One Movie Punch

Today’s movie is “Dear Zachary: A Letter to a Son About His Father” (2008), the documentary from Kurt Kuenne about his brutally murdered friend Dr. Andrew Bagby, filmed while travelling cross-country to capture footage and memories as a testament for Andrew’s son, Zachary, while delving into the odd circumstances surrounding Andrew’s murder.

Spoilers ahead.

Oh yeah, did I mention the prime suspect in Andrew’s murder was his ex-girlfriend, Shirley Turner, who fled the United States after the murder? And that Shirley is Zachary’s mother, who announced the pregnancy by press conference in Canada? And that Canada let her roam free on bail posted by her psychiatrist, and keep custody of the child? Yeah, it’s that kind of complicated. Almost surreal.

So, Kurt began this trip as a videologue for his friend’s son, wanting to make sure he knew how great a person his father was. Everyone that was interviewed only had nice things to say, and he was such a big part of so many lives. And after capturing that footage, the absolute unthinkable happened. Shirley straps Zachary to herself, along with a weight of some sort and jumped off a pier in Newfoundland. Yeah, it’s that kind of tragic.

So, Kurt has to reshuffle, to follow where the documentary went in real-time, very much like the Oscar-winning documentary “Icarus”. Kurt’s style feels like a labor of love, with some over-use of memorable clips, and rapid-fire edits that are sometimes well done and sometimes too much, almost distracting. I hate to criticize such a personal documentary, but it was never meant to be the film it became, and sometimes you can’t fix that.

“Dear Zachary: A Letter to a Son About His Father” (2008)is a heart wrenching, gut punch of a documentary about bad things happening to good people. Even the activism that followed to prevent similar situations pales in comparison to the completely preventable deaths of Dr. Andrew Bagby and Zachary. It is also a beautiful tribute, but viewers will need to find it hidden among the tragedy.

Rotten Tomatoes: 94% (CERTIFIED)

Metacritic: 82

One Movie Punch: 7.6/10

“Dear Zachary: A Letter to a Son About His Father” (2008) is not rated and is currently streaming on Amazon Prime.

Today’s movie is “Trouble Every Day” (2001), the French erotic horror film directed by Claire Denis and written in collaboration with Jean-Pol Fargeau. The film follows Shane Brown (Vincent Gallo) and June Brown (Tricia Vessey), two newlyweds ostensibly on their Parisian honeymoon, but secretly, Shane is pursuing a private obsession involving Dr. Léo Sémeneau (Alex Descas) and his wife Coré (Béatrice Dalle).

Trigger warning: This film explores some dark territory involving sex, death, violence, and control. This film contains multiple forms of sexual assault as a significant part of the story.

Also, spoilers ahead!

I don’t normally like to watch films about sexual assault, and I certainly can’t say that I liked watching this film. The subject matter can be very uncomfortable, making it difficult to keep emotional distance. On the other hand, this isn’t another purely male voice using the subject matter as an attempt to be edgy. Denis’ female perspective on the subject matter finds new juxtapositions and doubles down on truly horrific moments.

In “Trouble Every Day” (2001), Coré has a weird disease that causes her to seduce men into compromising positions before beginning to murder them, a sort of zombie vampirism. The film vaguely explains the origins from work at a secret lab in Guyana, which Shane stole research from, possibly infected with the same disease. Coré often escapes her home and finds victims for her husband to clean up.

Denis does a great job bringing the ugly subject matter to life, with horrific amounts of blood and really gnarly practical effects, especially when Coré is preying on a home invader. Shane’s subsequent preying on Christelle (Florence Loiret Caille), a hotel worker, made me cringe. But great direction and effects ultimately can’t make up for an average cast and an underdeveloped story.

“Trouble Every Day” (2001) is a gritty, slightly surreal erotic horror film that is not for the faint of heart. Viewers who are averse to violence or triggered by sexual assault should stay well away. However, for those brave enough to watch, you’ll find an mélange of related and juxtaposed themes, bathed in violence and aggression.

Rotten Tomatoes: 48%

Metacritic: 40

One Movie Punch: 6.8/10

“Trouble Every Day” (2001) is not rated and is currently streaming on Amazon Prime.

Today’s movie is “First Match” (2018), the debut feature-length film from Olivia Newman based on her short of the same title. The film follows Monique (Elvire Emanuelle), a foster girl who joins the boys wrestling team under Coach Castile (Colman Domingo), with her friend Omari (Jharrel Jerome), as a means of attempting to reconnect with her father, Darrell (Yahya Abdul-Mateen II).

Monique is a tough girl to like and a harder girl to respect. Emanuelle’s performance is simultaneously raw and reserved, depending on the rocky relationships and divided loyalties between her surrogate father Coach Castile on the wrestling team, and her biological father trying to get her involved in underground fighting for quick cash. The film bounces between the two relationships, tearing Monique apart in the process.

Newman does good work for her first feature-length film. Excellent music selections, colorful costumes and well-chosen sets help paint the backdrop of Monique’s life. The film does struggle with pacing, however, particularly with the wrestling/fighting scenes, sometimes with too many jump cuts, but always with great practical effects and makeup. I wanted to see more of both, especially given the significance to the story.

Outside of Monique, I really enjoyed the performances by Colman Domingo and Jharrel Jerome. Domingo’s recent run on “Fear the Walking Dead” made his voice too distinct to forget. It was also great to see Jerome in another excellent role after his performance in “Moonlight” (2016). By contrast, though, Abudl-Mateen’s performance as Darrell seemed one-dimensional, almost stereotypical at times.

“First Match” (2018) is a solid redemption tale with its strengths and weaknesses. The film eschews the mechanics of both wrestling and fighting to focus on the turmoil in Monique’s life from following two different paths, sometimes to the film’s detriment. Viewers may be disappointed by the abrupt ending, which gives direction to Monique, but not closure. However, fans of sports and drama films will not be disappointed by the effort.

Rotten Tomatoes: 73%

Metacritic: 64

One Movie Punch: 7.2/10

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

It’s Marvel Monday and we’re back on the road to Infinity War. Today’s movie is “Doctor Strange” (2016), the visually amazing film directed by Scott Derrickson and written in collaboration with Jon Spaihts and C. Robert Cargill. The film had a $165 million dollar budget and grossed $677 million dollars worldwide.

The film follows the fall and rise of Dr. Stephen Strange (Benedict Cumberbatch), a world-renowned, narcissistic neurosurgeon who loses the full use of his hands after crashing en route to an awards ceremony. Dr. Strange spends his remaining wealth seeking medical solutions, eventually seeking out an alternative therapy in Kathmandu at a temple called Kamar-Taj. Dr. Strange meets The Ancient One (Tilda Swinton), who introduces Dr. Strange to the impossibilities of the multiverse, and takes him under her wing to train as a sorcerer.

The biggest, and quite valid, controversy surrounding the film was the casting of Tilda Swinton as The Ancient One, perceived as another whitewashing of an Asian character in the MCU, even one steeped in its own quasi-racist origins. It is the Achilles’ heel for the entire franchise, especially since every major character, outside of the team-up films and the aliens in “Guardians of the Galaxy”, have been white males. Swinton does all right as her version of The Ancient One, but the controversy is probably the major detractor from the film’s effectiveness.

Aside from the controversy, however, is a special effects masterpiece, expertly bringing to life the delightful weirdness of the mystical side of the Marvel Cinematic Universe. During this time, “Agents of S.H.I.E.L.D.” was debuting the Robbie Reyes’ version of Ghost Rider (Gabriel Luna), and a few months later, “Iron Fist” would attack the mystical side from another angle. The mirror dimension is so insanely well done, and the gratuitous Stan Lee cameo was the reason I bought and read “The Doors of Perception” by Aldous Huxley after the film.

“Doctor Strange” (2016) is a visually stunning ride that introduces the magical side of Marvel’s multiverse, despite some issues with casting. My criticisms aren’t deal breakers, though, and now that the Ancient One is out of the picture, I think Doctor Strange can become a fun, integrated part of the Marvel Cinematic Universe, especially if it comes with the insane special effects. I suspect with the post-credits scene that a sequel is in the works, and hopefully we’ll get a release date for that after “Avengers: Infinity War” this April.

Rotten Tomatoes: 90% (CERTIFIED)

Metacritic: 72

One Movie Punch: 8.4/10

“Doctor Strange” (2016) is rated PG-13 and is currently streaming on Netflix or wherever you enjoy movies.

Today’s movie is “The Conversation” (1974), the psychological thriller written and directed by Francis Ford Coppola. It was nominated by the Academy for Best Picture in 1974 and lost to “The Godfather, Part II” (1974), another Francis Ford Coppola film. The film follows Harry Caul (Gene Hackman), the leader of a surveillance team in San Francisco, whose latest recording effort may contain the seeds of future murder.

“The Conversation” is not the first film to involve surveillance, but I would argue it’s the first film to take a realistic look into surveillance. Coppola worked with Martin Kaiser, a contemporary surveillance expert, to look into the very real analog surveillance technologies available at the time. Kaiser would also be one of the inspirations for the character of Harry Caul, which also increases the story’s authenticity.

It’s not just about the technologies, though. The advances in digital surveillance technology, and its companion technologies, hide a lot of the painstaking work that was needed for surveillance with only analog equipment. Multi-microphone capture, tape manipulation, filter and feedback boxes... and everything else in Caul’s workshop which can now be done with Garageband or Logic with a few clicks. And in addition to the private sector surveillance market, this film is set during a time of CIA and FBI surveillance operations, not to mention a little scandal around the same time called Watergate.

Coppola and Walter Murch do a fantastic job with the editing, especially when scenes utilize excerpts of the recording, splicing in video, and creating a neat back and forth between what happened, what’s happening, and what’s left to be discovered. Hackman brings Caul to life, justifiably paranoid, and haunted by the known effects of his surveillance. And with a supporting cast that includes Harrison Ford, Robert Duvall, and a great performance by Allen Garfield as rival surveillance expert, Bernie Moran, you can’t go wrong. 

“The Conversation” (1974) captures a transitional moment in technology development, but the beginnings of our modern digital surveillance state. The technologies may have changed, but the weird social tension between the watchers and those being watched is perfectly nestled into 1974 San Francisco. Gearheads and anyone who appreciates great film making, especially the work of Francis Ford Coppola, will definitely enjoy this film.

Rotten Tomatoes: 98% (CERTIFIED)

Metacritic: 86

One Movie Punch: 8.8/10

“The Conversation” (1974) is rated PG and is streaming on Amazon Prime.

Today’s movie is “The Titan” (2018), directed by Lennart Ruff, based on a story by Arash Amel and written for the screen by Max Hurwitz. The film follows the forced evolution of Lt. Rick Janssen (Sam Worthington) to survive on Saturn’s moon Titan, under the guidance of Prof. Martin Collingwood (Tom Wilkinson), and his wife, Dr. Abigail Janssen (Taylor Schilling).

Spoilers ahead.

I don’t consider myself a scientist, but I do like to keep up with the latest advances in science, and in particular astronomy, which I took as a lab science back in college. I’m also a big fan of science fiction, particularly when it deals with bleeding edge concepts like forced evolution and planetary colonization. All that is to say that I probably know too much about science to enjoy this film. I’m sure Neil deGrasse Tyson would have a heyday with it.

This film has gaping plot holes that ruin the entire experience for anyone that is science-educated. First gaping plot hole: If you are going to start a forced evolution program because Earth is becoming uninhabitable, why not adapt humans for Earth instead of a completely different atmosphere that is a minimum of four years away? Second gaping plot hole: Who cares about money at the end of the world? Third gaping plot hole: How has their child not aged at least four years at the end as they gaze up at Titan and he gazes back at them? It takes at least four years to get there!

It’s too much for me to manage, and it’s not the only problem. Schilling is the only bright spot on the cast, with Worthington too emotionless and Wilkinson too canned. Ruff’s direction and composition lacks consistency, with tone clashes and pacing issues, and muddling any message to be taken from the film. The major strengths for the film are the costumes, sets and effects, with effective practical effects and subtle special effects.

“The Titan” (2018) seems to be a film born from a desire to capture the film’s final image of Rick on the surface of Titan, then creating a story to justify it. And unlike the heyday of hard science fiction in the 1960s and 1970s, when inventive tales like this could flourish, our collective understanding of science makes giant plot holes hard to stomach. Science fiction fans will appreciate this film’s effort, especially the effects, but fans outside the genre may have difficulty getting into it.

Rotten Tomatoes: NR

Metacritic: NR

One Movie Punch: 5.6/10

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

Today’s movie is “Game Over, Man!” (2018), the Netflix Original comedy directed by Kyle Newacheck, written for the screen by Anders Holm, based on a story developed with Adam Devine and Blake Anderson. The film follows three degenerate hotel workers named Alexxx (with three X’s) (Adam DeVine), Joel (Blake Anderson) and Darren (Anders Holm), who are trapped inside a hotel taken hostage by a group of terrorists.

Buckle up, kids. We’re going on a rant. I’ll try to keep it to a minimum, but I found this film to be awful, a product of giving too much money and freedom to a creative team in an effort to recreate the magic of their previous success. And if you weren’t a fan of “Workaholics”, then there’s probably absolutely nothing in this film for you. Just wanted to get that out there before getting started.

What is it about this film I hate so much? Is it the derivative screenplay, a mash-up of a modern-day, drug-addled Three Stooges somehow taking on a Die Hard terrorist situation? Is it the escalating use of shocking vulgarity that seems to be a checklist of gags and jokes they couldn’t use on basic cable? Is it the over-reliance on cameos? Is it the lack of sensitivity about gay characters and exploitation of gay tropes from the 1980s and 1990s?

I get it. It’s supposed to be a raunchy comedy. I don’t mind vulgar comedy, but it needs the right context and to be appropriate for the times. Most of these jokes feel too privileged, either taking too many liberties, lacking context, poorly executed, or sometimes all three. Perhaps that was the target audience for “Workaholics”, but I don’t think that same chemistry translated into this film.

“Game Over, Man!” (2018) is a raunchy, farcical take on “Die Hard”, full of dick jokes and escalating vulgarity. The film has some fun moments but many more flaws and problems. For me, the only good thing about this film is that I didn’t have to pay for it, but I still will never get that hour and forty minutes back. Watch at your own risk.

Rotten Tomatoes: 0%

Metacritic: 32

One Movie Punch: 2.6/10 

“Game Over, Man!” (2018) is rated TV-MA and is streaming on Netflix.

Today’s movie is “Dark Days” (2000), the documentary directed by Marc Singer that follows the lives of homeless people permanently living in Freedom Tunnel, ranging between Penn Station and Harlem in New York City. The footage was captured throughout the mid-1990s, but the film wasn’t cut for release until 2000. The film follows the discovery of the community, excerpts of their everyday existence, and an attempt by Amtrak to evict the individuals.

Pejoratively referred to as mole people, the dwellers of Freedom Tunnel came from the massive homeless population roaming New York’s streets in the 1970s and 1980s. I remember reading the first issue of the “Venom: Lethal Protector” mini-series in 1993, chalking up the references as urban legends and comic book plots. And worse, shock authors over the years had written articles and books talking about entire underground civilizations, further discrediting the idea that people were living underground.

Marc Singer’s introduction into Freedom Tunnel came over a number of years, befriending homeless individuals and eventually learning to live in Freedom Tunnel. The filming was completed with the help of the residents themselves, show both the resilience and the squalor of their situation, which is still relatively safer than living exposed on the street. Singer uses black and white film with hastily rigged spots to create a gritty feel to the entire documentary, punctuated by an incredible score by DJ Shadow, which is how I first heard about this film.

Eventually, in working with the Coalition for the Homeless, the city and Amtrak found federal housing for the residents as part of an eviction agreement. After getting to know the trials and tribulations of the community, seeing them get adequate housing was a relief, and the effect on their lives is almost immediate. I only wish that every homeless person can be helped in the same way, not just the ones receiving the most media attention. The solutions are there; our society simply does not have the will.

“Dark Days” (2000) is a depressing, intense documentary about humans struggling at the edges of civilization, learning to live in terrible conditions and struggling with drug addiction, malnutrition, and a lack of sanitation. Singer’s deep dive into the community creates the trust needed to find the stories within the community. And like good documentaries, Singer’s participant observation helped their community instead of merely profiting from their situation. I recommend this film for anyone who enjoys documentaries, and particularly those who want to learn what it is like to be homeless, and most importantly, want to do something about it.

Rotten Tomatoes: 94% (CERTIFIED)

Metacritic: 75

One Movie Punch: 8.6/10

“Dark Days” (2000) is not rated and is streaming on Amazon Prime.

Today’s movie is “Steel Rain” (2017), the South Korean political thriller written and directed by Woo-seok Yang. The film follows the fallout of an attempted coup in North Korea. Chul-woo Uhm (Woo-sung Jung), a North Korean loyalist, smuggles the injured Supreme Leader to South Korea, with the help of Chul-woo Kwak (Do-won Kwak), an analyst for the incoming South Korean government.

“Steel Rain” (2017) reminds me of the Tom Clancy novels I’ve read and film I’ve seen, an epic political story told around a high-stakes military situation. Instead of a Jack Ryan alpha male character, however, we’re treated to a quasi-buddy cop film between Uhm and Kwak, who are reacting to every twist and turn to protect the Supreme Leader and stop the activation of the nuclear arsenal.

This film is packed to the gills with action, both gunfights and close quarters. Unfortunately, it also struggles with a somewhat hokey story, with offbeat humor and questionable plot twists. The two ladies who accompany Uhm across the border with the Supreme Leader are a bit stereotypical, not to mention the portrayal of U.S., Japanese and Chinese assets within South Korea.

And yet, the film treats the quite volatile situation on the peninsula with respect, using lots of imagery throughout the film to show the odd relationship between the North and South. Uhm and Kwak have opportunities to examine each other’s culture, and the peninsula’s larger relationship with the rest of the world, especially the proxy relationships with the other superpowers. In a world where nuclear tensions with North Korea are at an all-time high, this film doesn’t provoke so much as examine at least one scenario if the military conflict reignites.

“Steel Rain” (2017) is a decent political thriller, a bit long, but still engaging and insightful, and about an issue of contemporary importance. The film has its flaws, but they can be overlooked in favor of the film’s strengths. Viewers who like political action films with global consequences will eat up this film, and for the international audience, the film will offer a peek into the weird détente between North and South Korea.

Rotten Tomatoes: NR

Metacritic: NR

One Movie Punch: 7.4/10

“Steel Rain” (2017) is rated TV-MA and is streaming on Netflix.

Today’s movie is “Paradox” (2018), the music-based film written and directed by Darryl Hannah. The film follows a loosely connected story of a group of outlaws in a bizarre post-apocalyptic world with western, fantasy and steampunk elements. Most of the filming was completed over the course of four days while on a tour for Neil Young and the Promise of the Real.

The film stars the members of Promise of the Real, along with other folks involved with the tour, namely Charris Ford, Anthony LoGerfo, Corey McCormick, Tato Melgar, Lukas Nelson, Micah Nelson, their father, Willie Nelson, and Neil Young. In fact, this film embeds actual concert footage from the tour within the film, and heavily features the music of Neil Young and Promise of the Real.

If you aren’t a fan of Neil Young’s music or message, then this film doesn’t have much to offer the average viewer. Quite honestly, it has a lot of flaws, including an overly metaphorical script, obviously amateur acting, rough direction, and almost too much editing. It feels like a home movie, and because of that, it is no surprise that the critics are ravaging the film.

However, “Paradox” is a passion project, clearly not meant for all audiences. It feels almost whimsically put together, a fun effort for everyone involved, from start to finish. I believe this film can be fun for the right audience, who are willing to have the right amount of forgiveness, or perhaps acceptance, for what this film ended up being.

“Paradox” (2018) is a niche film for a niche audience, and needs to be appreciated on its own level. Viewers shouldn’t treat this film as a polished Hollywood effort, but rather a labor of love, produced on its own terms. But if you don’t like the music or the message, stay far away, because the film may frustrate or annoy most viewers.

Rotten Tomatoes: 20%

Metacritic: 31

One Movie Punch: 6.8/10

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