One Movie Punch

Hi everyone! 

Welcome back to Matinee Mondays! I was getting a little worried for this past weekend, as the slate of films wasn’t looking too good, an odd situation for (the fake) Labor Day weekend in the United States. But then today’s film got wide distribution, and I was stoked. For a few related films, check out “Columbus” (Episode #017), the extremely underrated film from last year starring John Cho; “Ingrid Goes West” (Episode #034), which nailed the effect of social media hashtag blessed; and “Anon” (Episode #125), a futuristic look at a possible endpoint for social media. And if you have any suggestions, let us know at onemoviepunch.com

And now...

Today’s movie is “Searching” (2018), the debut feature-length thriller directed by Aneesh Chaganty and written for the screen in collaboration with Sev Ohanian. The film follows David Kim (John Cho) in the wake of his daughter’s disappearance, working with Detective Rosemary Vick (Debra Messing) to track down Margot (Michelle La). David begins examining his daughter’s laptop, discovering how little he understood her after her mother’s death, and fearing for the worst with each revelation.

Spoilers ahead.

It’s easy to take a look at “Searching” and offhandedly label it a gimmick movie, utilizing the screenlife format made popular by the “Unfriended” franchise. Screenlife (all one word) refers to a film being made using computer screens and applications either extensively or exclusively. I certainly had my doubts about the film, but as the incredibly positive reviews started pouring in, it reminded me of my knee-jerk reaction to the found footage medium, especially when it was made popular by “The Blair Witch Project” and its amazing viral marketing campaign. Entire franchises are now built on found footage films, mostly in the horror genre. Screenlife is almost a digital version of found footage, incorporating the stylings of YouTube pioneers like Lonelygirl15, and with screenlife trending down the same horror/thriller path, I felt the whole medium would be relegated to a sub-genre of horror films, like found footage.

And I was wrong.

“Searching” stays pretty far away from the horror genre, staying well within the bounds of mystery and suspense. Rather than relying on background figures and jump scares, Aneesh Chaganty utilizes screenlife to tell a story with a real-life feel. In fact, I would put the incredible opening montage of “Searching” against the best opening montages every made, hitting me with all the emotional impact of Pixar’s “Up”, and having me sobbing. It establishes the right tone and it shows any audience member that Chaganty truly understands not just the screenlife medium, but also the impact of internet-connected devices and applications in our everyday life, and the power of those devices and applications when connected to the Internet, and the ease with which they can be abused. Even the most mundane acts of resetting passwords becomes a social commentary, but so also the incredible backlash towards David’s character as the search becomes breaking news. Every step of the way is measured to keep the viewer engaged with the same intensity as we stare at our own devices. Truly amazing.

None of this works without a great cast, however. John Cho really shines as David Kim, and I have come to find him as one of the most underrated actors in the industry right now, probably from his early roles in late night comedies. Debra Messing’s performance is also really good, and believable. Michelle La has an excellent feature-length debut, nailing her role as Margot. Some critics are disappointed by the ending, and the final sequence maintains the film could end with Margot either dead or alive, but in a testament to the story written with Sev Ohanian, and the direction of Chaganty, that I would have been happy with the film ending either way, and that itself is an amazing accomplishment.

“Searching” (2018) is a screenlife mystery, following one father’s mission to find his lost daughter, against all odds, showing the power and peril of the Internet as a tool. Aneesh Chaganty, with a single film, has rescued the screenlife format from relegation to a horror sub-genre, opening up new possibilities for films of many genres to be told in the same medium. Fans of the screenlife format, or folks who want to see an early example of a new format, should definitely check out this film, especially while it’s in theaters. And if you can make it through the entire opening scene without crying, you should probably have your tear ducts checked. 

Rotten Tomatoes: 91% (CERTIFIED)

Metacritic: 71

One Movie Punch: 9.2/10 

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

Hi everyone!

It’s another week, and while we want for the sponsors to roll in, I thought I would take the opportunity to visit a contentious movie from last year. It’s very much an allegory, and for a few films adjacent to today’s film, check out “A Ghost Story” (Episode #010), “White God” (Episode #073), “Tully” (Episode #134), “The Killing of a Sacred Deer” (Episode #149), and “Hereditary” (Episode #183). In fact, today’s film is almost a mashup of “Tully” and “Hereditary”. I’ll explain why in a minute, but if you have any suggestions, let me know at onemoviepunch.com. 

And now...

Today’s movie is “mother!” (2017), the insane allegory about motherhood written and directed by Darren Aronofsky. The film follows a young woman (Jennifer Lawrence) who is happily married to a writer (Javier Bardem), working on restoring his home that burned down, leaving only an odd hunk of glass. One night, a mysterious stranger shows up, bringing more and more guests until things get absolutely out of control. This is going to be a rough film, so if you are squeamish, best to come back tomorrow. 

Spoilers ahead.

One of the most talked about films from last year was “mother!”. Critics and fans were heavily divided on the film, either really loving it or really hating it. It’s not often a film appears on multiple best of lists *and* gets nominated for three Razzies. I’ve spent the last year getting everyone else’s take on the film, and the one thing I learned while finally seeing it is that no one actually or accurately prepared me for what I was about to experience. And afterwards, I am firmly in the love camp.

“mother!” is a film that requires the viewer to think, and for a subset of viewers out there, that’s all it takes to hate a film. This is not a film that spoon feeds you the story or holds your hand through the plot or spells out the message throughout the picture. It’s also a film that requires you to understand at least something about motherhood, or at least parenthood, because if you don’t, a great deal of the emotional impact of this film will be lost on the viewer. The fact is that until you are a parent, or have been thrust into that role, you will never know what it’s like. “Fur babies” don’t count, folks, at least not with the same emotional impact, even if it can come close. Sure, folks might be able to “get it”, but not everyone is going to “feel it”, and that’s my working theory for the huge discrepancy in reviews.

The film itself is divided into two parts: the woman before becoming a mother, having trouble understanding her role in her relationship and in society, and the absolutely incredible second half, where Aronofsky turns the entire home into a weird sort of battlefield, right in the midst of the woman going into labor, giving birth, and the madness that follows. Folks have panned both Lawrence and Bardem, but I thought they played their characters really well, especially for an allegory like this. Every trial or tribulation of motherhood, from the most primal to the most modern, is jammed into this intentionally off-kilter story, and it moves with the speed that only parents who have watched their children grow could possibly understand. Visually stunning, well-crafted, and brilliantly rendered.

“mother!” (2017) is an insane allegory about motherhood, intentionally crafted to address both the universal and particular concerns about motherhood. Darren Aronofsky takes a huge risk with this film, paying off big with those who understand the emotions of parenthood, and pushing away many other viewers in the process. I admire the commitment to craft and “mother!” certainly resonated with me. Fans of Darren Aronofsky, and folks who aren’t squeamish about some really gnarly content towards the end, should definitely check out this film, but give it a hard pass if the trailer doesn’t appeal to you, because it only gets weirder from there.

Rotten Tomatoes: 69%

Metacritic: 75

One Movie Punch: 9.4/10

“mother!” (2017) is rated R and is currently streaming on Hulu and Epix.

Hi everyone!

Welcome back to Streaming Saturday! Netflix is unloading another batch of films this year under their Netflix Original brand, so many that we may need to double up some days this month. As if I didn’t have enough movies to watch and review. It’s also another feature from the Spanish film scene, this time a romantic comedy for nerds. If you dig the Spanish film scene, check out my favorites so far this year, including “Orbiter 9” (Episode #101), “Sunday’s Illness” (Episode #171), and “The Motive” (Episode #234). And if you have any suggestions, let me know at onemoviepunch.com.

And now...

Today’s movie is “The Laws of Thermodynamics” (2018), the Spanish romantic comedy written and directed by Mateo Gil. The film follows Manel (Vito Sanz), who believes all actions taken in the world happen in conformance with the laws of thermodynamics, creating a highly deterministic sense of romance. However, when he leaves his current girlfriend Raquel (Irene Escolar) for model/actress Elena (Roberta Vazquez), he begins to realize the limits of his theories in hilarious ways.

Spoilers ahead.

Sometimes I get involved in arguments online. A shocker, right? I like to discuss ideas and explore the limits of our current understanding, sometimes pushing back on all sides of an issue. Big ideas, like free will versus determinism, ethical systems, political structures. Sometimes those discussions are friendly and insightful. Sometimes they exemplify everything we hate about the comments section. But I always try to walk away either learning something, or perhaps at least understanding why people believe the things they do. Today’s film has a lot of big ideas, and for someone like me, it’s hard not to love it.

Mateo Gil has created a unique film, a romantic comedy utilizing a physics documentary to tell the story. Manel’s relationship with Elena becomes a crash course in general physics, beginning with the three laws of thermodynamics, and moving into general relativity and quantum physics. The trailer really doesn’t do justice to how well the structure works, as long as you like science. Complex concepts are explained succinctly using the relationships, but the film itself is also an exercise on the limits of scientific rationalism, culminating with Elena having to explain to Manel that while you can explain everything in terms of physical laws, it doesn’t necessarily conform to how reality works, and specifically, how relationships and love work. I would even argue that this film should be required viewing for physics students, as long as they don’t mind adult content.

The cast is also great, especially the comedic stylings of Vito Sanz as Manel, and the chemistry he has with Roberta Vazquez as Elena, at least while their relationship lasts. I also liked Manel’s friend Pablo (Chino Darín) and his relationship to Eva (Vicky Luengo), which serves as a kind of backup example for the physics portion, but also as grounding for Manel’s character, especially when he goes off the rails. For a concept film, it really comes together well. It’s rare that a romantic comedy can make you think about so many big ideas, as long as you are open to that kind of film. It may mean this film doesn’t have a large audience, but I am happy to count myself among them.

“The Laws of Thermodynamics” (2018) is a romantic comedy for nerds, using one graduate student’s relationship to a model to explain the big ideas in physics. Mateo Gil takes an interesting concept and develops an excellent script, working with a great cast to deliver a truly unique film. Science nerds and fans of concept films will definitely enjoy this movie. Everyone else may not enjoy it as much, but I would still highly recommend it.

Rotten Tomatoes: 50%

Metacritic: NR

One Movie Punch: 9.2/10

“The Laws of Thermodynamics” (2018) is rated TV-MA and is currently streaming on Netflix.

Hi everyone!

Welcome back to Film Buff Friday. If I had to pick a favorite day to produce this podcast, it has to be Film Buff Fridays. I love going back to films I’ve seen before and classics I never had the chance to see. This week is particularly special, because I have an attachment to this Japanese animated film, one that shows my age. If you love Japanese animation, then check out “Mary and the Witch’s Flower” (Episode #212) and “Flavours of Youth” (Episode #224) for two animated features, and “FullMetal Alchemist” (Episode #058) and “Gintama” (Episode #206) for two live action adaptations. And if you have any favorites, let me know at onemoviepunch.com.

And now...

Today’s movie is “Fist of the North Star” (1986), the Toei Animation feature-length film directed by Toyoo Ashida and written for the screen by Susumu Takaku, based on the manga by Buronson and Tetsuo Hara. The film is set after a nuclear holocaust has destroyed the earth and transformed some humans into powerful mutants bent on conquering what remains of humanity. However, a man named Kenshiro (Akira Kamiya) seeks his lover Yuria (Yuriko Yamamoto), who has been kidnapped by his former brother-in-arms, Shin (Toshio Furukawa). And the streets do in fact run deep with the blood of the non-believers.

Spoilers ahead.

My first exposure to “Fist of the North Star” was the game developed for the original Nintendo Entertainment System, a side-scrolling beat-em-up with a story I could barely understand. I didn’t have access to the Internet, nor access to a library where I might be able to get more information, and frankly, the game wasn’t that good. It wasn’t until I stumbled across the Columbia House VHS Anime club that I started to really get into anime, starting with “Akira” which blew my mind, proceeding to “Ghost in the Shell”, “Lupin 3”, “Barefoot Gen”, and eventually, “Fist of the North Star”. I still remember when my mom came home to see me watching an animated film featuring fountains of orange-tinted blood, shaking her head, and moving along. At least I assume she was shaking her head, because my eyes were glued to the screen, as only an adolescent nerd would.

“Fist of the North Star” is based off the animated series that was developed off the manga by Buronson and Tetsuo Hara. It began with a smallish post-apocalyptic wasteland tale that developed into a complex set of characters. The animated series stuck closer to the original manga, but the film plays fast and loose with the story, using the same production team, and picking and choosing scenes to get right to the fighting in most cases. The story made very little sense on first viewing, and only a bit more after two more viewings, but the images were like nothing I had seen before. While “Akira” and “Ghost in the Shell” brought a Neo-Tokyo vibe, “Fist of the North Star” was violent on a whole new level, and it made me seek out other R-rated animation that might exist out there, including cult classics like “Wizards” and “Heavy Metal”, the latter I had to get a special note from my mother to rent from the local video store, and one I intend to review for an upcoming Film Buff Friday. It was slim pickings back then, but they inspired today’s plethora of adult-oriented animated features and series.

“Fist of the North Star” may easily be the bloodiest animated film ever made, or at least it was at the time. The patchwork story almost gets in the way of the fighting and did I mention the fountains of blood? In retrospect, the film also lacks cohesion because it was clearly intended to be the first of a series of films, as this film culminates in our hero being spared yet again by Raoh (Kenji Utsumi) and still not finding his now lost lover Yuria. Even the end credits scenes teases a lush oasis in the wasteland that feels tacked on. Sure, the fighting was tantalizing to a young man, and it was no doubt influential as a film, but the story and direction leave a lot to be desired, especially with the high quality of the animation of the time and such a rich intellectual property to mine, one that continues in multiple video game renditions today.

“Fist of the North Star” (1986) is one of the earliest adult-oriented animated features to make its way from Japan to the United States, inspiring other adult-oriented offerings. The film has problems with story and direction, but also has great animation and excellent voice performances. It could have been a lot worse, but it also could have been a lot better. Fans of early Japanese animation, or fountains and fountains of blood, should definitely check out this film, but then do yourself a favor and check out the original animated series.

Rotten Tomatoes: NR

Metacritic: NR

One Movie Punch: 7.0/10

“Fist of the North Star” (1986) is not rated and is currently streaming on Amazon Prime and Crackle.

Hi everyone!

Welcome back to Documentary Thursdays! Today’s documentary covers the life of suburban/small city residents, their victories, and their failures. If you are interested in similar documentaries, but with a much darker tone, check out “Dear Zachary: A Letter to a Son about his Father” (Episode #095), “Paradise Lost: The Child Murders at Robin Hood Hills” (Episode #144), and “Recovery Boys” (Episode #186). And if you have any suggestions, let me know at onemoviepunch.com.

And now... 

Today’s movie is “Minding The Gap“ (2018), the documentary written and directed by Bing Liu. The film collects twelve years of footage from the life of Bing Liu and his friends in Rockford, IL, examining their early hopes and their latter challenges. While it begins with a look at skate culture, it transforms into a look at growing old in a changing world.

Spoilers ahead. 

I grew up in a small farming and industrial town southeast of Rockford, IL in the 1980s and 1990s. As a child, I went into the city with my uncle to see professional wrestling matches at the Metro Centre, getting something to eat at one of the many restaurants on the way there. As a teenager with a driver’s license and fast food income, I remember heading to Rockford with friends and co-workers, mostly for the malls and stores. My uncle lived there. My grandfather died there. And most of my mom’s side of the family still lives in that area. So, when I say that Rockford has never felt so real as when I watched this film, I say that knowing what Rockford was and what it is, and now, after seeing this film, what it could be.

Rockford, IL is definitely a troubled town, one that struggles with domestic abuse, child abuse, alcoholism, drug abuse, violent police officers, and latent racism – all driven by an economic bust that began when manufacturing fled overseas under Reagan, and continued spiraling further as big box corporations destroyed small businesses. Bing Liu acknowledges all these faults within the documentary, concerned not really with the causes, but the social and personal effects of the economic downturns over twelve years. Liu investigates his own life, and the lives of his skater friends Zach Mulligan and Kiere Johnson, to whom Liu relates in different ways, specifically around growing up in a household with domestic and child abuse as the norm for child-rearing, and in Zach’s case, how that treatment affects his own behaviors towards his son’s mother. It’s not an easy ride for any of them, but their stories are honest and real, showing their own strengths and flaws, and coming out the other side, if not redeemed, at least on the path, with the kind of hope that Rockford, as a whole, needs.

Bing Liu has a natural talent for documentaries, especially with his debut feature film. Sure, he is intimately familiar and directly connected to the material, but he also maintains a surprising amount of emotional distance in his earlier footage. It’s an amazing blend of historic and new footage that weaves their stories together to tell a much larger story about their community, their challenges, and their opportunities. I never would have thought it possible to make a documentary about Rockford, IL, and yet, this film not only does that, but also gives hope for the city to chart a new course, if it can overcome its own social inertia, as each character has done in some form or fashion in this film.

“Minding The Gap“ (2018) is an excellent debut documentary feature about three friends struggling to grow up in Rockford, IL. Bing Liu crafts a loving documentary to make sense of his own life, his friends, and his hometown, despite having every reason not to. Fans of excellent documentaries, or folks who want to see a different side of Rockford, should definitely check out this film. And based on the critics, I suspect we’ll see this again come Oscar season.

Rotten Tomatoes: 100% (CERTIFIED)

Metacritic: 93 (MUST SEE)

One Movie Punch: 9.6/10

“Minding The Gap“ (2018) is not rated and is currently streaming on Hulu.

Hi everyone!

Welcome back to Worldwide Wednesdays. We’re heading to the Italian film scene this week, this time looking at the Romani, pejoratively referred to as gypsies. If you dig the Italian film scene, check out “Forgive Us Our Debts” (Episode #129) and “Fire at Sea” (Episode #151). And if you have any favorites from the Italian film scene, let me know at onemoviepunch.com.

And now... 

Today’s movie is “A Ciambra” (2017), the Italian drama written and directed by Jonas Carpignano, and produced by Martin Scorsese in collaboration with five other countries. The film follows Pio (Pio Amato), a fourteen year old child learning to survive as a Romani in Calabria, the tip of the boot that makes up the Italian peninsula, home to native Italians, settled Romani, and African migrants. When Pio’s brother Cosimo (Damiano Amato) is arrested by the police after a robbery gone wrong, Pio must do what he can to provide for his family while struggling with becoming an adult.

Spoilers ahead.

Jonas Carpignano has developed an impressive shared universe among his last four works. In 2012, he produced “A Chjána”, a short film about a race riot in Southern Italy centered around Ayiva, a migrant from Burkina Faso, played by Koudous Seihon. In 2014, he produced “Young Lions of Gypsy”, a short film about the Romani in the same region centered around Pio, a 14 year old Romani boy, played by Pio Amato. The former short was turned into a feature-length film entitled “Mediterranea” and stars Ayiva, with a supporting role for Pio. The latter short was turned into today’s film, starring Pio, with a supporting role for Ayiva. I found all this out after I saw today’s film, and instead of feeling lost while watching the film, I actually have a deep desire to dive into the other three works.

Carpignano has chosen in all four works to cast actual residents rather than relying on actors, building fictional stories based on very real stories and situations from the cast. It’s why Ayiva understands the migrant life, and why Pio understand the Romani life, and why both understand the complex interplay between their communities on display in this film. Pio serves as our introduction and guide into Romani culture, or at least as his family understands it, given the somewhat fluid nature of their culture. His age places him at a difficult transition, one where he is both eager and reluctant to become a man within the family and their illegal enterprises. We also get to see the dichotomy of settled Romani, a culture built upon migration that struggles for acceptance and integration, and against being exploited by more powerful elements within the community. Carpignano captures all aspects of their life, telling a series of seemingly simple stories that culminate in Pio having to make a choice between friendship and family.

“A Ciambra” is an incredibly well-made and well-acted film, but I also have some concerns about the message, particularly for a somewhat insular and highly misunderstood group of people as the Romani. Generally, their portrayal in film is pejorative at best, and a film about a Romani family with a criminal enterprise doesn’t help that perception, and in some ways reinforces those stereotypes. I’m certainly no expert on the Romani, nor am I an advocate for or against their cultural practices. But I am concerned that others may use this film to reinforce their own negative ideas about the Romani, and with the rise of far-right nationalists throughout the world, it puts marginalized populations like this in a tricky situation, despite their culture being one of the most persistent throughout Europe.

“A Ciambra” (2017) is a well-made peak inside the culture of the Romani family first teased in “Young Lions of Gypsy” and “Mediterranea”. While it may lean towards reinforcing stereotypes about the Romani, it also examines their marginalization and exploitation by society, and the complex notion of family among them. Fans who are interesting in learning about the Romani, or folks who want to see the strange confluence of Italians, African migrants, and Romani in Southern Italy, should definitely check out this film, and the other three related films. Just don’t be shocked when you see everyone, and I mean everyone, smoking cigarettes.

Rotten Tomatoes: 88% (CERTIFIED)

Metacritic: 70

One Movie Punch: 8.8/10

“A Ciambra” (2017) is not rated and is currently streaming on Hulu.

Hi everyone!

Next week we’ll be starting Takeover Tuesday, where a listener, fellow podcaster, and/or fellow broadcaster will takeover our Tuesday episode with their own review, mostly following our format with a few common sense guidelines. If you’re interested in participating, head over to onemoviepunch.com/takeover-tuesday, learn more about the process, and if you’re up for it, get involved. Who knows? Maybe you’ll hear your voice on this podcast in the future.

However, this week, we’re checking out another Steven Soderbergh film from earlier this year. No, not “Ocean’s 8”, but a much darker, more independent feature. If you dig Soderbergh, check out my review of “Logan Lucky” (Episode #065). And if you have a favorite, let me know at onemoviepunch.com.

And now...

Today’s movie is “Unsane” (2018), the independent thriller directed by Steven Soderbergh and written by Jonathan Bernstein and James Greer. The film follows Sawyer Valentini (Claire Foy), a woman who has fled an abusive relationship, but struggles with seeing her ex-partner wherever she goes. After seeking treatment for her paranoia, she finds herself involuntarily committed to a mental institution, struggling with the staff to be released, and finding her stalker an employee at the center. The film was shot entirely on an iPhone, captured just over ten days.

Spoilers ahead.

On the surface, “Unsane” can feel like a gimmick, shot on a smartphone on a tight budget, almost a dare to see if it could be done. The process comes with a lot of limitations, but the technology has progressed much further than ever before, both the capturing hardware (4K Video Camera) and the processing software (operating system and applications). I’ve watched my own daughter take an iPod Touch years ago to capture and cut a music video, using what was around her, and it was rough, but workable. And sure, in some ways, it means that anyone can make movies, but I don’t think that’s quite right. I think it means that anyone now has access to make a movie, and in a strange way, the technology, in this case, has brought filmmaking back to first principles.

I was really impressed with “Unsane”, watching Soderbergh both utilize and experiment with the technology. It’s almost disconcerting at times, being captured in such high definition, making everything look so real, almost like footage captured in an undercover news investigation, a major plot point. However, it also looks and feels like so many camcorder-based movies made in the 1980s, specifically the realism of “Henry: Portrait of a Serial Killer”, a look and feel built into the title and end credits, not to mention the soundtrack. Soderbergh’s ability to blend these elements together is what separates him from most folks trying the same thing with their smartphones. It’s always been about more than the technology.

The story is probably the biggest flaw in the film, brilliantly conceived, but a little rough around the edges. Restrained patients aren’t placed in a group room like that. Background checks for hospitals would have caught her stalker. Sure, a hospital that was scamming insurance through involuntary commitment would probably ignore these requirements, but the process felt contrived. However, the cast is actually quite amazing, especially Claire Foy, giving a very real performance, and understanding the limitations, and the opportunities, of shooting on an iPhone. Jay Pharoah is a great support as Nate Hoffman, and Joshua Leonard is super creepy as David Strine, Claire’s stalker. Their performances, and Soderbergh’s direction, help smooth over the story flaws, and deliver an excellent concept film, one that has inspired Soderbergh to shoot another iPhone-only movie in the near future.

“Unsane” (2018) is a well-executed concept film that works well within its self-imposed limitations. While struggling a bit with the script, the cast and direction more than make up for any noticeable flaws. Fans of 1980s thrillers, or folks who just want to see what a film shot on a phone might look like, should definitely check out this film.

Rotten Tomatoes: 80% (CERTIFIED)

Metacritic: 63

One Movie Punch: 8.4/10

“Unsane” (2018) is rated R and is currently streaming on Amazon Prime.

Hi everyone!

Welcome back to Matinee Monday! Every now and again, sometimes you have to watch the movie you want to watch, not the one you should watch. This past weekend had a lot of interesting films to see, but only one that seemed crazy enough to be worthwhile. I’ll let you know in a minute if it was, but if you want to see another comedy in the same almost blasphemous vein, check out “The Little Hours” (Episode #100), “Mom and Dad” (Episode #126), and “Deadpool 2” (Episode #141). Today’s movie is definitely not for kids... unless you happen to be my daughter. 

And now...

Today’s movie is “The Happytime Murders” (2018), the debut film from Henson Alternative, a new R-rated look at the beloved Muppet franchise. The film was directed by Brian Henson and written for the screen by Todd Berger, based on a story developed in collaboration with Dee Austin Robertson. The film follows Phil Philips (Bill Barretta), a puppet private investigator who teams up with his former human partner on the LAPD, Connie Edwards (Melissa McCarthy) to investigate a series of murders linked to a 1980s human/puppet show called The Happytime Gang.

Spoilers ahead.

It was a Saturday afternoon when my family pulled up to theater. It was strangely empty. The parking was too good. I was nervous, waiting for the worst. I pulled out my phone and checked in using a movie application ticketing service that does not yet sponsor this podcast. Still asks for a ticket verification, but that’s okay, it’s still free. I think. The terms and conditions have been changing faster than the backstage at a burlesque.

The cashier looked at us, a seemingly happy family, buying three tickets using three red cards, for a film that has a giant warning banner reading in big, bold letters “NOT SUITABLE FOR CHILDREN”. As if the murder part wasn’t a big clue, but you know kids today, with their streaming services and their zombie shows and their fantasy shows. Hell, this film couldn’t be that bad, subject material wise, could it? My daughter wasn’t going to be scarred for life. Was she? 

We walked into the theater, full of reclining seats, the first ones there. I posted a tweet to let folks know it was really happening, and we watched the crowd filter in, in twos and threes, and thank Henson, another family. A few previews, and we were dropped right into the middle of the shitstorm of human / puppet Los Angeles, the darkest, seediest possible version, where puppets are treated like all the marginalized groups thrown together, suffering from lack of opportunities and mean sugar addictions. It doesn’t seem too bad, maybe a tad risqué, but then we arrive at the porn shop / studio.

Remember that family that filtered in? The commentary we heard behind us was fierce, watching a puppet octopus milk a puppet cow, so disgusting that even our hero, Phil Philips, asks for the curtain to be closed. And that was the tip of a very large iceberg of jokes, everything from sexual deviancy involving three to four cans of silly string, to, I guess it would be puppetist humor. It’s a pre-production code noir film updated for the modern day and involving puppets, and I couldn’t have enjoyed it more.

Of course, the film had its flaws, the kind of flaws that only come from trying too hard to be another film. It felt like every seedy detective story ever written, becoming a vessel to deliver enough gags to make sure every occupied seat knew that these weren’t the puppets from your childhood. It secretly taunts the audience, letting us know that this is what happens when you don’t appreciate their nicer content. It’s what happens when you use and throw away puppets, as if they weren’t cultural members of our sick and twisted society, conveyors of manufactured memories.

Does that make me a monster? Does it make Henson Alternative a monster? Does it even matter anymore, now that this film has let the cat out of the bag? I was looking for an R-rated puppet movie and I got one, not the one I wanted, but the one I deserved, made as if they wouldn’t get another chance, throwing it all in the mix, no matter how raunchy or violent. And you know what? I liked it. Not loved it, but liked it, and I have a feeling that once the critics have had their bloody frenzy, and all the pearls have been clutched, and when it makes its early exit from the theaters for streaming services, will find its audience, me among them, enjoying a future cult classic, no matter its flaws, flaws like another simile I couldn’t think of before having to record this episode.

“The Happytime Murders” (2018) is a raunchy and outrageous film noir comedy, that definitively answers the question of what an R-rated Henson film would look like. It has its flaws, but it also has its strengths, and I sincerely hope it’s the first in a very long franchise, especially a prequel story. Fans of The Jim Henson Company who are not squeamish about adult humor and situations should definitely see this film, and appreciate it for what it is. Everyone else should watch the red-band trailers and decide for themselves, because they give you a pretty good idea what you are in for.

Rotten Tomatoes: 22%

Metacritic: 27

One Movie Punch: 7.0/10

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

Hi everyone!

Well, this is it: our very first Sponsor Sunday. A few months ago, I quietly launched a Patreon page for the podcast, and was surprised recently to receive my very first sponsor, Andrew Campbell. I wasn’t quite ready for it, but give me a couple of weeks and we can roll out a brand new theme day. Every podcast sponsor or patron will be able to select a film for me to review, and this week, Andrew chose a Canadian documentary called “Stories We Tell” (2012). The review is coming up, but if you want to support the podcast, head over to patreon.com/onemoviepunch and subscribe at the $1, $5, and $10 per month support levels, each with their own rewards that directly impact the podcast. I look forward to reviewing whatever movie you choose.

And now...

Today’s movie is “Stories We Tell” (2012), the Canadian documentary directed by Sarah Polley, and written in collaboration with Michael Polley. The documentary follows Sarah Polley’s investigation into her own family’s history and secrets, performed via interviews with friends and families, uncovering long-forgotten secrets and exploring the nature of memory, specifically about how we remember family.

Spoilers ahead.

Stories. We all have them and we all tell them, everything from as simple as what we had for dinner last night to as complex as the first time we met a long-term friend. We tell those stories, bringing our own thoughts and feelings and biases, sometimes to the contradiction of other people within those stories. Memory is a fickle thing, constantly fading, open to interpretation and misinterpretation, and sometimes all it takes is one new piece of evidence or one more perspective to radically change how we look at our own memory and the stories we’ve told, sometimes unraveling the stories we’ve told altogether. 

“Stories We Tell” dives headfirst into this sea of memory, an attempt by Sarah Polley to learn more about her family, specifically her mother Diane, who died of cancer when Sarah was in her teens. Sarah begins by looking at her own family, from when her parents first met, to Sarah’s birth late in Diane’s life, and to her sudden death. Sarah’s journey through Diane’s life seems to wrap up, but then Sarah starts pulling at loose ends in her mother’s story, and discovers a host of new information, including details of her first marriage in which she lost custody of her children, to an illicit affair while acting in another city, resulting in Sarah’s conception. Of course, illicit affairs and questionable parentage aren’t really new or particularly exciting stories by themselves. Hell, day time talk shows have made an industry over revealing paternity. No, what makes this documentary special is how Sarah Polley tells the story.

Towards the end of the documentary, Sarah begins letting the rest of us in on the secret of her documentary, showing how she set out to tell one story, then becoming a larger part of that story, then becoming entangled in a web of stories surrounding the initial story. Sarah Polley crafts the film to take us on that journey, releasing each new bit of information to shock our perspectives, and transforming the narrative from a chronological story into a murkier, soupier mess of emotions and discovery. She manages to use her father’s written version of the story as narrative, and her interviews with her biological father as influence, and a host of amazing actors to recreate scenes using a Super 8 camera and excellent editing. It’s not just one great story, but a bunch of them, and a well-made and unique documentary to boot. My only complaint is that the documentary never seems to really finish, and perhaps that’s intentional, as the stories we tell are never really finished as long as there’s someone to tell them.

“Stories We Tell” (2012) is an incredible and personal documentary about the life and family of Sarah Polley, her mother Diane, and the stories surrounding both of them. The film transcends the framework of family documentaries, blending the impact of the story itself with the impact of discovering the hidden history of Sarah’s life, and leaving enough room to allow the viewer to reflect back on their own stories. Fans of family documentaries, or folks who love learning the hidden secrets of other families, should definitely check out this film.

Rotten Tomatoes: 94% (CERTIFIED)

Metacritic: 91

One Movie Punch: 9.0/10

“Stories We Tell” (2012) is rated PG-13 and is currently streaming on Amazon Prime, the Roku Channel, and Tubi.

Hi everyone!

Welcome back to Streaming Saturday, with another aspirational Netflix Original film, this time about hip-hop. For other Netflix Originals in the same vein, check out “Roxanne Roxanne” (Episode #083), “First Match” (Episode #093), “Amateur” (Episode #103), and “Candy Jar” (Episode #118). And if you have any suggestions, let me know at onemoviepunch.com.

And now...

Today’s movie is “The After Party” (2018), the Netflix Original comedy written and directed by Ian Edelman. The film follows Owen (Kyle Harvey), an aspiring rapper whose career seems over after an embarrassing video goes viral. However, his friend Jeff (Harrison Holzer) finds a way to sneak Owen into an exclusive NYC after party for a long shot at redemption. The film was co-produced with Worldstar Hip Hop and Live Nation Productions.

Spoilers ahead.

So many films about hip hop in the past few years, mostly biopics about famous rappers like N.W.A., Tupac, Biggie, and Roxanne Shanté, with different levels of success and acclaim. It’s been great to see all the dramatic films showing more of the struggle and realism of the hip-hop industry, moving away from the more comedic films of the 1990s, including “CB4”, “House Party”, and “Friday”, which, let’s face it, were designed to sell hip hop not just to fans, but to a larger, more mainstream audience. And while we’re being honest, while I’ve loved the latest hip-hop films, I’ve also missed the comedies from my childhood, an itch scratched by today’s film.

“The After Party” is full of outrageous comedy and unrealistic situations, all designed to tell a funny, if implausible story. It’s a modern fairy tale, albeit a comedic one, that centers around Owen’s quest to get signed to a major record label. Kyle Harvey aka KYLE is really good as Owen, bringing his great flow to each performance, still managing to convince me he’s still young and hungry, and probably the realest performance in the entire film. The rest of the cast, by contrast, is all characters you’ve heard about in hip hop tracks, from rich kids to materialistic women to savvy strippers, all great at supporting Owen’s journey and poking mild fun at hip hop in the process. Add appearances by Wiz Khalifa, French Montana, and Pusha T, and you’ve got the makings of a modern classic.

But only the makings of one. “The After Party” is a really solid story, with very little filler, but it is also pretty predictable. No one really doubts that Owen is going to fail in his journey, no matter how close to the line the story takes it. The story also has a lot of noticeable holes, like how a super-rich kid living in Westchester couldn’t just make his own record label, or how Jeff is able to walk right into however many record labels without getting tackled, or how Owen would still likely have to go into the military, because once you sign up, you are committed, and no record contract is going to get him out of it. None of this ruins the film, but it does prevent the film from getting a higher score.

“The After Party” (2018) is an aspirational fairy tale, following an unsigned rapper looking for a lucrative record contract. Kyle Harvey is great in his debut role, but the story leaves a lot to be desired, even if the overall film is decent and contains very little filler. Fans of hip hop comedies, or aspirational films in general, should definitely check out this film.

Rotten Tomatoes: NR

Metacritic: NR

One Movie Punch: 7.4/10 

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