One Movie Punch

Today’s movie is “Pickpockets” (2018), the Colombian crime thriller from Peter Webber. The film follows a trio of young pickpockets recruited by Chucho (Carlos Bardem), a world-renowned pickpocket with massive gambling debts. The trio includes Fresh (Emiliano Perina), Doggy (Dubán Andrés Prado), and Juana (Natalia Reyes), each with their own story and motivation for plying the trade. The film debuted last month at the Cartagena International Film Festival and was picked up by Netflix.

Thieves make such interesting characters, which is why they were my preferred class in Dungeons & Dragons back in the day. Professional thieves have a variety of motivations, and most films about thieves focus on the big-ticket items, like paintings or gold bricks or my personal favorite, German bearer bonds. Below that world of high stakes theft is a much smaller, more intimate kind of theft, as blunt as a snatch and grab, or as elegant as pickpockets.

“Pickpockets” as a film is structured like a classic crime thriller, with an initiation phase, an escalation of stakes, and, of course, a final big score that will solve most, if not all, of the problems encountered along the way. What separates “Pickpockets” from the others, however, is its setting in Bogotá, segregated by the haves and have nots, and permeated with corruption and criminal networks, which makes this film a discovery of both the craft and Bogotá itself.

Peter Webber has great composition throughout, with excellent montages and findings the right sets and locations to emphasize Bogotá’s unique character. Both the score and the soundtrack as also well-chosen, full of distinct, infectious, local and regional sounds. The cast turn in great performances. Everything comes together nicely, with its own kind of justice, and firmly rejecting that there is honor among thieves.

“Pickpockets” (2018) is an above-average crime thriller infused with all the flavor of Bogotá. Peter Webber has created an excellent film, one that will delight crime thriller enthusiasts and serves as a peek into the burgeoning Colombian film scene. Anyone who enjoys smart crime films should definitely see this film.

Rotten Tomatoes: NR

Metacritic: NR

One Movie Punch: 8.8/10 

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

Today’s movie is “Pass Over” (2018), the Amazon Studios drama written for the stage by Antoinette Nwandu, directed for the stage by Danya Taymor, and directed for the screen by Spike Lee. The film follows Moses (Jon Michael Hill) and Kitch (Julian Parker), two homeless black men as they talk with each other, pass the time and dream of their own promised lands. The film debuted at this year’s Sundance Film Festival and was screened at Southwest Film Festival.

Spoilers ahead.

It’s difficult, sometimes, to make the transition between the stage and the screen, as both formats utilize a different storytelling format and a different relationship with their respective audiences. Films based off stage shows sometimes lose the flair only the stage can bring, and stage shows based off films lose the focused, more directed storytelling. And now we’ve seen a few “stage shows as films” showing up in theatres as special events, and more recently, efforts like “Fences” (2016).

“Pass Over” was a stage show that played for about a week at Chicago’s Steppenwolf Theatre. The minimalist stage is set on a Chicago street corner, which helps characterize the minimal options available to the two men. This movie version was filmed secretly during the show, capturing audience faces before and afterward, especially at key moments in the play. In many ways, Taymor and Lee are able to get the best of both worlds when it all comes together.

Jon Michael Hill and Julian Parker are incredible, with wonderful chemistry, both between themselves, and with the supporting cast of Ryan Hallahan as the prototypical white savior named Master and Blake DeLong as the prototypical Chicago Police officer. The script is perfect, addressing white privilege, gun violence, extrajudicial killings, and even the use (and abuse) of the “n-word”. It also addresses the “problem of heaven”, when people whose contemporary conditions are so bad, that only the promise of “passing over” in death is the best option.

“Pass Over” (2018) is a work of genius, both as a stage show, and as a film experience, capturing the best of both media types about the important problems faced today in the black, urban experience. Nwandu, Taymor, and Lee develop and evolve a great, if heartbreaking story, grounded in a realism that is all too familiar today. Fans of stage shows and dramas will enjoy this film, but be ready for the foul language and difficult themes.

Rotten Tomatoes: 88%

Metacritic: 73

One Movie Punch: 9.6/10

“Pass Over” (2018) is not rated and is currently streaming on Amazon Prime.

Three days.

Three more days and most of you will be in line for “Avengers: Infinity War” (2018). Our review will be up on Monday, April 30th. We’re on the last step on the Road to Infinity War.

Today’s movie is “Thor: Ragnarok” (2017), the third and possibly final Thor film in the Marvel Cinematic Universe, directed by Taika Waititi and written by Eric Pearson, Craig Kyle, and Christopher L. Yost. The film picks up immediately after “Avengers: Age of Ultron”, as Thor (Chris Hemsworth) returns to Asgard, the “eternal realm” to confront Loki (Tom Hiddleston), ends up on the other side of the universe with an old friend from work, and finds himself against his older sister, Hela (Cate Blanchett).

This film has a lot more to offer on multiple viewings. The first time I saw it in the theatres, there was so much to take in, particularly the major shift in tone from epic Shakespearean fantasy to almost a buddy cop comedy, but as an awesome trek into the cosmic parts of the Marvel Cinematic Universe as well. I remember seeing that Hulk was going to be part of the film and was immediately sold, even though in retrospect I wonder what kind of theatre magic would have happened if that part had been kept under wraps. 

I was also admittedly nervous about Taika Waititi being brought in to helm the film, but Taika really brings the right mix of comedy and drama from his incredible filmography to what is essentially a cosmic thrill ride with universe-changing consequences. I really enjoyed the comic book stills as part of the storytelling, and the overall 80s electronic feel to the art direction and the music selection was spot on. I also thought the toe-dip into continuity with Doctor Strange, while a little awkward, was also well done.

If there are any complaints with the film, it’s that they couldn’t find this combination with the first two films, and the thematic shift somewhat derails the overall direction of Thor’s story. It doesn’t take away from the incredible performances and outrageous cameos, nor from the incredible action scenes, especially when the God of Hammers figures out where his strength really lies.  And the mid-credits scene when the Kree warship shows up is probably the best lead-in to “Avengers: Infinity War” we will get, especially with the Comic-Con trailer that was debuted showing a bearded Thor running into the Guardians of the Galaxy.

“Thor: Ragnarok” (2017) is a dramatic shift in tone for the Thor storyline, but one that I believe is for the better. I’m worried this might be the end of the line for Thor, especially since Jane is out of the picture for whatever reasons, and with nearly all the major Thor storylines from the comic books brought to life. Still, it remains a great film, easily one of the funniest, and well worth multiple viewings.

Rotten Tomatoes: 92% (CERTIFIED)

Metacritic: 74

One Movie Punch: 8.8/10 

“Thor: Ragnarok” (2017) is rated PG-13 and is currently streaming wherever you enjoy movies.

Today’s movie is “Nanook of the North” (1922), the first feature-length nature documentary ever produced, directed by Robert J. Flaherty. This silent film follows a year in the life of Nanook (Allakariallak), along with his wife (Nyla), their daughter (Cunayou), and their son (Allegoo), in Canada’s northern Quebec region on the eastern shore of Hudson Bay.

If you decide to watch this film, be prepared to speed-read. The version I saw includes a few paragraphs of stills that go by pretty fast, which explain that the film was attempted previously, but the reels were lost and Flaherty returned to reshoot the documentary. The result is a slightly contrived docudrama about Nanook, which acts as an interesting storytelling device to document the joys and challenges of their life.

The origins of this version of “Nanook of the North” is shot by Flaherty in a way that shows he knows exactly what he wants, which has its pros and cons. The film has confident framing, but it can also take away from that special magic of the initial attempt. It feels almost like a checklist of scenes, which is admittedly built into the silent movie structure.

Another drawback to the film is its contextual racism, perhaps a latent colonialism. Nanook attempting to understand the gramophone would feel cruel, if it didn’t feel so staged. I have no doubt Flaherty was sincere in his admiration for their culture, but this could also be seen as the first direct effort of cultural appropriation for our entertainment, as well. Also, this film shows multiple animal killings, all culturally appropriate, but it can be brutal if you aren’t ready for it.

“Nanook of the North” (1922) is a pioneering work, succeeding in documenting not just parts of the Inuit way of life, but also the contextual racism and cultural imperialism of the time. However, it also documents a way of life that lasted for thousands of years, at least until the warming climate shifts the entire Arctic environment. Documentary fans should see the film, but be prepared for its flaws.

Rotten Tomatoes: 100%

Metacritic: NR

One Movie Punch: 6.4/10

“Nanook of the North” (1922) is not rated and is currently streaming on YouTube.

Today’s movie is “Dude” (2018), the Netflix Original comedy written and directed by Olivia Milch, based on a story by Kendall McKinnon. The film follows Lily (Lucy Hale), Chloe (Kathryn Prescott), Amelia (Alexandra Shipp), and Rebecca (Awkwafina), as they deal with their last two weeks of high school, mostly through the use and abuse of drugs.

Spoilers ahead.

“Dude” (2018) is not the film portrayed in the trailer, at least not just that film. The viewer discovers this in the first ten minutes, as Lily and Chloe are hanging out with Chloe’s brother, Thomas (Austin Butler), who is in love with Lily. Lily and Chloe leave Thomas at a park, and afterwards, Thomas dies in a terrible car crash on his way home. A major buzzkill for what is supposed to be a late night comedy, but important to the overall story.

Fast forward one year later, and the group of friends are all getting ready for their future after graduation. The core cast is the heart of the film, with great chemistry between all four ladies, and excellent support from most characters. The film includes great sets and costumes, giving a mostly privileged feel for the main characters dealing with first world problems. 

The main drawbacks to the film are the script and the overall message. In some ways, the film feels like a bait and switch, and trying to shoehorn a weed-based comedy with a dead brother/lover subplot creates tone problems. The film lacks resolution as well, leaving the main conflicts unresolved, which combined with the privileged surroundings left me disappointed. I was also not a fan of how Lily blows off being sexually assaulted. 

“Dude” (2018) is still a fun comedy, though, despite its flaws, and the chemistry between the quartet is quite great. The comedy parts are above average, and while it stumbles in telling it, the more heartfelt subplots still turn out pretty good. Late night comedy fans may feel cheated by the more dramatic parts, but fans of female friend movies will laugh out loud.

Rotten Tomatoes: NR

Metacritic: NR

One Movie Punch: 7.2/10

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

Today’s movie is “I Am Not An Easy Man” (2018), the Netflix Original French comedy directed by Eleonore Pourriat and written in collaboration with Ariane Fert, based on Pourriat’s short “Oppressed Majority”. The film follows Damien (Vincent Elbaz), a chauvinistic man who wakes up in a world where women individually and systemically oppress men, falling for Alexandra (Marie-Sophie Ferdane), a popular author looking to use Damien as material.

Let me start by saying that I enjoyed this film, but I was hoping it would be something else. The premise alone is a gold mine, bringing to life all the subconscious fears of chauvinistic men who believe having women in power positions must necessarily come with the same shameless oppression and privilege as men today, arguments often heard during the period of second-wave feminism where (mostly white) women were fighting for access to work outside those considered “traditional” roles.

Eleonore Pourriat expands her runaway short “Oppressed Majority” from a vignette into a feature-length film with the help of Ariane Fert, eschewing the more grisly subject matter for a fast-paced, more light-hearted romantic comedy format. Damien and Alexandra’s romance plays out like any number of romantic comedies, but the reversals give insight into our own socialized gender roles. I also really enjoyed the use of feminine takes on language, including words like “lumberjane”, “masculinist”, and “fatherfucker”.

It is a solid film, but it also has a couple drawbacks. First, it ends really abruptly, leaving most of the story untold, even if there are hints of what may come to pass. Second, the film ends up showing two flawed structures for society, steeped in the belief in hierarchies, which are themselves patriarchal in nature according to some third-wave feminist thought. I really wished the film would have tried to show what a post-sexist society would actually look like, and I’m not sure that means having a suitably diverse suite of oligarchs still controlling society.

“I Am Not An Easy Man” (2018) is a fun romantic comedy that plays with serious questions about individual and systemic sexism, told through the lens of an alternate universe. The film is great if you don’t think about it too much, and still good if you do recognize the philosophical flaws in the theory behind the premise. Fans of romantic comedies and films critical of gender roles will definitely enjoy this film.

Rotten Tomatoes: NR

Metacritic: NR

One Movie Punch: 7.4/10

“I Am Not An Easy Man” (2018) is rated TV-MA and is currently streaming on Netflix.

Today’s movie is “Cartel Land” (2015), directed by Matthew Heinemen, a documentary about two vigilante groups ostensibly fighting back against the cartels. The documentary was shot on the front lines of the fight, sometimes in live fire situations, and with grim consequences. The movie was nominated for an Academy Award for Best Documentary.

I have different thoughts about the two groups. Arizona Border Recon is a group of self-appointed border observers, who share a belief that the drug cartels are using the Arizona border for drug and human trafficking. I don’t have much sympathy for their cause, especially given some of the more racist and xenophobic individuals among them. I have no doubt that drugs are being smuggled across the border, but people seeking a better life aren’t really an example of human trafficking.

By contrast, I really admired the Groupo de Autodefensas Comunitaria, a community-formed vigilante force that armed themselves and took back cities from the cartels, and with good reason. Cartels really do control entire regions of Mexico, sometimes fighting against the government, sometimes working the corruption within the government. Unfortunately, the force is eventually subsumed into the local police force, and we learn that infiltrators were among those subsumed, persisting the corruption.

So, where does that leave me with this film? I think with documentaries that the director needs to ultimately decide whether to do what’s best for the subject or what’s best for the film. And with the chaos of the subject material, Heineman does what’s best for the film, leaving us feeling hopeless in the end, despite the admirable efforts of the cause behind the Autodefensas. And that sucks, much like the situation, so I guess in a way, Heineman does what’s best for the subject as well, which is exposing the problem.

“Cartel Land” (2015) is not interested in solutions to the problem, but rather examines what others believe are the problems and their respective solutions, no matter how offensive. It makes for great film, but it also ultimately feels a little bit like disaster porn, and by extension, a form of exploiting the suffering of the people trapped in the middle of all these groups vying for control. Viewers interested in an engaging look at cartel control will be awed this film, but will probably leave depressed.

Rotten Tomatoes: 89% (CERTIFIED)

Metacritic: 76

One Movie Punch: 6.8/10

“Cartel Land” (2015) is rated R and is currently streaming on Amazon Prime and Netflix.

Today’s movie is “The 4th Company” (2016), the Netflix original crime thriller written by Mitzi Vanessa Arreaola and directed in collaboration with Amir Galván Cervera. The film follows Zambrano (Adrian Ladron), a juvenile offender sentenced to Santa Martha prison in 1970s Mexico, who joins the prison American football team and becomes part of the prison’s fourth company, a combination internal enforcement and external criminal organization run by Mexico City’s chief of police.

“The 4th Company” (2016) is set in the same prison in the story, using modern prisoners as extras, to recreate the real story of The Perros in Santa Martha prison. Arreaola and Cervera set out to be as realistic as possible for the story, using great song choices from the time, a mixture of both Mexican and American pop songs, and using great period-specific clips of the various news stories surrounding the actual Perros. A lot of content gets jammed into two hours, using the participation of The Perros in the city’s football league as a consistent backbone to the overall story, including the fall of the chief of police.

However, I found the film to have identity issues, sometimes working against itself. The film begins as a solo film, using Zambrano as our entry into the weird penitentiary world of 1970s Mexico, but then switches when he joins The 4th Company into a more ensemble film, with multiple backstories for various characters presented as quickly as they are resolved, and including the larger football season structure to the narrative. And the film gets really dark, not just with a high body count, but with a hopelessness that derails our commitment to the characters.

The result is a decent film with enough content to be an excellent longer form series, which would allow the viewer time to explore the relationships between the members of the company, or perhaps focus more on Zambrano’s internal struggles, not to mention the relationship between Palafox (Hernán Mendoza) and his daughter, or Combate (Andoni Gracia) and his revolutionary comrades. As it is, there’s too much to focus on to develop a connection with the film. 

“The 4th Company” (2016) is a film with an identity crisis, unsure if it’s a football film, a crime film, a redemption tale, or an ensemble thrill-ride. And while it’s possible it could be all of those, it doesn’t seem to do any of them really well. All that being said, the cast puts in great performances, and the film does a great job showing the absolute corruption of the Mexican prison system, one of the worst in the world and for a long time. Sports fans and prison drama fans will enjoy this film, if they can handle the rest of the story that comes along with their particular niche.

Rotten Tomatoes: NR

Metacritic: NR

One Movie Punch: 6.8/10

“The 4th Company” (2016) is rated TV-MA and is currently streaming on Netflix.

Today’s movie is “Sun Dogs” (2017), the Netflix original comedy directed by Jennifer Morrison and written for the screen by Anthony Tambakis under the pseudonym Raoul McFarland. The film follows Ned Chipley (Michael Angarano), an intellectually disabled young man who wants to assist the country in rooting out Al Qaeda on the homefront, aided by a runaway named Tally Peterson (Melissa Benoist).

Spoilers ahead.

This film takes a lot of risks with the story involving an intellectually disabled character, no matter how high-functioning. Even more risk when Ned is tricked into believing he is part of a counter-terrorism force by Master Sergeant Jenkins (Xzibit), and begins stalking a casino owner because he looks like a terrorist on a deck of cards. Overlay that with a potentially subversive look at the so-called War on Terror, and those who unflinchingly support it, and we’re walking a dangerous tightrope.

With the story being what it is, Jennifer Morrison brings it to life, with the use of nice colors and filters and incredibly detailed sets. I dug the use of typed notecards to separate the scenes, and the jump cuts weren’t too intrusive, most of the time. Some scenes were a bit overused, particularly the trips to and from the Marine recruiter, but overall, a solid production.

The supporting cast really put in great performances. Benoist plays an odd character given her ongoing role as Supergirl on the CW. Ned’s mother, Rose (Allison Janney) has an enigmatic character, while her live-in boyfriend Bob (Ed O’Neill) is a somewhat conniving, somewhat protective guardian figure for Ned. The only performance I have troubles with is Angarano’s, mostly because I don’t feel qualified to judge the performance as tasteful or realistic, a judgment call that will have to be made by the intellectually disabled community and their advocates.

“Sun Dogs” (2017) is a quirky independent dramedy that deals with some risky subject material and themes. I felt the ending ultimately redeems the film, but still leaves a lot of room for debate. Tambakis and Morrison put together a solid film, though, barring any major complaints from the non-neurotypical community. Viewers who enjoy independent dramas should enjoy this film.

Rotten Tomatoes: NR

Metacritic: NR

One Movie Punch: 6.8/10

“Sun Dogs” (2017) is rated TV-MA and is currently streaming on Netflix.

It’s Marvel Monday, and we have just two more movies on the Road to Infinity War. Today’s movie is “Spider-Man: Homecoming” (2017), the Sony/Marvel collaboration directed by Jon Watts, based on a story by Jonathan Goldstein and John Francis Daley, and written for the screen in collaboration with Christopher Ford, Chris McKenna, Erik Sommers, and Jon Watts himself. The film had a $175 million dollar budget and made $880 million dollars at the international box office.

I’m so glad Sony and Marvel could figure out how to play nice with this intellectual property, although the limited scope of the Spider-Man canon works well fitting into the MCU. While I’m excited about Disney buying up the Marvel properties from Fox, I’m not sure how to integrate the X-Men, although Fantastic Four is definitely a possibility. The best part about the Sony collaboration is that everyone wins: Sony, Marvel, and we the viewers.

“Spider-Man: Homecoming” skips the origin story, which Sony has already produced twice, and jumps right into the lead up and fallout of “Captain America: Civil War” for Peter Parker (Tom Holland). We don’t need another discovery of powers. What we need is to bring in the other major characters, particularly Tony Stark (Robert Downey, Jr.) and Happy Hogan (Jon Favreau), who are grooming and guiding an overzealous Peter wanting to save lives.

It also includes the introduction of Adrian Toomes in a spectacular performance by Michael Keaton. The big Homecoming reveal blew me away in the theatre. We also get the introduction of the guy in the chair, Ned (Jacob Batalon) and a more mysterious debut for Michelle, aka MJ, played by Zendaya, expanding the Spider-Man corner of the universe and setting us up for the next two films.

“Spider-Man: Homecoming” (2017) is a thrill-ride from beginning to end, blended well into continuity, and is probably the best version of Spider-Man on the big screen yet. My only beef with the film is the inclusion of Pepper Potts for less than a minute getting her sixth billing over Ned, which is admittedly petty. If you like superhero movies, and if you’ve been on the Road to Infinity War with us, you do, then you’ll love this film.

Rotten Tomatoes: 92% (CERTIFIED)

Metacritic: 73

One Movie Punch: 8.8/10 

“Spider-Man: Homecoming” (2017) is rated PG-13 and is currently streaming wherever you enjoy movies.