One Movie Punch

Hi everyone!

Welcome back to Matinee Monday. Today's film is not for the faint of heart, nor for anyone who enjoys a feel good story. I actually left the theatre struggling with a lot of themes, which makes it a great film for conversation, but is that the same thing as a great film? I'll let you know about that, and the double standards for films featuring black lives, in just a minute. However, for a few other films related to today's film, check out our review for MOONLIGHT (Episode #406), which QUEEN & SLIM borrows heavily from thematically speaking, and THE HIGHWAYMEN (Episode #493), which looks at Bonnie & Clyde from law enforcement's point of view.

Before the review, we'll have a promo from the Ocho Duro Parlay Hour. Every episode, the ODPH Crew work their way through a diverse bunch of topics, everything from comics to movies to television to sports. You can find them on Twitter and Instagram @ODParlayHour and on Facebook @ochoduroparlayhour. Huge shoutout to the ODPH crew for all their support for One Movie Punch! Love watching them climb the Follow Friday boards!

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Today's movie is QUEEN AND SLIM, the poignant drama directed by Melina Matsoukas and written for the screen by Lena Waithe, based on a story by Waithe and James Frey. The film follows the first date of Queen (Jodie Turner-Smith) and Slim (Daniel Kaluuya), which isn't going well at all. On the way home, they're pulled over by an officer who subjects them to harassment, which escalates quickly until Slim shoots the officer in self-defense. Now the two are on the run, seeking help wherever they can find it, including from each other.

No spoilers.

I'm a huge fan of the new black cinema. Barry Jenkins. Ava DuVernay. Justin Simien. Jordan Peele. Kasi Lemmons. Ryan Coogler. Steve McQueen. The latter half of this decade has seen a massive explosion in cinema from black filmmakers, featuring black actors, talking about black issues. This explosion deserves thanks in no small part to the #OscarsSoWhite hashtag in 2015, which called out not just the lack of diversity in nominees and winners, but the largely white, male makeup of eligible voters within the Academy itself, and by extension, the lack of diversity in films that actually make it into production and on the screen in the first place. Unless you were Spike Lee or Tyler Perry or a handful of other prominent black filmmakers, your picture wasn't getting picked up. It's always why I've had a large distaste for the Oscars as a whole, because it's mostly a bunch of white guys deciding what's best. The Academy is taking steps to induct more members, and to increase representation, but that's also going to require film producers (still largely white and male) to hire more black filmmakers at all levels, so there are members to be inducted.

The other reason for the explosion in black cinema is the rise of the streaming giants. In 2008, Barry Jenkins puts together a small picture called MEDICINE FOR MELANCHOLY, which has critical praise, but only if you're lucky to attend a film festival or take in a very limited theatrical release. However, as the nascent streaming giants were purchasing up rights, the film became available to a much larger audience, along with a massive back catalog of up and coming black filmmakers. Jenkins would return with MOONLIGHT (Episode #406) and what would be the follow up film, IF BEALE STREET COULD TALK (Episode #465). Edgier content, like Justin Simien's DEAR WHITE PEOPLE would be discovered and re-discovered, and now more and more voices are reaching Hollywood. Which includes today's team up of Martina Matsoukas and Lena Waithe. And which also begs the question, what's James Frey doing here?

QUEEN & SLIM is not an easy film to watch. As I said at the top, I left the theatre feeling mostly frustrated on a number of levels, not just with the decisions of the characters, but with the decisions of writers Lena Waithe and James Frey for the larger story. The opening moments are excellent, setting mood and tone leading up to the encounter with the police officer, a self-described routine pullover that escalates quickly, and because of a number of terrible decisions by all characters. It's necessarily complicated for thematic purposes, since this incident and the discussion it sparks among the characters and on media broadcasts, follows Queen and Slim on their attempt to flee the country.

It's also just one of way too many issues and perspectives of the black experience, particularly with law enforcement, to fit into a single film. When Queen and Slim aren't dealing with immediate dangers or survival tasks, they're continuing to get to know each other, touching on so many themes just as quickly as letting them go, verbally sparring with each other through the use of familiar aphorisms. It is great for sparking conversation, but it makes for a cluttered viewing experience. I ended up wishing the themes were subtler so we could focus more on their developing relationship. In particular, there's a portion of the film involving the protest scene as seen in the trailer, which not only features another character making bad choices, but also splices with another scene that makes for a confusing experience, thematically speaking.

It may not be an easy film to watch, but it is a beautiful film to watch and hear. Costumes, colors, and cars all blend really well together with every scene, from the white Accord at the beginning, all the way to the purple land yacht towards the end. While the dialogue can be stilted and the themes frustrating, everything looks great while it happens, well-composed on screen and with excellent song selections along with some light transitional scoring. Nearly every shot is perfectly framed, with many shots reminding me of Jenkins' particular style, especially intentionally mismatching dialogue and when taking in the many vistas of the Southern United States. It's a beautiful tragedy of a story.

Oh yeah, back to frustrating decisions. The film's ending is going to be really difficult for folks to take, even as we know what the realistic outcome of this situation would be in real life. The journey is so beautiful that we don't want it to end, but it does, and abruptly at that, with a lot of loose ends. I think what I would prefer is a longer form version of the same story, maybe a one-season limited series, so we could take our time and explore not just Queen and Slim a little longer in each destination in the Southern United States, but also the effects of that initial incident across the nation. Queen and Slim, and everyone else for that matter, could have longer, more natural conversations about each topic, and maybe interact with their supporters more. I would gobble that series up in a heartbeat.

QUEEN AND SLIM is a cluttered, frustrating, depressing, but beautiful film about two folks on the run after defending themselves against a racist police officer. Much like Queen and Slim themselves, the audience rarely gets a chance to catch their breath, as Matsoukas, Waithe, and Frey run us through the garden of issues surrounding people of color and law enforcement, before bringing us to an abrupt, inevitable end. Fans of films involving a good chase, or a modern day tour of the Southern United States, should definitely check out this film.

Rotten Tomatoes: 82% (CERTIFIED FRESH)

Metacritic: 74

One Movie Punch: 7.2/10

QUEEN AND SLIM (2019) is rated R and is currently playing in theaters.

Hi everyone!

Welcome back for our final week of reviews before we break for the holidays. It's been a long year here at One Movie Punch, and we'll be using the break to take the podcast in for some much-needed maintenance and return with a fresh slate of content.

In the meantime, we hope you enjoy this week of content, beginning today with Streaming Sundays. Today's feature will be from AppleTV+, who have had some major issues regarding their next feature, THE BANKER, specifically sexual abuse allegations leveled against Bernard Garrett Jr., son of the film's protagonist and co-producer on the film. I think AppleTV+ is doing the right thing in pulling the film, even if I think it clearly did the wrong thing in purchasing the property without due diligence. Fortunately, we won't be talking about that film and the sticky wicket it has to navigate to see the light of day. Instead, we'll have a lovely coming of age drama scoring well with the critics and the fans.

Also, as part of a settlement with the Pigeon Protectors of the World, I am legally obligated to inform the audience of this podcast that the full interview with Matthieu Landour Engel is now publicly available on our Patreon page. In addition to discussing the intricacies of the ongoing ZÉRO M2 pigeon controversy, we'll also be talking about the film, Mat's other solo work, and his work with spouse Bali Engel, as part of Bat Collective. You can hear the full interview today at Patreon by going to patreon.com/onemoviepunch. All contributions go to help paying our expenses and to help us grow with our audience.

Before the review today, we'll have a promo from our friends at Dice Tower Theatre. Every episode, the whole crew re-enact a tabletop role-playing adventure as an audio drama, in a highly binge-able narrative format. You can find them on Twitter @dicetowrtheatre (just drop the 'e' in tower, and spell theatre with an 'r-e') and on Facebook/Instagram @dicetowertheatre (that's theatre with an 'r-e'). Don't miss their guest review here at One Movie Punch for THE MUMMY (Episode #617), where they learned the harsh penalties of breaking character during Reign of Terror 2019.

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Today's movie is HALA, the AppleTV+ coming-of-age drama written and directed by Minhal Baig. The film follows Hala Masood (Geraldine Viswanathan), a young Muslim woman of first-generation immigrant parents, struggling to understand herself in her last year of high school. While secretly meeting with non-Muslim classmate Jesse Ross (Jack Kilmer), she catches her father Zahid (Azad Khan) in a lie, which makes things at home begin to fall apart.

No spoilers.

AppleTV+'s second film offering is much riskier than their first offering, THE ELEPHANT QUEEN (Episode #637), opening with a very risqué scene, featuring Hala's face peeking over the tub, and definitely setting expectations for the audience. It's the first of many strong choices from writer/director Baig, as we get a relatively unvarnished look at the female Muslim experience in the United States. It's at once familiar to any middle-class young woman, especially one who grew up in a conservative family or setting, struggling between tradition and progress, expectations and desires. And how those elements define our identities.

What makes Hala different, however, is her Muslim faith and culture, not just as it actually is, but as others may perceive it to be. The opening sequence continues by giving us a day in the life of Hala, quickly introducing us to all those little differences, from dressing conservatively to the different social interactions with women and men, to a very moving written work featured in the trailer about her experience. If you don't understand the modern, moderate Muslim experience, you will by the time our introductions are finished, a strong start for the remaining story.

I can't emphasize enough how great it is to see Geraldine Viswanathan get a role that exercises her drama chops. She was easily one of the best roles in two ensemble films last year, THE PACKAGE (Episode #226) about a young man cutting off his manhood and attempting to have it reattached, and BLOCKERS (Episode #360), about young women attempting to get laid by the end of their senior prom. Both films seem to utilize Viswanathan in an almost token manner, adding a touch of diversity to two sexually charged comedies. Both now seem like a waste of her talents.

Viswanathan's performance is consistently and correctly confused throughout HALA, trying to deal with both mundane and unique challenges at home and at school. She's clearly attracted to boys, but is culturally conditioned against speaking with them, despite her curiosity about love, sex, and relationships. She's also much closer to her father than her mother Eram (Purbi Joshi), at least until she discovers her father's secret, which leads to learning a lot about her mother as well. Viswanathan navigates all these challenges well, making every choice feel natural, even when they aren't the best choices.

It's the choices that Hala ends up making, driven in large part by Baig's thematic choices, that will challenge every viewer at least in some way. Those challenges will depend on the viewer's particular ethics and social outlook. Conservative viewers may be upset with the sexual topics being discussed. Liberal viewers may be upset with conservative choices. Muslims may be upset with the portrayal of Muslim men. Atheists may be upset with anything Islamic at all. On one level, it helps amplify the inability of Hala to meet everyone's expectations, perhaps similar to Baig's inability to meet everyone's expectations for the film. I just think a few choices felt more sensational than pragmatic for supporting the story, which may turn away more viewers than expected.

Story choices aside, HALA is a beautiful film to watch, consistently well-framed with lots of excellent fixed camera work. Viswanathan's costumes, and Baig's framing, always draw the viewer to Hala's face, where a great deal of emotion gets communicated. Baig also helps illustrate the difference between our private and public lives, especially within Muslim families, and the ways that is changing. And thankfully, this film does stay away from any and all hate crimes, even if there is some subtext about her difference. I still think it's important to tell stories about hate crimes against Muslims, particularly given the anti-Muslim sentiments that flare up within this country. But I don't think they need to be part of every Muslim story, and actually by seeing films without a seemingly obligatory hate crime or scene of discrimination is actually a sign of more social acceptance and the mainstreaming of a diverse, moderate Islam within the United States.

HALA is an excellent sophomore effort from AppleTV+, examining the Muslim coming-of-age experience within the United States, well directed by Minhal Baig with some difficult story choices. Geraldine Viswanathan excels as Hala, managing the complex character and story well, even when her character makes bad decisions. Fans of coming-of-age dramas, or dramas about the Muslim experience in modern Western society, will definitely appreciate this film on some level, even if being challenged on others.

Rotten Tomatoes: 87%

Metacritic: 75

One Movie Punch: 7.6/10

HALA (2019) is rated Rand is currently playing on AppleTV+.

Hi everyone!

Welcome back to our continuing series Under the Kanopy, featuring critically acclaimed, if not commercially successful film offerings on Kanopy, a public library and university funded streaming service. All it takes is a library card and you'll get six free streams per month from a collection of classic and contemporary films, with agreements with The Criterion Channel, A24, Kino Lorber, and many more of your favorite independent producers and distributors. For a few other films in the series, check out ASH IS THE PUREST WHITE (Episode #643), HER SMELL (Episode #650), and BE NATURAL: THE UNTOLD STORY OF ALICE GUY-BLACHÉ (Episode #657).

Before the review, we'll have a promo from the Assassinations podcast. Every episode, Niall Cooper talks about a historical assassination, what lead up to it, and the effects that followed. You can find him on Twitter @assassinspod, where you can link to his podcast. Don't miss his guest review for Reign of Terror 2019 for PLAN 9 FROM OUTER SPACE (Episode #615), where he helps me with my stupid, stupid mind.

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Today's movie is RAFIKI, the subversive Kenyan film directed by Wanuri Kahiu and written for the screen in collaboration with Jenna Cato Bass, based on the short story "Jambula Tree" by Monica Arac de Nyeko. The film follows Kena Mwaura (Samantha Mugatsia) and Ziki Okemi (Sheila Munyiva), the daughters of two prominent community men running for public office. When flirting leads to a romantic relationship, the two ladies must love each other in secret in order to keep themselves safe in Nairobi.

No spoilers.

However, a content warning for violence against women and multiple hate crimes.

The story about this film is just as important as the story within the film itself. Rafiki is Swahili for friend, which is often the way that same-sex partners introduce their lovers in public in Kenya, where same-sex relationships are punishable with up to 14 years in prison. While the United States, and many other countries, have been celebrating major victories for inclusion of the LGBTQ+ community, other countries, most notably African countries in alliance with Western evangelical Christians, have been implementing some of the harshest, most homophobic laws in the world. The logic is always the same, that somehow LGBTQ+ individuals can be conditioned via fear into changing their identities, or at the very least, learn to pass as heterosexual in society.

As you might imagine, RAFIKI was initially banned by the Kenyan Film Board for its promotion of same-sex relationships, specifically asking the directors to change the ending. Kahiu vehemently refused and the film was banned with stiff penalties for even having copies. A vigorous outcry went up from the worldwide LGBTQ+ and filmmaking communities, which lead to the film winning Un Certain Regard at the 2018 Cannes Film Festival, and the ban being overturned in Kenya after Kahiu sued for the film to be eligible for the Oscars. The Kenyan High Court overturned the ban, and the film ran for two weeks, but was ultimately not selected as Kenya's selection for the Oscars. Clearly another story of censorship having the exact opposite effect in the Age of Information.

RAFIKI is the latest feature film from Wanuri Kahiu, a pre-eminent African filmmaker specifically engaged in Afrofuturism, the incorporation of black people's history and culture into science fiction and related genres. In fact, her short PUMZI was Kenya's first science fiction film. Afrofuturism featured heavily at the box office in 2018 with BLACK PANTHER (Episode #050). Notions of Afrofuturism have expanded outside of hard science fiction and into many other genres, including the critical horror hit GET OUT (Episode #448), and especially as science fiction and post-apocalyptic genres get way more diverse in their characters and their themes.

RAFIKI, by contrast, is a film very much set in Africa's present, dealing with the oppressive beliefs regarding homosexuality. We're introduced to a neighborhood in Nairobi, initially focused on a day in the life of Kena, who by all accounts and appearances would be considered a tomboy. Her male friends, and self-proclaimed potential suitors, often talk about their views regarding women, and by extension, the patriarchal views that define gender norms. Each female character that's introduced is then judged based on those norms. Some characters, like Kena and Ziki, attempt to defy those norms, whether that's Kena's tomboy attitude or Ziki's distinctive look. Other characters, like the town gossip and her daughter, force adherence to those norms.

The film proceeds in three parts. The first act closes by bringing Kena and Ziki together, publicly as friends, but privately as something much more. Color acts a barometer for the entire film. Kahiu's uses bright colors in the first two acts, a combination of costumes and locations, framing shots to feature light and color, to exemplify the joy between the young women. Mugatsia and Munyiva has genuine chemistry as Kena and Ziki, communicated effectively with mere glances when needed, and patient action when allowed. However, as the second act comes to a close, and their relationship begins infringing on other people, the color begins to fade, and as we enter night-time, we begin to see the limits of acceptance, even for daughters of prominent political families.

Does RAFIKI tell a new story about forbidden relationships in intolerant communities? Not really. Every society that is still intolerant towards the LGBTQ+ community will have periods of transition, as communities wrestle with outdated notions of sex and love, and those stories will look similar. But what's important about RAFIKI is that it helps tell Kenya's story about this very transition. Kahiu was right to fight the censors over the ending to RAFIKI, not just for the principle of the matter, but because it lead to ultimately forcing the Kenyan Film Board to show the film, often to sold-out crowds, and started numerous conversations about Kenya's restrictive laws towards the LGBTQ+ community. Art is one of the more powerful means of social change, which will make RAFIKI an important tool in the fight for acceptance in Kenya.

RAFIKI is a beautiful, daring film, as much about love and acceptance as it is about hate and intolerance, exploring both sides of the fight for LGBTQ+ acceptance in Kenya. Wanuri Kahiu combines Nairobi's natural color with excellent costumes to weave a tale about forbidden love between two very strong lead roles. Fans of LGBTQ+ films, or folks who want a glimpse at the intolerance faced by LGBTQ+ individuals around the world, should definitely check out this film.

Rotten Tomatoes: 94% (CERTIFIED FRESH)

Metacritic: 68

One Movie Punch: 9.5/10

RAFIKI (2018) is not rated and is currently playing on Hoopla and Kanopy.

Hi everyone!

It's Friday, so we're back with another Fantastic Fest review from Andrew Campbell. Today's review I thought wasn't going to make it, and I was getting really frustrated with him, but then someone sent me this awesome houseplant and now it's fine, and I'm fine, and everything's fine. You know what else is fine? Andrew's previous reviews, which include THE POOL (Episode #656), critical darling DOLEMITE IS MY NAME (Episode #649), and ensemble film extraordinaire KNIVES OUT (Episode #652). I wonder who sent this flower? Oh! I guess you'll want to check out our review for ANNA AND THE APOCALYPSE (Episode #425) for... no reason.

Before the review, we'll have a promo from the DC High podcast. Every episode, D & C provide a heaping dose of edutainment as they work their way through a high-school themed curse. You can find them on Twitter and Facebook @DCHighpod. Don't miss their Reign of Terror 2019 guest review for HATCHET (Episode #613).

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Here we go!

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Hello film fans!

Stephanie here. Andrew seems to have caught a touch of the plague this week and his voice sounds like he spent the whole day screaming. The review itself is all his, but you'll be hearing my voice instead of his raw scratchy one. Anyway, today's movie is about a nefarious plant and if I was going to watch a movie about plant life, it would be something more like LITTLE SHOP OF HORRORS or the real horror of 2018's ANNIHILATION (Episode #400), both of which are streaming now on Amazon Prime.

Today's movie is LITTLE JOE, the 2019 film from Magnolia Pictures, written by Jessica Hausner and Geraldine Bajard, and directed by Hausner. LITTLE JOE played the 2019 Fantastic Fest as a "sneak preview" - whatever that means. The first English language film from Austrian director Hausner, LITTLE JOE stars Emily Beecham as Alice a single mother caring for her son Joe (Kit Connor) while preoccupied with her genetically engineered plant species called Little Joe. As a senior scientist at a research company, Alice has developed a flower that, when cared for and spoken to, emits a red cloud of particulates containing oxytocin, essentially providing a source of artificial happiness. Frequently forced to work late monitoring her plants, Alice is often absent from her teen son's life with late night take-out dinners becoming the norm. She makes an uncharacteristically poor decision to smuggle a single bloom home as a gift for her son, but before long young Joe's personality begins to change.

The trailer for this film looks gorgeous, providing a setting for a great story. A stark, glass-walled laboratory staffed by a crew of meticulous workers tending to a grid of single-stem houseplants featuring a crimson puffball on the end. Alice's bright-red bob of hair and the dark fluorescent grow-lights being the only other signs of color. The sterile, antiseptic lab clashes with the ominous soundtrack pulsating throughout. The film itself delivers in this regard, every scene well-shot with some creative camera angles and long pans.

The story is a slow burn, just as the trailer indicates, however it grows a bit thin with remarkably few twists or payoffs along the way. The conclusion is predictable and pedestrian, however the film does have an interesting subtext regarding antidepressants. Fortunately for folks like me who don't always pick up on these things, the characters eventually have an overt conversation on the subject. With pharmaceuticals (or in this case, a potentially malicious chemical-emitting houseplant) that serve to artificially alter one's personality to create happiness, at what point does the person become someone else altogether?

One thing that drew me to this film is the fact that Emily Beecham picked up the award for Best Actress at Cannes for LITTLE JOE. This seemed unlikely for a genre film such as this, however, Cannes has a recent history of recognizing actresses in horror and sci-fi films, including Charlotte Gainsbourg for ANTICHRIST and Kirsten Dunst for MELANCHOLIA, both stemming from the deranged mind of Lars von Trier. Unfortunately, I found Beecham's performance to be rather pedestrian, along with most of the cast, which also includes actor Ben Whishaw as Chris, a co-worker at the lab and potential love interest for Alice. The film works to build suspense as Alice sees subtle signs that her son and co-workers are behaving differently, possibly resulting from Little Joe's spores. But "subtle" is the key word here, the film sacrificing any real excitement for the restraint of being a light psychological thriller.

The obvious comparison here is to INVASION OF THE BODY SNATCHERS, either the 1956 film or the more well-known 1978 remake starring Donald Sutherland. There the plants are extraterrestrial rather than bio-engineered, but as they slowly begin to supplant people both mentally and physically, you get some genuine terror that has aged surprisingly well. LITTLE JOE starts with the same note, but all the fun parts are missing.

What makes LITTLE JOE fantastic? The Little Joe plant was scientifically engineered to be infertile, ostensibly to give the company control over the plant's production once it becomes a commercially viable product. However, as we know from a certain dinosaur, you cannot control nature's intrinsic need to reproduce. In other words...

This is basically the low-stakes flora version of JURASSIC PARK and it deserves a few points for that.

LITTLE JOE is a slow-paced sci-fi thriller that rewards patient viewers with a meditative moral tale. Fans of lab-based thrillers such as GATTACA, CONTAGION, or Jeff Goldblum in THE FLY may enjoy this film.

Rotten Tomatoes: 69%

Metacritic: 58

One Movie Punch: 6.2/10

LITTLE JOE (2019) is not rated and opens today in limited release.

Come back next Wednesday when Andrew will be returning with MARRIAGE STORY, starring Scarlett Johansson and Adam Driver. The latest from Noah Baumbach is a gut-wrenching story of love and divorce featuring two actors at the top of their game. You can expect Oscar nominations and possibly a few wins from this one. It's been drawing rave reviews in a limited theatrical run and hits Netflix on Friday. Will you be ready to go by then, Andrew?

Oh, you're sounding better already!

Hi everyone!

Welcome back to the podcast. Today, we're welcoming back Ryan L. Terry to the podcast, with a review for a historical crime thriller involving a surprising number of Nazis. He'll give you the lowdown in a minute, but for a few other reviews from Ryan, check out his review for the cult classic OFFICE KILLER (Episode #512), KNIFE + HEART (Episode #542), and his assistance for my journey during Reign of Terror 2019 with his guest review of I KNOW WHAT YOU DID LAST SUMMER (Episode #614). His promo will run before the review!

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Here we go!

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THE GOOD LIAR (2019), written by Jeffrey Hatcher and directed by Bill Condon, is a sultry cat and mouse thriller starring two of Britain's finest actors: Hellen Mirren as the widowed Betty McLeish and Sir Ian McKellen as the career con artist Roy Courtney. You don't want to miss watching these two actors go at it in the most brilliantly entertaining fashion.

When Roy happens upon the online dating profile of Betty, he cannot believe his luck when he finds out that she is wealthy. Usually, Roy has no issues in swindling people, but he begins to dance a fine line between his personal feelings and the objective of his job when he begins to fall in love with Betty. As their relationship develops from platonic to something more, the complications and conflict give way to a treacherous game of wits.

Cat and mouse games, whodunits, and other intellectually-driven thrillers are often some of the most difficult movies to review, because so many details could easily be spoilers. There is perhaps no greater recent example of this tightrope I find myself walking than with this clever film. Virtually everything about it from title to end credits could give way to spoiling the many surprises if not approached with the utmost care. As much as will try to avoid any spoiler-ific information, it is unavoidable with this film. So, if you are worried — pause — then go watch the movie. Yes, it's a recommended watch if you are into intellectually driven cat and mouse thrillers. Then come back to this episode to listen to my thoughts. That being said, let's move into my reactions!

Don't look to Condon's more well-known and recent work on such films as BEAUTY AND THE BEAST, THE GREATEST SHOWMAN, or DREAMGIRLS to get a feel for his approach to this crime thriller. You need to look to his earlier work MURDER 101, DEADLY RELATIONS (sounds like a Lifetime movie or Investigation Discovery series), or THE MAN WHO WOULDN'T DIE (which sounds an awful lot like a Hitchcock title). Looking to his more obscure films will reveal how he approached and directed THE GOOD LIAR. If you love a film with twists and turns at every corner, then you will undoubtedly love this movie.

Early on, the audience realizes that nothing is at it seems, so that creates a fantastic atmosphere of intrigue that invites you to play along as you try to figure out what is really going on. Although on a conceptual level, you may figure out what is going on, the details will most assuredly escape you. And it's those loose ends that will drive you crazy — in the best way possible. Until the big reveal at the end, in which is all makes sense.

The best thing about this movie is that the plot is incredibly believable. You'll want to poke holes in plot, but you'll have a tough time identifying a solid one. That is partly due to the magic of screenwriting: the characters will say or do something because it's required at that specific time; however, it is played off as natural and unforced. I admire the tonal shifts from the lighthearted beginning to the rather dark material midway through and the increasingly macabre subject matter as the movie makes its way towards the climax. This movie will take you places that will completely blow your mind; however, I assure you that it works very well despite being reprehensible in nature. No plot device is ever used simply for shock value; everything has an intentional purpose and place. If for no other reason, you want to watch this movie for the two lead performances by Mirren and McKellen. Not that these performances are even in their top 10, but these actors are so much fun to watch, that you forgive the movie of its shortcomings.

Rotten Tomatoes: 64%

Metacritic: 55

IMDb: 6.5

One Movie Punch: 6.0/10

You can find THE GOOD LIAR (2019) at a cinema near you!

Hi everyone!

Welcome back for another review. Today, I'll be reviewing ZÉRO M2 (2015), an incredible short film from Matthieu Landour Engel, multimedia artist and friend of the podcast. I've been conversing with Mat off and on since the podcast started, first about his Instagram comics, now for his excellent short film. I was lucky to connect with him recently to discuss today's film, and I feel privileged to review the film for all of you. And if you like what you hear today, definitely head over to batcollective.tv where you can see more of Mat's solo work, along with an immense library of animated shorts produced in collaboration with his spouse, Bali Engel.

All of this means we'll have a bit of a format switch for today. Instead of the usual trailer segments, I'll be interspersing segments from our interview throughout the review. If you like this format, be sure to check out our previous review/interviews for BULLITT COUNTY (Episode #549), THE CHAIR (Episode #550), ECHOES OF YOU (Episode #556), AFTER 82: THE UNTOLD STORY OF THE AIDS CRISIS IN THE UK (Episode #591), and most recently for Reign of Terror 2019, ROCK, PAPER, SCISSORS (Episode #597), BLOOD ON THE REEL (Episode #612), and TABERNACLE 101 (Episode #619). Each episode also includes one or more Patreon episodes with the full interviews. One of our commitments in Year Three of One Movie Punch is to feature more independent filmmakers using this format. If you are an aspiring filmmaker, or you know one, contact the podcast and let us know you're interested. We're booking for Q1 2020 right now!

As for today's full interview, well, we're on the fence about releasing it to the public. Right now, outside One Movie Punch Tower, we're dealing with a massive protest gathering, easily over a hundred thousand participants. News crews are showing up and, well, clearly we've stepped into a controversy that may be too big for our podcast to take. Please stay tuned after the episode for the latest on this developing situation.

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Today's movie is ZÉRO M2, the short film directed by Matthieu Landour Engel and written for the screen in collaboration with Nicolas Bovorasmy. Paul (Anthony Sonigo) is desperately searching for a flat in Paris when he finally finds a spacious place with a reasonable rent. After signing a contract and moving in, he soon discovers it is too good to be true, as the landlord exploits a very peculiar loophole in the contract.

No spoilers.

Short films are a surprisingly difficult format to master, part of the challenge being the great variety of stories that can be told depending on the length. The Academy considers any film under forty minutes to be a short film, but there's a stark difference between telling a story for one minute and telling a story for forty minutes. You can't fit LORD OF THE RINGS into a single minute, nor can you expand a five-minute scene into forty minutes. At least not easily. Feature length films are given a lot of leeway to tell a story, where a lot more can be forgiven within ninety minutes, but for short films, you need to make use of every single minute, especially if you want to tackle an issue like the housing crisis.

MATTHIEU: "Yes, ZÉRO M2 is totally a fable about the housing crisis. It actually came from when I was living in Paris. And I was living in a 14m2flat, or I mean a 14m2room with like a little toilet on the side, and I was living there not by myself, but living there with a girl, and we constantly tried to maximize the space."

MATTHIEU: "It just went from constantly compressing the clothes to pieces of furniture that could go really high. There's only so much you can do to maximize your space. So, things and objects piled and piled, and once I had a nightmare of being crushed, absolutely crushed by the flat, when I just realized I've got to try and move out, but also, that's a good idea for a short."

Relatability helps with telling the story. ZÉRO M2 may center around our protagonist Paul, but outside of the independently wealthy individuals that can afford to purchase housing in urban centers, everyone else is dealing with the urban housing crisis in one way or another. Which means as Paul meets and interacts with his neighbors, we can see the diversity of people affected by the crisis, and each person managing it in their own way. It's also one that has resonated with the audience afterwards.

MATTHIEU: "And the characters in the film, they all have that in common, they just don't quite understand each other. It's quite difficult to talk about a rather simple thing, like are the walls in your flat just closing in like they are in mine? The idea that sometimes communication is a real struggle, especially for younger people as well. They are learning to live on their own, and just like learning the rules of life and the rules of the city, which are quite cruel sometimes."

MATTHIEU: "I mean, you always hope a film and the message you try to convey in a film resonate with an audience. And I think it did, because whenever I showed the film, and even while we were making the film, there's always people coming to me and talking about the weird flat they once lived in, or the odd neighbor. And I think we all have that experience with people we don't quite understand. We may be nice, but we're just always off to a wrong start with them, or just living in places that are too small or too big or too badly made."

Aside from relatability, picking the right genre for a short film is also key. Some genres are easier for short films. Comedy pretty much dominates the short format, everything from the early vaudeville vignettes to nightclub stand up to television sketch comedy can fit between one and forty minutes. But comedy can be utilized in different ways, sometimes exploiting tragedy through meanness, sometimes vulgarly through tantalizing content, and sometimes by being too safe for the issue being discussed. In ZÉRO M2, we get a taste of Matthieu Landour Engel's particular brand of humor.

MATTHIEU: "Overall, I think comedy still has a lot of unexplored areas, and with this film, I really tried to explore the offbeat aspect of comedy. The way we sometimes struggle with communicating with others. We just can't talk about something or we're pausing. Awkward pauses are something I really tried to explore there."

MATTHIEU: "As to balancing humor, I just think we all relate on a level or another to humor, and it can keep the audience engaged with the message. Humor is a powerful tool for that. I never see humor as something mean or anything. It's just an aspect that I don't quite like. I do have a weird sense of humor sometimes, so I do enjoy odd situations and awkward pauses. That's something that I just really like. I never try to be mean with my characters. Every time I write something, I just love characters."

The characters touch on so many effects of the housing crisis, but the real genius of ZÉRO M2 is that it shows us what happens if we fast forward our current situation into the future, if we leave urban housing on the same trajectory we've been heading for close to thirty years. In the United States, no one working minimum wage can now afford a one-bedroom apartment, and in Los Angeles, we have more vacant housing units than homeless people on the streets. My feelings about landlords aside, the causes for the housing crisis are as varied as the solutions for the housing crisis. ZÉRO M2 closes on a powerful message about dealing with the housing crisis, one that must be seen to be believed and appreciated.

My complaints about ZÉRO M2 almost exclusively relate to the obvious constraints that Mat and Nicolas were working under to produce a short based on an idea that could easily be an ensemble feature film. Aside from well-chosen locations, the hallway set (where a number of key scenes are shot) could do with a larger production budget, perhaps one large enough to show more interiors for the well-developed supporting characters, and how each were managing the crisis. I firmly believe the film can stand on its own, but I also can't shake the feeling of wanting more. And if there's any gold standard for a short, it's just that.

So, what's next for Matthieu and what else is he up to with his spouse?

MATTHIEU: "The new short I'm working on is about a phone that's a human being. I'm just following on this. It's a story of what if robots, to some extent, did the same thing as phones. They look like humans, but there's a lot of melancholy around there, just about those people who don't do much but give you the weather or the time. I think it's quite lonely otherwise."

MATTHIEU: "I also work with, alongside my wife, Bali Engel. We do have a small animation studio called Bat Collective. Bat like a bat. And we do little films or commercials in animation, which is something we are really passionate about. And my wife, Bali Engel, is a fantastic children's book author and illustrator, so she makes children's books in English as well as French. She's my wife and she's amazing."

ZÉRO M2 is a fun, comedic short about the urban housing crisis, which uses humor to effectively communicate its message. While the film could stand for a larger budget, and perhaps expansion into a feature-length ensemble film, the core premise and characters are extremely well-developed. If you've ever struggled to find housing, especially in cities, then you'll immediately relate to this film. And if you are interested in films examining the housing crisis, this film offers a delightfully subversive solution.

Rotten Tomatoes: NR

Metacritic: NR

One Movie Punch: 8.3/10

ZÉRO M2 (2015) is not rated and is currently playing on Vimeo and YouTube. Check the show notes for links!

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LINKS

BAT COLLECTIVE

Web: batcollective.tv

YouTube: youtube.com/channel/UCaceq0cBBszu7KjW01KFbRA

Vimeo: vimeo.com/batcollective

ZÉRO M2

YouTube: youtu.be/AS8vskB_aJ8

Vimeo: vimeo.com/209895447

SHOCK THERAPY

YouTube: youtu.be/VorzxQr01j4

Vimeo: vimeo.com/209895447

BOOKS BY BALI ENGEL

"The Hairys: A Story About Belonging" by Bali Engel

petitademas.com/product/the-hairys/

"Nature's Lullaby Fills The Night" by Dee Leone and Bali Engel sterlingpublishing.com/9781454921394/

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SCENE – BREAKING NEWS

EILEEN: "Breaking news today. Thousands of pigeons have gathered in protest outside of One Movie Punch Tower after a leaked episode of Joseph Dobzynski's review for ZÉRO M2. We now go to the press conference held earlier today."

AMY: "We... the leaders of... the Pigeon Protectors of the World... have gathered... to protest... filmmaker Matthieu Landour Engel... and his horrific... treatment... of all... pigeonkind."

EILEEN: "We've also just received the following message from Joseph Dobzynski, Jr. host at One Movie Punch."

JOSEPH: "One Movie Punch will not allow itself to be bullied by anyone. Our reviews have always been based on a film's merits. However, in light of the recent allegations by the Pigeon Protectors of the World, we will be releasing our full interview with Matthieu Landour Engel so that we can finally put to bed this controversy."

EILEEN: "The scene turned hectic shortly after the release of the statement, with an effigy of Matthieu Landour Engel erected in the square outside the tower, followed by a coordinated campaign of aerial assault using the foulest of means. What does this even mean?"

EILEEN: *pause*

EILEEN: "Yes, oh, they're pooping on it? Why didn't you just say that? Anyway, be sure to tune in on Sunday, December 8th, 2019 at 7:00am PST for the full interview with Matthieu Landour Engel, which will be publicly available for a limited time at patreon.com/onemoviepunch. We'll learn more about this pigeon controversy, and hopefully they'll even talk about the movie."

EILEEN: "This is One Movie Spawn, Anchor Edition, Signing Off."

Hi everyone!

It's Takeover Tuesday, and today we'll have a review from Jason Hemming, aka The Vern, from Cinema Recall podcast, for Robert Eggers' THE LIGHTHOUSE. We're super excited to have them on the podcast, and a promo will run before the review. Don't miss last week's Takeover Tuesday episode, featuring Jon-David from The Mafia Hairdresser Chronicles, with his review of THE TOWERING INFERNO (Episode #653).

Speaking of Takeover Tuesday, do you think you have what it takes to guest on One Movie Punch? Head over to onemoviepunch.com/takeover-tuesday and check out the requirements. If it seems like something you want to do, reach out to the podcast using the contact form, or over social media. We're currently scheduling for Q1 2020, and have 11 spots open just waiting for you!

Subscribe to stay current with the latest releases.

Contribute at Patreon for exclusive content.

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Here we go!

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My name is The Vern and I am the host of Cinema Recall. A movie podcast that reviews iconic moments in classic movies. We can be found on Anchor, Spotify, Apple Podcasts, and more. Be sure to follow us on Twitter @cinema_recall and Instagram/Facebook by searching Cinema Recall Podcast. The movie that I'm looking at today is THE LIGHTHOUSE, starring Robert Pattinson and Willem Dafoe. It was written and directed by Robert Eggers who also directed THE WITCH in 2015. The story follows two men as they both slowly start to lose grip with reality while working and maintaining a lighthouse.

The first thing that stands out the most from Robert Eggers sophomore efforts is the visuals. Shot in a crisp black and white format with a 1:33 aspect ratio. THE LIGHTHOUSE stands above most other movies in wide release. The other thing worth mentioning is the performances by both Willem Dafoe and Robert Pattinson, who are both amazing in this movie. Seeing their sanity slip further and further away the more time they spend together is priceless. If this was a play (and it would make a really good one) they would each be nominated for a Tony.

While both the visuals and acting are top notch, the script, on the other hand, doesn't quite feel complete. I understand that both of these characters have been stuck together for a really long time, and that their sense of reality is altered, but I never once could understand what is reality and what is the delusion they are both experiencing. At times I thought it was just one character, but then it switches, and I get really confused. However, maybe that is just what director Robert Eggers wants from his audience. This feels like a classic episode of "The Twilight Zone" if it was directed by David Lynch.

THE LIGHTHOUSE (2019) is a film, and it's one that I can only recommend to hardcore film buffs. I would not recommend this at all to my parents or those who only watch Disney+. This is only for those with a Criterion Channel subscription. Rotten Tomatoes: 92% (CERTIFIED FRESH) Metacritic: 83 (METACRITIC MUST SEE) One Movie Punch: 8.0/10 THE LIGHTHOUSE (2019) is rated R for language and does have a scene of severe animal abuse. I believe it is playing at most theaters. Just check your theaters for times and dates, all right?

But anyways, folks. That's me The Vern. Signing off right now. Thanks!

Hi everyone!

Welcome back to Matinee Mondays! We're continuing the Oscar contenders this week with a review of A BEAUTIFUL DAY IN THE NEIGHBORHOOD. Get ready to hear a lot of repressed tears and sobbing, but that's okay. If you want to get a taste of that, definitely check out my review for WON'T YOU BE MY NEIGHBOR? (Episode #193). I'll do my best to keep it together.

Before the review, we'll have a promo from the Mitchell Report Unleashed podcast. Every episode, Rory Mitchell brings you a direct and diverse podcast about sports, fitness, culture, and relationships. You can connect with him on Twitter @officiallyrory, on Facebook at @mitchellreportunleashed, and on Instagram @re3684. You can also find the podcast on all major platforms, but based on anchor.fm.

Subscribe to stay current with the latest releases.

Contribute at Patreon for exclusive content.

Connect with us over social media to continue the conversation.

Here we go!

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Today's movie is A BEAUTIFUL DAY IN THE NEIGHBORHOOD, the semi-fictionalized biopic directed by Marielle Heller, written for the screen by Micah Fitzerman-Blue and Noah Harpster, and inspired by Tom Junod's article for Esquire entitled "Can You Say... Hero?". The film follows... fictional Esquire journalist Lloyd Vogel (Matthew Rhys), who is tasked to write a brief article about the legendary Fred Rogers (Tom Hanks) for an issue about heroes. While Lloyd avoids dealing with the return of his father into his life, he decides to see if Fred Rogers is as real as his television personality, and gosh darn it, where are all these tears coming from?

No spoilers.

I'm officially in the bag for today's film. If you've listened to my review for WON'T YOU BE MY NEIGHBOR? (Episode #193), you'll know I don't really consider myself able to be objective when it comes to Fred Rogers. I'll even let you know right now that I pretty much had tears in my eyes and rolling down my face through the first two-thirds of the film, doing my best to allow myself to experience my feelings instead of trying to fight them down. Men, at least where I grew up, were pre-programmed to bury their feelings, and were definitely teased for crying, or for liking someone like Fred Rogers. So, this review is as much about me proving my own objectivity while still reveling in the most emotional film I've seen all year.

A BEAUTIFUL DAY IN THE NEIGHBORHOOD defies a lot of standard film structures, something we understand right away when the film opens on a set for "Mister Rogers' Neighborhood", using crisp, high quality recording and filters. We're moved quickly into a different type of recording, one meant to replicate the quality of public access television in 1998, which will immediately trigger feelings of nostalgia for anyone who grew up with Mister Rogers. Fred starts introducing us to Lloyd Vogel, as if he were to be a guest on the show, before a sweeping title sequence begins, complete with models used for location changes, which makes us realize we're now inside a two-hour episode of the show. It's so effective at helping the viewer enter the experience, and as we did with the show, immediately identify with Lloyd Vogel.

Using the formation of Tom Junod's article as the basis for this story is a stroke of genius, particularly for generations that grew up without someone like Fred Rogers in their lives. Many of us are taught to be two people in life: a private persona and a public persona. Our public persona conforms to social standards while our private persona tends to conceal our more difficult feelings and issues. Maintaining both personas is one major source of the general skepticism in Western culture. We hide our feelings and desires and issues, and so we suspect other people are doing so as well. Fred Rogers was the exact same person in public and in private, consciously choosing to live the best and most genuine life he could, and as he says in many interviews, has been privileged or blessed to do so given the success of the show. While our parents and our peers were teaching us to hide our feelings and never show weakness, Fred Rogers was there offering to help us unpack complicated emotions and liking us just the way we are.

Lloyd Vogel's journey, then, also becomes our journey, and the more skeptical the viewer is as a person, the stronger they will identify with Lloyd. My skepticism began to melt away, though, as we moved to a third video format – one akin to the on-location shoots by Fred Rogers for the videos on Picture Picture. Sure, we see that in its proper context as Vogel follows Rogers around one day in New York, but we also see the format from time to time when Lloyd Vogel is dealing with his personal problems. Problems that Fred takes an interest in, and when Lloyd is trying to come to terms with his life, and trying to adopt Rogers' advice, the film changes to this format. The entire film cycles between these three formats, blending very well, but also very effective to help tell and augment the story. Heller is to be praised for this seamless integration, earning all the appropriate Oscar nominations if there is any justice.

Watching Hanks as Fred Rogers is simply incredible. The transition isn't immediate, not until we've fully gone down Heller's rabbit hole into the multi-faceted story. It's hard to figure out whether Hanks is a lead character or a supporting character in this film, another unique trait. Fitzerman Blue and Harpster obviously want to target the skeptics with Lloyd Vogel, and Heller wants to capitalize on the nostalgic filming techniques and feel, but Hanks is tasked with communicating the complexity of Fred Rogers, which he does splendidly.

Fred Rogers is so much more than his character on the television, including being a pastor, a husband, and a father in his private life, and a celebrity, innovator, and force of nature in his public life. Even if he always tried to be the same person no matter to whom he was speaking, Hanks manages to exemplify the correct roles in the same ways that Rogers often did. We get snippets of those other public and private roles, but Heller and Hanks take us one step further to show us glimpses of what a world could be like if we adopted his social-emotional development standards for all children, and if we re-adopted those principles back into ourselves. These moments are to be cherished, and relished, and one scene in particular, which comes out of left field but also at exactly the right moment, will go down as one of the greatest scenes in cinematic history. One perfect minute of filmmaking, perhaps the best scene Hanks has ever filmed.

A BEAUTIFUL DAY IN THE NEIGHBORHOOD is a film like no other, about a subject like no other. Marielle Heller composes a multi-framed, atypical film that deals with skepticism, trauma, others, and ourselves. Hanks gives a signature performance, including one of the best scenes he's ever done. Fans of Mister Rogers, or anyone who struggles with their feelings as a child, teenager, or an adult, should make an effort to see this film, and to learn more about this incredible man.

Rotten Tomatoes: 96% (CERTIFIED FRESH)

Metacritic: 80

One Movie Punch: 10/10

A BEAUTIFUL DAY IN THE NEIGHBORHOOD (2019) is rated PG and is currently playing in theaters.

Hi everyone!

Welcome back for another week of reviews. We've got two more weeks left of reviews for we break for the end of the year. The Oscar race is heating up in theaters nationwide, with multiple top-quality films in theaters, including today's film until it appeared on Netflix just before Thanksgiving, which makes it perfect for Streaming Sundays. I waited until it hit Netflix to see it, and I'll tell you why in a minute, but for a couple other films related today's film, check out our review for SILENCE (Episode #061) for another Scorsese film, along with our recent review for the heavily-inspired-by-Scorsese film JOKER (Episode #630), now the highest grossing DC Movie of all time.

We also have another Patreon episode up at patreon.com/onemoviepunch. This week we present part two of "Stories from the Fire", a collection of the audio essays and mini-dramas from last year's wildfire evacuation series. It's a nice way to look back on our podcast, and a nice checklist of goals to review. I'd say we did pretty good. The episode will be publicly available for a limited time, but you can maintain access to it by becoming a sponsor at any level. All contributions go to paying our expenses and helping us to grow with our audience.

We'll also have a promo from our new friends Susan and Greg at the Honey, You Should Watch This podcast. Well, not really new friends. Susan is the social media genius behind the Top Five for Fighting podcast, of which Greg is co-host with Mike. On the Honey, You Should Watch This Podcast, however, Susan and Greg choose films for the other to watch, and then resent each other forever because of it. I'm sorry, I mean discuss and analyze the films. You can find them on Twitter, Facebook, and Instagram @HoneyWatchThis.

Subscribe here to stay current with the latest releases.

Contribute at Patreon for exclusive content.

Connect with us over social media to continue the conversation.

Here we go!

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Today's movie is THE IRISHMAN, the epic historical crime drama directed by Martin Scorsese and written for the screen by Steven Zaillian, based on the book "I Heard You Paint Houses" by Charles Brandt. The film follows the life of Frank "The Irishman" Sheeran (Robert De Niro), a meat truck driver who becomes attached to the Bufalino crime family, thanks to Russell Bufalino (Joe Pesci). As Frank rises in the ranks, he's given a job as bodyguard / hitman for notorious union boss Jimmy Hoffa (Al Pacino), and history begins to take its course.

No spoilers.

All right, so I made a conscious decision not to watch this film in the theaters. Not because I don't think this film would be amazing on the big screen. I hope one day to have that experience, but the theaters featuring the film didn't have great seats, and I've been healing from a pinched nerve since mid-October, which makes sitting for three and a half hours absolutely not possible. I've seen a few "which viewing method is superior" arguments, and I'm going to skip past all that, because the answer is unique to each person. No theater experience is going to mask nerve pain. No home experience is going to free from distraction and temptation. Either way, people are seeing this film and absolutely loving it. How they're seeing it is pretty much an argument only for the Academy.

I'll also say up front that I watched THE IRISHMAN in three segments at home, for the same reasons as above. I got to avoid the pain of prolonged seating, and get a leftover turkey sandwich in the process. In addition to digesting that turkey sandwich, I was also able to digest the impressive film unfolding before me, and to look up the immense cast of characters that were showing up along the way, before diving back in for another chunk. Three and a half hours is a lot to ask of anyone, and a home viewing experience will lead to a much larger audience, and I think Scorsese understands that. I also think Netflix left money on the table by not giving this film a larger theatrical run, because having seen it once, I would definitely see it again, in a theater with seats that won't cause me pain.

Scorsese tells his best stories when they don't fit the classical film structures. Far from being a maximalist tale, full of diversions and lily gilding, every scene in THE IRISHMAN helps to tell the story of Frank Sheeran, which is layered over three different timelines. The narrative voice comes from an interview with an older Frank Sheeran, sometime before his passing in 2003, presumably with Charles Brandt although we never see who he's talking to. Sheeran begins his tale about a road trip he's taking with Russell Bufalino in 1975, but we're quickly brought even further back in time to the 1950s, where a de-aged mid-thirties Sheeran first meets a de-aged late-forties/early-fifties Pesci. Both efforts are well done, but I don't think either actor could go much younger. And from here, we watch Frank slowly and surely learn his way around organized crime.

De Niro has absolutely no trouble carrying Frank Sheeran throughout the years. De Niro is no stranger to mob roles, which makes his role as Frank feel almost like typecasting. De Niro's also one of those actors who brings a very distinct gravitas to his performances, unable to shake a certain amount of himself or his career from any role. Which makes him a perfect Frank Sheeran, but a perfect Frank Sheeran as played by Robert De Niro. And he really is perfect, from start to finish, amazing as narrator, on screen, and in his scenes with both Pesci and Pacino. Pesci is wonderfully subdued in his role, making it well worth leaving his unofficial retirement. Pacino has a more difficult time as Jimmy Hoffa, especially when he's slagging on Italian Americans. Pesci manages to outrun his career whereas Pacino feels a little trapped by it.

De Niro also works well with every one of the cast of thousands who appear in this film. In addition to the top three billing, we have Ray Romano, Bobby Cannavale, Anna Paquin, Stephen Graham, Harvey Keitel, Jesse Plemons, and even Action Bronson. Scorsese empties out his entire contact list to cast all the characters in every major part of Frank Sheeran's surprisingly well-connected life. Many characters have their epilogues on display throughout the film, most of which were killed in some mob-related encounter. I'm pretty sure the film is a shoe-in for Best Picture, solely because by my calculations, roughly half of the Academy has a role somewhere in this film.

However, that's never the only reason when it comes to Scorsese. Scorsese masterfully uses well-placed fixed position cameras and mesmerizing, moving long-takes, along with great locations, cars, and costumes for each time period. It takes exceptional talent and skill to make three and a half hours so engaging and digestible. In another filmmaker's hands, this film would be completely about the disappearance of Jimmy Hoffa, but with Scorsese, it's just another, although admittedly large part of Sheeran's life, a fact we understand very well as the film draws to a close through a very extended and enjoyable epilogue. Scorsese always delivers quality cinema, and THE IRISHMAN is no exception, remaining true to his subject by remaining true to his story. Also, a metric shit ton of profanity.

THE IRISHMAN is Scorsese in top form, drawing together a cast of thousands, anchored by three long-time collaborators. De Niro provides a solid portrayal of Frank Sheeran, supported well by Pesci as Russell Bufalino and Pacino as Jimmy Hoffa, retelling a long story from one man's omnipresent perspective. Crime film fans, especially crime biographies, should definitely check out this film. You'll see it again at Oscar time, but why wait?

Rotten Tomatoes: 96% (CERTIFIED FRESH)

Metacritic: 94 (MUST SEE)

One Movie Punch: 10/10

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

Hi everyone!

Welcome back for another entry in our ongoing series, Under the Kanopy, covering the critically acclaimed, if not commercially successful films available on Kanopy. Kanopy is a streaming service funded by public libraries and universities, giving library card holders up to six free streams per month of classic and contemporary films. Today's film, BE NATURAL: THE UNTOLD STORY OF ALICE GUY-BLACHÉ, is one of the many incredible documentaries you can find on the service. For previous entries in the series, check out HER SMELL (Episode #650), ASH IS THE PUREST WHITE (Episode #643), 3 FACES (Episode #636), and THE IMAGE BOOK (Episode #629). Plenty more on the way!

Before the review, we'll have a promo from our good friends at the How I Met Your Friends podcast. Every episode, Julie and Kathleen examine one episode of each hit sitcom, exploring the hidden connections and easter eggs within each episode. Don't miss their recent guest review for THE ROCKY HORROR PICTURE SHOW (Episode #610), where they gave the villain a brief taste of his own medicine. You can find them on Twitter @himyfriendspod,and on Facebook and Instagram @howimetyourfriendspod.

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Here we go!

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Today's movie is BE NATURAL: THE UNTOLD STORY OF ALICE GUY-BLACHÉ, the Kino Lorber and Zeitgeist Films documentary directed by Pamela B. Green and written for the screen in collaboration with Joan Simon. The documentary examines the overlooked, but influential life and work of Alice Guy-Blaché, the first female director and producer, and head of production for Gaumont Studios from 1896 to 1906. BE NATURAL also examines the efforts to locate, preserve, and transfer her many lost works for future generations to review, study, and most of all, enjoy.

No spoilers.

Before the Internet, a surprising amount of history was produced via hearsay, often unresearched, or critically under-researched, and with a clear, male bias. In the scientific world, women were systematically written out of existence, or relegated to obligatory lists of colleagues, now receiving their just recognition and rewards thanks to films like HIDDEN FIGURES and MERCURY 13 (Episode #116). However, this same erasure also happened in the entertainment industry, in subtle forms like the widespread recognition of George Lucas over Kathleen Kennedy, to the more blatant attempts to erase women from film, like the story of Alice Guy-Blaché.

If you feel bad for not knowing about Alice Guy-Blaché, you shouldn't. The trailer includes a montage of many high-profile filmmakers and scholars who know little to nothing of her work or her influence. I'm happy to admit that I knew almost nothing about her prior to this documentary, only seeing passing mention to her name in lists of early female filmmakers. Don't feel bad, though! BE NATURAL, in addition to providing a comprehensive introduction to Alice Guy-Blaché, also explains why and how her name slowly eroded from film history, and as mentioned in the opening, how they are working to re-introduce her groundbreaking work back into the historical record.

The early film industry was a far cry from the modern film industry with films which cost and generate billions of dollars. Pamela Green lays perfect groundwork for the early industry, covering the major film manufacturers, and their surprisingly limited usage. Green shows how the early films captured mostly pedestrian scenes, an upper-class novelty for home videos and curiosities, at least before Alice Guy became a secretary at Gaumont Studios, a very high-class, progressive position for women at the time. After integrating herself into the organization, she asked if she could make a different kind of film, which was titled "The Cabbage Fairy", and would be the world's first narrative short film.

Now, I need you to stop and take that fact in. An overwhelming majority of the films created today are fictional and narrative in nature, but hers was the first, and would launch a studio war in Paris to write and produce narrative films, and to generate a hefty profit in the process. Guy-Blaché would make over 1,000 films in her lifetime and would be the first to experiment with multiple now standard film techniques. She addressed issues of gender, race, and class. She would also systemize the process, from conception to display, creating an industry where one did not exist. Her initial ideas and firsts in film would be pirated and copied over and over again as other film studios began to open, which is how she ended up in the United States.

Pamela Green continues Alice's tale, from the founding of Solax Studios in Fort Lee, New Jersey, to the disruptive effects of the Great Depression, a divorce, two world wars, and being slowly disappeared from history. Green uses excellent visual aids to help tell the story, allowing the viewer to process a great deal of information in very subtle ways, akin to Guy-Blaché filmmaking style. The search for information about Guy-Blaché is also embedded into the story, with some discovered video content included as well, including restored versions of Guy-Blaché's work and a forgotten and restored interview with her daughter, Simone Blaché. Green also includes brief primers on the difficulty of preserving and transferring Alice's works from various media, especially the highly flammable nitrate film stock.

I think the most important aspect of this documentary, however, is that it completes the work that Alice Guy-Blaché spent her life doing after her film career, which was correcting the record of the early film industry and her slow erasure from it. After her autobiography was finally published in 1976, a host of researchers began separate quests to find out whatever they could about her influential life and work. As she was rediscovered, she has also been recognized posthumously for her work and contributions to the industry. Pamela Green stands on the shoulders of the researchers before her, but also adds to the growing body of work about Alice Guy-Blaché, in an excellent and accessible package.

BE NATURAL: THE UNTOLD STORY OF ALICE GUY-BLACHÉ corrects and expands the record of one of the most influential filmmakers of all-time. It's rare to find a documentary so effective and comprehensive, which balances a complete introduction to the subject as well as instilling a desire to know more. For filmmakers and film critics, there are precious few documentaries about the industry that are as important as today's film. All film fans owe it to themselves to see this documentary, for the education alone, but also for the mesmerizing visual aids and insightful look into the film industry as a whole.

Rotten Tomatoes: 96% (CERTIFIED FRESH)

Metacritic: 76

One Movie Punch: 10/10

BE NATURAL: THE UNTOLD STORY OF ALICE GUY-BLACHÉ (2018) is not rated and is currently playing on Kanopy.