One Movie Punch

Today’s movie is “Mute”, the science-fiction neo-noir thriller directed by Duncan Jones and written in collaboration with Michael Robert Johnson. The film follows Leo (Alexander Skarsgård), a mute Amish bartender whose girlfriend Naadirah (Seyneb Saleh) disappears into the super slimy underworld of futuristic Berlin. Like seriously slimy.

How slimy you ask? Well, there’s Cactus Bill (Paul Rudd), an underground surgeon for the local mob, and his pedophile partner Duck (Justin Theroux), which is hella awkward since Cactus Bill has a young daughter named Josie (Mia-Sophie & Lea-Marie Bastin). The bars. The brothels. The black market. Did I mention the sex robots? Honestly, this film is like some depraved individual filled out a Mad Lib.

It’s not the subject matter that bothers me, per se, but how it is presented. But when it comes to pedophilia, in today’s climate, even a little can be too much. And this film has way, way too much. I would even say an uncomfortable fascination with it, so much that the rest of the story suffers because of it. Not a fan of using an Amish protagonist to exploit his technological illiteracy as a plot device, either.

I thought Skarsgård, Rudd and Theroux turned in good performances, despite the story and subject material. The visuals are excellently rendered, but feel way too much like a slimier, sexed up Blade Runner. Ultimately, the film feels too long, wasting too much time on visuals throughout. The last fifteen minutes feel completely unnecessary, even if it does tie up a few loose ends.

“Mute” (2018) is 100% eye candy, whether that’s sex or violence or colors or the occasional camera trick. It suffers from the same problem as last year’s “Bright”, a rich and immersive world serving as the backdrop to a lackluster story. It is passable fare for science-fiction fans, as long as you can stomach the subject matter. Otherwise, I would give it a heavy pass.

Rotten Tomatoes: 9%

Metacritic: 35

One Movie Punch: 3.0/10

“Mute” is rated TV-MA and is currently playing in selected theaters and streaming on Netflix.

Today’s movie is “Green Room”, the gruesome thriller written and directed by Jeremy Saulnier, starring the late Anton Yelchin, Imogen Poots, Alia Shawkat, Macon Blair and Patrick Stewart. The film follows a punk band on a roaming tour, landing a gig deep in the Oregon woods at a Neo-Nazi bar and venue. After their set completes, the band is getting ready to leave when they witness a murder in the green room, beginning a standoff that turns quite deadly.

“Green Room” doesn’t pull any punches from start to finish. In fact, it spends the first two-thirds of the film upping the ante as the situation falls apart, sparing almost no one on either side. The whole cast does great, even with some head scratching story choices. Patrick Stewart and the rest of the white nationalists are extremely convincing, frighteningly so.

Prior to “Green Room” and “Blue Ruin”, Saulnier was working as a cinematographer for about six years. You can really feel his experience influencing both films. Everything from the locations to the set and props, the lighting and filters... all of it comes together really well, keeping a green base that allows other colors to pop. Layered on top of that is the right score to not just fit the scene, but also the mood. The aesthetic is consistent and engaging.

I think the film does lose steam two-thirds of the way in. I loved how Darcy (Patrick Stewart) handles the police at the beginning, but then I couldn’t understand why they kept shrinking their forces, even as they were taking losses. Nor did it feel right that Pat (Anton Yelchin) and Amber (Imogen Poots) didn’t get the hell out of there and find the police when they escaped. It looks great, but didn’t really make much sense.

Even with those concerns, I still massively enjoyed “Green Room”. It has an intense story, great acting, beautiful cinematography, and has just the right length. Anyone who is averse to violence or brutality should avoid this film. Barring that, I would recommend this film to anyone that enjoys thrillers or great filmmaking.

Rotten Tomatoes: 90% (CERTIFIED)

Metacritic: 79

One Movie Punch: 8.0/10

“Green Room” is rated R and is currently streaming on Amazon Prime.

Today’s movie is “Into The Abyss” (2011), Werner Herzog’s documentary about death row inmate Michael Perry, convicted of murdering three individuals in Conroe, Texas. Subtitled “A Tale of Death, a Tale of Life”, the film reviews the crime itself, the series of events leading to his arrest, some history from the town in which it happened, and the eventual execution of Perry.

I’m definitely in the bag for Werner Herzog. I don’t think I’ve seen a film of his I didn’t like, if not love. And I’m a fan for two reasons. First, he always brings unique perspectives to every subject, fictional or otherwise. And second, because he puts a lot of trust into the viewer with each project, rarely wasting time explaining complex themes, letting the work speak for itself whenever possible.

“Into The Abyss” is kind of like the opposite of Errol Morris’ “The Thin Blue Line”. Morris was able to create a documentary about how the judicial system got things wrong, whereas Herzog has created a documentary about the judicial system getting things right, at least in terms of the conviction. Herzog makes it very clear early on that he is against the death penalty, but this film isn’t really about the death penalty so much as the reality of the process around it.

Herzog doesn’t narrate this documentary, preferring to use subtitles to add detail, letting the interviews speak for themselves, and letting the minimalist score speak during the transitions. It works most of the time, except for a few clumsy scenes involving picture frames, and works well to compliment Herzog’s sectioned documentary style, even with high brow titles like “Time and Emptiness” and “The Urgency of Life”.

“Into the Abyss” (2011) is a great documentary that brings multiple, conflicting perspectives to complex subject material. Rather than a simplified for/against message, Herzog explores the social and emotional effects of the process for everyone involved. If you dig Herzog, then you’ll enjoy this documentary. And if you don’t, then this is a good place to start.

Rotten Tomatoes: 92% (CERTIFIED)

Metacritic: 74

One Movie Punch: 7.8/10

“Into The Abyss” is rated PG-13 and is currently streaming on Hulu and Netflix.

Today’s movie is “Love Per Square Foot” (2018), the first Netflix original film from India, directed by Anand Tiwari and written in collaboration with Asif Ali Beg and Sumeet Vyas. The film follows Sanjay Chaturvedi (Vicky Kaushal) and Karina D’Souza (Angira Dhar), two bank co-workers, as they attempt to purchase a home using a marriage scheme while managing their lives at work and home.

It’s hard to judge a Bollywood film if the genre doesn’t excite you. As far as Bollywood films go, “Love Per Square Foot” has all the right elements. Musical numbers. Complex love story. Melodrama. Religious differences. And most importantly, and especially, set against the background of Mumbai’s social classes and changing cultural expectations. It is a mélange of all the right elements... and, unfortunately, an at-best tenuous story.

The premise of using a marriage scheme to secure property isn’t a bad one, but I didn’t like how it was executed. Sanjay and Karina fall in love way too fast, which seems unlikely given Sanjay’s obsession with Rashi Khurana (Alankrita Sahai), his superior at the bank. In fact, we see more relationship development between Sanjay and Rashi than we ever see between Sanjay and Karina. And while I know the endgame is Sanjay and Karina, the eventual ending feels rushed and incomplete, just like the deadline to get married to keep the property.

“Love Per Square Foot” is long, not atypical for Bollywood, but also not great for the meandering storyline. Sanjay and Karina are rarely together after they meet and after one long date, mostly caught up in their disparate lives and families, and managing their other relationships. None of the subplots surrounding Sanjay or Karina are terribly important to the overall storyline, although they do fit the Bollywood mold. I feel like cutting back on a few subplots and reallocating that time to developing their relationship would have served the film well.

This is the first of six films Netflix will be producing in India and distributing worldwide. My problems with the story and message aside, the musical numbers and costumes are gorgeous and engaging, an incredible amount of fun for fans of Bollywood and/or romantic comedies. If you are looking for more than two hours of family drama, this film is for you.

Rotten Tomatoes: NR

Metacritic: NR

One Movie Punch: 6.2/10

“Love Per Square Foot” is rated TV-14 and is currently streaming on Netflix.

Today’s movie is “Good Time” (2017), the intense, non-stop crime thriller from Josh and Benny Safdie, the follow up to 2014’s “Heaven Knows What”. The film follows Connie Nikas (Robert Pattinson), whose mentally-handicapped brother Nick (Benny Safdie) was picked up by the police after they had robbed a bank. Connie doesn’t have enough money for bail, so he launches on an insane series of events to attempt to free his brother.

“Good Time” has the same raw feel as “Heaven Knows What”, almost a companion or parallel tale. Robert Pattinson removes any sense of typecasting from his “Twilight” years with this film, as well as his excellent supporting role in “The Lost City of Z”. Everyone else on the journey weaves in and out, providing counterpoint and support as needed for the larger, dynamic narrative.

The Safdie Brothers know how to direct and edit a film. Connie’s intense path is painted with sets and costumes using solid colors and complimentary lighting to fit the tone. Layered on top of that to drive the tone home is an excellent score by Oneohtrix Point Never, turning the innocuous transition shots into menacing affairs, sustaining the mood to maintain the pacing.

I have some concerns with the film as well, even though I think the material is treated with respect. Choosing a mentally-handicapped character comes with a lot of risk, but I thought Ben Safdie’s performance didn’t cross any lines, and felt intensely real. Including a scene of potential statutory rape, even if consensual, is also disturbing, but effective to the overall story.

“Good Time” (2017) is a sociopathic, fast-paced journey through multiple strata of New York. An excellent cast and incredible composition combine with a menacing score to create probably one of my favorite films from last year. If you love thrillers and can handle explicit material, this film is for you. If anything in this review sours your stomach, then stay far away.

Rotten Tomatoes: 92% (CERTIFIED)

Metacritic: 80

One Movie Punch: 8.8/10

“Good Time” is rated R and is currently streaming on Amazon Prime.

It’s Marvel Monday and we’re back on the Road to Infinity War. Instead of continuing our chronological journey, we’re going to fast forward a bit. Actually, we’re going to take a quantum leap into the future with “Black Panther” (2018), directed by Ryan Coogler and written in collaboration with Joe Robert Cole.

The film expands on the story of T’Challa (Chadwick Boseman), picking up after “Captain America: Civil War” (2016), returning to Wakanda to ascend as King according to their traditions. Meanwhile, Erik Killmonger (Michael B. Jordan) is working with Ulysses Klaue (Andy Serkis) to obtain vibranium, the rarest element on the planet, found only in Wakanda, but also to fulfill his destiny. The two stories soon blend into one, with surprising twists and epic battles against gorgeous scenery.

The cast is insanely great. I really enjoyed how Boseman and Jordan brought the personal and political struggle between T’Challa and Killmonger to life. The supporting cast is vast and incredibly talented, including Lupita Nyong’o as Nakia, T’Challa’s ex; Danai Gurira as Okoye, leader of the royal guard; Daniel Kaluuya as W’Kabi, a key tribal leader; Letitia Wright as Shuri, T’Challa’s sister; and awesome roles for Angela Bassett as Ramonda, T’Challa’s mother and Forest Whitaker as Zuri, the spiritual leader of Wakanda. The only performance that seemed lacking was Martin Freeman playing CIA officer Everett K. Ross, although he was more comic relief than essential character.

“Black Panther” is spectacularly developed. The color palette is bold, utilized not just by the backgrounds, but also in the costumes based on    traditional and modern African fashions. The action scenes are absolutely bananas, both the fight scene/car chase in South Korea, and the final epic battle in Wakanda. I really wished I had seen the film in high definition, just to see the colors pop even more. And similar to both “Guardians of the Galaxy” films, “Black Panther” gets the right mix of score and soundtrack throughout the film, with original songs developed by Kendrick Lamar.

I’ve got nothing but love for this film, although with the incredible amount of hype that preceded its release, I felt disappointed at the end. I wanted so much more of Wakanda because it is so well rendered, and there’s still a lack of superheroes of color (and women) within the Marvel Cinematic Universe. However, with “Black Panther” (2018) dramatically expanding the social and political structure of Earth, there are more opportunities than ever to fill those voids.

Rotten Tomatoes: 97% (CERTIFIED)

Metacritic: 88

One Movie Punch: 9.2/10

“Black Panther” (2018) is rated PG-13 and is currently playing in theaters.

Today’s movie is “Ganja & Hess”, the experimental horror film from Bill Gunn, and starring Duane Jones as Dr. Hess Green and Marlene Clark as Ganja. The film was well received at the 1973 Cannes Film Festival, considered one of the top ten American films of the decade, but suffered at the box office. The film was re-edited and re-released as “Blood Couple”, and remade by Spike Lee in 2014 as “Da Sweet Blood of Jesus”. 

Bill Gunn was an American playwright, novelist, actor and film director, most active beginning in 1959 until his untimely death in 1989, just before his play “The Forbidden City” was set to premiere. Kelly-Jordan Enterprises approached Gunn with a $350,000 budget to create a black vampire film, receiving a great deal of creative control. The result is a very experimental horror film that uses vampirism as a metaphor for addiction, along with a very biting, somewhat offensive take on a host of ideas.

The film follows Dr. Hess Green, a wealthy black anthropologist who is studying an ancient African nation of blood drinkers known as the Myrthians. One night, his new assistant, George Meda (Bill Gunn), stabs Hess with a cursed dagger that turns Hess into a vampire. Six months later, George’s wife Ganja arrives looking for her husband and falling in love with Hess, eventually becoming a vampire as well, before suffering the horror of the life that is entailed.

I really wish Gunn had a larger budget and today’s technology when creating this film. The film quality is so poor that it distracts from the often too heady story. I definitely appreciated the experimental film and sound editing, while groundbreaking at the time, could be so much better produced with today’s tools. Duane Jones turns in a muted performance, drastically different from his role as Ben in “Night of the Living Dead”. Marlene Clark, by contrast, has a more emotive performance.

“Ganja & Hess” is definitely not for all audiences. Its experimental nature will turn off a lot of viewers, if themes like black assimilation and the hypocrisy of organized religion don’t do that first. And yet, compared to other vampire films, this one feels a lot more real and definitely a more woke take on the genre, one of the first to treat horror with artistic care, and well before many other attempts to use vampirism as a metaphor instead of a storytelling element.

Rotten Tomatoes: 83%

Metacritic: NR

One Movie Punch: 6.4/10

“Ganja & Hess” is rated R and is currently streaming on Amazon Prime.

Today’s movie is “Irreplaceable You”, a romantic comedy written by Bess Wohl and directed by Stephanie Laing. The film follows Abby (Gugu Mbatha-Raw), who is engaged to Sam (Michiel Huisman), after being in a relationship since they were eight years old. Shortly after they are engaged, Abby learns she has late-stage cancer, and decides she is going to do everything she can to help Sam move on after she dies, including finding a new relationship.

“Irreplaceable You” has a pretty amazing supporting cast, including Brian Tyree Henry as Sam’s friend Benji; Steve Coogan as Dominic, the lovable chemotherapy assistant; Christopher Walken as Myron, a fellow cancer patient; Kate McKinnon as Kate, who has her own theme song; and another great appearance by Jacki Weaver as Estelle, Myron’s wife.

The supporting cast helps Abby with her treatment path, but also seem to chew up a lot of screen time that takes away from developing Abby’s relationship to Sam. In fact, I feel Sam just fades into the rest of the supporting cast, which makes a film centered on a relationship really difficult, probably the biggest drawback of the film. If it wasn’t for the strength of the supporting cast, I feel like the movie could have fallen apart about two-thirds of the way through.

This film has some rough transitions between major scenes. Some scenes end abruptly; others don’t give enough before moving to a different topic. The music could be intrusive, sometimes undercutting the dialogue within a scene, or just too loud for the tone. I also felt the posthumous narrative technique was inconsistent... prevalent in the first third, then showing up again at the end.

Despite my criticisms, though, it was a good debut feature film for Bess Wohl and Stephanie Liang. I really enjoyed Mbatha-Raw’s performance and the supporting cast, and some scenes came out really great. And don’t worry, there are plenty of tearfully joyous moments for the die-hard romantic comedy fan, which makes this a fun, if imperfect film.

Rotten Tomatoes: 22%

Metacritic: 33

One Movie Punch: 5.6/10

“Irreplaceable You” is rated TV-MA and is currently streaming on Netflix.

Today’s movie is “When We First Met” (2018), the romantic comedy written by John Whittington and directed by Ari Sandel. The film follows Noah (Adam Devine) who has been hiding his feelings for the past three years from his friend Avery (Alexandra Daddario), who is currently engaged to Ethan (Robbie Amell). After getting wasted at their engagement party, Noah discovers a photo booth that transports him back in time to the day he first met Avery to try and win her heart.

I judge most romantic comedies by the relationships on screen, not just between the couples, but also between friends and enemies, and within families. I follow that with looking at the premise and seeing what the film has to say about relationships, along with the balance of romance and comedy. Some films focus more on the drama, while others focus more on the comedy, which is the route for “When We First Met” (2018).

This film is a victim of its own structure. Noah jumping back and forth between the two time periods creates a predictive setup/punchline cycle. I could anticipate too much during the film, although Adam Devine’s effective performance and some deft one-liners help make up the difference. The constant reuse of the various sets, while completely unavoidable given the premise, doesn’t help with the predictive quality of the comedy.

The supporting cast feels underdeveloped, particularly Noah’s friend Max (Andrew Bachelor) and Avery’s friend Carrie (Shelley Hennig). The alternate reality versions of the characters feel ingenuous, almost contrived to hit the punchlines created by the situation. And given a shallow premise like Noah being in the completely fictitious “friendzone”, even his eventual epiphany feels empty, since it’s the only possible conclusion.

“When We First Met” (2018) is a fun, if predictable comedy. I feel it suffers a bit from the resurgence in “eternal recurrence” films, most recently “Happy Death Day” (2017) and “Before I Fall” (2017), which are already treading ground made famous by “Groundhog Day” (1993). Fans of shallow, somewhat explicit humor will enjoy the film, finding at least a few laughs, if not a high quality film. 

Rotten Tomatoes: 56%

Metacritic: 35

One Movie Punch: 6.0/10

“When We First Met” (2018) is not rated and is currently streaming on Netflix.

Today’s movie is “Strong Island” (2017), the biographical documentary from Yance Ford, the first transgender director ever nominated for an Oscar. The documentary follows the life of Yance’s brother, William Ford, Jr., who was shot and killed by Mark Reilly, a white 19-year-old mechanic. The murderer never saw trial, thanks to a New York Grand Jury.

Yance Ford has created an intensely personal documentary, unearthing his brother’s death twenty-five years earlier, tracking their family’s journey to Long Island, their life and ambitions, and the dreadful aftermath of the failed litigation of William Jr.’s killer. Ford does an amazing job pacing the story, measuring out the right details to shape the narrative, and turning corners that force you to re-evaluate each step in the process. And all while being unable to get much information from anyone in the secretive grand jury.

Ford brings a unique style to his documentary, utilizing some intense camera work, particularly the up close, literally in your face framing when discussing himself and his relationships to his family. Transitions and pauses utilize scenes around their home or their neighborhood, accentuating both the effects on the home and the geographically segregated Long Island neighborhoods. I was particularly enamored with Ford’s use of family pictures to help tell stories, a simple, but effective storytelling tool.

One of the major strengths of “Strong Island” (2017) is how honest it feels, particularly when dealing with a systemically racist judicial system, one that hasn’t really evolved much since 1992. Ford doesn’t hide compromising details, nor censors the more strident feelings of his family and friends, in order to create a more consistent narrative. Instead, his family is shown as they are, including his own feelings of guilt and sorrow regarding his brother’s death. Nobody involved feels like they are playing to the camera.

“Strong Island” (2017) is not a happy story, nor does it provide answers to social problems, especially 25 years after the fact. Individuals concerned about systemic racism will find no solutions here. What I feel the documentary does do, though, is put a human face on a headline, and to show the serious, long-term effects of systemic injustice. A brilliant debut from Yance Ford. I look forward to his future work. 

Rotten Tomatoes: 100%

Metacritic: 86

One Movie Punch: 9.4/10 

“Strong Island” (2017) is not rated and is currently streaming on Netflix.