One Movie Punch

Hi everyone!

Now that we've caught up on most of our award nominations, I'm going to close out the quarter on Saturdays with a continuation of our Under the Kanopy series. Kanopy is a library and university funded streaming service that grants card holders and students six free streams per month, from a variety of classic, international, and independent films. They also have streaming agreements with excellent distributors, like A24 and Kino Lorber, who often produce and distribute the critically acclaimed, if not commercially successful films. Today's movie is a surrealistic look at gender in all its forms – biological, cultural, social, personal – however you define it, this film will both resonate and challenge, in an almost pure art house fashion. It's also definitely not safe for work or for kids, which I'll mention again at the top of the review.

Before the review, we'll have a promo from our good friends at the Book of Lies Podcast. Every week, Brandi Fleeks and Sunni Hepburn take a look at a fraud case or famous con artist, breaking down the methods, the signals, and how to spot similar scams in your life. You can find them on Twitter @Bookofliespod and on Facebook and Instagram @bookofliespodcast. Be sure to like, retweet, share, review, and subscribe!

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Today's movie is THE WILD BOYS(2017), or in the French, LES GARÇONS SAUVAGES, the surrealist art house drama written and directed by Bertrand Mandico. After the brutal murder of a woman on La Réunion, five young men (all played by women) are taken from their wealthy families by a Dutch captain (Sam Louwyck) for rehabilitation, on an island that begins to affect their gender, in all its forms. And then stuff gets really weird.

No spoilers.

However, a content warning for sexual assault and pervasive sexual themes for the film itself.

When I first saw the listing for THE WILD BOYS on Rotten Tomatoes, I immediately thought about the novel of the same name by Williams S. Burroughs, the notorious Beat Generation author. In the novel, Burroughs depicts a future gay youth movement intent on the downfall of modern society. I'm a huge fan of Burroughs, nurtured by a combination of his spoken word album produced in part with Michael Franti entitled "Spare Ass Annie and Other Tales", along with a deeply affecting viewing of 1991's NAKED LUNCH from David Cronenberg, my first real look at art house and surrealist cinema. I greatly appreciate the way he wrote about being bisexual, often challenging his readers and society in general with works that test the boundaries of good taste, but also smash the boundaries of LGBTQ inclusion in literature.

THE WILD BOYS, today's film, is not an adaptation of that novel. However, it does play with gender in many of the same ways. Gay men often mis-gender themselves and each other, calling each other queens and girl and bitch and other female terms. A lot of this self-identification comes from not conforming to the previously established, heteronormative gender roles, wanting to separate themselves from the toxic masculinity. We used to see sex and gender as an either/or, instead of the non-linear spectrum and incredible diversity in both sex and gender we understand today. Burroughs didn't have the vocabulary back then to talk about gender fluidity, but his novels and characters would sometimes transform from male to female, and back again, and into inexplicable additional genders. Just another groundbreaking aspect of Burroughs' work. So, it's hard not to see today's film at least partially inspired by the novel, as David Bowie, Joy Division, and Patti Smith were all inspired by the same work.

I find the real genius of today's film in the casting of the five primary protagonists with young women, including: Pauline Lorillard as Romuald, Vimala Pons as Jean-Louis, Diane Rouxel as Hubert, Anaël Snoek as Tanguy, and Mathilde Warnier as Sloane. While each character has their own unique traits, they all encompass a sort of character type similar to the droogs in 1971'a A CLOCKWORK ORANGE, based on Anthony Burgess' incredible and often overlooked novel. However, instead of the leader being send for rehabilitation, the entire gang is sent to the island, and all predictably turning on one another as their bodies begin to change.

Whereas Burroughs lacked the vocabulary to talk about gender-fluidity, Mandico takes the concept to new levels. On the island, the more the young men indulge themselves with the island's pleasures, the more they begin to transform physically into women. Prior to the actual transformation, Mandico uses costuming, hair, and makeup to make all five young men look like tomboys, clearly feminine (whatever that means), but wearing masculine (again, whatever that means) clothing. The fluidity only kicks into high gear as the costumes come off, revealing new physical traits even as other physical traits begin to, we'll say, fall off. We find that the more the men transform into women, the more they become the targets of their friends.

We should be rightly horrified by five young men raping and murdering a high society woman, just as in the most shocking scene of A CLOCKWORK ORANGE. But because we know the actors are women, it makes the scene different, playing on our expectations, and perhaps even the exploitation of women in film overall. I think these acts are also blunted by Mandico's cinematography, a combination of actual locations, crazy filters applied to actual locations, and a layered staging of other sets, all of which amp up the surrealism in a way that continues to let us explore the themes in play. This is definitely an art house film complete with nascent progressive themes and challenging subject matter, but it is also well done for fans of the genre.

THE WILD BOYS is a surrealistic look at gender fluidity, starring five young women as five young men, whose rehabilitation begins to change their sex, gender, and by extension, identity. Using a combination of themes clearly inspired by the Burroughs novel of the same name, with some clear homages to A CLOCKWORK ORANGE, Bertrand Mandico creates an excellent meditation on gender, in all its forms. Fans of surrealist films, or films about the LGBTQ experience, especially in a world of increasing gender fluidity, should definitely check out this film.

Rotten Tomatoes: 90%

Metacritic: 64

One Movie Punch: 8.8/10

THE WILD BOYS (2017) is not rated and is currently playing on Kanopy and Shudder.

Hi everyone!

So, here's the thing. And yes, it's Friday, so that means Fantastic Fest and Andrew Campbell and all of that but let me just say that I am supremely jealous that Andrew got a chance to see this film, because as he alluded to in last week's episode, I am a huge fan of H.P. Lovecraft. Not the barely concealed racism or the other quite valid social and cultural criticisms of the man and his work, but for the absolutely unique mix of gothic horror, scientific advancement, dread of the unknown, and a wholly cosmic perspective. Or as I said last week, [UNINTELLIGIBLE]. I'm going to check out this film at some point, but until then, here's Andrew's thoughts on this Lovecraft adaptation.

Before the review, we'll have a promo from our good friends at the Comics in Motion podcast. Every week, Dave and Chris look at a film which made its way from the comic book page to the silver screen, and sometimes even back again. They look at the lore, the rendition, and everything related, delivering a fun look at each film. You can find them on Twitter and Instagram @comicsinmotionp and on Facebook @ComicsInMotionPodcast. They were some of our biggest supporters last year, and we can't thank them enough!

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Hello film fans!

Andrew here. Back today with the promised second of my two back-to-back Lovecraftian features. And it does not get any more Lovecraft than today's film which is based on Lovecraft short story published in a science fiction magazine nearly 100 hundred years ago. Did you get a chance to check out the subtle, unyielding terror of STARFISH (Episode #688) after my review last week? Well, despite the common thematic threads that tie the two films together, the actual viewing experiences are polar opposites. STARFISH was understated and full of hidden meaning.

But this one? Oh, this one has Nic Cage!

I'm one of those film-goers that goes out of his way to avoid trailers. Thanks to Jeff Cannata of the /Filmcast for showing me the light of the quote "unsullied" viewing experience several years ago. In this case, if I had seen the trailer, I would never have watched this film. Honestly, the trailer is so rough and full of schlocky dialogue and cheap special effects, that you might want to avoid it as well. The trailer even invokes "the return of director Richard Stanley" who 25 years ago was infamously fired from directing THE ISLAND OF DR. MOREAU which was later completed and universally panned.

That said...

Today's movie is COLOR OUT OF SPACE(2019), written by Scarlett Amaris and director Richard Stanley. COLOR OUT OF SPACE stars Nicolas Cage as Nathan Garner, a family man who has left the big city rat race to move his wife Theresa (Joely Richardson) and children out to rural Massachusetts where they of course plan to work from home and raise a herd of alpacas. Not too long after arriving, a meteorite crashes into their yard, emitting an unearthly glow of a color no one can seem to describe (it's purple). Overnight, the rock turns to dust and whatever energy was inside begins to permeate the water table, causing the plant-life to blossom in otherworldly ways. Slowly, the family begins to fall under the influence as well and madness descends upon the farm.

The performance by Cage is that of a virtuoso. The Gardners' tween son Jack (Julian Hilliard) begins to hear a voice at the bottom of the well, while his witchcraft-loving teenage daughter Lavinia (Madeleine Arthur) seems to have the strongest sense that something is infecting their quaint farm. We get to see Cage as the straight man, doubting that anything is amiss and being a little too cool with a glowing meteorite on his property. As he inevitably begins to feel the viral effects, his natural tendencies to act erratically are slowly ramped throughout the film until director Stanley finally releases the shackles entirely. Cage shouting out his frustration about having to go "milk the alpacas" is pure cinematic gold.

COLOR OUT OF SPACE has three producers in common with Cage's last cult success, MANDY, including Fantastic Fest's beloved poster-boy and Austin resident, Elijah Wood. While I did not understand all the hype around MANDY and its off-beat narrative, today's film feels like its spiritual successor. COLOR OUT OF SPACE contains a more conventional story by comparison but is by no means a mainstream film.

I have seen budget figures between $4M and $12M for this film that was bankrolled by a Malaysian production company. Regardless of the actual number, Richard Stanley got his money's worth. For a low-budget film (maybe not low by recent Nic Cage standards), the special effects are fantastic, and I highly recommend checking them out on the big screen during what will likely be a relatively brief theatrical run. The purple-ness that begins seeping into each scene before eventually taking over the color palette is a delight. Whereas the film MANDY felt like it was being shot through a harsh red lens, the soft lilac and magenta tones of COLOR OUT OF SPACE give it a style unique to any other film and amp up the dread.

What makes COLOR OUT OF SPACE fantastic? The film is absolute redemption for Richard Stanley, springing him out of one of the longest-ever sentences in director jail. Capitalizing on the buzz behind this film, Stanley is on the record stating he has two more films currently in development, both based on Lovecraft works. Why mess with a good formula? On paper and in its trailer, COLOR OUT OF SPACE carries no appeal with me. It's one of those Fantastic Fest gems that I never would have seen had I not had a timeslot to fill and taken a flyer on it. The film goes so much further than you imagine it will and, trust me, you'll be right there with it. Grab your sci-fi geek friends and drag them a late night showing.

COLOR OUT OF SPACE(2019) is the culmination of Cage's career; the first time in ages where the film in which he stars has truly matched his own personal levels of insanity and eccentric dialogue delivery. Fans of watching Cage go mad in films such as MANDY, THE WICKER MAN, and BETWEEN WORLDS (Episode #446) will love this film.

Rotten Tomatoes: 86%

Metacritic: 67

One Movie Punch: 8.6/10

COLOR OUT OF SPACE(2019) is not rated and is now playing in select theaters nationwide.

Come back next week for THE LODGE, the follow up-film from the co-directors of the disturbing 2014 horror gem GOODNIGHT, MOMMY. THE LODGE is getting a wide theatrical release next Friday, and the trailer makes it look like just another showcase for cheap jump-scares. But this one is much darker and far more complex than you might expect. We'll see if this disturbing tale should be a part of your weekend plans.

Hi everyone!

We are legally obligated to welcome back Shane Hyde to the podcast, a condition of the One Movie Punch Secret Volcano Lair Accords signed last year in the wake of Reign of Terror 2019. If you want the full details, be sure to check out last year's month-long event, beginning with One Movie Spouse's review for CAN YOU EVER FORGIVE ME? (Episode #594), and continuing all through October 2019. A month worth of Shane's sultry voice, and secret machinations. He'll be up for a Hulu Original film, at least in the United States, and apparently Netflix everywhere else. Strange times we live in!

Before the review, we'll have a promo from our friends at the Pop Pour Review podcast! Every week, the PPR crew review a film, then craft a cocktail based on the movie. I don't drink myself, but I know a few people that do, and every recipe fits in surprising ways. You can find them on Twitter and Instagram @poppourreview, or by searching for Pop! Pour! Review Podcast on Facebook. Thanks for all your support last year!

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Kia ora!

I'm Shane Hyde, a Kiwi living in Australia. Everything down here is currently on fire, so I'm staying inside and reviewing movies. Today I'm reviewing 2019's WOUNDS. Let's go.

Today's movie is WOUNDS(2019), directed and written for the screen by Babak Anvari. This movie stars Armie Hammer, Zazie Beetz, Karl Glusman, Christine Rankins, all putting in great turns with regards to the acting. First up, WOUNDS is the story of Will (Armie Hammer), he's a barkeep on the late shift, who breaks up a fight, finds a cellphone, and then finds things starting to spiral out of control.

No spoilers! No spoilers! You're the spoilers!

I gotta admit my joyous surprise with WOUNDS. As I feel it's not the film it advertises itself as. In the first act, it feels a bit like standard fare, you know, a number of relationships and conflicts (shall we say 'wounds'?). These are established, dominos set in place, and then the finding of a lost cellphone that sets everything off - and what a crazy ride WOUNDS is to its endings, both literal and figurative.

WOUNDS is based on a novel The Visible Filth by Nathan Ballingrud. WOUNDS has a similar world-building feel to RESOLUTION or THE ENDLESS (Episode #273). As our protagonist Will investigates the lost cellphone, we see and feel The True World unfold around him in unanticipated and unexpected ways. And I gotta try real hard NOT to spoil stuff here, because our protagonist was living a shallow and selfish life, but as he dives deeper into his entanglements, he becomes unstrung, and we feel that confusion along with him, such is the world building.

Director Babak Anvari rose to prominence with an Iranian horror film: UNDER THE SHADOW (2016). Now, that was a chilling and complex horror story set in war-torn Tehran in the 1980s. WOUNDS is an impressive successor to that. It's low budget but filled with talent in front of and behind the camera. Both films mark Babak Anvari as a 'director of choice' - somebody whose career I'll be following with some joy and anticipation.

And in this, there are echoes of Koji Shiraishi's NOROI: THE CURSE (2005). We are as lost as our protagonist as he tries to get to the bottom of things. His understanding only coming when he eventually gives in to everything that he's struggled against. And for all of this, WOUNDS avoids a lot of the tropes that you might expect.

WOUNDS touts itself as a psychological horror, and for three quarters of the film that's about right. For the last quarter... well, I'll leave you to make up your own mind about that one. WOUNDS is the rug pulled out from under your feet. Existential nightmare dressed as psychological thriller.

Rotten Tomatoes: 53%

Metacritic: 51

One Movie Punch: 8.0/10

WOUNDS (2019) is rated R and is currently playing on Netflix.

Hi everyone!

We're back with another Indie Wednesday here at One Movie Punch. Every Wednesday, I'll be reviewing an independent or microbudget movie that doesn't get a lot of attention. Sometimes that means we find a diamond in the rough. Sometimes that means we learn the real and/or perceived limits on filmmaking. But we'll always be discovering something new, even if that means looking at an older subject.

Today film is 2018's SANDOW, written and directed by Alexander Cooper, who I had the pleasure to sit down with to discuss the film. Instead of including trailer segments, I'll be running the full trailer prior to the review, then adding segments from our interview throughout the review. The full interview will be available on our Patreon feed, where we talk about his first film as producer, PARALLEL, and a little bit about Rambo. Head over to patreon.com/onemoviepunch if you want to hear the interview before it disappears behind the pay wall, and sign up to contribute at any level. All contributions go to paying our expenses and will help us grow with our audience.

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Here we go!

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Today's movie is SANDOW (2018), the epic historical drama directed by Alexander Cooper and written for the screen in collaboration with Gerard Muarez. The film follows the life of the famous strongman, Eugen Sandow (Timo Kervinen), as seen through the eyes of his pupil, Launceston Elliott (Alexander Cooper). We're introduced to Sandow's hopes and dreams, their fulfillment, and the often-sordid life that followed, particularly with his wife Blanche (Tiffany Ellen-Robinson).

No spoilers.

In our full interview, I mention how recently I reviewed a film called BE NATURAL: THE UNTOLD STORY OF ALICE GUY-BLACHÉ (Episode #657), which covered not only Alice Guy-Blaché, but the rise of the fledgling film industry in Paris and the Eastern United States at the turn of the century. While Guy-Blaché was experimenting with telling stories with film, however, other filmmakers were busy capturing the wonders of the world, much like the YouTube videos of today. And one of the most famous films captured in those early days by Thomas Edison was circus strongman Eugen Sandow, the subject of today's film.

SANDOW takes a very sweeping look at Eugen Sandow, a combination biopic and documentary, from his early years dreaming of being something greater than himself, all the way to his grave at Putney Vale. He wasn't just a circus and vaudevillian strongman, but also pioneered many major industries of today, including fitness clubs/gyms, athletic supplements, and even a form of professional wrestling, aimed more towards showmanship than actual fighting. And while we get a taste of all of that, we're also getting a dramatized version of his larger story.

ALEX: "Yeah, SANDOW is not an accurate portrayal of what would have happened in his life, but it's more like a, it's a bit of a philosophical musing on a historical figure who has had a huge impact. The whole thing about SANDOW really came from... it was an article I read on the Internet about forgotten newsmakers. I had this sort of image in my mind when I read his story and what a superstar he was. He's known by people but forgotten by most. It was a fascinating story and I found these images of these traveling circus strongmen, and I thought, these were kind of like rock stars before rock stars came about. And I thought, 'Wow! What a thing! These guys were going around with circuses and putting on shows and this was before, like, Arnie was flexing his muscles in Hollywood.'"

The further we go back in history, the harder it is to really know what is and isn't true about historical figures. History is often written by the victors, but it's mostly captured by historians and re-presented by artists in multiple media. In the case of Eugen Sandow, many single aspects or major accomplishments could be enough for an entire movie, or perhaps an entire series about his life. Even in a sweeping drama like SANDOW, choices have to be made.

ALEX: "There's all sorts of rumors and stuff. You don't... I don't know what is actually true, but you know, whether he's bisexual or had relations with men and women, and all sorts of things, which could be true. I just don't know. In this story, I didn't really delve into that. There was a lot of other stuff going on that we don't really go into. In the original script we explored a bit more into that about having this admirer who's a man and their friendship. Yeah, we didn't really go down that path in the end."

SANDOW covers a great deal of the main character's life, focused around three major themes. First and foremost, the film is concerned with Sandow's motivations and accomplishments, which drive Sandow throughout his entire life. Second, it covers his tumultuous relationship with his very forgiving wife Blanche, who tends to suffer Sandow's bad behavior despite enjoying the fame and fortune that comes with his life. And finally, the story is narrated by Launceston Elliott, who brings his particular perspective to Sandow's entire story.

ALEX: "It became a personal thing to me, because, like, my father wasn't a bodybuilder. He was another kind of builder. He liked to build properties. And he passed away five years. He had blood cancer. That was kind of this idea I had about incorporating some of my experiences into telling Sandow's story, because Sandow was the father of bodybuilding and I had this idea about this father/son kind of relation between Launceston Elliott and Sandow. He would watch Sandow and he could see his flaws and things that made him who he was, more deeply than anyone else. I wanted to play that role. I felt that I had some insight into Sandow the character, so I didn't look for anyone else for that."

Rich subject material and an epic story are not enough, however. In addition to some excellent costumes and well-chosen sets, we also get a good cast for the characters. Timo Kervinen, the Big Finn, plays Eugen Sandow, and while not being a dead ringer for Sandow, does have the same physique and attitude. Tiffany Ellen-Robinson plays Blanche very well, maintaining a consistent, frustrated demeanor, with awesome costumes.

SANDOW was made for a budget of $25,000. It's pretty amazing how far that can stretch, especially for a sweeping epic. Cooper used both existing locations, in particular a Yorkshire house rented and utilized to the fullest, along with constructed sets for locations unavailable without expensive permitting and permissions, a throwback to the constructed sets of Sandow's time. It can give a patchwork feel to the entire film, but not in an unlikeable way.

It's also not surprising when things might go wrong for that amount of money. The major complaint about SANDOW is the sound editing, which begins to fall apart towards the end of the film. Whole scenes struggle with sound syncing, which combined with some sound capture in the more metropolitan areas picking up anachronistic noises, like modern horns and bells. You don't realize just how important the sound can be until it's not there properly. So, I had to ask about it and here's the story.

ALEX: "What happened was, when the editor, who was in America, he had another job coming in which he wanted to do more than this one, and he kind of tossed it aside and uncompleted. The picture was edited, but the sound was not all synced, so it was only partially synced. I got this thing back and I was disappointed. But then I found a local editor who had done sound work for big companies, like the BBC and things, and they said they would be able to do this, but then when they did the job, they left it in, it was unsatisfactory state. It was less good than it is now. I found a sound mixer in Sweden and he did the bet he could to get it as good as he could. It is a shame to me, but I suppose you live and learn."

For those that remember, a similar issue happened with ROCK, PAPER, SCISSORS (Episode #597), except related to special effects. Work conflicts happen a lot in independent cinema, particularly if folks are donating their time, or have tight schedules. It gives the last third or so of SANDOW the feeling like you're listening to a great interview over a crappy connection – the content is great, but the presentation suffers a lot. Cooper recognized that as well.

ALEX: "If I knew what I knew now, I would have somehow got a professional sound mixer involved from the outset. I took this to Cannes film market afterwards to try to find distribution deals. There, I did meet a professional sound mixer, and what I would have done is I would have budgeted that into the overall sum, and so, probably cost about $5,000 or $10,000 more. Overall, the total product would have been better on the sound front."

The sound might struggle towards the end, but the overall film is still punching well above its weight class with a $25,000 budget. The strength of the other elements will make some viewers, this one included, wish the film was made for $25 million instead of $25,000, but SANDOW can be appreciated for what it is. Fans of historical epics, and forgiving of microbudget cinema, should definitely check out this film, along with anyone fascinated by Eugen Sandow and the many industries he spawned.

Rotten Tomatoes: NR

Metacritic: NR

One Movie Punch: 5.1/10

SANDOW (2018) is not rated and is currently playing on YouTube. Check the show notes for links.

SANDOW: youtu.be/00xSymzq0Ms

PARALLEL: youtu.be/sXworTZe3kE

YOUTUBE: youtube.com/channel/UC19QsHne9k5k5aWg8Rm5M_A/

Hi everyone!

It's Takeover Tuesday, and we're welcoming back Jon-David, aka Mafia Hairdresser, who will be looking at Clint Eastwood's latest film, RICHARD JEWELL, which has earned Kathy Bates multiple awards nominations. It's a challenging film, tackling a disturbing case of "trial by media" in the wake of the 1996 Summer Olympics bombing in Atlanta, Georgia. Jon-David will be up in just a bit to give us his views, right after a promo for his serial audio drama, The Mafia Hairdresser Chronicles, based on his experience cutting hair for cocaine dealers in the 1980s. Yes, really.

Do you think you have what it takes to guest on One Movie Punch? Head over to onemoviepunch.com/takeover-tuesday and learn more about how you can guest here at One Movie Punch. We still have seven (7) slots available for aspiring and established film critics to take the reins for an episode. We'll run your promo before the review and will place it in regular rotation for the quarter. If it sounds like something interesting to you, reach out to us over social media.

Subscribe to stay current with the latest releases.

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Here we go!

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Hello, this Jon-David aka Mafia Hairdresser, the writer and performer of the podcast The Mafia Hairdresser Chronicles, a campy crime comedy fairytale based on my time working for a Hollywood cocaine trafficking couple in the 80s. But, enough about me.

Today I have the honor of reviewing RICHARD JEWELL (2019), a film written for the screen by Billy Ray and Maria Brenner, who also wrote the original Vanity Fair article "American Nightmare: The Ballad of Richard Jewell", one of the sources this film is based on. The film was directed by Clint Eastwood, and stars Sam Rockwell, Kathy Bates, and Jon Hamm.

This film is about historical events so this review will contain a few spoilers if you didn't know about those events.

RICHARD JEWELL is the true story about a man, a security guard, wrongly accused of setting off a bomb at an Olympic event in Centennial Park, Atlanta, Georgia in 1996. I remember the story and the pictures. But I don't remember Richard Jewell, the security guard, who found the bomb before it exploded, which helped save many lives. Now, in 1984, I lived in Los Angeles, so I remembered a security guard at the 1984 Olympic Games in Los Angeles, he had planted a bomb on a bus so that he could discover it later and be a hero. Well, because of the earlier '84 incident, in 1996, in the mind of the public and the FBI, Richard Jewell became a suspect as the bomber, and then the main suspect once investigators did more digging into Richard Jewell's past. The press, as well as the FBI and the public, put Richard and his mother through hell. I do remember the story going on and on for years until they actually found the bomber, six years later.

In many of Clint Eastwood's films, such as GRAN TORINO and THE MULE, his main characters and heroes are, not only three-dimensional and flawed, they are also the type of person the viewer might, in some point in the movie, just say, "Hey, if he loses, or, if he goes down, it wouldn't be that big a tragedy." In RICHARD JEWELL, the main character practically lives the life of the type of guy who might and would, indeed, be able to make and then plant a bomb only to find it to look like a hero by saving lives before it detonates. He didn't do it, but, hey, would society lose a model citizen if this type of guy were wrongly convicted? Hmmm.

In this film, the FBI who profiles Richard as the main suspect is, almost, wholly entirely, represented through Jon Hamm's character, Agent Tom Shaw. Agent Shaw decides Richard Jewell fits the bomber profile because Richard Jewell is a white male who loves guns and law enforcement and lives with his mother. Not only did Richard Jewell fit a profile, he had been an over-zealous man in uniform who had always wanted to be seen as the best law enforcer, even if he did not have a badge.

This film stays tight on Richard Jewell, heartwarmingly played by actor, Paul Walter Hauser. You've seen Paul play a shlubby baddy in I TONYA (Episode #154), a shlubby plucky writer in LATE NIGHT (Episode #545), and a chubby white guy shoved around in BLACKKKLANSMAN (Episode #225). But Paul Walter Hauser's portrayal of Richard Jewell never lets the viewer fully throw him under the bus, no matter how much of what comes out of his mouth seems to give the FBI more evidence to convict him. Nor does his portrayal let you give him a pass for being a delusional man who thinks, one day, he'll actually be a law enforcement official again, rather than a security guard at a public park.

Of course, this film educates us and illuminates a horrific terroristic tragedy, the 1996 Centennial Park Bombing. This is a film about the fact that we can all be delusional. It has real depth. Richard lives his delusions that he was born to be a law enforcer, saving the world. The FBI agent believes what is in front of him, that Richard must be the bomber because the FBI profile must be correct, not only because of the professional and public pressure put on him, but because of his own law enforcement ego. The reporter who breaks the story that Richard is the main suspect is played by Olivia Wilde, and she must believe she is just doing her job, performing a public service tofurther her career.Sam Rockwell's lawyer character, Watson Bryant, must take on Richard Jewell's case because he needs to. He's run his career into the ground because he wouldn't play bureaucratic lawyer games to be successful. It's them, not him. Every character on the screen in this film: delusional.

It is Kathy Bates who plays Richard's mother, by the way, nominated for a Golden Globe for supporting actress for this role, who, I'm paraphrasing here, says to Richard, "This is the life you were dealt, deal with it." This is a film about an important event that had an impact on a lot of people, but we could all be Richard Jewell.

I enjoyed this film. It's pace and tone, the direction. Not preachy nor sensational. And, no matter what you read or hear about the controversies about this film, it is, a very good film and there are composite characters and depictions. If you want to know more about the true events, there are good books to read about it.

IMDb: 7.7/10

Rotten Tomatoes: 74%

Metacritic: 69

One Movie Punch: 8.0/10

It's not a Best Picture film because of its soft touch. It's not a big-big film, but it has an Oscar worthy performance by Paul Walter Hauser, compelling direction, and it's a story well told.

RICHARD JEWELL (2019) leaves theaters early 2020.

This is Jon-David from the podcast, The Mafia Hairdresser Chronicles, and I hope, if you have not seen RICHARD JEWELL in theaters, to view it streaming now on Amazon.

Hi everyone!

It's Matinee Monday, our first of the year! It's also the return of Will Smith and Martin Lawrence to the Bad Boys franchise, another attempt by Hollywood to reboot a classic and successful series of films. I'll admit, I've been leery about watching franchise reboots, especially after the series of bad franchise entries last year. Don't believe me? Check out Ryan's review for GLASS (Episode #393), DARK PHOENIX (Episode #511), FAST AND FURIOUS PRESENTS: HOBBS & SHAW (Episode #554), RAMBO: LAST BLOOD (Episode #634), and TERMINATOR: DARK FATE (Episode #645). But does today's film fall into the same nostalgic trap? You'll find out in a moment!

Before the review, we'll have a promo from our good friends at the Moviedrone podcast. Every week, Steve & Marc focus on one feature film, assign each other homework, interact with the audience, and of course, the incredible stylings of Marc's Movie Impressions. You can find them on Twitter and Instagram @movie_drone and on Facebook @Moviedronepod. Be sure to like, retweet, share, follow, and most importantly, subscribe!

Subscribe here to stay current with the latest releases.

Contribute at Patreon for exclusive content.

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Here we go!

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ONE MOVIE SPAWN: "Looking forward to the BAD BOYS FOR LIFE?"

JOSEPH: "I am. One of my favorite franchises. We just need to make it on time."

ONE MOVIE SPAWN: "Don't worry. I'm sure it will work out."

ONE MOVIE SPOUSE: "Ready to go!"

JOSEPH: "We're going to be late."

ONE MOVIE SPOUSE: "Not if you keep dragging your feet. Get in the car."

ONE MOVIE SPAWN: "You guys have fun!"

ONE MOVIE SPOUSE: "We will. Are you ready?"

JOSEPH: "Let's go!"

ONE MOVIE SPOUSE: "Okay. You asked for it."

JOSEPH: "Whoa! WHOA!"

ONE MOVIE SPOUSE: "Gotta make it on time, right?"

JOSEPH: "WATCH OUT FOR THE…"

ONE MOVIE SPOUSE: "You really need to stop distracting the driver."

JOSEPH: "Oh, [BEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEP]!"

ONE MOVIE SPOUSE: "Language!"

ONE MOVIE SPOUSE: "Two minutes to spare."

JOSEPH: "Get me out of the [BEEP] outta this car!"

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Today's movie is BAD BOYS FOR LIFE(2020), the comedy action film directed by Adil El Arbi and Bilall Fallah, and written for the screen by Chris Bremner, Peter Craig, and Joe Carnahan, based on a story by Craig and Carnahan, and based on the character created by George Gallo. Seventeen years after the events of BAD BOYS II, Detective Marcus Burnett (Martin Lawrence) is a grandfather looking at retiring from police work. However, Marcus' retirement plans are put on hold after an attempt is made to kill his longtime partner, Detective Mike Lowrey (Will Smith). Now the two must come together one last time to stop this new threat.

No spoilers.

As much as I bag on toxic franchise fans, I want to take a minute to turn on my fellow critics, particularly the critics who lambasted 1995's BAD BOYS (42% at Rotten Tomatoes) and 2003's BAD BOYS II (23%). I didn't really care about critics back then, many of which could only see and judge films in a specific, erudite way. Don't get me wrong, I love the insights many critics bring to films, even the hottest of hot takes, but I also think film criticism, thanks in large part to the Internet, has also democratized a great deal, bringing a more popular perspective on modern filmmaking.

The BAD BOYS franchise is just one example of the much larger divide that used to exist between film critics and the general audience. And nowhere is that divide larger than when it comes to Michael Bay films. BAD BOYS was Michael Bay's breakout film, plucking him out of the obscurity of music video producer (at least at the time) and starting a string of films which would include THE ROCK, ARMAGEDDON, PEARL HARBOR, and BAD BOYS II before he would mostly disappear into the TRANSFORMERS franchise. Nearly every single one of those films scored horribly with critics, but were well-received by audiences, both at the box office and home markets. And a large part of that was Bay's time directing those music videos, understanding how to integrate music into films. Visually entertaining, light on story, and in the case of this franchise, heavy on chemistry.

BAD BOYS FOR LIFE is definitely a strong continuation of the BAD BOYS franchise, which clearly understands what made the first two films so effective with audiences. Front and center, that's the undeniable and extremely effective chemistry between Will Smith and Martin Lawrence, a classic pairing of the ultra-cool partner with a more realistic, identifiable partner. It's like the two never left the screen, right from the opening scene reestablishing the characters and setting the excellent blend of action and comedy. Believe it or not, One Movie Spouse has never seen the first two films, and multiple times during today's film she was laughing uncontrollably. I'm actually kind of jealous she's going to get to see the first two films for the first time. Better get some Skittles.

The chemistry doesn't just extend to Smith and Lawrence, however. In addition to getting the perfect action/comedy blend, we also get a film that is self-aware, willing to poke fun at iconic scenes from the first two films, and at the characters themselves, even while upping the ante story-wise. The film has a measure of predictability, including a few scenes in the front half that don't play well, but it also contains a few twists and turns the flips the script enough to re-engage the viewer for the back half. And yes, there's car chases and explosions, decent personal combat scenes, and a whole lotta helicopters. Marcus knows what I'm talking about.

So, what took so long? Well, cost was a huge issue. The first BAD BOYS film was made for a paltry $19 million and grossed over $140 million at the box office. BAD BOYS II, by comparison, had a $130 million budget, grossing $270 million. A great deal of that price increase was the salary demands of both Michael Bay and Will Smith, who were raking in the cash for studios between 1995 and 2003. This third installment was talked about beginning in 2008, after Will Smith suffered a string of mediocre films, and Michael Bay was beginning to be lampooned over the TRANSFORMERS franchise. And so, we had to wait. Eleven years, I guess, and I wonder how that $90 million budget was divided up this time. I also wonder how it will interact with the recent television spin-off, "L.A.'s Finest", which features Gabrielle Union as Marcus' sister, Syd Burnett. All I know is that I can't wait to see what else this revitalized franchise has in store.

BAD BOYS FOR LIFE is a revitalization and rediscovery of the epic BAD BOYS franchise, reprised for the screen by Will Smith and Martin Lawrence, and re-introducing the franchise to a new generation of fans. It's not a perfect film, but it is perfectly entertaining for comedy and action fans, which is exactly what it is intended to be. Cast fans, or comedy/action fans, or folks who just love to watch stuff blow up should definitely check out this film.

Rotten Tomatoes: 74%

Metacritic: 58

One Movie Punch: 8.0/10

BAD BOYS FOR LIFE (2020) is rated R and is currently playing in theaters.

Hi everyone!

Welcome back for another week of reviews! This week, we have an odd mixture of films for your consumption. Today, I'll be reviewing a surprise critical hit on Disney+, followed by my review tomorrow for the triumphant return of the Bad Boys franchise on Matinee Mondays. Mafia Hairdresser will be returning on Takeover Tuesday with his review of RICHARD JEWELL. Our review of SANDOW, along with interview segments of writer/director Alexander Cooper, will have the spotlight on Indie Wednesday. Thursday we'll have the obligatory return of Shane Hyde, as outlined in the One Movie Punch Secret Volcano Lair Accords signed after last year's Reign of Terror 2019. Friday, Andrew covers COLOR OUT OF SPACE, a cosmic thriller based on Lovecraft's short story, and I'll close out the week with an equally bizarre offering, 2017's THE WILD BOYS as part of our Under the Kanopy series, returning to Saturdays for First Quarter. Something for everyone in there, along with a few things for just a few people.

Over on our Patreon feed today, we'll have the latest installment in "One Movie Punch Presents: Zero Percent", where I review a film which achieved the lowest possible score at Rotten Tomatoes. This week's feature will be 2018's KILLERS ANONYMOUS, a London-based thriller with a lot of twists and turns. Is the film truly a cinematic flop, or is it merely a flawed crime thriller with a bad edit? Head on over to patreon.com/onemoviepunch to find out. While you're there, sign up to contribute at any level. Your contribution goes to paying our expenses and will help us grow with our audience. You'll also become eligible for Sponsor Sundays, which you'll hear more about in today's promo.

Subscribe to stay current with the latest releases.

Contribute at Patreon for exclusive content.

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Here we go!

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Today's movie is TOGO(2019), the epic adventure film directed by Ericson Core and written for the screen by Tom Flynn. The film follows the untold events of the 1925 Nome serum run, when a dog sled relay team delivered medicine to fight the diphtheria outbreak. When no other way seemed possible, Leonhard Seppala (Willem Dafoe) heads into the terrible storm to get the medicine, whose team is lead by Togo, an irascible, lovable, and powerful dog who managed lead the team over 264 miles.

No spoilers.

Disney definitely has a thing for dog stories. In addition to the recent live-action adaptation of LADY AND THE TRAMP (Episode #644), they have helmed a number of dog-centered films and franchises, including: the original 1955 LADY AND THE TRAMP, 1957's OLD YELLER, THE SHAGGY DOG franchise, 1961's 101 DALMATIANS and the live-action remakes, the HOMEWARD BOUND franchise, the WHITE FANG franchise, the surprisingly prolific AIR BUD and subsequent spinoff AIR BUDDIES franchises, and the infamous BEVERLY HILLS CHIHUAHUA franchise, plus a host of many, many more. And that's because people love dogs of all sorts.

And it's not just Disney. Dog films proliferate the at-home and nascent streaming markets, finding critical and box office success, especially 1974's BENJI (recently remade for Netflix and reviewed in Episode #076), which was so successful that Disney wanted in on the action with their own sequel. In fact, Disney went into overdrive after 1974's BENJI, especially in the at-home and rental markets, producing low-cost, high-revenue films. If anyone knows how to make dog films at this point, it is definitely Disney.

The real question is why tell this story? Well, honestly, in an effort to correct the record regarding the famous 1925 Nome Serum Run. Most folks know the story because of Balto, one of two lead sled dogs who did the final leg of the run, and popularized as a hero across the world. A statue was erected in New York for Balto, and a live-action and animated film was produced in 1995, naturally entitled BALTO. Two sequels followed, and our family ended up watching all three with One Movie Spawn in her earlier years. But, Balto just managed the last leg of the run, a mere 26 miles. Meanwhile, Leonhard Seppala and Togo had left ahead of time, to make the trek with their team alone, covering over 264 miles, over ten times the distance of Balto, and over much worse terrain. Balto got the press, though, and the glory, which the animated film didn't help to quash. So, TOGO, the film, is a major effort to correct the historical record.

The Alaskan Wilderness has always been a fascinating setting for stories, particularly on the frontier. The harshness of the setting, combined with its beauty, creates a natural backdrop. And you can tell a wide range of stories, anything from Jack London's "The Call of the Wild" or "White Fang" (we covered a recent animated adaptation in Episode #191) all the way to Jeremy Saulnier's HOLD THE DARK (Episode #272). The stories generally focus on man versus the elements, which provide a relatively neutral story to tell. If there's any criticism of the use of this scenery, it's that the ongoing climate collapse has made many portions look much drier than the early 1900s, a scary reminder of our current planetary trajectory.

TOGO is definitely a survival adventure film, told with a combination of actual background scenery and necessary use of green screen, especially to capture the more daring portions of Sepalla and Togo's story. The green screen can be noticeable, but no more so than your average superhero film, especially because we know Dafoe isn't racing downhill or crossing a shattering sound, but it still grips the viewer, even on a small screen. The storytelling moves between the 1925 serum run and flashbacks to Togo's hilarious and trying upbringing, often called Satan by Leonhard after making mischief. The viewer, as such, rides a roller coaster of tense survivalist adventure and heartwarming vignettes about both characters, building towards a not unexpected conclusion.

Willem Dafoe is a consummate actor, and he definitely gets more than one opportunity to engage in lengthy exposition. Seppala, as a character, constantly talks to his pups, encouraging them, guiding them, and if we're being honest, encouraging and guiding himself in the process. Dafoe's performance is excellent, especially from someone who has the cache to appear in both TOGO through Disney, and the recent PASOLINI (Episode #671) which was a decidedly different (and not safe for work/family) affair. He has real talent, and brings it to every role, including Seppala. The supporting cast, particularly Julianne Nicholson as Seppala's wife Constance, is all top quality as well.

But the real stars of the movie, as with most dog movies, are the dogs which played Togo. Siberian huskies are some of the smartest, most loving dogs on the planet. A certifiable good boy name Diesel plays adult Togo, along with a younger version of Togo in the flashbacks. And Diesel always does a good job on the screen, because he is such a heckin good doggo. It's nice that Togo gets a Hollywood story to celebrate his name, even if the story as a whole isn't quite true to life. The differences will be left to the viewer as an exercise. The fictionalizations don't detract from the story itself, and definitely make for a better film that, at least, partially corrects the record.

TOGOis a gripping, heartwarming survival adventure that corrects the historical record regarding the 1925 serum run, while also introducing us all to last century's certifiable good boy, Togo. While fictionalizing and embellishing the role for the sake of good filmmaking, the core story remains unaffected, and is loving brought to the screen with high-quality effects. If this is the caliber of film that Disney+ has in mind for their streaming service, then we're in for a world of excellent features going forward. Disney fans, and dog fans, should absolutely see this film, along with anyone else fascinated by the Alaskan wilderness. Everyone else, if you're looking for a great family film, especially a man/dog vs. nature film, look no further.

Rotten Tomatoes: 96% (CERTIFIED FRESH)

Metacritic: 71

One Movie Punch: 8.5/10

TOGO (2019) is rated PG and is currently playing on Disney+.

Hi everyone!

Welcome back for our final review of the week. I wasn't sure what to make of today's film when I first saw a trailer for it. A comedy about the Catholic Church right now seems like a weird idea, especially given the near constant scandal they continue to struggle with from decades of covering up child abuse. But once I learned that it would be dealing with the scandal directly, and the first of many shakeups to follow, I knew I would have to give it a viewing. And I'm really glad I did.

Before the review, we'll have a promo from our good friend Rory Mitchell, from the Mitchell Report Unleashed podcast. They were gracious enough to have yours truly on as a guest recently, which you can check out in Mitchell Report Unleashed Episode #173. You can follow Rory on Twitter @officallyrory, on Facebook @mitchellreportunleashed, and on Instagram @re3684. You can also subscribe to the podcast at anchor.fm/rory-mitchell8. Don't miss a single episode of his insightful interview-driven show.

Subscribe to stay current with the latest releases.

Contribute at Patreon for exclusive content.

Connect with us over social media to continue the conversation.

Here we go!

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Today's movie is THE TWO POPES, the biographical dramedy directed by Fernando Meirelles and written by Anthony McCarten, based on McCarten's 2017 play, "The Pope". Set against the backdrop of the Vatican leaks scandal, which exposed high level officials that had covered up child abuse, Pope Benedict XVI (Anthony Hopkins) faces pressure to resign or retire as pontiff. He calls his previous rival, Cardinal Jorge Mario Bergoglio (Jonathan Pryce) to the Vatican to discuss the situation and chart a potential new direction for the church.

No spoilers.

My relationship to religion has been a strained one. My family was never really religious growing up, with the exception of our great-grandmother. I started going to church mostly because of a friend at the same parish, and because at least part of my friend group went there every week. I went on a neo-pagan journey of discovery after that, then came back to join the Catholic church in 2003 after some serious introspection into what kind of church I wanted to belong to. And recently, after years of struggling with reconciling the child sex abuse crisis with my belief in the larger church, along with clashes on a number of social beliefs, I left the Church, at least until they can get their act together.

It's easy to paint the Catholic Church with a wide brush, especially after years and years of conservative political guidance beginning at the turn of last century. However, the Catholic Church also represents roughly an eighth of the world's population, and within its membership, an incredibly big tent of beliefs and perspectives. For every Padre Pio, the right-wing darling conservative priest, there's a Thomas Merton, the left-wing, almost Buddhist-leaning progressive priest. Many within the church find their niche, and that inevitably leads to clashes among Catholics.

THE TWO POPES is about that clash, as exemplified by the two current popes within the Catholic Church. Retired Pope Benedict XVI is firmly entrenched in the conservative views of the Church, placing tradition and scripture above social enterprise, a major criticism of progressively-minded Church members. Pope Francis is firmly entrenched in the so-called liberal view of the Church, placing mission and outreach above meaningless adherence to tradition and strict interpretations of scripture, in line with his Jesuit upbringing. And for someone who has struggled with the Church, this film touched my heart in surprising ways.

The film is titled THE TWO POPES, but the film is primarily about Cardinal Jorge Mario Bergoglio and his attempt to retire from the Church. Jonathan Pryce captures the playful nature of Bergoglio, someone who has grown up among the people, but also the serious, shameful nature of someone who was forced to make difficult choices during the Argentinian dictatorship. One of the traits I most admire about Pope Francis is his refusal to have others do simple tasks for him, which has played out to comedic effect both inside and outside the Church.

Opposite, but in a more supportive role, is Anthony Hopkins as Cardinal Joseph Ratzinger, who has been criticized heavily by the progressive members of the Church. We do learn about his part in moving a pedophile priest, which was detailed in the Vatican Leaks scandal, but we also get the more human aspects of Ratzinger, a more self-aware version. I cannot forgive any Church administrator who helped cover up this scandal, but I definitely can appreciate that Ratzinger, and many other priests, bishops, and cardinals I've known over the years, are people dealing with pressures and problems like anyone else. Hopkins does a great job, especially with his natural resemblance to Ratzinger.

They make a great pair on screen, not just in their stark differences, but also in the way they share the unique and fraternal bond of the Roman clergy. Great chemistry is supported by clever and poignant dialogue, an amazing achievement set against the major shake-up happening around them. We also get a younger Bergoglio, played by Juan Minujín, who shows the real sacrifices made by those who seek a life within the clergy.

The end result is a deceptively complex story, looking not just at two men, or even two popes, but at two different wings within the church, as well as the circumstances surrounding the largest scandal to rock the Church in centuries. All in a digestible, even comedic story that doesn't treat the scandal with any less respect than it deserves. A remarkable accomplishment by Fernando Meirelles and Anthony McCarten.

THE TWO POPES is a heartwarming, insightful, and most of all, human look at the scandal which rocked the Catholic Church at its highest levels. Pryce and Hopkins play the two popes, representing not just the men, but the ideologies they espouse, in surprising and even funny ways. Catholics should definitely watch this film, whether they side strongly with one pope or the other. Everyone else should be able to appreciate the film, even if they have strong opinions about the subjects either way.

Rotten Tomatoes: 89% (CERTIFIED FRESH)

Metacritic: 75

One Movie Punch: 8.6/10

THE TWO POPES (2019) is rated PG-13 and is currently playing on Netflix.

Hi everyone!

It's Friday, so it's time for another Fantastic Fest feature. This week, Andrew Campbell returns with a musically-driven, post-apocalyptic film that reminds me a great deal of THE NIGHT EATS THE WORLD (Episode #372), thematically speaking, anyway. Andrew will be up in a moment to give you his thoughts on today's movie, but for a few recent reviews of his, check out IN FABRIC (Episode #674), 1917 (Episode #675), and THE DEATH OF DICK LONG (Episode #681). He's got some absolutely crazy pictures coming up over the next couple of months.

Before the review, we'll have a promo from the Ocho Duro Parlay Hour. Every episode, the ODPH Crew covers a wide variety of topics from sports and popular culture, with a little something for everyone. A huge shout out to Ken at ODPH for becoming a sponsor of One Movie Punch. We can't thank you all enough for your constant support! You can find them on Twitter and Instagram @odparlayhour and on Facebook @ochoduroparlayhour. Get the avalanche of content you deserve!

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Here we go!

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Hello film fans!

Andrew here. Back today with the first of two back-to-back Lovecraftian films this week and next. I just so happen to know our host Joseph is huge fan of Lovecraft, particularly the Cthulhu mythos, whereas I have but a passing knowledge of what qualifies a work as being inspired by Lovecraft. When I think of Lovecraft, the themes that come to mind are feelings of unease and depression along with some sort of bizarre cosmic element trying to rip into our world. Plus, monsters. Often really, really big monsters.

JOSEPH: "That's interesting, because when I think of Cthulhu, I think [UNINTELLIGIBLE]."

Whereas next week's film is a modern-day adaptation of one of his short stories, this week's subject is clearly heavily influenced by Lovecraft.

Today's movie is STARFISH, the debut feature film from writer/director A.T. White. A UK/US co-production, STARFISH made its world premiere at the 2018 Fantastic Fest. The film opens with Virginia Gardner as Aubrey, a twenty-something, attending a wake for her best friend, Grace. In her grief, Aubrey leaves early and heads to Grace's apartment located above a convenience store in what looks like a remote and snowy Colorado town. The apartment is tidy and lived-in and not totally devoid of life, with Grace's forgotten pet turtle and jellyfish proving her passing was recent and perhaps unexpected. After dozing off, Aubrey awakes to a changed world. The small town appears from her second-floor window to be mostly uninhabited other than a few car fires and the occasional resident sprinting out of view. What unfolds is an introspective meditation on grief along with some inexplicable surprises.

The performance by Virginia Gardner is the glue that holds this film together. She owns the screen for all 90 minutes, most without the benefit of any other actors to play off of. She's emotive and melancholy, but not to the point of being a sad-sack that the audience doesn't want to hang out with.

Strangely, Grace seems to have somehow been aware of some outside alien force trying to penetrate our world. She has left behind for Aubrey a series of audio-tapes in the form of a scavenger hunt and on these tapes is somehow the key to understanding and perhaps stopping whatever alien force is affecting the town and shutting off the world beyond. (They never say what killed Grace. Maybe it was aliens?)

Aubrey's only companion is the occasional voice on the other end of a CB radio, which seems to egg her on whenever she is at a loss. Am I giving away too much of the story? Not really. I'm just talking it out because in the world of STARFISH, it's never really clear what's going on.

STARFISH starts slow and then slows down a bit more before it starts sprinkling in moments of excitement. You get the occasional creature and some odd bits of grotesquerie that are all really well done in spite of what was likely a micro-budget. The film seems to alternate these little glimpses of horror with dream sequences where Aubrey has conversations with Grace or spends time with a boyfriend on a beach lit by headlights where it's clear something tragic may have happened.

The trailer for STARFISH is worth a watch as it does a good job quickly flipping through some of the more visually arresting scenes in a film full of lush cinematography. STARFISH contains a little bit of everything. The only thing missing is any clear understanding of just what is going on in this nightmarish winter world.

What makes STARFISH fantastic?It starts out as a movie about loss and depression, throws in some trippy dream sequences (even becoming a cartoon for a stretch) and ends up as some sort of light survival horror. Even having seen it twice, I still don't fully understand what conclusions I'm supposed to draw from STARFISH as it's not clear what is real. Maybe it's all inside Aubrey's head? Or maybe some newly awoken monoliths are patrolling the Earth, setting loose their hounds on the remaining populace. Who's to say.STARFISH is not for everyone, as evidenced by the barrage of one-star reviews on the IMDb page.

STARFISH is poetic and hypnotic, meandering and confounding - an enthralling work from a first-time writer/director. Fans of atmospheric, introspective science fiction films such as 2001: A SPACE ODYSSEY or UNDER THE SKIN will enjoy STARFISH.

Rotten Tomatoes: 90%

Metacritic: 74

One Movie Punch: 6.8/10

STARFISH (2018) is not rated and is currently streaming on Amazon Prime.

Come back next Friday for COLOR OUT OF SPACE, an adaptation of a Lovecraft short-story getting its first film treatment. Someone decided it was a good idea to spend $12 million dollars on a psychedelic descent into madness starring Nic Cage and it hits the big screen next week. Buckle up, this one is wild.

See you then!

Hi everyone!

It's a big day here at One Movie Punch! Today we're welcoming Christina Eldridge to the podcast, with a review for WEATHERING WITH YOU, our first GKIDS distribution review, but certainly not our last. Christina's a huge fan of Japanese animation, and will be lending her expertise and opinions for monthly reviews here, along with the occasional review in one of her favorite genres, the post-apocalyptic. Look for #DuraraReviews and be sure to follow her on Twitter @durarareviews. We're excited to have her on board!

We're also excited to feature a promo from the Cinema Recall podcast. Every episode, The Vern takes a look at iconic scenes in classic movies. You can find them on Twitter and Instagram @cinema_recall, and also subscribe to their podcast at anchor.fm/cinemarecall. Don't miss a single episode!

Subscribe to stay current with the latest releases.

Contribute at Patreon for exclusive content.

Connect with us over social media to continue the conversation.

Here we go!

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Hello, everyone!

This is Christina Eldridge with Durara Reviews (a part of One Movie Punch). I'll be covering mostly anime, some animated films and will backfill other genres as needed for the team. I've enjoyed anime since my childhood and I'm hoping that if you're not a huge fan, maybe my excitement can pull you in. If you already like anime, I look forward to you trying out my reviews!

Today's movie is WEATHERING WITH YOU (2019), or by its original Japanese title, TENKO NO KO. This breathtaking romantic fantasy anime was written and directed by Makoto Shinkai and distributed to the United States by GKIDS. WEATHERING WITH YOU centers around Hodaka Morishima (Kotaro Daigo), who has run away from his small island town to go to Tokyo. He arrives during a very peculiar two-month long rain storm that produces a cloud burst, nearly sliding him off the ferry boat, but is saved by a man named Keisuke Suga (Shun Ogari), who gives him his card and starts him off on his adventure.

This review is spoiler free.

Hodaka tries his hardest to make it on his own in Tokyo but he can't find a job being underaged. The money he saved for the trip starts to dwindle and he can barely afford to eat. One night, he meets a girl at a restaurant who gives him a free burger. After finding himself sleeping in entranceways, he finally admits defeat, and seeks out Kei, who offers him a job at his gossip rag that specializes in supernatural phenomena. Kei is currently hot on a story about the Sunshine Girl. Hodaka and Kei's assistant, Natsumi Suga (Tsubasa Honda), team up to gather information on this rumored girl. As fate would have it, Hodaka later sees the free hamburger girl, whose name is Hina Amano (Nana Mori), being harassed on the street near Kei's office. He decides to save her from the club owning thugs and, in the process, she reveals that she is, you guessed it, the Sunshine Girl Kei's been after.

WEATHERING WITH YOU was an original novel written by Shinkai that wasn't released until a day before the movie was released in Japan. A manga adaptation, illustrated by Watari Kubota, was first serialized in Kodansha's Afternoon on July 25th of 2019.

Even though Sunshine Girls are a part of Shinto folklore, I don't feel it's so overwhelming that American audiences can't enjoy the movie with no prior knowledge. There's a scene where Hodaka and Natsumi visit a psychic who explains these concepts so the viewer doesn't feel lost. A few other Japanese items, such as teru teru bozu (the little rain warding ghost charms), are insignificant enough that it shouldn't make or break the average American viewer.

The overall theme of chosen family is especially heartwarming. Kei sees himself in Hodaka as a previous runaway, and in turn, helps him as much as possible. This really hits home to the audience, that blood isn't always thicker than water, or in this case, rain. Why the Oscars snubbed WEATHERING WITH YOU as an animated nominee is beyond me, especially since it received 4 Annie Award nominations, including Best Independent Animated Feature, which makes it only the 3rdanime film, along with SPIRITED AWAY and MILLENNIUM ACTRESS, to do so. The juxtaposition of the drab colors during the rain with the bright, beautiful visuals of sunshine are intensely jaw dropping and worthy of an Oscar statuette itself.

WEATHERING WITH YOU is a heartwarming meditation on families, especially the families we choose for ourselves. It made me laugh, made me cry, and by some Sunshine Girl magic, touched my dark heart. Like Hodaka-san said: "I realized how much the human heart was connected to the sky."

This is an absolute must for anime fans!

Rotten Tomatoes: 97%

Metacritic: 71

One Movie Punch: 10/10 Teru Teru Bozu!

WEATHERING WITH YOU (2019) is rated PG-13 and will be playing in select theaters.

Minasan, domo arigatou! Until next time!