, actually, and the first is a documentary about women’s rights. For other documentaries in this lane, check out “Seeing Allred” (Episode #041), “Mercury 13” (Episode #116), “RBG” (Episode #200), and “City of Joy” (Episode #256). And if you have any suggestions, let me know at onemoviepunch.com.

And now...

Today’s movie is “Reversing Roe” (2018), the Netflix Original documentary from Anne Sundberg and Ricki Stern. The documentary reviews the forty-five year history of the landmark decision Roe vs. Wade, which legalized abortion nationwide. It reviews the details of the original case, the efforts to subvert the ruling by state legislators and conservative opponents, and the activists mobilizing to protect the right to safe and legal abortion.

Spoilers ahead.

I’ve taken multiple positions on abortion over the years, struggling with trying to reconcile the desire to see life flourish and the need to protect female autonomy, especially over their reproductive systems. The last few years, I’ve been firmly on the side of female autonomy at all costs, especially as women are still treated as second-class citizens in so many ways, whether that’s the pay gap, or the catcalling, or the sexual harassment and abuse, or the mansplaining... the list goes on. No question that we’ve come a long way since suffrage, but there’s still so much further to go. It’s not like passing laws necessarily leads to change, and that blade cuts both ways. Granting women the right to vote by law didn’t suddenly make toxic masculinity and traditional gender roles disappear. And the same goes for abortion rights. Ruling on Roe vs. Wade may have made abortion a legal right, but it certainly didn’t stop the far-right from continuing to harass and obstruct women from seeking an abortion, nor from mounting a concerted campaign to overturn the ruling. Which is where today’s movie comes in.

“Reversing Roe” is an excellent summary of the history of abortion rights, from coat-hangers and rogue doctors to the passing of Roe vs. Wade, and the subsequent mobilization of the far-right anti-abortion activists that went to challenge the ruling from day one, from any possible angle, at the cost of millions of dollars and more than a few lives, particularly those killed in anti-abortion terrorism. I particularly liked the portion that covered the years from George W Bush onward, and how stacking the Supreme Court would one day overturn the ruling, which was the point. This documentary feels particularly important as we go through the current kabuki theater for a Supreme Court Justice, one who appears to be the epitome of toxic masculinity I discussed before. In fact, working to stack the Supreme Court works not just for this issue, but a host of other issues to follow. Instead of finding the best and brightest for the highest court in the land, we have one party instead looking for the purist ideologically on multiple issues, hidden under the sweet sounding words of “strict constitutionalism”.

This film has the right content in the right amount of time. It also has an obvious pro-choice bias, as does your reviewer, but it’s from a considered and well-reasoned position, based on both science and basic principles, not just pink hats and protest signs, even if this film has some of that as well. One area where the film is lacking, however, is what’s next, which we’re left to infer is a combination of electoral office and activism, and sometimes both in the case of Wendy Davis. The ending is ominous, warning everyone that it is just a matter of time before it will be overturned. And that’s probably true, but not exactly a rallying cry to fight, nor does it address the host of other issues women will face should they return to second-class citizenship. Folks like to point to “The Handmaid’s Tale” as this unrealistic dystopia, but the truth is that it’s not far off from how women were treated before suffrage and women’s liberation. I want to prevent that future for all women, and I want to do that knowing I’m taking their lead towards that end. The Women’s March was amazing, and as I said before, there’s so much further to go.

“Reversing Roe” (2018) is an excellent educational tool for anyone looking for an overview of abortion rights history. While it has an obvious pro-choice bias, it’s well-reasoned and raises very real concerns about the effect of ending abortion rights for women. Fans of documentaries about the subject will definitely enjoy this film, but so may abortion opponents, if nothing else but to understand the concerns being raised.

Rotten Tomatoes: 80%

Metacritic: 70

One Movie Punch: 8.0/10

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

Hi everyone!

Welcome back to Streaming Saturdays! We’re still catching up on Netflix Originals, so here’s another one from last Friday, and we’re getting to the others as soon as possible. For the last few Netflix Originals, check out “Bleach” (Episode #262), “On My Skin” (Episode #259), “The Resistance Banker” (Episode #258), “City of Joy” (Episode #256), “The Most Assassinated Woman in the World” (Episode #255), “Next Gen” (Episode #252), and “Sierra Burgess is a Loser” (Episode #251). Whew! And if you have any suggestions, let me know at onemoviepunch.com.

And now...

Today’s movie is “The Land of Steady Habits” (2018), the Netflix Original dramedy written and directed by Nicole Holofcener. The film follows Anders Hill (Ben Mendelsohn), a privileged man who decides to leave the world of finance, his wife Helene (Edie Falco), and his adult son Preston (Thomas Mann) to live on his own. However, when he develops an irresponsible relationship with a drug-addled teen named Charlie (Charlie Tahan), he begins to reevaluate the choices he has made.

Spoilers ahead.

I always hate writing a review that goes against the general consensus, like my review earlier this week for “The Predator” (Episode #260). I feel like I have to spend an overt amount of time justifying my opinions, which I know aren’t always everyone’s taste. Let’s take today’s film, “The Land of Steady Habits”, one that is so saturated in wealth and privilege from the get go, and with such an unlikeable character in Anders Hill, not to mention virtually everyone else involved. I know that my views on gross wealth inequality makes it difficult for me to identify with folks arguing over who gets the multi-million dollar home and who has to tough it out in a giant condo they’re decorating while they find themselves. Sometimes the viewer is given a wry, somewhat ironic look at these situations, but overall I just stopped caring after Charlie is taken out by the doctor at the initial party.

It’s not just the script, though. “The Land of Steady Habits” feels like a two-part episode in the third or fourth season of an ongoing television drama. You can obviously tell there’s a lot more backstory than is ever revealed in the film, but all that missing backstory feels crucial to developing a relationship with any of these characters. I also had a hard time seeing Edie Falco and Charlie Tahan as anything but their television show counterparts, especially Charlie Tahan who felt like Wyatt from “Ozark” had taken a trip to visit friends. Not because of bad acting by any means, but because there felt like nothing else to hold on to. The film progressed to its extremely tragic and completely avoidable ending, one that involves poor Anders checking into a hotel for an extended stay to work out his depression, and letting his son who still obviously needs his support the incredible luxury of moving in with him. I have no idea what the meaning or message of the film is supposed to be, and I’m not sure Holofcener does either.

Now, is the film a total waste? Not at all. I may have had a lot of structural problems with the film, but I thought the cast did well with the characters they were given, each one putting in a good performance despite some of the nonsensical story turns. I thought the costumes, sets, and locations were perfect for the nouveau riche characters and problems. I even appreciated a handful of scenes where I cracked a smile or a short laugh when the film almost becomes aware of itself. But I just can’t get past my inability to identify with any of the characters or situations, nor can I stop myself from thinking this film has a very small audience that will identify with it completely. It may have a larger audience of folks who doesn’t spend time thinking about the damning effects of extreme wealth inequality, however.

“The Land of Steady Habits” (2018) is a film full of privileged people dealing with privileged problems, which tells a series of tragic stories while never seeming to tell the complete story. Despite the premise and script, however, the cast is enjoyable and the locations are well chosen. Fans of family dramas may want to check out this film, but be warned that you may not be able to identify with the characters or the situations, at least not in the way this film does.

Rotten Tomatoes: 86%

Metacritic: 72

One Movie Punch: 6.0

“The Land of Steady Habits” (2018) is rated TV-MA and is currently streaming on Netflix and in select theaters.

Hi everyone!

Welcome back to Film Buff Fridays! One benefit of the resurgence in John Carpenter films is that a number of his classics are made available to streaming audiences. This will be the first of many John Carpenter films to be reviewed, but for other films from the time period, check out “The Adventures of Buckaroo Banzai Across the 8thDimension” (Episode #194), “Killer Klowns from Outer Space” (Episode #201), and “Surf Nazis Must Die” (Episode #222). And if you have any John Carpenter favorites, let me know at onemoviepunch.com. 

And now...

Today’s movie is “Escape From New York” (1981), the science fiction cult classic directed by John Carpenter and written for the screen in collaboration with Nick Castle, Jr. The film follows Snake Plissken (Kurt Russell), a convicted felon given a mission to extract the President (Donald Pleasence) after crash landing in New York City, now a maximum-security prison confined to Manhattan Island. And everyone better get out of his way.

Spoilers ahead. 

I ran a poll last week asking folks to rate which of four characteristics made you sure that Snake Plissken was a badass: his eye patch, his camo pants, his leather jacket, or his cigarettes. Every single vote (okay, all nine of them) was for the eye patch, which means I think we could put that question to bed. The truth is, it’s all four items that make Snake Plissken a badass, not to mention the fact that we all heard he was dead. I’m kind of rambling here, but that’s kind of the story we get from Carpenter and Castle, a story that starts with a crazy premise, with comic book characters, and kind of fills in the story along the way. The film itself really has nothing to do with rescuing the President other than as a plot device. No, this film is all about Snake, and that’s what makes it great.

What also makes it great is how well Carpenter can create a universe with only a few key shots, and a lot of garbage in the streets. Every character, from Isaac Hayes as the Duke of New York to Harry Dean Stanton as Brain to the incredible Adrienne Barbeau as Maggie, but who I know from her work on “Maude”, a guilty pleasure role in “Cannibal Women in the Avocado Jungle of Death”, and the voice of Catwoman in “Batman: The Animated Series” and a few others afterwards. Oh yeah, and Ernest Borgnine as Cabbie. Each character is loud enough in their own right to hold their own, even while helping to define Snake’s story as well. 

My only regret about this film, aside from some of the subtler sexism and racism, is that aside from the sequel “Escape From LA”, and a few comic book series, that they never worked to develop this intellectual property. I know Carpenter got extremely busy with the Halloween franchise, not to mention a series of amazing films, but fifteen years is a long time to wait for more on such a great idea. You could create so many shows based on the premise now, and reboot this entire franchise if desired. Just as long as Carpenter gets to do all the music, because it is such a guilty pleasure of mine. We’re ready for it.

“Escape From New York” (1981) is a cult classic from John Carpenter, one of the more endearing films during a particular great run of film credits in the early 1980s. While it has its limitations, it also served as an influence to many characters on the screen, in comic books, and within video games. Fans of John Carpenter have likely already seen this film, but if you’re just getting into him, this is one not to be missed. And if it’s been a while since you’ve last seen it, don’t miss your chance to see it again while it’s available for streaming.

Rotten Tomatoes: 86% (FRESH)

Metacritic: 76

One Movie Punch: 7.8/10

“Escape From New York” (1981) is rated R and is currently streaming on Hulu.

Hi everyone!

Welcome back to Documentary Thursdays! I’m staying on the African continent after last week’s “City of Joy” (Episode #256). For other films about goodness in the midst of chaos, check out “Last Men in Aleppo” (Episode #032) about the effects of war on Syria, and “Human Flow” (Episode #074) and “Fire at Sea” (Episode #151) about the ongoing refugee crisis. Also, today’s film was produced in part by Shriver Media, headed up by Maria Shriver. For another documentary they produced from earlier this year, check out “Take Your Pills” (Episode #081). And if you have any suggestions, let me know at onemoviepunch.com.

And now...

Today’s movie is “The Heart of Nuba” (2016), the documentary directed by Kenneth A. Carlson. The documentary follows the efforts of Dr. Tom Catena in the Nuba Mountains in southern Sudan, working tirelessly to heal those affected by bombings from the current government, and has come to care for the Nuba people.

Spoilers ahead. 

And a serious trigger warning for folks considering watching this movie. While last week’s documentary talked about some graphic stories of rape and abuse, this documentary shows some very graphic footage of multiple war injuries and difficult operations. It is not for the faint of heart, so if those images bother you, stay well away from this documentary, or be prepared to look away. This review should be okay, however.

I don’t exactly know how to summarize the situation in the Sudan for folks who aren’t familiar with the region. It’s been a complex mesh of no less than three civil wars, the horrific and ongoing war in and around Darfur, and quite a few autonomous and aligned groups claiming jurisdiction over various areas. Not really something for a three to five minute review, but it is critical to understanding the story of Dr. Tom Catena and his ongoing work with the Nuba people in South Sudan. So, for the sake of brevity, the Nuba people have lived in peace for years, and Omar Al-Bashir, the current president of Sudan, has been bombing the villages and infrastructure in their region, along with denying access for medical care and supplies. Which makes Dr. Tom Catena’s efforts at Mother of Mercy hospital to treat those affected by these bombings, not to mention treating wholly preventable diseases, all the more difficult. 

Dr. Tom Catena is the kind of Catholic practitioner I have always admired, those who don’t simply pray for change or to ease suffering, but actively choose to get involved with the works so essential to Catholic teaching. I have nothing but admiration for the doctor and his works, especially in that part of the world. “The Heart of Nuba” is, ostensibly, Dr. Catena’s story, from his early years, to his initial education, then sudden transfer into medicine, and ultimately finding his purpose for the last few decades. It is an inspiring story, and an example of the kind of reparations necessary for years of colonial wealth extraction and occupation causing many of the ongoing conflicts in the region.

However, this film also has a lot of problems that ultimately take away from the better parts of Dr. Catena’s story. The occasional detours to explain the politics and culture can be jarring, and seemingly unconnected to the overall narrative. The film also has some incredibly graphic video of war injuries, difficult surgeries, and dead bodies, so much that it begins to feel like disaster porn, almost exploitative. I also found the fever dream sequence to be out of step with the rest of the documentary, not really well edited, and felt like a pet project, especially when juxtaposed against a horrific trauma surgery, or the very real fear of a bombing in progress. I do believe these stories need to get out, because they are war crimes happening in real-time, but I don’t like those stories being used as part of a biographical documentary about Dr. Catena, at least not in this way.

“The Heart of Nuba” (2016) is a difficult and graphic documentary about one man’s efforts to treat the residents of the Nuba Mountains in southern Sudan. While there is much to admire about Dr. Catena’s story, the film struggles with storytelling and perhaps too many graphic scenes. Fans of documentaries about hope in hopeless places should definitely check out this film, but be ready for perhaps the most graphic scenes I have seen all year.

Rotten Tomatoes: 100%

Metacritic: 66

One Movie Punch: 6.4/10

“The Heart of Nuba” (2016) is not rated and is currently streaming on Hulu.

Hi everyone!

Welcome back to Worldwide Wednesday! We’ve had a lot of international films in the last couple of weeks, too many for just one day. And it’s another live-action adaptation of a popular manga/anime franchise. For others in that vein, check out “FullMetal Alchemist” (Episode #058) and “Gintama” (Episode #206). And for a feature length anime film, check out “Fist of the North Star” (Episode #243), which has a final fight very similar to today’s film. If you have any suggestions, let me know at onemoviepunch.com.

And now...

Today’s movie is “Bleach” (2018), the live-action adaptation of the popular manga and animated series, directed by Shinsuke Sato and written for the screen by Daisuke Habara, based on the manga developed by Tite Kubo. The film follows Ichigo Kurosaki (Sôta Fukushi), a high school student who struggles with seeing ghosts since he was young. He suddenly gains immense power after a run-in with Rukia Kuchiki (Hana Sugisaki), who trains him as a Soul Reaper. Now Ichigo must understand his newfound power while discovering truths about his history and his future.

Spoilers ahead.

When I was on vacation last month in San Diego, my family and I stayed a couple of nights at an extended-stay hotel. I went to the lobby to pick up some extra towels and the guy behind the counter complimented me on my Attack on Titan t-shirt, and we started chatting about anime in general. Specifically, our shared disappointment in the live-action adaptations of popular franchises, which have each seemed to have their own set of problems. “FullMetal Alchemist” was too much story for a single live-action adaptation. “Gintama” felt like it was trying too hard to be a live-action anime. The most recent “Death Note” was pretty good, but lacked the extensive game-theory at work in the series. I even really loved the visuals for “Ghost in the Shell” even if I also understand the very real controversy surrounding the casting decision. The guy behind counter said, “A good rule of thumb is to avoid the live-action adaptations. They never work out.” And so let me say that I was so glad to have this proven wrong by today’s film.

“Bleach” seems to have found the right mix of elements to successfully translate the anime to a live-action adaptation, in the same way that the manga was translated to the anime format. Daisuke Habara crafts a great script that takes us as far as the first major story arc, successfully introducing the characters, building their deceptively complex relationships, and run through the business of multiple fights and trials. Just enough story and character development to fill the 108 minute running time. Shinsuke Sato then creates the world around the story, working with great costumes, capturing key moments, and using an excellent introductory storytelling technique to transfer a lot of information, very much like some anime shows. All the characters, despite their fantastic circumstances, felt very real and grounded within the environment. And leaving plenty of other stories left for live-action adaptations. 

Now, not every part of the story has the same punch. Most notably, the final battle between Ichigo and Byakuya, while formative for both this story and future tales, takes FOREVER, almost nauseatingly slow. It was very reminiscent of the final battle in “Fist of the North Star” and ending with the same kind of socio-political reasoning. Or perhaps a better metaphor would be the Black Knight in “Monty Python and the Holy Grail”. However, the rest of the movie is really engaging, and the special effects bring a sort of realism I have yet to see in other live-action adaptations. Seriously, the effects behind the Grand Fisher Hollow, a crazy monster that has to be vanquished, are insanely good. The fight choreography was also very well done, faithful to the anime and manga style, and not looking too fake. Sure, it defies all sorts of physics, but so do the existence of soul reapers.

“Bleach” (2018) is a well-made and well-acted film that finds the right combination of elements for an engaging live-action anime and manga adaptation. With so many live-action adaptations that have had troubles, “Bleach” not only avoids those pitfalls, but in many ways, sets a new standard for live-action anime adaptations. Fans of “Bleach”, or fans of anime in general, should definitely check out this film, and hopefully we’ll see more stories told in the same universe.

Rotten Tomatoes: NR

Metacritic: NR

One Movie Punch: 7.8/10

“Bleach” (2018) is rated TV-14 and is currently streaming on Netflix and in select theaters.

Hi everyone!

Welcome back to Takeover Tuesday! We’re back with our third installment, and then we’re going to take a week off while we retool the process. I can’t thank our guest reviewers enough for their participation, especially today’s guest on the Movie Geek & Proud Podcast, starring Rob, his stalker Shawn, and while don’t mention him in this review, Shawn from two hours in the future. It’s kind of difficult to follow, but if you want the whole story, start by following them on Twitter @MGnPPodcast, and then subscribe to their show on Podbean, Soundcloud, and iTunes. In addition to meeting Shawn from two hours in the future, you’ll also enjoy a nice selection of in-depth reviews and conversation about films both from Rob’s personal collection and films currently available in the theaters and on streaming services. 

And if you want to get involved with Takeover Tuesday, and write and craft your own review, head on over to onemoviepunch.com/takeover-tuesday, read up on the process and format, and reach out to us either using the contact form or on social media. Details in the show notes.

Here’s a quick promo.

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Hi there!

I’m Rob and here with my stalker friend Shawn.

Today’s movie is “Addams Family Values”(1993), directed by Barry Sonnenfeld and written by Paul Rudnick, based on the characters created by Charles Addams. With the arrival of a new baby and a murderous nanny, The Addams Family are tested to keep their family together in this comedic sequel that truly says, “Blood is thicker than water”.

Spoilers ahead.

“Addams Family Values” (1993) is a sequel that brings the entire family back that captures the magic and appeal from the first one as well as on the TV show. Each actor and actress channels the essence of their characters one more time with this commitment to make us laugh and remind us that this kooky family still has a story to tell.

Gomez (Raul Julia) (Awwww!) and Morticia (Angelica Houston) (Ooooo!) as the head of the family do a superb job in leading the sequel playing the lovable and infatuated couple, who after having three kids still manage to be in so much love with each other and looking good while doing so. Newcomer Joan Cusack playing Debbie Jellinsky as the deadly serial killer nanny is one of the best fictional characters ever created generating a gay following that inspired Halloween costumes and drag impersonations. Cusack brings the fun and drives the plot in the direction the film takes.

This follow up amps up the comedy with a lot more slapstick sequences that expands more away from Addams Manor and poking fun at the cookie cutter image of “Perfect America”. Pulling back the comedic curtains to this movie you will see there is a message behind this: Family is important and through tough times, they will always come through for you. This film also says that it’s okay to be odd, weird, strange, and even a little dark. The film speaks for the unique individuals and says you are special too.

“Addams Family Values” (1993) is a hilarious sequel with your favorite family and great new added characters. We recommend this film to all ages from fans of the tv show and original movie to even today’s audiences who enjoys 90s humor in all its wonderfulness.

Rotten Tomatoes: 78% (CERTIFIED)

Metacritic: 62

One Movie Punch: 8.5 and 9.0 / 10

“Addams Family Values” (1993) is currently streaming on Starz.

We are Movie Geek & Proud. Embrace the Geek and be PROUD of your taste in film.

Hi everyone!

Welcome back to Matinee Mondays! I had a lot of trouble picking today’s film, as the movies available to me weren’t the best. I should probably have gone back to check out some films I missed. But I have a history with this franchise, and a surprising amount to say. If you’re also a fan of science fiction and horror films, check out “Upgrade” (Episode #155), “Killer Klowns from Outer Space” (Episode #201), and last week’s guest review for “Event Horizon” (Episode #254). And if you have any suggestions, let me know at onemoviepunch.com. 

And now... 

Today’s movie is “The Predator” (2018), the franchise reboot film directed by Shane Black and written for the screen in collaboration with Fred Dekker. After a chance encounter in Mexico, special forces super badass Quinn McKenna (Boyd Holbrook) finds himself with evidence of the Predator species. After attempting to mail them to his post office box, they end up with his son, Rory McKenna (Jacob Tremblay), who activates a beacon that draws another Predator to Earth, now upgraded with genetically engineered abilities from other species. Now it’s up to Quinn McKenna and a band of psychologically unstable ex-soldiers to save the world. Or something.

Spoilers ahead.

I love this franchise. I’ll say that right up front. I loved the first film as an adolescent, for all the wrong reasons. I was intrigued by the second film and its look at the future. I even enjoyed both crossover films. Now, I still haven’t seen “Predators” (2010), and I swear I’m going to get to it, but you know what I loved more than the films? The comic books.

Dark Horse Comics acquired the rights to tell all sorts of wonderful stories that really flesh out the Predator franchise. After I saw the first two films, I tried to find all the Predator comics I could, because I loved the universe, and most especially, the crossovers with the Aliens franchise, another favorite of mine. My favorite crossovers were with Batman, but that’s the kind of playground argument I was making after the first film. I was totally Team Batman. And after reading most of the comic books, I have to say that this film feels the most like a comic book, and that’s a strength.

If you look at the genres listed for this film, one genre you don’t see is comedy. I actually wish it was billed more this way, but I also think the film deals fast and loose with mental illness, especially with the inclusion of Tremblay playing a child with Asperger’s Syndrome, and as a major plot point, has a brain sought after by the Predators, specifically because it is the next step in human evolution. That’s a lot to put on a syndrome that is still being understood by even the best researchers in the field. And let’s not forget the band of ex-soldiers who suffer from Tourette syndrome, suicidal thoughts, manic religiosity, and the list goes on. I don’t know if we’re at the point of inclusion where comedy about mental illness like this is okay, but I also don’t want to deny the opportunity for realistic representation. I do think the humor was all throwback to late 1980s / early 1990s humor, but with some wry twists to callout some of the worst of it, and perhaps a little too much guilty pleasure with the rest of it.

Also from the late 1980s / early 1990s? All the references to the first film, which as far as reboots go, even those in continuity, is appreciated. It poked fun at itself, almost going out of its way to do it. The same way that comic books do, jamming a lot of direct dialogue into a well painted moment, and getting away with a lot more graphic detail. If I went into this expecting an elimination horror film, or a repeat of “AvP: Requiem”, then I would be pissed. But after enough reviews, I went in with a comic book lens, and ended up enjoying it. And I think if it had been marketed better, more in a comic book direction, it could have done better with the critics. I also think had Black not made such a terrible casting decision that caused so much scandal, the film wouldn’t have been as tainted as it has been. And for the record, I’m glad Olivia Munn blew the whistle. Google it if you want more details. Sometimes bad press really is bad press, but this wasn’t Olivia Munn’s fault at all.

“The Predator” (2018) is a more comedic, comic book style reboot of the franchise, and with the pre-credits scene, possibly the first in a series of films. Taking cues from other franchise reboots, the film takes heavy influence from the first film, but also treads dangerous waters with mental illness and comedy. Fans of the franchise should definitely see the film, but be ready for a comic book film, and a more comedic one, to boot.

Rotten Tomatoes: 34%

Metacritic: 49

One Movie Punch: 6.8/10

“The Predator” (2018) is rated R and is currently playing in theaters.

Hi everyone!

Welcome to another week worth of movie reviews. No new sponsors this week, which means I can keep going with all the Netflix Original films being dropped this month. Today’s film comes from the Italian film scene, and concerns a person dying in police detention. For other films from the Italian film scene, check out “Forgive Us Our Debts” (Episode #129), “Fire at Sea” (Episode #151), and “A Ciambra” (Episode #241). And if you have any suggestions, let me know at onemoviepunch.com.

And now...

Today’s movie is “On My Skin” (2018), the Netflix Original biopic directed by Alessio Cremonini and written for the screen in collaboration with Lisa Nur Sultan. The film follows the last seven days of Stefano Cucchi (Alessandro Borghi), who was arrested on a minor charge and ended up dying in detention.

Spoilers ahead.

Well, I guess not really any spoilers if you know anything about the case of Stefano Cucchi. And if you don’t know about this specific case, you should know about the near impunity shown by the Italian police with regards to their tactics and methods. The Italian police recently had to pay out compensation for brutal behavior against G8 protestors in 2001. In 2016, they were accused of using torture and abuse against migrants in detention. And those are just the headlines, not the routine physical abuse against prisoners in Italy, during each step of their judicial process, resulting in startling statistics of incarcerated deaths.

Today’s movie gives us a look at what would qualify as routine abuse using the case of Stefano Cucchi, which should sound quite familiar to anyone living in the United States. The Italian police decide to harass Stefano and a friend in a car, where after an unwarranted search, discovers hash and cocaine. Two off-duty police officers come by, and they take Stefano into custody, proceeding to give him a merciless beating away from the cameras, and then booking him overnight. Every time he calls for help, the police stand menacingly in the background when they ask what happened, from his arraignment to his first prison to the hospital to the prison hospital. And then he dies, despite every opportunity to save him. It should shock anyone who cares about the role of police in society, but I know folks that still blame the criminal, and in Stefano’s case I use that term very loosely.

Alessio Cremonini creates this one-way journey of suffering by re-creating the circumstances of Stefano’s last seven days, with a strong performance by Alessandro Borghi. It helps us understand what we mean by police brutality, not just in the moment, but the lingering effects. Accompanying Stefano during these final days shows it’s not just the brutality, but the tone-deaf nature of the Italian judiciary, the utter loneliness of medical imprisonment, and the general legalism and “not my problem” bureaucratic mindset that occurs from virtually every employee. It is a systemic problem, not just a problem with a few bad apples. The film can be difficult to watch, and it lingers a bit too much on the suffering, but those are shallow criticisms for an otherwise powerful and insightful film. We might want to look away, but that’s part of the problem as well.

“On My Skin” (2018) is a powerful, if depressing look at both the effects of brutality by the Italian police and the astonishing failures of the judicial bureaucracy. Alessandro Borghi gives a wonderful, if heartbreaking performance of Stefano Cucchi. Viewers who don’t mind a little suffering, and want a different perspective on police brutality, should definitely check out this film.

Rotten Tomatoes: NR

Metacritic: NR

One Movie Punch: 8.4/10

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

Hi everyone!

Welcome back to Streaming Saturday! The films keep dropping on Netflix and I keep reviewing them. That’s how this year is working, and that might be how next year works as well. This time we have another historical drama set during the Nazi occupation, much like “The Guernsey Literary and Potato Peel Pie Society” (Episode #223), and a much more fantastic film, “Captain America: The First Avenger” (Episode #029). If you have any favorite World War II dramas, let me know at onemoviepunch.com.

And now...

Today’s movie is “The Resistance Banker” (2018), the Netflix Original historical drama directed by Joram Lürsen and written for the screen by Marieke van der Pol, Thomas van der Ree, Matthijs Bockting, Michel Leendertse, Joost Reijmers, and Pieter van den Berg, the last four writing as Winchester McFly. The film follows banker brothers Walraven Van Hall (Barry Atsma) and Grijs Van Hall (Jacob Derwig), Dutch bankers in Nazi-occupied Netherlands who decide to begin secretly funding the Dutch Resistance.

Spoilers ahead.

Also, a sincere apology for butchering the Dutch names in this episode, especially with this sinus infection and my lack of practice.

With all the growing fascism in the world today from far-right nationalists, it’s important that we look back through history to understand how fascist societies come into existence, and the structures that maintain them. The most obvious, and recent, example is, of course, Nazi Germany, which has had no shortage of analysis completed on it, and no shortage of films made about it, both fictional and, like today’s, based on very true stories. However, we also generally join these stories after the Nazis have already come to power and established themselves as an occupying force, which makes them easy to hate, but harder to understand. And by no means do I mean accept, because in case anyone is wondering at this point in the review, I hate Nazis and their modern counterparts, and I am definitely an anti-fascist, which should be the default mode for everyone. But if we’re going to learn the lessons of history, we need to study all of it, not just the parts that make for good movies or good stories, and that’s where I feel today’s movie falls short.

“The Resistance Banker” joins the Van Hall brothers right after the Nazis have begun their occupation and the subsequent purges. Just before the occupation, however, the Dutch had proclaimed themselves neutral, then mobilized too late to stop the Germans before they bombed Rotterdam, bringing about surrender, and the government fleeing into exile in London. We’re to believe that the Van Hall brothers were only mildly concerned about the occupation until, as one might expect, Wally learns about the purges of Jewish residents, with a particularly gruesome train scene showing families being sent off to a camp, and now the bankers decide to fight back the only way they know how. Not by massive guerilla resistance, or by subverting the machinery of empire. No, they are going to fight back by manipulating the banking industry to reserve and pay out money to fund the resistance, and showing the original organizers against the occupation, the Communist Party of the Netherlands, how it’s done. Add to that making sure we know the Nazis hated “capitalist democracy”, and suddenly we’re supposed to be cheering on bankers. 

I actually think this film is hamstrung in two ways. First, most viewers are probably de-sensitized to the very real evils of Nazism, from the plethora of films inspired by the time, and the way that many in the United States and other European countries laugh off the far-right nationalists. There are certain elements that one feels must go into every Nazi-related film, and there’s nothing done in this film that hasn’t been covered before, and better I might add. The second way it’s hamstrung, though, is that it champions collaborators as resistance fighters, the same way we do in the United States right now for those in positions of power doing little more than vocally opposing this monstrous right-wing government putting children into internment camps. What exactly is the message this film is supposed to teach us about the modern day? That the bankers will save us? That we should only fight back once we can do it in secret? That capitalism is our only defense against far-right nationalists? I don’t know, and that’s why this film just feels so mediocre to me. 

“The Resistance Banker” (2018) is an excessively mediocre Nazi Occupation film that has a tone-deaf message regarding today’s far-right nationalists seizing power in multiple countries. While it does tell an interesting story of two bankers who helped fund the resistance, it doesn’t tell the story of the actual resisters risking their lives to fight the occupation, and leaving us to believe the real heroes are the bankers, not the folks organizing in the trenches to take back the country. Fans of World War II films may enjoy some aspects of this film, but those looking for inspiration for today’s battles against far-right nationalism will find very little worthwhile, unless you think today’s megabanks will somehow be our saviors... after the reins of power have already been transferred, of course.

Rotten Tomatoes: NR

Metacritic: NR

One Movie Punch: 6.6/10

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

Hi everyone!

Welcome back to Film Buff Fridays! Today’s film is probably one of the most impactful films I’ve seen in my lifetime, a film that helped me to understand my high school years a little better. It’s one of my favorite films from John Hughes as well, though not my favorite film. If you like coming of age films like this, but looking for a more modern take, check out “Dude” (Episode #111), “Candy Jar” (Episode #118), “The Kissing Booth” (Episode #132), and “Alex Strangelove” (Episode #160). And if you have any John Hughes favorites, let me know at onemoviepunch.com or reach out to me on social media.

And now...

Today’s movie is “The Breakfast Club” (1985), the high school movie classic written and directed by John Hughes. The film follows five students at Shermer High School who have managed to land themselves in detention on a Saturday. Each student is expected to write an essay about who they are, but once the administrator leaves them alone, they begin to interact with one another, forming a temporary bond to pass the day. 

Spoilers ahead.

I grew up in the 1980s and 1990s in a Chicago exurb, which are the communities past the suburbs that would be swallowed up in the expanding suburbanization. During that time, before the Internet could bring culture to the world in an instant, most regions of the country got their culture from two sources: television and film. It created a weird lag, sometimes more than a decade, and given the lack of content compared to today, some television shows and films would literally define a generation of white suburbanites. “The Breakfast Club” is one of those films, along with most of the John Hughes catalog, and while the stereotypes were a decade older by the time I got to high school, they weren’t exactly all that far off, thanks to the influence of older siblings having their younger siblings view the film as a sort of rite of passage. 

Of course, folks only really remembered the particularly foul language and crude humor that made it incredibly quotable, and its own kind of meme back in the day. Hell, I still quote Bender (Judd Nelson) on a weekly basis, but only the wry stuff, not the obviously sexist dialogue. I mostly watched it for the laughs as an adolescent, but I have come to appreciate the film for its honesty and forthrightness, somehow both defining and lambasting the clique-based behavior of monochromatic suburban high schools, and with some pretty challenging themes during the third act confession scenes, like Brian (Anthony Michael Hall) bringing a gun to school, Bender getting abused in the home, Andrew (Emilio Estevez) living his father’s dreams, Claire (Molly Ringwald) living in an affluent, yet empty home, and most of all to me, Allison (Ally Sheedy) as not wanting to become their parents, despite the social inertia to the contrary. The characters not only understand their differences, but also come to understand their similarities.

John Hughes was a natural talent as both a writer and a director, even if I have a lot of concerns with some thematic content in many of his films. Molly Ringwald recently reflected about the obvious sexism and homophobia in “The Breakfast Club”, but also the obvious racism in “Sixteen Candles”. It was privilege, plain and simple, that not only allowed Hollywood to sell this kind of content, but also to shield it from meaningful criticism for so long. It doesn’t take away from Hughes’ ability to frame a shot or capture a period in time as well as he does, but no one who wishes to praise this film as much as I want to can do so without acknowledging these serious flaws. I would almost like to see a rebooted “Hughesverse” that corrects some of these flaws in the writing, or at least treats the contextual racism and sexism of the time in a more respectful manner, instead of the guilty pleasure it so often ends up being, especially to fans who feel the need to defend it, or explain it away. Imagine a limited series put together kind of like “Castle Rock” for Shermer, IL, or maybe even a series of one-off films for each of the five characters culminating into a rebooted version of “The Breakfast Club”. Lots of great work that could build off the great content contained in the Hughesverse, one that takes the very best of the talent, and blunts the very worst of the thematic material.

“The Breakfast Club” (1985) is easily one of the most influential films I’ve ever seen. It was personally influential, for better and worse, in my early years, but also influential towards the coming of age film genre as a whole. The film also contains a lot of latent sexism and homophobia, which might be accurate for the time period, but is also a problem for later viewings. Fans of coming of age films who haven’t seen this film should definitely do so, if only to see its immense influence. Everyone else should approach the film keeping its historical context firmly in mind. It’s a great film, but it has definite flaws by today’s much more evolved social norms.

Rotten Tomatoes: 88% (CERTIFIED)

Metacritic: 62

One Movie Punch: 8.8/10

“The Breakfast Club” (1985) is rated R and is currently streaming on Netflix.