One Movie Punch

Welcome back to Streaming Saturdays!

It’s another post-apocalyptic thriller this week, which are always welcome on this podcast. Enjoy post-apocalyptic films? Check out Episode #066 (“Ravenous”), Episode #127 (“A Quiet Place”), and Episode #139 (“Cargo”). And if you have any suggestions, let us know at onemoviepunch.com, particularly from this year. I know there’s a lot of them that are hitting streaming services lately.

And now...

Today’s movie is “How It Ends” (2018), the Netflix Original post-apocalyptic action film directed by David M. Rosenthal and written for the screen by Brooks McLaren. The film follows Will (Theo James) attempting to return home to his pregnant wife Samantha (Kat Graham) during a bizarre apocalypse, helped along by his father-in-law, Tom (Forest Whitaker). The two face down both natural and human threats, doing whatever is necessary to make it back.

Spoilers ahead.

I thought I would start today with a little bit on the Black List. No, not the one where they ban people from working in the business, but the survey published each year of the most liked scripts in Hollywood that didn’t get picked up for production. You can look it up on Wikipedia to see the scripts that were chosen. I’m sure you’ll be amazed at just how many have eventually been turned into films, and more importantly, how many of these films are being picked up by Netflix for production. It’s amazing what a few billion dollars can get done. “How It Ends” is based on a script from the 2010 Blacklist by Brooks McLaren. He’s been receiving a lot of buzz lately, not just for this film getting picked up eight years later by Netflix, but he’s also been selected as the writer for the upcoming Rambo reboot, currently titled “Rambo: New Blood”. I’m not sure how I feel about that, though, based on this script.

“How It Ends” is a post-apocalyptic, or maybe a mid-apocalyptic, film that attempts to focus in on the social and emotional aspects of civilization breaking down, using a wholly ambiguous threat. Ambiguity can cut both ways in film-making. Characters and scenarios weave in and out over the five day road trip, with ideas and concepts appearing as fast as they disappear. Eventually, the unanswered questions build up, taking away from the intended focus on the characters and their relationships. The script even goes so far as to have Will explicitly state that it doesn’t matter what’s going on as long as they survive. If you want answers, you won’t find them. And perhaps the greatest disappointment, if you seen the trailer for this film, then you know... and pardon me for doing this, but... you know how it ends.

Ambiguous script and direct messaging aside, the film has its strengths. David M. Rosenthal’s direction is above average, with decent pacing given the just under two hour running time and the disregard for any explanations. The entire film is set against some great scenery and shooting locations, with perhaps a little too much time with the car. The cast does a great job, with a wonderful performance by Grace Dove as Ricki, an indigenous mechanic that joins their journey for a time. Perhaps with a longer media format the story could have come to life a little better, but as it stands, the film ends up being just okay.

“How It Ends” (2018) is a post-apocalyptic film concerned more about the characters than the disasters happening around them. David M. Rosenthal turns Brooks McLaren’s script into a decent road trip thriller, full of unanswered questions, and by extension, potential. Fans of post-apocalyptic films, or even road trip films, should consider checking out this film, but don’t expect any answers. 

Rotten Tomatoes: NR

Metacritic: NR

One Movie Punch: 6.6/10 

“How It Ends” (2018) is rated TV-MA and is currently streaming on Netflix.

Welcome back to Film Buff Fridays!

This week we’re going with a science fiction... let’s call it a classic? One of the most cult movies of all time, starring all sorts of people you know. Like cult films? Check out Episode #035 (“The Texas Chain Saw Massacre”), Episode #049 (“Ganja and Hess”), Episode #070 (“The Warriors”), Episode #131 (“Häxan”), and Episode #145 (“Carnival of Souls”). And if you have suggestions, let us know at onemoviepunch.com.

And now...

Today’s movie is “The Adventures of Buckaroo Banzai Across the 8th Dimension” (1984), the classic science fiction film directed by W.D. Richter and written by Earl Mac Rauch. The film follows Buckaroo Banzai (Peter Weller), a crime-fighting neurosurgeon and rock musician trying to stop aliens from the eighth dimension from conquering Earth, and to help a depressed woman named Penny Priddy (Ellen Barkin). 

Spoilers ahead. 

Cult classics are interesting films to watch and review. It’s almost impossible to separate the film from the audience, because their loyalty always affects a person’s opinion of a film, whether positively or negatively. The intense loyalty of their audiences can also directly change your perception in the theater. I can remember seeing “Snakes on a Plane”, a categorically bad film, at a premiere showing in Hollywood and it was one of the best theater experiences I’ve ever had. Or to take a more recognizable cult classic, “The Rocky Horror Picture Show”, a film that redefined the very nature of the term cult classic.

The reasons for audience loyalty to cult classics can definitely vary, but I think one subset of films are those which clearly have a lot of potential, but perhaps not the budget or technology available. I think “The Warriors” (Episode #070) falls into that category, along with “Buckaroo Banzai”. The film has all sorts of obvious problems, including an overly complicated script, absolutely horrendous practical effects, costumes, and sets, and difficulty with humor. But it also has lots of potential, especially with the talent and tools we have today, and I really hope they make good on the rumored reboot as a television show, because that would be a perfect venue for this story. 

“Buckaroo Banzai” would have never even made it into cult status if it hadn’t been for its incredible cast. John Lithgow brings his usual animated performance to Dr. Emilio Lizardo. Jeff Goldblum’s star was just on the rise, a performance that feels iconic after his extensive career. Christopher Lloyd is great. In fact, the only role I didn’t happen to like was Peter Weller’s, which felt wooden and dry, and perhaps Ellen Barkin’s Penny, which was mostly due to lack of character development. The special effects were also contemporarily excellent, but could also definitely use an upgrade with today’s technology.

“The Adventures of Buckaroo Banzai Across the 8th Dimension” (1984) is a film with a lot of potential, the birthplace of an intellectual property ready for a remake. While not a technically great film, it does have that certain something that retains its current cult following. If you like cheesy science fiction, or rubber monsters, or polymaths, or great actors playing mediocre characters, or just want to see what all the fuss is about, then you should definitely check out this film. Otherwise, skip it, because you’ll either love it or hate it.

Rotten Tomatoes: 71%

Metacritic: 70

One Movie Punch: 6.2/10

“The Adventures of Buckaroo Banzai Across the 8th Dimension” (1984) is rated PG and is currently streaming on Hulu, Amazon Prime, and Epix.

Welcome back to Documentary Thursdays!

I’m updating our format just a little bit going forward. We’ll still have Documentary Thursdays, but I’m starting to rotate in the documentaries that make it to my local theaters, and what a film to start that process! I’ll also be doing the same thing with international features on Wednesdays, although those are a bit more infrequent. Got a documentary or international film to recommend? Let me know at onemoviepunch.com.

And now...

Today’s movie is “Won’t You Be My Neighbor?” (2018), the feature-length documentary directed by Morgan Neville. The documentary follows Fred Rogers, popular host of “Mister Roger’s Neighborhood” on public television channels, examining his efforts and lasting impact on our society. Get a box of tissues and get ready for ugly cry time. I’m tearing up just writing this review.

Spoilers ahead.

I went to see this film with my wife and daughter, and they had two very different experiences. My wife and I grew up with “Mister Roger’s Neighborhood”, children of public television in rural America until children’s programming exploded in the mid-1980s. We built long-standing, emotional attachments to the show, and as such, this documentary brought all of those incredible feelings back. The reason is pretty simple: Fred Rogers was one of the very few consistently supportive voices on the television for us, fulfilling both curiosity and helping us process our feelings, even when the adults around us couldn’t seem to do so all the time.

My daughter had a different experience, having absolutely no attachment to Fred Rogers as a person or creator. She turned out to be a sort of control case for the review of this film, because I didn’t want to let my feelings override my critical eye, for whatever its worth. And she said it was a great documentary, that she now knows who he was, and was surprised how hard he worked, and that he had his own struggles as a kid, and that he basically saved public television, and for some reason was the target of an intense political attack from the wingnuts running the far-right conservative media. Well, she didn’t say that last one quite like that, but even she shook her head and rolled her eyes at the insane allegations that “Mister Roger’s Neighborhood” was the reason millennials “feel so entitled”. In short, the film even impacted someone with no attachment to Fred Rogers.

When the Internet was beginning to explode with content, one of the best videos I remember linking to was Fred Rogers’ testimony to Congress to save public television. The documentary uses clips from that same testimony, but I remember watching the only exchange, and tears started running down my face. I knew the documentary would affect me based on that memory and how many times I cried just watching the trailer, but I wasn’t prepared for how many times I cried and laughed and, yes, experienced anger while watching the film. I also never realized how much I genuinely loved him as a person until after seeing this film.

Thank you so much, Fred Rogers.

“Won’t You Be My Neighbor?” (2018) is very likely the best documentary that will be released this year. Morgan Neville composes an incredible documentary about an incredible person, one of the few truly good people of our time, and one who had a major impact on multiple generations of children. If you ever watched “Mister Rogers’ Neighborhood”, or want to learn about Fred Rogers as a person and a creator, then you should definitely check out this film. I can guarantee you we’ll see it again come Oscar season.

Rotten Tomatoes: 99% (CERTIFIED)

Metacritic: 85

One Movie Punch: 10/10

“Won’t You Be My Neighbor?” (2018) is rated PG-13 and is currently playing in theaters and I swear to God I’m not crying.

Welcome back to Worldwide Wednesdays!

We’re headed back to the Spanish film scene today, with yet another Netflix Original. Want some other Spanish films? Check out Episode #101 (“Orbiter 9”), Episode #150 (“Sara’s Notebook”), and one of my favorites this year, Episode #171 (“Sunday’s Illness”). And if you have any other suggestions, let me know at onemoviepunch.com

And now...

Today’s movie is “The Skin of the Wolf” (2017), the Spanish Netflix Original written and directed by Samu Fuentes. The film follows Martinón (Mario Casas), a 19thcentury highlander in Northern Spain who lives alone in an abandoned town, and decides to trade animal skins for a wife named Pascuala (Ruth Díaz) from a family in the next town over. However, upon Pascuala’s early death, Martinón returns to the village to confront her father, and takes his youngest daughter Adela (Irene Escolar) as restitution.

Spoilers ahead.

Oh, and also a trigger warning. Despite having a TV-14 rating, this film contains multiple scenes of obvious marital rape, which may not be appropriate for all viewers. So, if you have trouble with that content, this film and review is not for you. Skip ahead to tomorrow or come back to the live broadcast in a few minutes.

Historical dramas can be rendered in a number of ways, generally trying to find a balance between historical accuracy and modern appeal, sometimes with a larger message about that time period. Accuracy is important to bringing a time period to life, but even the most accurate setting can be used to tell a boring story, especially if it lacks a larger meaning. With all that said, “The Skin of the Wolf” (2017) is beautifully shot, but ultimately a slow-moving, almost meaningless story.

Case in point, it is historically accurate that women were treated like property, particularly in rural areas in the late 19thcentury, when this film is transpiring. Arranged marriages were often economic matters, and the men in those circumstances had certain expectations of their women. We see a concise version of that relationship when Martinón is negotiating for his first wife, first in talks at the pub, then when he takes Pascuala as his wife. And worse yet, we find out later that Pascuala is already pregnant and sick on top of that, and that’s followed by Martinón with the attitude of having been sold a defective product, and that’s followed by taking the youngest daughter from the same family as payment. Oh yeah, and the multiple scenes of marital rape that follow each marriage.

It makes me ask what exactly is the point of this film, especially with the focus on Martinón, a wholly unlikeable character, a person I admire slightly at the beginning and utterly loathe after he arrives in town, and for the duration of the film. In fact, the focus on Martinón feels wasted when the entire film could be told from Adela’s perspective, especially as she takes matters into her own hands by poisoning Martinón in order to attempt escape. It would have given more meaning to the misogyny and sexual assault, and would feel less like a meditation on the bleakness of mountain villages during the time. And if there’s a larger meaning to be taken for today’s world, I failed to find it.

“The Skin of the Wolf” (2017) is a historically accurate, beautifully shot tale about cruelty in the mountain villages of Northern Spain during the late 19thcentury. Samu Fuentes demonstrates a keen eye for capturing the beauty of the region through a slow-moving, effectively meaningless story about women being treated as property. If you like period pieces, and can stand multiple scenes of marital rape, then you might want to check out this film, but plan on feeling unfulfilled by the end.

Rotten Tomatoes: 60%

Metacritic: NR

One Movie Punch: 5.6/10

“The Skin of the Wolf” (2017) is rated TV-14 and is currently streaming on Netflix.

Hi everyone!

Has anyone else noticed that a large percentage of Netflix Originals the past two weeks have something to do with hunting? Episode #!88 (“The Legacy of a Whitetail Deer Hunter”), Episode #189 (“Calibre”), tomorrow’s movie, Episode #192 (“The Skin of the Wolf”), and today’s movie. Insert the conspiracy theorist chalkboard meme here. Got any favorite hunting movies? Let us know at onemoviepunch.com or reach out to us on social media.

And now...

Today’s movie is “White Fang” (2018), the animated feature directed by Alexandre Espigares, and written for the screen by Serge Frydman, Philippe Lioret, and Dominique Monfery. The film follows the life of White Fang, part-wolf and part-dog, from his early days surviving with his mother in the woods through multiple adventures in the Yukon Territory during the Gold Rush. The film is somewhat based on the original classic novel by Jack London, and features the voices of Nick Offerman, Rashida Jones, Paul Giamatti, Flula Borg, Stephen Kramer Glickman, and many others.

Spoilers ahead.

White Fang has been adapted multiple times to the screen, sometimes very loosely based on the novel. Disney’s 1991 live-action version starring Ethan Hawke almost takes none of the original novel, and spawned a direct-to-video sequel. The 1973 Italian version has White Fang taking down a crime lord. And the original 1925 silent version and 1936 sound version picks up only when humans enter the story. There have also been multiple animated versions, each taking certain parts over others. So, imagine my surprise when I saw yet another animated adaptation.

It’s weird to critique an animated film with an animal protagonist, especially one that experiences so much over the course of the film and within a variety of human populations. In live-action films with animal protagonists, the supporting human cast is crucial to moving the story or at least providing a backdrop for it, helping to overcome the limitations of animal training. But with an animated feature, you can make the protagonist, in this case White Fang, do whatever you need to do, and the film does it well. The animation style is actually akin to some open-world video games, demonstrating the ever-blurring line between video animation and video-game rendering.

I always loved the novel because we get to see the Yukon from the perspective of White Fang, both the beautiful and the vicious. I actually wanted to play this movie like a video game after a while, thinking running as White Fang would actually be the ultimate experience for London’s work. The frontier feel really comes through, the edge between the steady colonization of Europeans and the receding lands of the indigenous. You also get a sense of the different relationships between man and dog, some loving, some decidedly not. White Fang learns to survive in the wild, and learns to be a sled dog, then a dog fighter, until finally learning to be part of a family. And in a departure from the novel, at the end, we get to see White Fang return to the wild instead of retiring in California.

“White Fang” (2018) is a beautifully rendered, mostly loyal adaptation of Jack London’s classic novel. This multi-studio collaboration captures the harsh frontier world from White Fang’s perspective, with great pacing and voice work, giving new audiences a fresh look at the source material. Fans of the classic novel, or films about the frontier during the Gold Rush, should definitely check out this film, and with its TV-PG rating, it can be fun for the whole family.

Rotten Tomatoes: 83%

Metacritic: NR

One Movie Punch: 7.6/10

“White Fang” (2018) is rated TV-PG and is currently streaming on Netflix.

Welcome back to Matinee Mondays!

There was no way I was going to pass on another entry into the Marvel Cinematic Universe, especially since this is the last one until next March. If you want to read all my reviews for the Marvel Cinematic Universe, head over to onemoviepunch.com and click the tag for the full list of movies, all reviewed on the way to “Avengers: Infinity War”, including the original “Ant-Man”. The year still has a few comic book movies in store, though, so don’t fret!

And now...

Today’s movie is “Ant-Man and the Wasp” (2018), the blockbuster sequel directed by Peyton Reed and written by Chris McKenna, Erik Sommers, Paul Rudd, Andrew Barrer, and Gabriel Ferrari. The film follows Scott Lang (Paul Rudd), two years after “Captain America: Civil War”, serving his last few days of house arrest the best he can. However, a weird communication from the quantum realm gives hope to Dr. Hank Pym (Michael Douglas) and Hope Van Dyne (Evangeline Lilly) that Janet Van Dyne (Michelle Pfeiffer), wife and mother is still alive. The film was, of course, produced by Marvel Studios and distributed by Walt Disney Studios Motion Pictures.

Spoilers ahead.

The Marvel Cinematic Universe is moving to a three picture a year schedule, which seems to be the only way to keep up with both the larger continuity films and the individual franchise films. I couldn’t be happier. It is a little fatiguing to have three excellent films before the end of July, though, and a little frustrating that we have to wait until next March for “Captain Marvel”. I kinda hope somehow they spring a surprise feature this fall, but I don’t think there’s a strong enough non-disclosure agreement to have avoided spoilers of some sort.

“Ant-Man and the Wasp” (2018) is a solid sequel, from start to finish. Peyton Reed returns with a new writing team, borrowing two of the writers from “Spider-Man: Homecoming” with two relatively new talents, along with Paul Rudd punching up the comedy. The result is a script that can feel written by committee, sometimes feeling inconsistent in tone and pace. Great action scenes are followed by lots of plot, as we learn more about Hank Pym’s past and current arrogance being the cause (or the blame) for the actions by Ghost (Hannah John-Kamen) and Hank’s former colleague, Bill Foster (Laurence Fishburne). It can be too much, and with the stinger scene at the end tying back to “Avengers: Infinity War”, all I can say is there better be a third film.

Speaking of great action scenes, the film is definitely worth seeing in high definition and 3D. Our family went to see an IMAX 3D showing, and the theater accidentally started running the standard definition version before restarting with the high-def 3D version. It really is a world of difference, and the 3D is excellent for every action scene, and especially for the trip to the Quantum Realm. I really loved the fight choreography between Ant-Man, The Wasp, and Ghost, working with size changes and phase-shifting in neat ways. And the cast is great, if a little recycled from the first film.

“Ant-Man and the Wasp” (2018) is an excellent sequel, easily one of the better second outings for an MCU individual franchise. Peyton Reed brings the best of the first film with a somewhat complicated story, and one hell of a cliffhanger. If you’re looking for a family-friendly, visually-stunning film to escape the heat, then this film is definitely for you.

Rotten Tomatoes: 86% (CERTIFIED)

Metacritic: 70

One Movie Punch: 9.0/10

“Ant-Man and the Wasp” (2018) is rated PG-13 and is currently playing in theaters.

Today’s movie is “Calibre” (2018), the Netflix Original thriller written and directed by Matt Palmer. The film follows Vaughn (Jack Lowden) and Marcus (Martin McCann), two close friends who head to the Scottish highlands for a hunting trip. During their first day, Vaughn accidentally shoots a child, and events begin to spiral out of control. Consider this the dark counterpoint to yesterday’s Episode #188 (“The Legacy of a Whitetail Deer Hunter”).

Spoilers ahead.

I’m not sure what’s going on with Netflix’s marketing department right now, what with the move to remove written reviews and the incredible lack of consistency in their promotion efforts for more than a few of their acquisitions. Case in point, “Calibre” has had little to no promotion, not even appearing on their release schedule, so when it mysteriously appeared a couple weeks back, I had to scramble to find a slot for it. And I’m glad I did, because whatever the issues with their promotion campaigns, this is easily one of the best Netflix Originals to debut this year. 

The tension begins the minute the characters arrive at a pub the night before their first day of hunting, where the townsfolk all know everything about one another, and have a distinct sense of community, including a wariness of outsiders. And that tension doesn’t let up for the entire film, from the shooting tragedy in the woods to their attempts to cover it up and their final attempt to flee the town. Marcus and Vaughn, with each step, rationalize their way towards complicating matters, until a brilliant resolution, one that I saw coming, but still felt it was well executed.

Jack Lowden and Martin McCann both play their roles very well, bringing a extra layer of depth to their characters and the relationship towards each other, especially as matters being to spiral ever further downward. Tony Curran’s role as Logan McClay, a town elder who is related to the victims, is subtlely complex, perhaps the only truly rational character in the film. The film as a whole never feels slow, and despite having a straight-ahead story, still manages to have a few twists and turns you can’t see coming, and it’s set against some absolutely amazing landscapes and towns.

“Calibre” (2018) is a gripping tale about what it means to take responsibility, whether for one’s mistakes or for one’s life and family. Matt Palmer delivers an excellent debut feature-length film, with a tight story that maintains great tension, and realistic cast performances. If you like thrillers, or films about justice in all its forms, then you should definitely check out this film.

Rotten Tomatoes: 90

Metacritic: 75

One Movie Punch: 9.2/10 

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

Welcome back to Streaming Saturday!

We have another Netflix Original comedy this week, which hasn’t been scoring too well with the critics. You’ll hear my review in a second, but if you want to hear my reviews of other low-rated Netflix Originals, check out Episode #020 (“The Open House”) which was my worst movie for January, Episode #023 (“Step Sisters”), Episode #044 (“The Cloverfield Paradox”), and Episode #055 (“Mute”). I guess you can’t win them all. Watched any bad movies lately? Let us know at onemoviepunch.com!

And now...

Today’s movie is “The Legacy of a Whitetail Deer Hunter” (2018), the Netflix Original comedy directed by Jody Hill and written for the screen in collaboration with John Carcieri and Danny McBride. The film follows Buck Ferguson (Josh Brolin), a hunter who plans a weekend with his son Jaden (Montana Jordan) to kill his first deer, bringing along his cameraman Don (Danny McBride). However, things don’t go as planned, and everyone gets more of an adventure than they expected.

Spoilers ahead. 

Hunting. People either have strong feelings or are completely apathetic about it. I’ve had a complicated relationship to hunting myself, struggling with all sides of the philosophical, ethical, spiritual and practical aspects of hunting. It can seem cruel to some and noble to others. And depending on how you view hunting, so shall you judge this film, from start to finish.

We follow the journey of Buck Ferguson, an obvious caricature of every public access and now cable television hunting show, with his own line of hunting DVDs that used to support his family. The excerpts from his DVDs and the film they’re making on this trip are spot on, sure to either bring a smirk to hunting fans or eye rolls to hunting opponents. But there’s not much character development for Buck, which is both expected and somewhat of a tragedy. In fact, none of the characters really progress, almost stubbornly so, but that’s where the comedy comes from.

We do get to see the development of the relationships between the characters, though, and that’s the one strength of the script. Watching Buck get to know his son again, and re-evaluating his relationship to not only Jaden and Don, but his former marriage, is actually quite touching. Once Don is injured and they work to extract him from the forest, I found myself cheering them along, surprised at the excellent direction, wonderful shots, and, honestly, great sketch comedy performances from everyone. Some of the comedy is wasted at the TV-14 rating, sometimes pulling punches that would have been effective, and the ending actually ruins the good will developed throughout this short film.

“The Legacy of a Whitetail Deer Hunter” (2018) is father/son bonding film that isn’t as bad as the critics are making it out to be. The film has its problems, but if you look closely, you can find some great moments and, if you’re a hunting fan, more than a few chuckles. Hunting fans, or slightly over-the-top comedy, should definitely check out this film, but be ready for a few groans. 

Rotten Tomatoes: 17%

Metacritic: 49

One Movie Punch: 7.0/10

“The Legacy of a Whitetail Deer Hunter” (2018) is rated TV-14 and is currently streaming on Netflix.

Welcome back to Film Buff Fridays!

Awww yeah, we’re taking it all the way back to 1977 for a film during the first heyday of John Travolta’s acting career. One when the only way out of Brooklyn was with your sweet dancing moves. Like films that involve music and dancing? Check out Episode #023 (“Step Sisters”), Episode #119 (“Some Like It Hot”), or last week’s Episode #179 (“Stop Making Sense”). And if you have any suggestions, let us know at onemoviepunch.com.

We’ve also posted our top episodes based on downloads to Twitter and Facebook. Seems to be mostly Netflix Originals, but I was surprised by a few. Head on over and check them out.

And now... 

Today’s movie is “Saturday Night Fever” (1977), the classic dancing drama directed by John Badham and written for the screen by Norman Wexler, based on Nik Cohn’s story “Tribal Rites of the New Saturday Night”. The film follows Tony Manero (John Travolta) whose future looks bleak and whose only love is dancing at the disco on Saturday nights. But when a dancing contest offers a way out of his circumstances, Tony begins training with another great dancer named Stephanie (Karen Lynn Gorney) for the chance to escape.

Spoilers ahead.

Oh, and a trigger warning. “Saturday Night Fever” includes an incredible amount of misogyny and a gang rape scene. So much so that I’ll be referencing it later in the review. If that’s a problem for you, then skip ahead to tomorrow’s episode or come back to the live broadcast in a couple minutes.

I’m willing to bet that more people know about the soundtrack to this movie rather than its actual content. The soundtrack is insanely great, with now classic disco tracks that are staples at any throwback club night or wedding reception. And if folks do know about the movie, they probably have only seen the heavily edited PG version of the film, which shot the soundtrack up the charts. I have to admit watching the R-rated version of this film again for this review was a shock, much like it was for audiences when it debuted. 

The original version is a lurid look at the dreams and nightmares of the disco scene, fueled by drugs, promiscuity, club tracks, and dancing. Tony’s life is the template for every adult in their twenties and thirties who lives for the weekend. In some respects, I admire its frank depiction of what were contemporary norms, including heavy misogyny, domestic abuse, and date rape, ugly topics next to the beauty of the dancers on the floor, which is certainly one duality of the scene. In fact, the dancing shots are quite good for 1977, working with fades and soft focus and a dance floor that became legendary.

But is that enough? I don’t think so. As the #MeToo movement continues to uncover the widespread acts of sexual harassment and assault, watching a film sensationalizing male predators loses its appeal, and even begins to overshadow the benefits. In fact, as time passes and the misogyny in our own culture continues to fade, I think more and more people will look back unfavorably on this film, despite its critical and financial success, the same way some well-regarded films of the 1930s and 1940s can be painful to watch now. It won’t take away its influence on film-making and popular culture, but hopefully we’ll take a more concerned eye towards the film and learn to appreciate its technical qualities while condemning a shoddy, almost exploitation-esque story.

“Saturday Night Fever” (1977) is a massively influential classic film that found two audiences, one for each version of the film, united in their love for a great soundtrack and dance choreography. It is also a film whose appeal will fade over time, giving way to a changing social consciousness that has affected other classic films. If you want to see dancing, and are ready for a shocking amount of misogyny and sexual assault, then this film is well worth viewing. Otherwise, find the PG-version to see the best parts without the lurid details.

Rotten Tomatoes: 85% (CERTIFIED)

Metacritic: 77

One Movie Punch: 5.8/10 

“Saturday Night Fever” (1977) is rated R... or PG... and is currently streaming on Amazon Prime. Just check the rating.

Welcome back to Documentary Thursday!

Last week was a fun concert film, but this week we’re taking a look at the opioid crisis. It’s the second Netflix Original documentary to look at addiction, after Episode #081 (“Take Your Pills”) about the nascent amphetamine crisis. Check out another Netflix Original, #Episode #097 (“6 Balloons”) for an incredible drama about heroin addiction and codependency. I’m pretty sure it will be in my top ten this year.

And now...

Today’s movie is “Recovery Boys” (2018), the Netflix Original documentary from Elaine McMillion Sheldon, the driving force behind last year’s “Heroin(e)” (2017), which received an Oscar nomination for Best Documentary Short. “Recovery Boys” follows four young men working to stay sober after years of opioid abuse, learning to reintegrate back into society, and how the community views their struggle.

Spoilers ahead.

Opioid addiction isn’t a new phenomenon by any means. In fact, this isn’t even the first wave of opioid addictions to hit the United States. Morphine was used excessively during the Civil War. Heroin was once available over-the-counter from corporations until the United States regulated it for prescription use only in 1924. It didn’t stop another wave of heroin addictions beginning in the 1950s, though, fueled by crooked doctors overprescribing and making money on the side. And another wave in the 1980s when pharmaceutical corporations began a campaign of opioid acceptance, which is fueling today’s opioid crisis using new versions of the same opioid compounds, some more addictive than ever before.

Why bother with a little history in this review? Well, I think it’s important to understand that the current opioid crisis has been manufactured by pharmaceutical corporations, as every other opioid epidemic has been. Opioid addiction is often characterized as individual struggles and personal failures, a notion reinforced by this documentary, with very little reference to the corporate causes. I recognize this wasn’t the intention of the film, but it would have been appreciated. 

Clearly, the intent was to humanize the opioid epidemic spreading across the United States, and it succeeds very well in this respect. All four young men who go through the program and work to stay sober (or not) are well framed and incredibly personal. I just wish that such a great effort to humanize the face of opioid addiction included more people of color, because I feel like this epidemic is only getting attention now that white people are suffering at the same rates as communities of color. It’s going to be hard to do that in West Virginia, though, and that’s the film I wanted, not what Elaine McMillion Sheldon intended.

“Recovery Boys” (2018) is an emotional look at opioid addiction in West Virginia coal country, following four men moving through recovery and struggling to stay sober afterwards. It is mostly a personal story and stays away from social or political causes for the current epidemic, but it succeeds in humanizing addiction, even if this story isn’t every opioid addict’s story. If you are interested in learning about opioid addiction at a human level, then you should definitely check out this film.

Rotten Tomatoes: 100%

Metacritic: NR

One Movie Punch: 8.4/10

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