One Movie Punch

Hi everyone!

Today will be the second of four Netflix Original films this week, in my quest to watch and review every 2018 release. Today’s film was produced in collaboration with Campfire, who was also involved with “6 Balloons” (Episode #097), and Red Hour Films, who were involved with “The Polka King” (Episode #013) and “Alex Strangelove” (Episode #160). If you have a favorite film from either production company, let me know at onemoviepunch.com.

And now...

Today’s movie is “The Package” (2018), the Netflix Original comedy directed by Jake Szymanski and written for the screen by Kevin Burrows and Matt Mider. The film follows five teenage friends heading on a spring break camping trip. After reaching their campsite, everyone begins to drink, and a horrible accident results in Jeremy (Eduardo Franco) cutting off his penis. The friends rally to have him evacuated by helicopter, but send along the wrong cooler with the retrieved member. Now the friends must race against time to make it to the hospital in time to save their friend. The film also stars Daniel Doheny, Geraldine Viswanathan, Sadie Calvano, and Luke Spencer Roberts.

Spoilers ahead.

It’s films like this that make me question my goal of watching and reviewing every Netflix Original film this year. Earlier this year I felt the same way about “Game Over, Man!” (Episode #089), which unsurprisingly was also involved in producing this film, and which also contained a severed penis as a major plot point. Maybe the same team thought the severed penis’s performance was so strong in that film that they gave it its own breakout role in today’s film. Maybe we’re on the verge of an entire series of films involving severed penises. God help us.

If hearing the term “severed penis” is making you feel as uncomfortable as I am saying it over and over again, then you are experiencing a low dose of the truly cringe-worthy discomfort involved in watching this film. The story is clearly built around the premise, with tension building close calls until the actual injury, then a sequence of gross-out gags as the friends try to transport the, let me say it again, severed penis out of the forest. Filling in the gaps are two contrived relationship dramas between the four friends, and the occasional non-penis-related gross-out gag as well. The film keeps a good pace, if you can stomach it, and despite my better judgment, I still laughed out loud more than once.

The cast is pretty good, often rescuing the over-the-top, but well-timed comedy. It’s another solid performance from Daniel Doheny, who I enjoyed quite a bit in “Alex Strangelove”. The rest of the cast is as good as the script allows. I mean, come on, this is a comedic film about a severed penis. It might be the best possible film about the subject matter, but it also sets an upper limit on just how good this film can be. I’m willing to be proven wrong, however, and if this film got a green light, I can only imagine what else might be on the horizon.

“The Package” (2018) is an unabashed late-night, gross-out comedy about a group of friends trying to save their friend by reuniting him with his, yes I’m going to say it again, severed penis. It is not a work of high cinema, but it is good for a few laughs, a few more groans, and a whole lot of cringing. Fans of the Workaholics production team, or late-night, gross-out comedies, or severed penises should definitely check out this film.

Rotten Tomatoes: 75%

Metacritic: NR

One Movie Punch: 6.8/10

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

Welcome back to Matinee Monday!

The last few years have been really great for black cinema, with no shortage of not just quality films, but exceptional and groundbreaking cinema, from new and not so new directors and writers. If you are looking for examples of what I’m talking about, check out “Mudbound” (Episode #009), “Moonlight” (Episode #037), “Black Panther” (Episode #050), Pass Over” (Episode #114), “Whose Streets?” (Episode #172), “Sorry to Bother You” (Episode #197), and today’s movie. Each film brings its unique perspective on issues like systemic discrimination, police brutality, economic subjugation, and identity. And if you have any current or classic favorites in black cinema, let me know at onemoviepunch.com.

And now...

Today’s movie is “BlacKkKlansman” (2018), the biographical drama directed by Spike Lee and written in collaboration with Charlie Wachtel, David Rabinowitz, and Kevin Willmott, based on “Black Klansman: A Memoir” by Ron Stallworth. The film follows Ron Stallworth, the first black police officer in Colorado Springs, who devises a plan to infiltrate the Ku Klux Klan. The film won the Grand Prix at the 2018 Cannes Film Festival and was produced by Jordan Peele. 

Spoilers ahead.

I’m already bracing myself for the inevitable conservative backlash to this film. It’s not exactly abnormal for Spike Lee’s films, which generally strike a nerve with conservative-minded folks who don’t like to look at the structural problems in the United States, nor the effects on marginalized communities, particularly black communities. And I think that’s because acknowledging the structural problems for some demographics means also acknowledging the structural privilege that must exist for other demographics, which is difficult for folks with privilege to accept. It’s also clearly been easier to lash out at Spike Lee for shining a light on these issues, rather than actually dealing with them in any meaningful way. So, it’s not really a question of if, but when conservatively-minded folks are going to have all sorts of outrage about this film.

“BlacKkKlansman” operates on a number of levels, all expertly woven together by Spike Lee. Ron Stallworth’s story is set in 1979, towards the end of the heyday of blaxploitation cinema, and adopts multiple elements of the genre in terms of costumes, sets, and practical effects, especially the cars. Lee subverts the genre while also elevating it, in a way that only someone who began his forty-year career back in 1979 can appreciate, when blaxploitation was being culturally reconsidered by the black community, a conversation which happens within this film, and still continues today. The film has almost perfect pacing, excellent camera angles, and powerful editing. It is visually impressive and incredibly engaging.

John David Washington brings Ron Stallworth to life as an individual character, a black cop who wants to use the system to liberate and protect his people, even while racist elements on the force do not want him, nor do his people want him working for an organization that systemically abuses their power to harass them, a tension that still exists today. It is also a film about white supremacism, from the perspective of a filmmaker who has lived to see the progress made towards social justice, and the frightening regression seen in recent years. This point is made constantly through eerie parallels, subtle prescient humor, and in the film’s powerful coda, a direct and fair comparison between yesterday’s KKK to today’s torch-wielding neo-nazis and white supremacists, emboldened by an almost nakedly fascist president. In fact, the ending is what prevented me from giving it a perfect score, not because I disagree with the message, but because it felt heavy-handed. I know many, many people still need today’s injustices spelled out for them, but I’m not sure rubbing their nose in it like this is the best method, no matter how satisfying it might be.

“BlacKkKlansman” (2018) is a powerful and complex film about white supremacism, black identity, and the relationship between individual and systemic racism. Spike Lee explores those themes both then and now, how far we’ve come, and how far we are regressing. Fans of Spike Lee, exploitation films, or people concerned about the rise of white supremacism now should definitely check out this film. Don’t miss this film while it’s in the theaters!

Rotten Tomatoes: 97% (CERTIFIED)

Metacritic: 79

One Movie Punch: 9.8/10

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

Hi everyone!

We’re back with another week of reviews, this time featuring four Netflix Originals, another Orson Welles classic, an art documentary, and a film that’s based on some fo’ real, fo’ real shit. It’s a bit Netflix heavy, but it’s the only way to keep up on my hope to review every Netflix Original film this year. You can check out all the previous films using the Netflix Original blog tag at onemoviepunch.com. And if you have a favorite, or think I’m missing one from this year, let me know using the contact form.

And now...

Today’s movie is “Flavours of Youth” (2018), the Netflix Original slice of life animated anthology directed by Xiaoxing Yi, Yoshitaka Takeuchi, and Haoling Li. The film was produced by CoMix Wave Films, the driving force behind last year’s “Your Name.”, and Haoliners Animation League, a Chinese animation studio. Each segment is a self-contained story, but also indirectly connected to each other. 

Spoilers ahead.

I figure the best way to tackle this anthology is looking at each segment separately, as they each have their own strengths. The first segment is titled “The Rice Noodles”, directed by Xiaoxing Yi, which follows Xiao Ming (Taito Ban) as he reminisces upon the noodles he’s eaten in his life, and their connection to friends and family. Don’t let the premise deter you, though, because while it is the shortest of the three, it also has some truly stunning animation, moving in multiple dimensions, making all the food look amazing.

The second segment is entitled “A Little Fashion Show”, directed by Yoshitaka Takeuchi, and follows Yi Lin (Minako Kotobuki), a fashion model pushing middle age, and her younger sister Lulu (Haruka Shiraishi), a student and quasi-caretaker for Yi Lin. The segment is mostly a dramatic exposé about the darker underbelly of modeling, which differs dramatically from Yi Lin’s dreams prior to entering the business, and how that affects the aspirations of her younger sister. Good animation, but also a good story. 

The final and longest segment is entitled “Love in Shanghai”, directed by Haoling Li, and following Li Mo (Takeo Otsuka), an emotional and ambitious young man who uncovers an old cassette tape from his past from Xiao Yu (Ikumi Hasegawa), his childhood friend and slightly more. I found this segment felt thematically and structurally similar to the Chinese drama “Us and Them” (Episode #178), but more concise and, frankly, more hopeful. I really loved the feel of Shanghai in this segment, a definite draw. Also, stick around for a post-credits scene that ties the three segments together, expanding on the initial airport scene.

“Flavours of Youth” (2018) is an animated drama anthology made up of three segments exploring the relationship between adulthood and youth, and between our dreams and memories. The anthology builds on the recent impressive output from CoMix Wave Films and a great introduction to Haoliners Animation League’s growing body of work. Fans of dramatic anime, or animation in general, should definitely check out this film, especially the first segment.

Rotten Tomatoes: NR

Metacritic: NR

One Movie Punch: 8.6/10

“Flavours of Youth” (2018) is rated TV-PG and is currently streaming on Netflix.

Welcome back to Film Buff Fridays!

Now, I know what you’re thinking. What the hell is this movie? Well, consider it the initial entry in this podcast’s exploration into the world of Troma Entertainment, another blind spot for this podcast thus far, but no longer. Film Buff Fridays is about all sorts of classic films, even cult classics like this one. If you have any favorite cult classics, be sure to let me know at onemoviepunch.com or reach out on social media. I always love films that you need to see to believe.

So without further ado...

Today’s movie is “Surf Nazis Must Die” (1987), the Troma Entertainment cult classic directed by Peter George and written by Jon Ayre, based on a shared story idea. The film follows a group of hooligans known as the Surf Nazis, who control the beach ten years after a massive earthquake devastated Los Angeles. However, when their leader Adolf (Barry Brennar) kills Leroy (Robert Harden), who tried to stand up to their gang, his mother Eleanor (Gail Neely) decides to come out of retirement to get revenge.

Spoilers ahead. 

Troma Entertainment. No one who claims to be a movie aficionado can claim that title without having dipped into the deep waters of the Troma Entertainment catalog. Troma was just a regular b-movie production house until 1984, when “The Toxic Avenger” became a huge hit, along with “Class of Nuke ‘Em High” two years later. And then in 1987, came today’s film “Surf Nazis Must Die”, in a year when they produced seven separate films, beginning their financial demise. At least until the next influx of cash came in, much like the current influx funding the reboots and continuations of their classic franchises. Delightfully goofy, always unnecessarily exploitative, but also entertaining.

My first exposure to “Surf Nazis Must Die” was watching “USA’s Up All Night”, the b-movie marathon on Friday and Saturday nights, hosted by Rhonda Shear and Gilbert Gottfried. I used to stay up nearly all night every night watching so many b-movies that ran one after another, with wry commentary from Rhonda and Gilbert in-between. I remember the commentary for this movie being particularly sharp, given all the many inconsistencies in the story and the incredibly bad acting, with the exception of Gail Neely. It was “The Warriors” if the film never left the beach, and it had Nazis so you made sure you hated them.

Now, would I say this is a good film? Absolutely not, but bad movies can also be enjoyable, and I still enjoyed the hell out of this one, even for a third or fourth time. The language is certainly crude, and contextually racist and sexist and homophobic, but those characters all end up getting what they deserve. I really liked a few of the shots and even though the soundtrack was very similar to “The Warriors” in feel, I still enjoyed that as well. For me, it’s the same as appreciating both “The Walking Dead” and “Z Nation”.

“Surf Nazis Must Die” (1987) is an enjoyable, but blatant ripoff from Troma Entertainment, with their characteristic style and similar level of offensive content. It is not a good film by any measure, but it is strangely enjoyable in the way that all Troma films can be, for the right audience in the right mood. If you love cult classics, and you haven’t seen this film, I highly recommend you do so. But skip this if you aren’t a fan of b-movies or exploitation films.

Rotten Tomatoes: 20%

Metacritic: NR

One Movie Punch: 5.8/10

“Surf Nazis Must Die” (1987) is rated R and is currently streaming on Tubi.

Hi everyone! 

I saw today’s movie pop on my radar back in April when it had a limited theatrical showing in the United States, although I was unable to catch a screening. It seemed like a nice companion piece during the push for “Won’t You Be My Neighbor?” (Episode #193), which was just starting its own promotional effort. If you’re looking for another positive documentary, and I’m sure we could all use a little more positivity in our lives, check out “Faces Places” (Episode #130). And if you have any other nostalgic or uplifting documentaries to recommend, let me know at onemoviepunch.com

And now...

Today’s movie is “44 Pages” (2017), the documentary directed by Tony Shaff. The film followed the creation of Highlights’ 70thanniversary issue, using the process to explore the company’s history and mission, from humble beginnings to today’s magazine market. Now, Goofus would just blaze on into the review, but Gallant needs to first remind you about something.

Spoilers ahead.

If you went to the dentist or the doctor as a child, then you were exposed to Highlights Magazine, which provided me no end of amusement while waiting nervously for the dentist or while bored waiting for the doctor. It was one of their genius marketing ideas in their early years, one that put the magazine in front of everyone. It’s just one of the many facts you will learn watching this film, and not the only memory you might remember as well.

I actually learned a lot watching this documentary, especially learning the magazine was based on principles of child development, and working towards more and more inclusive representation in its pages. I also loved their creative team, even if the psychological tests they do on their employees seems a bit intrusive, perhaps even cult-like. I also wasn’t a fan of the segregation from the more administrative parts of the company, even if I understood the reasoning behind the isolation. I might just be jealous to not work in that environment, because it looks pretty amazing and located in a beautiful part of the country.

I don’t actually have a lot to say about the documentary from a technical perspective. It uses the creation of the 70thanniversary issue as a through-line to dip into history, told using interviews with the creative and administrative teams, along with some contracted artists. I didn’t even really see a whole lot to trim out, with nearly every bit contributing to the story in some way. I almost wanted more information, although ninety minutes is probably enough for the story being told.

“44 Pages” (2017) is a solid documentary about a beloved children’s magazine, with a unique creative process and a surprisingly progressive approach to engaging children. While not unearthing any shocking truths, it does communicate the history and mission of Highlights Magazine effectively to celebrate its 70thanniversary of publication. Fans of Highlights magazine will no doubt love this film, and will hopefully love the nostalgia it may stir within them.

Rotten Tomatoes: 67%

Metacritic: NR

One Movie Punch: 7.6/10

“44 Pages” (2017) is rated TV-PG and is currently streaming on Netflix and Kanopy.

Welcome back to Worldwide Wednesdays!

This week is the fourth Netflix Original film included in their six movie deal with Indian filmmakers, this one diving into the darkly comedic side of Bollywood. If you’re interested in my take on the first three films, check out “Love Per Square Foot” (Episode #052), “Sometimes” (Episode #136), and the film with the highest number of downloads for the podcast so far, “Lust Stories” (Episode #168). If you have any Bollywood favorites, let me know at onemoviepunch.com.

And now...

Today’s movie is “Brij Mohan Amar Rahe” (2018), the dark crime comedy directed by Nikhil Bhat, and written for the screen in collaboration with Gaurav Sharma and Kuldeep Ruhil. The film follows the unfortunate life of Brij Mohan (Arjun Mathur), a lingerie salesman who cheats on his materialistic wife with his materialistic mistress, and makes a deal with a loan shark that places him in mortal danger. However, through a string of odd events, he fakes his own death, changing his name to Amar Sethi, until he is framed for his own murder.

Spoilers ahead. 

Shock value drives a lot of dark comedies, taking an extreme concept to incredible lengths, usually to make deeper points through the medium of the story. “Brij Mohan Amar Rahe” actually has a great premise, with the right amount of twists and turns and unpredictability to make a really great film. Brij Mohan’s journey is one of incredible suffering, one geared towards deep levels of tantalizing schadenfreude, and one that left me feeling pretty awful and empty at the end, because the journey is only headed in one direction, with no hope for redemption.

The real tragedy is that the film never takes itself seriously, despite the subject material. The film begins with a monologue that uses the word “fuck” in an almost exploitative manner, including lots of dialogue about sex and crime and police in India. Everyone is corrupt in the film, usually in some shockingly forthright ways, and Brij Mohan is probably the least likeable of them all. I actually got to the point where I hoped no one would win, but the only one to truly suffer is Brij Mohan, and everyone is rewarded for it.

I do have a lot of problems with this film, but it also has its strengths. The cast is great, once you accept the nature of the characters, each playing up the near-caricature roles engaging in outlandish situations. I also loved the sets used for the film, which did a lot to reinforce the feeling of Brij Mohan being trapped no matter where he went, except for the place he went to do his worst deeds. I only wish the ending didn’t feel so much like retribution, even if I can’t think of a better way to end the film as Brij Mohan ends up being truly beyond redemption.

“Brij Mohan Amar Rahe” (2018) is a supremely dark tragic-comedy, watching the steady decline of the lead character into almost farcical conditions. It is a film geared towards folks who like watching other people suffer, and for people who like to profit off the suffering of others. Fans of the darker side of Bollywood may enjoy this film, but be ready for some really morbid twists and turns, especially the ending.

Rotten Tomatoes: NR

Metacritic: NR

One Movie Punch: 6.2/10

“Brij Mohan Amar Rahe” (2018) is rated TV-MA and is currently streaming on Netflix.

Hi everyone!

Ever listened to this podcast and thought “I could do that!” or “That doesn’t seem so hard!” or “This guy has no idea what the hell he’s talking about!”

Well, soon enough, I’ll start Takeover Tuesdays, where a listener or fellow film podcaster can takeover our show with their review, sticking mostly to our format, and in return, in addition to the glory of being on this humble podcast, I’ll also run whatever promo you would like and place that promo into our regular rotation until the podcast gets some proper sponsors. It’s like free advertising while it lasts. Think you have what it takes? Reach out to us at the website at onemoviepunch.com or on social media in the usual places.

And now...

Today’s movie is “Oh Lucy!” (2018), the debut feature-length film from Atsuko Hirayanagi, based on her short video of the same name. The film follows Setsuko (Shinobu Terajima), who is urged to take an English class by her niece Mika (Shioli Kutsuna) with an instructor named John (Josh Hartnett). Once she pays, however, Mika and John head to Southern California, and Setsuko sets out after them with Mika’s mother, Ayako (Kaho Minami).

Spoilers ahead. 

Some films fly completely under the radar, despite excellent reviews. Case in point: “Oh Lucy!”, which only showed in three theaters earlier this year after making the rounds at multiple film festivals around the world. I felt the same thing happened with another underrated film, “Columbus” (Episode #017), which only opened in two theaters, despite being one of my favorite films from last year. It’s always a mystery to me how we can have thirty screens for the same film, but can’t find at least one per market for an excellent film like “Oh Lucy!”. 

Hirayanagi’s film opens with a bizarre, but poignant scene about karōshi, literally translated as “overwork death”. It’s a very real phenomenon in Japan, affecting roughly 30,000 per year, and in this film, used to make the viewer immediately lose their footing, becoming unsure about who Setsuko is and what the film might be about. Her journey continues by being swindled by her niece, taking charge of her own life, and running after what she wants, even when knowing it was a bad idea. Setsuko’s journey shows the unfair way in which unmarried middle-aged women are still viewed in Japan, while breaking every social, familial, and personal barrier she finds.

Shinobu Terajima is so very good as Setsuko, almost gleefully defying social expectations until events in the film take a dramatic turn. Hirayanagi really finds the right camera angles and pacing to match Terajima’s performance. The supporting cast is also pretty good, although Josh Hartnett felt a little too much like a younger Brad Pitt. The costumes and sets are integral to the story and well chosen, and I even dug the ending, as morbid as it is.

“Oh Lucy!” (2018) is a highly underrated Japanese drama about unmarried middle-aged women in Japan, and the social constraints and stigma they face. Atsuko Hirayanagi excels in her first feature-length film, transforming her short video into a wonderful and unexpected travel story. Fans of Japanese dramas, or fans of excellent independent film making, should definitely check out this film. It isn’t to be missed while it’s available for streaming. 

Rotten Tomatoes: 100% (CERTIFIED)

Metacritic: 69

One Movie Punch: 9.0/10

“Oh Lucy!” (2018)is not rated and is currently streaming on Hulu.

Welcome back to Matinee Monday!

I have been blown away by the independent films earning wide theatrical releases this summer, each of which are likely Oscar contenders. Today is no exception, but if you want some other high quality films while they remain in theaters, check out “Won’t You Be My Neighbor?” (Episode #193), “Sorry to Bother You” (Episode #197), “Leave No Trace” (Episode #204), “Three Identical Strangers” (Episode #207), and yesterday’s review for “Don’t Worry, He Won’t Get Far on Foot” (Episode #217). And if you have any suggestions, let me know at onemoviepunch.com.

And now...

Today’s movie is “Eighth Grade” (2018), the debut feature-length film written and directed by Bo Burnham. The film was produced and distributed by A24. The story follows Kayla (Elsie Fisher), a thirteen-year-old suburban girl during her last week of eighth grade, struggling to understand herself and the expanding world around her, firmly entrenched in today’s suburban environment.

Spoilers ahead.

I had someone ask online whether this film would be appropriate for their teen daughter to see. It’s a tough question to answer, though, because each parent really determines what limitations or restrictions they have for their child, and as a father who took his similarly aged daughter twice to see “Deadpool 2” (Episode #141), I might not be the best judge. But when it comes to the restrictions that parents place on their children, the only meaningful question to ask is why. When it comes to this movie, however, I think every young suburban girl should see it with their parents, because while it may make everyone uncomfortable, I also think the film is incredibly honest and can serve as a gateway to discuss one of the more difficult transitions in life, especially in modern suburbia.

Bo Burnham crafts an emotional and effective story about the empowering journey of female adolescence, and in particular, the transition to high school, when suburban adolescents begin to form smaller friend groups and the hormones and social media saturation accelerate sexual desires. Parents have a variety of methods for dealing with this transition, everything from a head in the sand to almost overly inquisitive helpfulness. It’s also a lot different from my adolescence, not just because I am biologically male, but also because I didn’t have access to the Internet, which has radically changed adolescence, in both good and bad ways.

Elsie Fisher is superb as Kayla, always believable and nailing the subtler aspects of the character in the dialogue and the unscripted nature of her videos. You really develop empathy with her right away, even when she lacks a lot of empathy for others in the way suburban adolescents can be, especially with their parents. You laugh for Kayla and hold tension with Kayla and even experience incredible fear for Kayla, following her emotional journey and embracing her epiphanies even though it was exactly what her father was trying to tell her throughout the entire film. Bo Burnham accentuates the entire journey with great scoring, excellent sets and costumes, and nearly perfect editing, with just a few rougher blended video scenes that didn’t land with me.

“Eighth Grade” (2018) is an incredible film about female adolescence, and the transition to high school, very likely to score more than one Oscar nomination this year, if there is any justice. More importantly, though, I really believe this film will be important for its honest and loving portrayal of suburban adolescent girls, with all its confusion and contradictions. Fans of coming of age films, and especially parents of adolescent girls should definitely see this film. I can’t recommend it enough.

Rotten Tomatoes: 98% (CERTIFIED)

Metacritic: 90

One Movie Punch: 9.8/10

“Eighth Grade” (2018) is rated R and is currently playing in theaters.

Hi everyone!

As promised, this week I’ll be working in an extra film from the theaters, along with two Netflix Originals, a Troma Team cult classic, a documentary about a children’s magazine, and a highly rated but overlooked film from earlier this year. A lot of great films in the theaters right now, and more than a few excellent independent features getting wider distribution. I’m hoping to see the rest for next week. And if you have any recommendations, let me know on social media or using the contact form at onemoviepunch.com.

And now...

Today’s movie is “Don’t Worry, He Won’t Get Far on Foot” (2018), the biographical drama directed by Gus Van Sant and written for the screen in collaboration with John Callahan, Jack Gibson, and William Andrew Eatmen, based on John Callahan’s memoir. The film follows John Callahan (Joaquin Phoenix), an alcoholic who becomes a quadriplegic after a drunken car crash in 1972, and eventually seeks help at the behest of his girlfriend Annu (Rooney Mara), succeeding with the help of a charismatic sponsor named Donnie (Jonah Hill).

Spoilers ahead.

I’ve been a fan of Gus Van Sant since seeing “Good Will Hunting” back in the day, then discovering his other films from there, either as they debuted or by hitting the archives. I mention “Good Will Hunting” because that movie is the beginning point of this movie, when Robin Williams had optioned the rights to John Callahan’s memoir, and began discussing developing it with Gus Van Sant. Of course, the success of “Good Will Hunting” also gave them tons of great work, so the project was shelved for a while, then later postponed again after Callahan passed away in 2010, and entered a kind of development limbo after 2014 when Robin Williams took his own life.

Obviously, a film with that kind of development history brings a lot of baggage, so I’m frankly amazed that Gus Van Sant with Joaquin Phoenix revived the project for development. I’m also glad that the project came to fruition, because it has some really strong aspects. The casting is excellent, with Van Sant being able to draw Jack Black, Carrie Brownstein, and Beth Ditto for relatively minor supporting roles, and the story puts the road to recovery as a strong through line while utilizing flashbacks (and flash forwards) to fill in the gaps. Jonah Hill’s performance as Donnie is particularly excellent, really fleshed out, perhaps even Oscar-worthy for Best Supporting Actor.

However, the film also has a few noticeable flaws, or perhaps limitations. Following the timeline can be challenging with the format, and particularly with Donnie’s references to Chucky, which I believe is about a decade out of place. I thought every scene with Suzanne, the benefits liaison, seemed superfluous to the rest of the story, even if Callahan’s struggles with the benefits system are an important part of his life. I also have some concerns with a film championing Alcoholic Anonymous, because while it has worked for many people, it has also come under increasing scrutiny by scientific study in terms of treating addiction, biochemically, psychologically, and sociologically. I support anyone’s journey towards sobriety, being almost four years sober myself, but for those out there continuing to struggle, just know that there are multiple treatment paths and that there isn’t just one path that works for your own recovery.

“Don’t Worry, He Won’t Get Far on Foot” (2018) is a pretty good film, but has some noticeable flaws. The film does justice to the life of John Callahan, both the good and the bad, and the flaws do not take away from a Oscar-worthy performance by Jonah Hill. Fans of John Callahan, or biographical dramas in general, or stories of successful recovery should definitely check out this film.

Rotten Tomatoes: 75% (CERTIFIED)

Metacritic: 66

One Movie Punch: 7.6/10 

“Don’t Worry, He Won’t Get Far on Foot” (2018) is rated R and is currently playing in theaters.

Welcome back to Streaming Saturday!

Netflix is slated to release quite a few new films this month, so we’re back with yet another Netflix Original this week, this time in the comedy vein. If you like Netflix Original comedies, then definitely check out “A Futile & Stupid Gesture” (Episode #027), “I Am Not An Easy Man” (Episode #110), and two of our most downloaded episodes for “The Kissing Booth” (Episode #132) and “Set It Up” (Episode #167). And if you have any favorites from this year, let us know at onemoviepunch.com.

And now... 

Today’s movie is “Like Father” (2018), the Netflix Original comedy directed by Laruen Miller Rogen and written for the screen based on a story developed with Anders Bard. The film follows Rachel (Kristen Bell), an abandoned bride who ends up on her honeymoon cruise with her estranged father Harry (Kelsey Grammar), leading to revelations and resolutions.

Spoilers ahead.

I’m smart enough to know when I’m bringing my own bias to a film. “Like Father” brings out more than a bit of my bias, because the film is permeated with privilege, from the characters and their situations, to their motivating concerns, to the solution somehow involving luxurious consumerism on a machine partially responsible for destroying the planet. So, if you are wondering if I enjoyed this film, the answer is... at times.

From the get go, I really hated Rachel, given her obvious character flaws, part of which are necessary for the setup. But once we’re on the cruise, the story transforms into mostly a Royal Caribbean advertisement, with montages of fun activities being used to almost directly drive the story, touting the same narrative that you can consume your way to happiness and fulfillment. I feel like anyone who is reviewing this movie should get an automatic check from Royal Caribbean, as a sponsor for their product. Hell, I should have seen it coming because Rachel’s character literally works in advertising.

As a parent, I’m normally a sucker for father/daughter movies, whether a sub-plot of the film, or as the focus, so I understood why I still had a few heartwarming moments, watching two folks unbelievably, but also awkwardly and lovingly reconnect, fumbling through a difficult relationship. Bell and Grammar nail that relationship, including the privileged part, and while I don’t feel particularly attached to any of the characters, I did have a few laughs and maybe indulged in a few fantasies, which is ironically what most folks take away from their cruise experience. Without the ginormous bill, the excess calories, the potential intestinal virus, or the massive holiday hangover that follows. 

“Like Father” (2018) is a self-indulgent tale of reconciliation, trapped within an advertisement for Royal Caribbean. Lauren Miller Rogen turns in a film with a few laughs and a few heartfelt moments, carried by a decent cast with great chemistry, both in starring and supporting roles. Fans of family reconciliation films, or fans of vacation films, should check out this film.

Rotten Tomatoes: 41%

Metacritic: 49

One Movie Punch: 6.4/10

“Like Father” (2018) is rated TV-MA and is currently streaming on Netflix.