One Movie Punch

Today’s movie is “Abacus: Small Enough to Jail” (2017), a documentary surrounding the indictment and trial of Abacus Federal Savings of Chinatown, the only bank to be formally charged as a result of the 2008 financial crisis. The title for the film comes from “The Divide” by Matt Taibbi, financial reporter for Rolling Stone, where he contrasts the treatment of the major financial banks that were “too big to fail” with the treatment of small financial institutions like Abacus that were “small enough to jail”.

The documentary covers the creation of the bank, the Chinatown community they serve, the indictment, and the five-year legal battle that followed. The story of Abacus challenges simplistic notions on banking to draw a sharp distinction on their mission as compared to the larger, soulless corporations that caused the majority of the crisis. And the distinctions are important.

The Sung family founded Abacus in part to serve the Chinatown community, whose residents often saw bias from the larger institutions when attempting to procure mortgages or business loans. Compared to the large financial institutions, the size and management of Abacus is downright humble. And yet, they did employ someone who was taking advantage of their clientele, helping to falsify mortgage documents with fake gift letters and advice that clearly sits outside the law. Abacus, to their credit, fired the employee and immediately reported the wrongdoing to the appropriate authorities.

Of course, their forthrightness cost them, and New York brought conspiracy charges against them, going so far as to handcuff all 19 employees together to walk them past media, horrendous treatment for anyone. The documentary walks through the cultural differences at play, the obvious bias in the prosecution, and the excuses made for the inaction against the larger institution. The only drawback is the film has an obvious bias towards Abacus and the Sung Family, although I think it adds to the story rather than obscures any truths.

Despite the bias and some inconsistent design and editing choices, the documentary does a solid job communicating the story, the unique considerations of the bank and the community it serves, and raises some interesting questions about the indictment, although only alludes to the answers. And in the same way that “The Big Short” (2015) was able to communicate the systemic causes of the crisis, “Abacus: Small Enough to Jail” (2017) does a great job showing the consequences (or lack thereof) of the crisis.

Rotten Tomatoes: 93% (CERTIFIED)

Metacritic: 73

One Movie Punch: 6.8/10 

“Abacus: Small Enough to Jail” (2017) is not rated and is currently streaming on Amazon Prime.

Today’s movie is ”Let The Right One In”, the 2008 critically acclaimed Swedish vampire film written by John Ajvide Lindqvist and directed by Tomas Alfredson. Set in Blackeburg, a suburb of Stockholm, in the winter of 1981, the film centers around an unlikely relationship between Oskar (Kåre Hedebrant), a young boy victimized by the town bullies, and Eli (Lina Leandersson), a young girl who has recently moved next door.

Not long after Eli’s arrival, a series of murders and attempted murders began to happen in the surrounding area, committed by Eli’s caretaker Håkan (Per Ragnar) to procure blood for Eli, who is actually a centuries old vampire in a child’s body. Each time Håkan cannot procure blood, Eli must leave the apartment building and hunt on her own, preying on folks out late at night, jeopardizing their ability to stay in one place. Meanwhile, Oskar is stuck in an escalating fight against the bullies who have tormented him.

Lindqvist’s story is both heartwarming and sinister, making the viewer alternate between cheering for and being horrified at the relationship of Oskar and Eli. You can understand why Oskar is drawn to Eli, as a person who pays attention and empowers him, but there is also a dark undercurrent in Leandersson’s performance that suggest she is grooming him as her next caretaker after Håkan’s failures. It’s easy to forget the obvious power dynamic in the relationship, lulling us into believing it is an innocent child love story.

Lindqvist’s story also feels complete, a tale that could only be told in that location at that time and with these characters. Alfredson captures winter in Blackeburg, using well placed lighting to accentuate the difference between the white snow and the dark nights, while deftly using camera angles to unfold the story. The practical effects and makeup are excellent, especially when combined with the great camera work. 

“Let The Right One In” (2008) is a brilliant mash-up of a moving story about first love and a dark story about predators, both natural and supernatural. The supporting cast helps you understand why Oskar remains loyal to Eli, showing their own monstrous sides, and will have you questioning your loyalties to the characters. Even folks who normally shy away from horror films will find a spectacular, if somewhat gruesome story.

Rotten Tomatoes: 98% (CERTIFIED)

Metacritic: 82

One Movie Punch: 8.6/10

“Let the Right One In” (2008) is rated R and is currently streaming on Hulu.

Today’s movie is “Step Sisters” (2018), a comedy about race and identity issues surrounding a step competition, written by Chuck Hayward from “Dear White People” (2017), the Netflix series, and directed by Charles Stone III, known for “Drumline” (2002). The film centers around Jamilah (Megalyn Echikunwoke), a senior and president of her black sorority, whose ambitions of going to Harvard Law School are threatened unless she can help the predominately white sorority Sigma Beta Beta to win a step competition and save their charter.

The film has been embroiled in some controversy after the trailer debuted, with concerns over cultural appropriation. I’m not qualified at all to judge whether this film crosses that line or not. I can say that the film addresses the topic throughout, but without taking a clear side on the issue, focusing more on expressive comedic performances from the characters than settling any debates. And this proves to allow for space to address a range of issues.

Jamilah is dealing with a lot. She has the obvious challenge of secretly training SBB to win the step competition, with her friend Beth (Eden Sher) and their president, Danielle (Lyndon Smith), along with an ensemble cast of stereotypical white girls. Meanwhile, she is dealing with some issues in her current relationship with the excessively woke caucasian Dane (Matt McGorry) and a developing chemistry with Danielle’s adopted black brother, Kevin (Marque Richardson). It feels a little too close to Samantha White’s situation in “Dear White People”, one of my few criticisms.

The film does some decent background on step as SBB trains for the competition, and the step choreography is excellent. The film ultimately has to make decisions, though, with so much surrounding Jamilah, so the focus on the competition, the comedy, and the evolving relationships take precedence over a fuller history and significance of step. I’ll admit it would have been overly difficult to do that, though, without losing the great pacing in their journey.

I imagine some folks might be upset at this film, whether over the concerns about cultural appropriation, or perhaps over the characterization of mostly white or black sororities. If folks can forgive those elements, they will find a hilarious and heartfelt comedy with excellent step choreography, and maybe even a few white girl tears.

Rotten Tomatoes: NR

Metacritic: NR

One Movie Punch: 7.2/10

“Step Sisters” (2018) is rated PG-13 and is streaming on Netflix.

It’s Marvel Monday and we’re continuing the Road to Infinity War. This week’s film is “Thor” (2011), the universe expanding hero’s journey, directed by Kenneth Branagh and starring Chris Hemsworth. “Thor” accomplishes a lot in two hours, packing in an introduction to Asgard and the rest of the Nine Realms, a hero’s journey for Thor, an origin story for Loki (Tom Hiddleston), expanding the presence and mission of S.H.I.E.L.D., a budding romance, and an entire cast of new characters.

The film begins with Odin (Anthony Hopkins) set to name an arrogant Thor as the next ruler of Asgard. During the middle of the ceremony, Frost Giants infiltrate Asgard to retrieve the Casket of Ancient Winters, a relic of immense power that almost lead to the Frost Giants conquering all the Nine Realms. The ceremony postponed, Thor goes to confront the Front Giants on their invasion, provoking an all-out war between the Frost Giants and Asgard.

Odin strips Thor of his powers and his hammer, banishing both to Earth, forcing Thor to learn humility while discovering what it means to be a hero. His arrival triggers a series of events, and the interest of Dr. Jane Foster (Natalie Portman), who has been studying potential wormhole activity in New Mexico. The hammer catches the interest of S.H.I.E.L.D., who cannot move it, and so set about studying it.

This film reads a lot different after the revelations and events in “Thor: Ragnarok” (2017). The Frost Giants accusing the Asgardians of being bloodthirsty no longer seems like cheap dialogue. Referring to Asgard as the “Realm Eternal” made me chuckle. And the humor in this first film really stands out. I still found myself laughing out loud at all the jokes. I almost feel like seeing the trilogy of films really helps flesh out the rougher edges of this first film.  

I did have a few problems. Hawkeye’s reveal was pretty disappointing, and some of Jane’s dialogue towards the end felt a little cheesy. Some story elements moved a little too fast, particularly Loki’s almost whimsical turns. However, the film is still well produced with quality performances, and continues to redefine the borders of the Marvel Cinematic Universe, including key setup for “Marvel’s The Avengers” (2012).

Rotten Tomatoes: 77% (CERTIFIED)

Metacritic: 57

One Movie Punch: 8.0/10

“Thor” is rated PG-13 and is available wherever you enjoy movies.

Today’s movie is “The Thin Blue Line” (1988), the amazing documentary from Errol Morris, detailing the case of Randall Adams, a man wrongfully convicted of murdering a Dallas police officer in 1976. Morris was intending to create a documentary on Dr. James Grigson, known as Dr. Death, whose expert opinion was used to recommend the death penalty under Texas law. Morris, while interviewing Adams, became convinced that he was innocent and switched focus.

Randall Adams ran out of gas on his way home, and was picked up by David Ray Harris, who was sixteen, offering him a ride. They hung out together the next day, drinking, went to a drive-in movie, and then parted ways. Later that evening, Officer Roy Wood and Teresa Turko pull over the same car for not having headlights. Officer Wood approaches the car and is fired upon three times, killing him, and the car speeds off.

Morris blends interviews with dramatizations, reviewing every step of the investigation and the trial, highlighting the obvious discrepancies in both evidence and testimony, showing the almost unstoppable inertia seeking the conviction of Randall Adams, based mostly on the testimony of David Harris and the questionable testimony of eyewitnesses. From the initial trial through multiple appeals, Morris follows the story of Adams, and seeks out a final interview with David Harris, who makes a startling confession.

The film eventually lead to a review of Randall Adams’ case, resulting in his conviction being overturned about a year after the film debuted. Most documentaries seek only to describe events, and sometimes in their descriptions, they can cause profound change. Other documentaries set out to create change, and few succeed as strongly as “The Thin Blue Line” (1988).

Documentaries succeed by having excellent subject matter, but excel when they can present that information in new and exciting ways. In-depth documentaries on wrongful convictions may be a dime a dozen now, but Morris turned a wrongful conviction story into a larger discussion about social inertia and eyewitness testimony. And when viewed in a historical context, any viewer should be able to appreciate the film’s accomplishments and style. And some viewers will enjoy the score by Philip Glass.

Rotten Tomatoes: 100%

Metacritic: 79

One Movie Punch: 8.2/10

“The Thin Blue Line” (1988) is not rated and is currently streaming on Netflix.

Today’s movie is... ... “The Open House” (2018), written and directed by Matt Angel and Suzanne Coote. The film follows Logan Wallace (Dylan Minnette) and his mother, Naomi (Piercey Dalton), who decide to move into Naomi’s sister’s mountain home after losing Logan’s father. The only catch is that the home has a weekly open house on Sundays for prospective buyers, during which they need to vacate.

I’m not really sure where to start with this film. The premise is pretty good, as far as home invasion films go. There are two main conflicts in the movie: the strained relationship between Logan and Naomi and the natural tension created by a home invasion. The former dominates the first half of the film while the latter creeps in as the film progresses.

The best part of the film is the relationship between Naomi and Logan. Dylan Minnette brings enough star power after “13 Reasons Why” to make up for some bad dialogue, and Piercey Dalton plays a strong maternal figure that would have played better knowing more about her relationship with Logan’s father. I almost wish there had been more development in the beginning for the entire family to invest me more in the characters.

Meanwhile, the entire second half is given away after Naomi and Logan return after the first open house, when Logan comments on open houses in general. The tension then has trouble building, as the unknown invader frustratingly repeats the same harassing behavior, and stretches it over a few days. By the time the film begins its rush to the climax, I feel like I already know what to expect, and aside from some cringe-worthy eye-related horror, I felt mostly bored.

“The Open House” (2018) stumbles at the start, struggles towards the climax, and will end up leaving most viewers disappointed. Poor pacing and bad dialogue challenge decent performances, and the film brings nothing new to either the horror genre, or the home invasion sub-genre. Most horror fans will find the film passable, perhaps even enjoyable in some ways. However, if you value your time, there are about 100 other home invasion films worth watching.

Rotten Tomatoes: NR

Metacritic: NR

One Movie Punch: 2.6/10 

“The Open House” is rated TV-MA and is streaming exclusively on Netflix.

Today’s movie is ”The Untold Tales of Armistead Maupin” (2017), Jennifer M. Kroot’s documentary about Armistead Maupin’s life and works. I can remember my first experience with Maupin’s serial “Tales of the City”, traveling for work and coming across the original series on Showtime. I only caught a single episode, but I was hooked, immediately falling in love with the setting and the characters, not knowing a thing about Armistead Maupin or the controversy surrounding that series.

Kroot’s documentary is an overview of Maupin’s life, covering his conservative roots, his path of self-discovery as a gay man, his initial work on the “Tales of the City” serial along with his later works, and a few controversies along the way. The film bounces between his history and his works, showing the personal connections between Maupin and his characters, his life and their lives. It is mostly chronological, although meanders from time to time depending on the topic.

It is hard to quantify Armistead Maupin’s importance to the LGBTQ community, although this documentary hits the major highlights. Maupin’s boldness in his life and about his right to live it placed him in the vanguard of a rising tide of LGBTQ activism. “Tales of the City” opened the door for people to discover more about LGBTQ people, not as salacious or maligned stereotypes, but as real characters with real problems.

Kroot hits all the highlights, using great background music and fun transitions, all with a clear love and respect for Maupin. Maupin feels so genuine, possessing an honest understanding of his life and its effects, both good and bad. Kroot also brings in a nice entourage of interviews, including Neil Gaiman, Laura Linney, Ian McKellan, Amy Tan, Margaret Cho, and a bunch of others, all expounding on the ways that Maupin touched their lives.

Hardcore fans of Armistead Maupin won’t likely find much new in the documentary, but anyone with a passing interest in Maupin’s life or his works will find the documentary both insightful and enjoyable. I came away from the documentary wanting to re-read his works and pick up those I never read. I’m also looking forward to the rumored Netflix revival, hopefully sooner rather than later.

Rotten Tomatoes: 90%

Metacritic: NR

One Movie Punch: 7.2/10

“The Untold Tales of Armistead Maupin” (2017) is not rated and is currently streaming on Netflix.

Today’s movie is “Pirates of the Caribbean: Dead Men Tell No Tales” (2017), the fifth installment in the popular Disney franchise, following up the poorly received “Pirates of the Caribbean: On Stranger Tides” (2011). Six years is a long time to wait for a franchise in today’s entertainment world, and yet, this film still managed to gross $794 MILLION (with an M) dollars worldwide.

The franchise picks up roughly 21 years after “At World’s End”, where the son of Elizabeth Swann and Will Turner, Henry (Brenton Thwaites) is searching for Captain Jack Sparrow (Johnny Depp) to locate the Trident of Poseidon, to break the curse of Davy Jones over his father. Meanwhile, an educated woman named Carina (Kaya Scodelario) to be burned at the stake as a witch, who has also been looking for the Trident, based on a book left with her when she was abandoned outside an orphanage at a young age.

Captain Jack Sparrow, on another run of bad luck, and looking for something to drink, decides to trade his compass for a bottle of booze, releasing the undead ship of Captain Salazar (Javier Bardem), who was tricked by a young Jack Sparrow and trapped in the Devil’s Triangle, along with an entire crew of undead pirate hunters, now free to seek Sparrow for revenge, and with the help of Captain Barbossa (Geoffrey Rush).

That’s just the setup, and on paper, it seems like a decent setup until it is expanded into a full script, rehashing everything we’ve already seen in previous installments, including lame humor, supernatural pirate crews, too many sub-plots, and everything once again revolving around Jack Sparrow. The problems with the script, as they often do, spread into the performances, the direction, and the overall effect of the film. I will say the film looks amazing, with great costumes, practical effects, and special effects, but even those great strengths are more often than not ruined by contrived dialogue or terrible humor.

Overall, I found the film disappointing. The appearances of Will Turner and Elizabeth Swann felt so tacked on, almost like insurance that their reunion scene made it into the canon, even while adding the post-credits teaser/stinger. I think this film makes the same mistake as “On Stranger Tides”, forgetting that the strength of the original trilogy included Orlando Bloom and Keira Knightley, and without a major presence, the film relies too much on Depp’s performance, and I left disappointed. I suspect, based on box office alone, that there will be a sixth film, although I’m not sure there is much to salvage.

Rotten Tomatoes: 30%

Metacritic: 39

One Movie Punch: 4.0/10 (All Special Effects)

“Pirates of the Caribbean: Dead Men Tell No Tales” (2017) is rated PG-13 and is streaming on Netflix.

Today’s movie is “Columbus” (2017), Kogonada’s debut film set in Columbus, Indiana, a city known for its modernist architecture and public art installations. The film follows Jin (John Cho), who has arrived in Columbus to attend to his dying father, who collapsed on a speaking tour. On his trips to the hospital, he meets Casey (Haley Lu Richardson), a recent high school graduate working at the library with Gabriel (Rory Culkin), and taking care of her mother (Michelle Forbes).

“Columbus” (2017) has two centers: the mostly platonic relationship that develops between Jin and Casey, and the city of Columbus itself. Casey has an interest in the architecture in Columbus, and had planned on attending a talk by Jin’s father before his accident. Jin and Casey form a unique pair. Casey takes Jin around Columbus, pointing out her favorite buildings and their significance to her. Both are looking for someone to help them make sense of their situation. John Cho and Haley Lu Richardson feel so genuine in their respective roles.

The film’s supporting cast is excellent. Parker Posey plays Eleanor, Jin’s father’s assistant, appearing and disappearing as her schedule allows, and serves as another connection between Jin and Casey. Rory Culkin’s scenes were nearly perfect, never upstaging Casey’s experience while still making himself known. Michelle Forbes is so expressive, showing more than saying.

Kogonada’s makes great use of Columbus’ natural and man-made beauty, weaving in metaphor that fits the architecture, seeking locations full of solid colors and distinct contrasts. The film has a lot of deep, stationary shots, fitting in multiple layers of activity, along with nice use of mirrors. I also appreciated the use of seen and unseen facial expressions, communicating so much in seconds. Every scene feels alive and real. 

All of this creates a gorgeous film that tackles our modern expectations of small town life and the importance of finding meaning in our relationships. And to top it off, the film is backed by an amazing score from Hammock, who exist somewhere between shoegazer and ambient, always helping capture the moments. I look forward to all of Kogonada’s future output.

Rotten Tomatoes: 98% (CERTIFIED)

Metacritic: 89

One Movie Punch: 9.2/10

“Columbus” (2017) is not rated and is currently streaming on Hulu.

Today’s movie is “Graduation” (2016), Cristian Mungui’s subtle drama about a family falling apart prior to their daughter’s graduation. The film follows Romeo Aldea (Adrian Titieni), a doctor in a small mountain town, whose daughter Eliza (Maria Dragus) is assaulted prior to her final exams, which are crucial to maintain a scholarship to Cambridge. Eliza, already uncertain about wanting to leave for Cambridge, tries to cope with her assault and the pressure of her father to leave.

Meanwhile, Romeo’s wife Magda (Lia Bugnar), is not only struggling with her daughter’s potential departure, but also her ending relationship with Romeo. Romeo and Magda have been maintaining their relationship only to see Eliza through graduation, then plan on separating officially, all while Romeo is seeing Sandra (Malina Manovici), his former patient and current lover.

Mungui’s script has the right balance of conflict and experience, centered around Romeo and his relationships, particularly with Eliza. Adrian Titieni’s performance is subtle, yet dynamic, unfolding his character deftly in response to each conflict, major or minor. Romeo as a character has a noble, if clumsy kind of grace, and his relationship with his daughter grows stronger and feels more real as the film progresses, despite his obvious failings.

Mungui’s direction and editing also brings the social aspects of Romania to life as their own character, highlighting the importance of social networks, the lingering, subtle influences of the communist years, and a strong desire for their children to have the best opportunities. The social fabric of the film doesn’t pass judgment even as these relationships have potential consequences for everyone involved.

My favorite part of the film is the lack of resolution, which may frustrate some viewers. Many conflicts aren’t resolved so much as postponed, forcing the viewer to direct their attention back to the characters and their relationships, the key strength for this film because of the well written script and the realistic performances.

Rotten Tomatoes: 95% (CERTIFIED)

Metacritic: 84

One Movie Punch: 8.8/10

“Graduation” (2016) is rated R and is currently streaming on Netflix.