One Movie Punch

Hi everyone!

Welcome back to Documentary Thursdays! Not gonna lie, today’s documentary is going to be tough, covering one of the most violent regions of the world, but from the perspective of one community who has said, “ENOUGH!”. For related documentaries, check out “Last Men in Aleppo” (Episode #032) about the effect of war on Syria, “Human Flow” (Episode #074) and “Fire at Sea” (Episode #151) about the ongoing refugee crisis, and “Sara’s Notebook” (Episode #150) for a fictional story set near the Congo in a similar situation. And if you have any suggestions or comments, let me know at onemoviepunch.com.

And now...

Today’s movie is “City of Joy” (2016), the Netflix Original Documentary from Madeleine Gavin. The documentary follows the history of the City of Joy, a safe haven founded in the Eastern Congo for women that have been victims of rape and abuse from the ongoing violence in the region. The women learn to heal and learn the skills needed to help themselves and others within the region.

And a very serious trigger warning. I’ve been following the situation in the Congo for years via multiple interviews with Eve Ensler on Democracy Now among other outlets regarding the absolute horror of the violence in the Congo. This film is going to cover some graphic stories of rape and abuse, more graphic than most folks are probably used to, and yes, more graphic than you think as well. However, as Eve Ensler says, we must keep sharing these stories until the violence stops. But if that’s going to be too much for you, and absolutely no judgment if it is, then take a hard pass on this film and we’ll see you tomorrow.

Spoilers ahead.

Gender violence is a blight on our species, a culturally-induced horror perpetuated by men for almost all of recorded history. I make no apologies for my fellow men engaged in any form of gender violence, from the smallest microaggressions to the worst stories of domestic and sexual abuse. Every act of violence is an act of power by those men, used in such a way to show dominance or control, and each one is abhorrent. We often individualize these traumas, treating them as these one-off phenomena by bad actors or bad practices. But in the Congo, gender violence is being used as a weapon of war, with militias literally raping and pillaging towns, and driving women out of communities and into urban areas for a semblance of safety. It is the absolute worst of humanity engaged in these vicious acts, and they are funded by folks like you and me, indirectly when we purchase goods that rely on the minerals being extracted in the DRC, or directly, depending on if you own stocks in the multi-national corporations funding the mining. What should be common wealth going to developing the DRC has instead turned it into a militia-controlled war zone. You would think there’s no hope to be found. And you would be wrong.

I cried so much watching this documentary, both tears of sorrow and tears of joy, and often in rapid succession. “City of Joy” covers the formation and mission of the safe haven that has taken in victims of gender violence, from Dr. Denis Mukwege’s original hospital to the founding of the City of Joy with the help of Christine Schuler-Deschryver and Eve Ensler. And yes, that Eve Ensler, the compiler and presenter of “The Vagina Monologues”, which gets a necessary mention in this film, and who has her own dark past with sexual abuse. She has also worked tirelessly since 2007 to earn the trust of their community on this very project. The three of them have worked together and with the women who have passed through their program, helping women who have seen the worse of human cruelty find their courage and their voice again. Every year, as we find out at the end, 180 women graduate from the City of Joy, who head back to their communities to start empowering them, to fight against the militias, and to continue educating everyone.

But we don’t get here without some extremely disturbing stories, particularly the story of Jane Mukunilwa, whose own painful story will affect anyone, but also whose amazing story of revitalization and empowerment exemplifies hope in even the worst situations. These women, alone, would have had every reason to give up, but together, and empowered, they are standing against the norming of sexual violence, and charting a new path. This is how rebuilding happens in war-torn areas, and this is the kind of bottom-up, grassroots collectivism that will provide the foundation on which new societies will be built. I wasn’t sure exactly what the future of the DRC would look like after the end of this film, but I know it will be something better than we could ever imagine, and it will come to fruition from a wave of empowered African women who will literally transform society.

“City of Joy” (2016) is a story of hope coming from horror, a demonstration of both the worst and the best within humanity. While dealing with gender violence and sexual assault, the safe haven not only heals their physical wounds, but also their mental and spiritual wounds, truly working to make these women whole. Fans of empowering documentaries, or folks who want to know how communities can organize against fear, should definitely check out this film, but please heed all the necessary trigger warnings, because it gets bad. But it also gets better.

Rotten Tomatoes: NR

Metacritic: NR

One Movie Punch: 9.4/10

“City of Joy” (2016) is rated TV-MA and is currently streaming on Netflix and playing in select theaters.

Also, if want to give directly to the City of Joy, there are multiple ways you can help, even from your desk or phone. Head over to cityofjoycongo.org, click on “How You Can Help”, and get involved. Together we can end gender violence.

Hi everyone!

Welcome back to Worldwide Wednesday! We’re checking out a Netflix Original that is a collaboration between Belgium, the United Kingdom, and the United States today, a biopic about a famous, or perhaps infamous, Parisian stage actress. For other films that were developed in collaboration with Belgium, check out “Valerian and the City of a Thousand Planets” (Episode #082), “I Kill Giants” (Episode #177) which is also an XYZ Films presentation, “Nocturama” (Episode #184), and “The Insult” (Episode #196). And for a film about other forbidden theaters, check out “The Handmaiden” (Episode #122). And if you have any favorites from the Belgian film scene, let me know at onemoviepunch.com.

And now...

Today’s movie is “The Most Assassinated Woman in the World” (2018), the Netflix Original biopic directed by Franck Ribière and written for the screen in collaboration with Vérane Frédiani and David Murdoch, based on a story idea from David Murdoch and James Charkow. The film follows Paula Maxa (Anna Mouglalis), the Parisian actress who was killed on stage multiple times in gruesome fashion at the infamous Grand Guignol Theater. However, when a series of murders surrounding the theater begin to happen, an investigation is launched into Paula’s life and those around her.

Spoilers ahead.

Also, a trigger warning. This film deals with stalking, sexual assault, and some pretty graphic violence. I don’t reference those items too much in this review, but if any of those topics bother you, then skip today’s episode.

I always hate it when people ask questions like, “Which did you like better, the book or the movie?” or “Did you like the stage version or the screen version better?”. I find comparing one medium to another to be a fruitless task, as each medium has its strengths and weaknesses. Books allow the reader to use more of their imagination. Movies have the ability to perfect each scene and use multiple sets. The stage brings a realness and emotion that you simply cannot get on the screen. In fact, perhaps one of the biggest rivalries for the last 100 or so years has been stage versus screen, so when a film is made about the stage, or a play is made about the screen, it always invites these comparisons. That is, unless, you set up one as a tribute to the other, and suddenly we’re in interesting territory.

“The Most Assassinated Woman in the World” follows Paula Maxa, the stage name of Marie-Thérèse Beau. It also follows the controversy surrounding the Grand-Guignol Theater, known for its dark and disturbing forms of entertainment. This theater, and others like it, were the inspiration for the “Théâtre des Vampires” in “Interview with a Vampire”, and other theaters catering to similar themes. Paula is an actual subject, but this script is not a faithful adaptation of her life. Rather, the script plays fast and loose with her life, blending it with a series of murders, and tying it back to her earlier trauma via mental instability she suffers. It’s not just a biopic, but a mystery, and one that is set very well in 1930s Paris, with the stylized notions of film noir. It’s both intentionally artistic and gripping as a story. For the most part.

One area I had some trouble with was the musical score. I don’t consider myself a stickler for period-specific instruments, but I found the use of electric guitar to pull me out of the moment, which is a real shame given the nice jazz and downtempo feel to the rest of the score, both during the stage shows and for the rest of the film. I also thought some of the transitions felt rushed, especially putting together the potential murder, and the ending, while a nice twist that helps things fall in line with Maxa’s actual story, is also somewhat confusing. It’s a clever adaptation, maybe too clever, but it’s also a great one, and well worth the time investment.

“The Most Assassinated Woman in the World” (2018) is a mostly fictional biopic about Paula Maxa, star of the infamous Grand-Guignol Theater. The film explores the conflict between stage and screen, but also the fascination with the macabre and questioning the limits of expression in art as a whole. Fans of noir films, or films from the time period, or films about the stage should definitely check out this film, but be aware of all the obvious trigger warnings.

Rotten Tomatoes: NR

Metacritic: NR

One Movie Punch: 8.2/10

“The Most Assassinated Woman in the World” (2018) is rated TV-MA and is currently streaming on Netflix and in select theaters.

Hi everyone!

We’re back with another Takeover Tuesday, with a long-time friend from back in the days of e-mail listservs and internet message boards, which reminds me: Fluke is so suck. Fuck Fluke. Sorry, inside joke. Anyway, today’s review will be brought to you by Shane Hyde, who you can find on Twitter @lordkhadow, that’s L-O-R-D-K-H-A-D-O-W, and probably because Captain Bladdow and other onomatopoeia-laden handles were taken. He mostly lurks, but maybe you can pull him further out of his Twitter shell.

Take it away, Shane!

Kia Ora, I'm Shane Hyde and I'm your reviewer for Takeover Tuesday. Originally from Aotearoa, I'm an immigrant to Australia, living up large in The Lucky Country. 

Today’s movie is “Event Horizon”, the science fiction horror thriller directed by Paul W.S. Andersen and written by Philip Eisner. Event Horizon follows the rescue and recovery mission to Neptune where the titular ship has reappeared after being lost for seven years. And things go wrong. Horribly, horribly wrong.

Spoilers ahead.

Event Horizon follows William Weir, played by Sam Neill as he joins the crew of the Lewis and Clarke, a rescue ship captained by Miller, played to stoic adequacy by a pre-Matrix Lawrence Fishbourne. The largely disposable crew of the Lewis and Clarke include Jason Isaacs as D.J and Sean Pertwee as Smith. The rest of the crew all first names as befits their rather uninspired personalities as well as their ultimate unimaginative deaths.

I have learned that my 1997 memory of the film is greater than the movie now. Where before an amazing series of deaths as the influence of the now-living ship's immune system attacks the invaders, these are now a tired series of tropes each one by-the-numbers and trite. The only true sense of horror comes from DJ's offscreen death, he’s presented hung from hooks, organs spilled onto a surgical table. At least in Hellraiser, which was a clear influence, the director had the guts to show this happen. Every other death is predictable and yawn-inducing. Is Event Horizon better for the deaths of the crew of the Lewis and Clark? We don't care. The visions of Hell's bloody orgies are a much more jarring impact than the loss of the crew.

This movie begs for a remake or a remaster. Even while some of the effects are dated, the model shots of the exterior of the ship convey the menace of a death-cathedral which I found intensely pleasing.I could go on and on about the official soundtrack release that came with the movie, but it's sadly missing throughout the film much to its detriment.The Prodigy's Funky Shit is a jarring outro. I thought this in 1997 and I still think it now.But Event Horizon's great misstep is the script. It’s bad, it’s tired, IT’S trite, and it makes no goddamn sense.

Event Horizon is an example of a great premise BUT terrible execution. Viewed through a modern lens it is left sadly lacking. Most of that is down to the script. There are better bad movies. Check those out first.

Rotten Tomatoes: 22%

Metacritic: 35

One Movie Punch: 4.2/10

“Event Horizon” (1997)is rated R and is currently streaming on Amazon Prime, Hulu, and Epix.

Don’t get me wrong; There are moments in the script that are quite special; Smith’s “…this ship is fucked” and Miller’s “Fuck This Ship”. But the best? “Oh my god, what happened to your eyes?” “Where we’re going, we won’t need eyes.”

Oh pah-lease.

This is Shane Hyde, last surviving officer of the Event Horizon, signing off.

Hi everyone!

Welcome back to another Matinee Monday! Look, I know this film has been out for a while, and there is probably nothing else to be said about it, but I was finally able to make time to see it. It’s an important film that is contributing to the renaissance of Asian and specifically Asian American cinema, whether that’s John Cho in “Searching” (Episode #246), the first thriller to star an Asian American, or “To All The Boys I’ve Loved Before” (Episode #230), exploring the myths and the reality of the Asian American suburban experience. You can also check out show-stealer Awkwafina in “Dude” (Episode #111) from earlier this year. And if you have any suggestions, let me know at onemoviepunch.com

And now... 

Today’s movie is “Crazy Rich Asians” (2018), the blockbuster romantic comedy directed by Jon M. Chu and written for the screen by Peter Chiarelli and Adele Lim, based on the best-selling novel by Kevin Kwan. The film follows Rachel Chu (Constance Wu) as she accompanies her long-term boyfriend Nick Young (Henry Golding) to a family wedding in Singapore, learning about Nick’s immense wealth in the process. Now she must fend off multiple attacks from friends and family who want Nick to leave her for someone else.

Spoilers ahead.

I burned out on romantic comedies somewhere in the early 2000s. 1999 had no less than eight romantic comedies, and 2001 had twelve. At some point, given their popularity, they all became cookie-cutter versions of each other, lambasted by stand-up comedians and sketch comedy, and mostly white protagonists. I didn’t stop seeing the genre, but I was also newly working and didn’t want to take too many chances on crap movies. Nothing worse for date night than complaining about a film, but also nothing better than coming out of a really great romantic comedy. So, I was delighted to see today’s film get such high praise, and now I wish I had seen it on a date night instead of a matinee showing, because it’s really fantastic.

“Crazy Rich Asians” had a lot riding on it, whether that seems fair or not. The estimated $30 million budget is a substantial investment, especially for a United States movie that features an almost exclusively Asian and Asian-American cast. Hollywood has a very long history of playing off Asian stereotypes. Hell, Jerry Lewis made a career out of it, and some stereotypes still exist today, most notably Apu on “The Simpsons”, but also as recent as my childhood in so-called family favorites like “A Christmas Story” and “Sixteen Candles”. It shouldn’t have taken this long to invest this amount of money into this kind of film, but here we are, and I couldn’t have been happier with the result.

Peter Chiarelli and Adele Lim do a marvelous job of taking Kevin Kwan’s source material and adapting it for a feature-length romantic comedy, building off all the strengths of the romantic comedy genre, but bringing a distinctly Asian feel to the genre, playing well off and subverting Hollywood stereotypes, and much like the novel, introducing a larger audience to the immense wealth being located across Asia. Jon M. Chu takes the script, matches it with an excellent cast and brings an absolutely gorgeous aesthetic to the entire film, from the beautiful scenes around Singapore to the excellent soundtrack and score, an infectious blend of Asian renditions of classic and modern tracks. I actually bought the soundtrack right after seeing the film.

Thematically, I really appreciated how they portrayed all the rich people as essentially sociopathic monsters, concerned with status and privilege and clearly willing to do anything and everything to maintain it. It makes the viewer want to root for Rachel and Nick against everything, and never once did I have anything but love for both characters. And let’s not forget the amazing supporting role of Goh Peik Lin (Awkwafina), who almost stole the show each time. The entire cast is great, and it all comes together for an amazing experience. And yes, when we finally reach the moment when Nick chases after Rachel, a total cliché for romantic comedies, and yet, when the moment happens, and those who’ve seen it know what I’m talking about, I absolutely lost it in the theaters, sobbing with joy, and haven’t felt that way since seeing “The Big Sick” last year. Sure, it goes against all my feelings towards immense wealth and the privilege that comes with it, but that’s the magic of Hollywood when it’s done well, and this film was done well.

“Crazy Rich Asians” (2018) is a faithful adaptation to the source material that serves as a quasi-ambassador for both Asian American cinema and the rising influence and economic power of Asia. But more importantly, it is an incredibly strong film, well written, well acted, well crafted, and clearly well received by the critics and audiences alike. I sincerely can’t wait for the next films in the franchise, and I hope Kevin Kwan continues to write the stories. If you love romantic comedies, or incredibly stylish films, then you definitely need to see this film, and if not in theaters now, catch it when it comes back to the theaters around Oscar time.

Rotten Tomatoes: 93% (CERTIFIED)

Metacritic: 74

One Movie Punch: 9.2/10

“Crazy Rich Asians” (2018) is rated PG-13 and is currently playing in theaters.

Hi everyone!

Welcome back to another week of reviews. This week I have four Netflix Original films to cover, which is right after yesterday’s Netflix Original for Streaming Saturday. Lots of content this month from Netflix, and from this year, which you can check out at onemoviepunch.com by searching the Netflix Original blog tag. I’m committed to seeing every Netflix Original film this year, and yes, I have seen that one. But if you think I’m missing one or two, let me know and I’ll get them on the docket as soon as possible.

And now... 

Today’s movie is “Next Gen” (2018), the international animated collaboration written and directed by Joe Ksander and Kevin R. Adams, with screenplay input from Ryan W. Smith, all based on a story idea from Wang Nima. The film follows Mai (Charlyne Yi), a young girl who awakens a top-secret robot designated 7723 (John Krasinski). The two develop a strong bond as they help each with their problems and work together to stop the human madman. What do you mean people don’t talk like that?

Spoilers ahead.

Netflix acquired the rights to “Next Gen” in a $30 million deal, for worldwide distribution excluding China, where this film will see a wide theatrical release. That might seem like a lot of money to you and me and any sane person out there, but it is a drop in the bucket for Netflix, who make an estimated $950 million a month in subscriptions. It’s a lot of scratch for a film that will only have limited showings in the theater, and it’s actually a real shame, because I found the film to be great, and with visuals wasted on the small screen.

“Next Gen” is a surprisingly sleek animated film set in a cleaner, robot-driven future, where everything is automated, and everyone excitedly awaits the next generation of robot helpers. The backgrounds and animations are incredible, with a surprising amount of detail taken with the drawings and the layered video effects that bring the world to life. It is a fertile bed of themes from which grows some wry comments within the dialogue that will make you laugh, but then quickly make you think. Sure, the dialogue can also be heavy-handed in terms of messaging, but that’s sometimes needed in a children’s film, even if Mai is very much ahead of the curve when it comes to the threat posed by robots. And in a refreshing change of pace, the ending is far from perfect, but also more meaningful for teaching the necessary lessons in this cautionary tale.

I do have one minor criticism regarding the programming for the robots. It’s inconsistent, and would lead to a dysfunctional anarchy if they could torment humans on command, or kill each other without a second thought, or be completely overridden by a single signal. I know I’ve probably read and seen more robot-related works than the average person, but when you are trying to understand a speculative universe, consistency matters. I also enjoyed Michael Peña’s comic relief as the foul-mouthed dog, but it also felt out of place at times, and underdeveloped. I’m not quite sure how to fix those issues, as animation is one genre where you can do anything in planning and very little as you get closer and closer to the finished product. But I do know that if more stories are to be told in this universe, they will need to go back and touch up a few spots. And if that’s the worst of my criticism, then the film is doing pretty great.

“Next Gen” (2018) is a surprisingly strong animated film that deserves to be seen in theaters, but that most folks will only see on the small screen. Joe Ksander and Kevin R. Adams make a great pair who helped push this along, and shows the promise of even better future works. Fans of animation should definitely check out this film, and if you are looking for a good film for the kids, I would recommend it, with a touch of parental guidance, but not much.

Rotten Tomatoes: NR

Metacritic: NR

One Movie Punch: 8.0/10

“Next Gen” (2018) is rated TV-PG and is currently streaming on Netflix and playing in select theaters.

Hi everyone! 

Welcome back to Streaming Saturday, where we begin breaking down the latest avalanche of Netflix Originals that debuted yesterday. I have two more on the docket for next week, but today we’re going to look at another high school coming of age film, a favorite genre for Netflix Originals. If you want other films in the same lane, check out “Dude” (Episode #111), “Candy Jar” (Episode #118), “The Kissing Booth” (Episode #132), “Alex Strangelove” (Episode #160), and most recently, “To All The Boys I’ve Loved Before” (Episode #230). And if you have any favorites, past or present, let me know at onemoviepunch.com.

And now...

Today’s movie is “Sierra Burgess is a Loser” (2018), the high school dramedy directed by Ian Samuels and written for the screen by Lindsey Beer. The film follows Sierra Burgess (Shannon Purser), who doesn’t meet the shallow beauty standards at her high school. But when she is mistaken for someone else at another school, she teams up with Veronica (Kristine Froseth), to help one another land their crushes and get to know each other in the process.

Spoilers ahead.

So, let me start by talking a little bit about Cyrano de Bergerac, both the man and the play, but mostly the play. The original play was based loosely on the man’s actual life, with the central premise of Cyrano de Bergerac being hired Christian de Neuvillette to help woo a beautiful woman named Roxanne, because he lacks wit and charm. The play is actually quite morbid, and has often been transformed into more palatable comedies, most famous being “Roxanne” (1987) starring Steve Martin, Daryl Hannah, and Rick Rossovich. It was also the inspiration, in part, for the song “Roxanne” by The Police, via a poster for the play hanging on a wall. Each version plays with the story in various ways, in the same way that Edmond Rostand’s original play was fast and loose with the man’s actual life, and today’s film is another take on the premise, with its own twists and definitely for the modern age.

“Sierra Burgess is a Loser” follows Sierra, whose number is given to the football quarterback from a different high school named Jamey (Noah Centineo), by Veronica, in fact. She develops a text relationship, that slowly evolves into a speaking relationship, but when it finally comes time to reveal herself, she instead opts for Veronica to go in her place, because Sierra suffers from bouts of low self-esteem. The price for this assistance is helping Veronica try to get her college boyfriend back, who dumped her, and then everything goes very wrong. It’s almost a double Cyrano, as Sierra and Veronica use each other, and Jamey in the process. Lots of high school intrigue on top of struggles against conformity and social beauty standards, and you have a pretty great setup. It’s kind of neat to think of Cyrano’s story as the original catfish story, although without the malicious intent.

Unfortunately, there are some noticeable flaws in the film, most notably the near inability to read any of the phone screens, which for a film that uses texting this much should have figured out. I know my eyesight is pretty bad, but if I can’t see it on a 37” television screen, good luck enjoying this on a smaller screen. I also thought the multiple literary references felt shoehorned in, an attempt to make sure the viewers know the inspiration for this film. These flaws, though, don’t overshadow a strong performance by Shannon Purser, who has had a great career after her excellent roles in “Stranger Things” and “Riverdale”. I sincerely hope she is offered more roles, because she is a natural talent.

“Sierra Burgess is a Loser” (2018) is a modern high school retelling of the story of Cyrano de Bergerac, featuring a very strong lead in Shannon Purser. While there are some noticeable flaws that can detract from the overall film, the rest is still well crafted and quite enjoyable. Fans of coming of age films, or Cyrano films, or Shannon Purser should definitely check out this film.

Rotten Tomatoes: 64%

Metacritic: 63

One Movie Punch: 7.2/10

“Sierra Burgess is a Loser” (2018) is rated PG-13 and is currently streaming on Netflix and in select theaters.

Hi everyone!

Welcome back to Film Buff Fridays! We’re headed a couple decades earlier than the last two weeks, and across the pond to the United Kingdom for a horror feature about New England witchcraft. For a few other witchcraft-related documentaries, check out “Häxan” (Episode #131), which has the same weird jazz vibe in the 1962 version, and “Paradise Lost: The Child Murders at Robin Hood Hills” (Episode #144), which looks at modern notions of witchcraft. Don’t forget to check out one of the hottest films from this year, “Hereditary” (Episode #183), which deals extensively with ritual magic. I also felt there’s a strong connection between today’s film and “Carnival of Souls” (Episode #145), another female-led, black and white feature. And if you have any suggestions, let me know at onemoviepunch.com.

And now...

Today’s movie is “The City of the Dead” (1960), the classic horror feature directed by John Llewellyn Moxey and written for the screen by George Baxt, based on a story by Milton Subotsky. The film follows Nan Barlow (Venetia Stevenson), a young college student who uses her winter break to study witchcraft in the New England town of Whitewood, staying at the Raven’s Inn, managed by Mrs. Newless (Patricia Jessel). However, after Nan fails to return from her trip, her brother Richard (Dennis Lotis) and her boyfriend Bill (Tom Naylor) travel to Whitewood to investigate.

Spoilers ahead.

So, let me start by saying that the witches depicted in this film, and many of the films I’ve reviewed this year that deal with witchcraft, have taken the usual Hollywood tropes about witches, built off the same misconceptions that sparked both the Spanish Inquisition, and as referenced in this film, the Salem Witch Trials. I have a love/hate relationship with these depictions, because I love the caricatures as much as I loathe their depiction of today’s modern witches, a combination of nature lovers and ritual magic practitioners, wholly unconcerned with most Christian propaganda that have influenced those tropes. If there’s any area where today’s film fails, it’s furthering those tropes and linking them directly back to the social madness of the Salem Witch Trials. All that being said, I don’t think anyone would take this film too seriously when it comes to modern witchcraft.

“The City of the Dead” was made originally as a film called “Horror Hotel”, rebranded for better marketing. It is clearly influenced by not just the Salem Witch Trials, but also H.P. Lovecraft and his creepy writings about New England. The story comes from Milton Subotsky, a writer who would go on to be a major producer in the budding horror industry, and the screenplay from George Baxt, who had a smattering of features in the same time period. But what really drew me to this film was seeing the debut feature-length film from John Moxey, who would go on from this early work to be a giant in television writing. Just check out his filmography and you’ll see the lasting influence of his work, and the talent at work in this film that was buried underneath some pretty awful acting by the male protagonists.

By contrast, however, the female actors are all top notch. Venetia Stevenson is really good as Nan Barlow, despite her abbreviated role, and Bella St. John as Patricia Russell, the bookstore clerk in Whitewood, was also solid. Patricia Jessel is excellent as Elizabeth Selwyn/Mrs. Newless, a nice capstone for an extensive career. In fact, today’s film would be one of the last films for all three women, which seems unfortunate given the skill at work. The rest of the film has its struggles, especially with the almost ridiculous amount of fog used for both the town and the driving scenes. If the final act wasn’t so great, I would have been supremely disappointed by the film, but as it is, the film ends up being mediocre, struggling with obvious flaws, offset by some real strengths. Also, try to find a nice restored version of the film, because the version on Amazon Prime right now is pretty awful.

“The City of the Dead” (1960) is an excessively mediocre tale of witchcraft in New England, the debut feature-length film from the prolific John Moxey. While it has its noticeable flaws, it also has great strengths worth considering, and quite frankly, is an excellent film to watch on a lazy afternoon. Fans of old horror films, or films about witchcraft tropes, should definitely check out this film. Just be sure to find a nice restored version.

Rotten Tomatoes: NR

Metacritic: NR

One Movie Punch: 6.8/10

“The City of the Dead” (1960) is rated PG-13 and is currently streaming on Amazon Prime, Tubi, and Fandor.

Hi everyone!

Welcome back to Documentary Thursdays. Hulu has been streaming a lot of great documentaries lately, both their own and others. Last week’s “Minding The Gap” (Episode #242) was particularly great, but for a couple others, check out “Augie” (Episode #165) and “Leaning Into The Wind: Andy Goldsworthy” (Episode #228). For a documentary that addresses systemic racism and quotas in police practices, check out “Whose Streets?” (Episode #172). And for a documentary that looks at lazy policing to clear cases, check out Errol Morris’ groundbreaking “The Thin Blue Line” (Episode #021). And if you have any suggestions, let me know at onemoviepunch.com.

And now...

Today’s movie is “Crime + Punishment”, the documentary from Stephen Maing. The film follows a group of NYPD officers who decide to challenge illegal quota practices, sparking the ire of the department and the FOP. The documentary explores the effects of illegal quotas, the tactics used in making those quotas, the pressure to keep silent, and the retaliation against officers who refuse to meet quotas.

Spoilers ahead.

So, I’m not a huge fan of the police, and there are multiple reasons for that. Historically, they were formed in the Southern States to hunt down runaway slaves, and were thinly-veiled mafia protection rackets in Northern States, particularly urban areas. Public police forces have also been tools for state and corporate oppression, whether that’s confronting striking workers, or kettling protestors, or establishing curfews, or enforcing martial law. We’ve lionized police forces as part of our social education, demanding unqualified respect for officers, and explaining away the obvious collusion within police organizations, the militarization of police officers, the infiltration of white supremacists and neo-nazis within the police force, and the nearly routine extrajudicial killings of people of color. It was easy to cover all this up before the Internet and smartphones made the usual counternarratives by police forces obsolete, which is why today’s documentary is so important.

“Crime + Punishment” follows the NYPD 12, a group of officers who have filed a class action lawsuit against the NYPD for continuing to enforce the quota system. Police quotas have long been an official practice of police departments, setting an expected number of summons, tickets, and arrests for officers on patrols. In fact, in New York, it wasn’t until 2012 that a law was passed specifically banning quotas for police officers, but the quotas were just buried into each officer’s performance evaluation. Multiple recordings in the documentary show the metrics were used to determine advancement, and even worse, were used to retaliate against officers who refused to meet the numbers. They also spell out the tactics used to meet their “performance metrics”, including heading to so-called “high crime” areas (based on numbers developed by meeting previous quota requirements), and charging folks to appear in court, or possibly to be detained for trial, even when the evidence isn’t there. It’s obvious if you give folks with extrajudicial powers the incentive to find crime, they will find it, and now we can see they were trained to issue summons and make arrests even when it wouldn’t hold up in court.

Stephen Maing’s documentary is groundbreaking for exposing the systemic corruption within the police, and that’s the most important part of this film. It’s focused mostly on the quota system, following both the NYPD 12 and one citizen locked up on a trumped up weapons charge, and sometimes the interplay between the two stories doesn’t always work. I also thought the social difficulties for grassroots organizations to work with police officers was underplayed, because internal reformers like the NYPD 12 and external police reform organizations will need to work together to make the necessary changes. And as you can tell from this particular review, I think the quota system is part of a much larger problem with police forces, especially the pressure placed on police officers who try to reform this corruption within the force. If we’re going to have police forces, then there’s a great deal of house cleaning we’re going to need to do, and stopping this obviously illegal and immoral quota system is just one step. 

“Crime + Punishment” (2018) is all the proof we need that police forces need reform, focused on the illegal quota systems in place in multiple urban and suburban police forces. Stephen Maing, working with the NYPD 12 and their advocates, has broken the silence on this system, and already multiple cities are addressing their official and unspoken quota systems, including Chicago. Fans of documentaries that address police corruption, or who want to see how systemic racism operates within police forces, should definitely check out this film, then get involved to end quota-based policing in your area.

Rotten Tomatoes: 94%

Metacritic: 88

One Movie Punch: 8.6/10 

“Crime + Punishment” (2018) is not rated and is currently streaming on Hulu and in select theaters.

Hi everyone!

Welcome back to Worldwide Wednesdays! We’re heading to the British Isles for a film produced in a collaboration between the United Kingdom, Ireland, and the United States, delving into the North London Jewish Orthodox community. For some films with a similar kind of collaboration among countries, check out “A Dark Song” (Episode #033) and “The Killing of a Sacred Deer” (Episode #149), which are both in the horror genre, so maybe not the best choices? If you have any better ideas, let me know at onemoviepunch.com.

And now...

Today’s movie is “Disobedience” (2017), an independent drama directed by Sebastián Lelio and written in collaboration with Rebecca Lenkiewicz, based on a novel by Naomi Alderman. The film follows Ronit Krushka (Rachel Weisz), who returns to North London after learning of the death of her father, Rabbi Rav Krushka (Anton Lesser), who had previously forced her out of the family and her community. She ends up staying with Rabbi Dovid Kuperman (Alessandro Nivola) and his wife, Esti (Rachel McAdams), as the mystery surrounding Ronit’s exile suddenly becomes very clear.

Spoilers ahead.

Religion is such a difficult topic to discuss in today’s modern age. Folks have a lot of passionate feelings for and against religion, and more often than not, those feelings are expressed from a position of ignorance on all sides, turning an entire spectrum of belief into an either/or choice between zealous devotion and militant atheism, at least if you’ve ever looked at the comments section. I have struggled myself with religion, having been on various parts of that spectrum of belief, and after a minor in Philosophy & Religious Studies, and almost two decades of soul searching, find myself off the spectrum entirely, trying to understand religion more as a social institution. I’m not really any closer to understanding that particular point, but I feel films like “Disobedience” help define the terms of today’s conflicts between religious communities and the nominatively pluralist societies they exist within. 

“Disobedience” looks at a major issue for conservatively-minded religious communities today: the role of LGBTQ individuals within that community. Science has shown us that our former heteronormative ways of looking at biology are incorrect. We know now that a significant portion of the human population are born with feelings of sexual attraction towards their own biological sex, and this has been further complicated by the necessary bifurcation of biological sex and gender expression. We learn that Ronit was exiled from her family and the community years ago for being caught with Esti in a sexual situation, and the result is exile that may have been personally imposed, but was definitely driven by the community, mostly through passive-aggressive commentary and social meddling. I’ve seen the same thing happen in Christian churches and Muslim mosques, and also by conservative-minded communities towards LGBTQ people. We’re finally getting the necessary laws in place to protect people simply for their sexual orientation or expression, but no number of laws can stop a community from rejecting someone, and that’s where we find Ronit and Esti’s story.

Sebastián Lelio and Rebecca Lenkiewicz capture that tension well in their screenplay, keeping the mystery of Ronit’s exile as long as possible, even though the trailers and reviews gave away the critical conflict, and treating the orthodox community with a lot more respect than I expected. And that’s critical, because it really adds to Esti’s conflict between her community and her buried feelings, and highlights the great strengths of the orthodox community. Rachel McAdams really nails it, and she has great, believable chemistry with Rachel Weisz. The story can be predictable, but it is a great vehicle for outlining the social conflict, if not providing any real answers. 

“Disobedience” (2017) is an emotional drama, looking at religious exile from family and community, and the struggle of LGBTQ folks within conservative religious communities. Sebastián Lelio delivers a solid film that treats the source material, the orthodox community, and the LGBTQ populations within those communities with respect, even when you might like it otherwise. Folks who have struggled as LGBTQ within conservative religious communities, or folks who love to examine this very struggle, should definitely check out this film.

Rotten Tomatoes: 84% (CERTIFIED)

Metacritic: 74

One Movie Punch: 8.0/10

“Disobedience” (2017) is rated R and is currently streaming on Amazon Prime.

Hi everyone!

Well, this is it: our first official Takeover Tuesday, and I couldn’t be happier that our first podcast sponsor, Andrew Campbell, decided to help test drive the process. Andrew and I met last year during the #DLMChallenge, which he’ll explain in a bit, but I have always found his criticism of films to be insightful and from the position of someone who has seen a LOT of movies.

If you think you have what it takes to record a review for this podcast, head on over to onemoviepunch.com/takeover-tuesday for more information. And if you want to get involved, or have any feedback on these early Takeover Tuesday episodes, reach out to the podcast either using the contact form or over social media. Feedback is always appreciated, and we would love to have you on the podcast!

Take it away, Andrew…

Hi there!

Andrew here; glad to be a part of the podcast. Inspired by Doug Benson’s one-movie-per-day challenge on the Doug Loves Movies podcast, I finished my 365thmovie of 2017 on the last day of the year. This unhealthy habit continued into 2018 inspired in part by One Movie Punch, which continues to set the pace while providing some great recommendations along the way. 

Without further ado…

Today’s movie is “Terminal” (2018), the film written and directed by Vaughn Stein. The film follows Annie (Margot Robbie), a waitress at an all-night diner seemingly living at least a couple different lives and Bill (Simon Pegg), her frequent (and often only) customer, who happens to be terminally ill and contemplating suicide.

Spoilers ahead.

The cast of Terminal is rounded out by Dexter Fletcher and Max Irons, playing a mismatched pair of hitmen who spend most of the film at each other’s throats as they wait for days in various locales for their mystery target.  Finally, we have Mike Myers as the mysterious train station janitor – a character that feels straight out of Austin Powers – from his overblown accent, obvious prosthetic makeup and a bizarre humor about him that sits in stark contrast to the rest of the film. 

Visually, this film offers up some well-crafted shots with unique and varied perspectives that enhance a neon, post-apocalyptic London underground. Writer-Director Vaughn Stein shows a talent for cinematography and world-building in his debut feature film, but look past the surface and the problems begin to add up quickly.  Simon Pegg turns in an excellent performance as the stakes of his conversation with Margot Robbie’s waitress/femme-fatale character grow ever-darker in the film’s lone interesting storyline, but Robbie is hamming it up with a smugness and over-the-top elocution that end up in a performance that is a far cry from her work in I, Tonya.  Meanwhile, the subplot with our two hitmen is a cloudy and confusing mess as the audiences waits to catch back up with the main characters.

The final third of the film concludes with twist after twist upon twist – some you see coming a mile away, but most of which don’t land with the gravitas the director hopes to elicit.  Story, script and acting aside, the film’s visuals are strong enough to make it worth a watch and make Vaughn Stein a talent to keep an eye on – so long as he brings in some collaborators on his next picture.

“Terminal” (2018) is a glossy, yet gritty noir film that is missing a few key pieces, but manages to hold one’s attention.  Fans of stylized crime stories like Sin City, Smokin’ Aces or Hotel Artemis should check out this film.  It’s also worth a watch for Simon Pegg completists; just know going in it that it’s a movie you may not long remember.

Rotten Tomatoes: 21%

Metacritic: 27

One Movie Punch: 7.4/10 

“Terminal” (2018) is not rated and is currently streaming on Hulu.

Thanks for listening to my Takeover Tuesday review.  For your chance to contribute head over to onemoviepunch.com for more information. Follow me on Twitter @anrcampbell for my 280-character reviews as I gear up for Fantastic Fest in a couple weeks – the largest genre film festival in the U.S. – where I’ll be watching and reviewing some wild new domestic and international horror, sci-fi and fantasy films.