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Baby horror has long been a vital subgenre beneath the horror umbrella. The possibilities that come with the fundamental mysteries of pregnancy and giving birth are myriad. You can do demonic possession or supernatural rituals or weird science, all with a body horror underpinning that comes part and parcel with the whole situation.

Of course, these movies aren’t always good.

Take “False Positive,” newly streaming on Hulu. I had high hopes for this one, honestly. Ilana Glazer stars and co-wrote the script with director John Lee. Both of them have some legitimately weird credits to their name. Throw in Justin Theroux and Pierce Brosnan as co-stars and you’ve got my attention.

Unfortunately, while the film starts with some real promise, it never quite gets to where we want it to be. Instead, it devolves into a muddled mishmash of dream sequences and “What is real?” psychodrama that never finds its footing after the strong start. Too many decisions make little or no sense; there’s never any sense behind why people are behaving the way that they are. We’re left with a confusing and ultimately unsatisfying film that never quite decides what it wants to be. Again, there are moments of strength, but not nearly enough of them.

Published in Movies

A major key to the ongoing success of Netflix is their ability to find and exploit market inefficiencies, an ability that applies to both the business side of the operation AND the production side.

Take romantic comedies, for instance. Rom-coms once ruled the box office, but have largely fallen off in the face of an increased reliance upon IP-based CGI-driven franchise fare. However, plenty of rom-com aficionados (I count myself among their number) are still out there. Netflix, seeing that underserved audience, set loose their algorithms and whatnot and began churning out romantic comedies. Not all of them were good and a lot of them were bad, but they still scratched that itch.

A more recent trend has been the notion of somehow deconstructing the rom-com, making different sorts of films using that genre as a template. And again – sometimes it works, sometimes it doesn’t.

“Good on Paper,” the latest Netflix rom-com, is the streamer’s latest effort at that sort of spin. Directed by Kimmy Gatewood from a script written by comedian Iliza Schlesinger (who also stars), it’s ostensibly based on true events from Schlesinger’s life. It’s a clear effort to find a darker angle on the traditional romantic comedy.

A clear effort, but not a successful one.

The film suffers from an inability to settle on precisely what kind of movie it wants to be, which is really too bad; if “Good on Paper” committed more fully to going in either direction – either more thoroughly embracing the shadows or going in a more traditional rom-com direction – it would have been far better. Instead, it’s a clumsy and intermittently watchable film, one that squanders a great deal of potential.

Published in Movies

There are any number of reasons that one might want to heap praise on Pixar. The studio has been producing exceptional work for almost three decades now, redefining the possibilities of American animated filmmaking along the way. Many of the films they’ve made over the years have become legitimate modern classics, iconic movies beloved by audiences and critics alike. Pixar films are fun and funny, packed with jokes and references aimed at every level of the audience.

Now, this success can be a double-edged sword. Because the studio has proven itself capable of crafting these wonderful works – arguable masterpieces, in fact – they can also find their efforts being viewed as somehow disappointing if they offer up a film that is merely very good. It’s not really fair (save in the case of the two “Cars” sequels, which, by all means, be disappointed).

Some people will argue that the latest Pixar offering – “Luca,” directed by Enrico Casarosa currently available for streaming on Disney+ - is minor Pixar. And those people won’t be wrong. However, what we need to remember is that even a lower-tier Pixar film is almost certainly a legitimately good film (again, leaving aside the aforementioned “Cars” movies).

That’s definitely the case with “Luca,” which is a charming and touching coming-of-age tale about fitting in and making friends and learning to accept yourself for who you are. It doesn’t have the full depth of emotional complexity that we often see from the studio – though you’ll still have plenty of feels – and it certainly seems more directly kid-oriented than some of the more layered Pixar offerings, but so what? It’s still a delightful movie experience, one that might even prove to resonate a little more fully with younger audiences than some of the more celebrated adult-conscious fare.

Published in Movies

Expanding one’s horizons is usually a good thing. Getting out of a comfort zone and trying something new can be a rewarding journey. It’s the sort of experience that can prove refreshing to one’s creative spirit.

A perfect example of said horizon expansion is when a noted comedian or comedic actor opts to make the leap into a more dramatic role. There’s something admirable about someone who is willing to take their talents in one sphere and explore whether those talents transfer to another. Now, it doesn’t always work, of course, so it’s an interesting crapshoot of sorts.

“Fatherhood,” newly streaming on Netflix, is the latest entry in the “comedic actors tackling dramatic roles” canon. Starring Kevin Hart, it’s a movie about the struggles of a single father dealing with grief and loss while also trying to ensure the best possible life for his child. Directed by Paul Weitz from a script he co-wrote with Dana Stevens, the film is based on Matthew Logelin’s 2011 memoir “Two Kisses for Maddy: A Memoir of Loss and Love.”

While there’s no denying that the film is a touch formulaic, it definitely has a surprising heart. And a surprising Hart, as far as that goes – he leads a solid cast with a performance that is considerably deeper, subtler and more nuanced than you might expect from him. Honestly, the film’s plot and narrative beats won’t surprise you, but the emotional impact just might.

Published in Movies
Tuesday, 15 June 2021 22:12

‘In The Heights’ flies high

Full disclosure: I love a movie musical.

I love the big production numbers and over-the-top performances. I love storytelling through song and watching scores of extras dance in unison. I love the way that a three-minute song can do the emotional heavy lifting of a half-hour’s worth of dialogue.

So I was always going to dig “In the Heights,” the Jon M. Chu-directed film version of Lin-Manuel Miranda’s iconic musical of the same name, currently in theaters and available via streaming on HBO Max. Sure, I had a few minor misgivings – the film had passed through multiple hands on its way to the screen, which is rarely a positive sign – but with Miranda and Quiara Alegria Hughes both onboard, I figured at the very least, we were looking at a high floor.

But as it turns out, the title is indicative of a lot more than just the neighborhood in which it is set, because by God, this movie SOARS.

Published in Movies

There’s no accounting for taste – especially in Hollywood. Concepts like “good” and “bad” are mere abstracts at the highest levels of the movie business. The quality of the product itself is secondary; all that matters is the money. And when a movie makes a lot of money, there’s a good chance we’re going to get a sequel. Even if the movie in question is kind of terrible.

Hence, “The Hitman’s Wife’s Bodyguard.”

This awkwardly-titled sequel to 2017’s mediocre-at-best action-comedy “The Hitman’s Bodyguard” can’t even rise to the level of the rather low bar set by its predecessor. This new offering features Samuel L. Jackson and Ryan Reynolds reprising their roles as the titular hitman and bodyguard, respectively; Salma Hayek is back as well (she’s the wife). A collection of new faces appears as well, including a handful of folks who definitely should have known better.

Gotta tell you - it’s not good, folks.

That first film managed to get by on the energy of its two leads and the chemistry between them, occasionally reaching the level of store-brand “Midnight Run,” but even that sense of fun is long gone in this new entry. Instead, we get a tonally inconsistent combination of smug mugging and bloody violence that isn’t nearly as funny as it seems to think it is, presented to us alongside a confusing and borderline nonsensical plot and a bunch of rote, repetitive and generally uninteresting action sequences.

Published in Movies

When a film trots out the phrase “based on a true story,” that can mean a lot of things, from a meticulous recreation of well-documented events (albeit with some dramatic license) to a largely constructed fiction that borrows a couple of ostensibly true elements from a preexisting story. But if the “true story” in question already has a complicated relationship with veracity?

Well … then you get “The Conjuring” films.

The latest installment in the increasingly sprawling horror franchise is “The Conjuring: The Devil Made Me Do It.” It’s the third “Conjuring” film proper, though there have been a number of spin-off/tangentially connected movies as well. Directed by Michael Chaves from a screenplay by David Leslie Johnson-McGoldrick, it’s a continuation of the supernatural adventures of paranormal investigators Ed and Lorraine Warren.

As with any franchise, the law of diminishing returns is in play; this one is no exception. While it does feature some solid performances and a couple of decent jump scares, the truth is that this new offering doesn’t reach the level of the previous two films in the series.

Published in Movies

There are a LOT of movies out there.

Thanks to the increasing affordability and exponential increase in quality of film equipment, the barriers to entry with regard to filmmaking are lower than they have ever been. It has never been easier to make a film.

That’s not to say that it is EASY. Making a movie is still a daunting enterprise, and while there are fewer obstacles, certain realities with regard to financing and distribution remain. Filmmakers still have plenty of hurdles to clear.

In some cases, these indie films prove to be showcases for great work, with the people involved finding ways to stretch every available resource to create something excellent. In those cases, the filmmakers find ways to work with their constraints; their movies likely have their flaws, but their pros far outshine their cons.

In other cases, well … not so much.

Unfortunately, the new film “Introducing Jodea,” directed by Jon Cohen from a story by Chloe Traicos (who also stars), falls largely into that latter category. The film – yet another cinematic riff on “Pygmalion” – tries to poke fun at the Hollywood machine while telling an engaging love story, but the effort never quite resonates.

It’s a good-faith attempt, but the film simply can’t reach the level to which it aspires. And while some of the blame can certainly be placed on lack of resources, the reality is that there’s not enough here. It just doesn’t work.

Published in Movies

For many high schoolers, interscholastic athletics are a highlight of their young lives. The joy of competition intermingles with the many lessons that can be learned on the playing field – lessons of determination, of sportsmanship, of the value of hard work – and sports become an integral part of the overall school experience.

But those opportunities don’t always get extended equally.

“Changing the Game,” a documentary currently streaming on Hulu, takes a look at three individuals who are dealing with the struggles forced upon them due to their respective identities. These three young people are transgender, attempting to navigate high school sports in a landscape where different states have different rules and different attitudes about how (or even if) transgendered kids are allowed to compete.

The film, directed by Michael Barnett, follows these three athletes through their sporting journeys. Each of them is faced with prejudices regarding who they are and questions about the fairness of their presence, even as we see the support systems at work around them. It’s a thoughtful and well-executed piece, an at-times heartbreaking examination of the politicized chaos drummed up by fear and lack of understanding that also finds time to celebrate the victories of its subjects, both on and off the field.

Published in Sports

The cinematic landscape is littered with unnecessary sequels.

The reality is that in this time of IP franchise building, any original film that achieves box office success is almost certainly going to receive the sequel treatment, regardless of whether the story actually lends itself to continuation.

Often, that leads to sequels that bear only tangential connection to their predecessors, both in terms of commercial and critical success. To wit – they’re worse and fewer people see them.

However, that isn’t always the case. Sometimes, a filmmaker is able to craft an addition to their initial story that contributes something more to the story being told while also maintaining the spirit of the original, even if that original seemingly concluded satisfactorily.

“A Quiet Place Part II” – writer-director John Krasinski’s follow-up to his excellent 2018 “A Quiet Place” – falls into that latter category. While that first film didn’t necessarily seem to cry out for a sequel, its success ensured that it would get one nevertheless. And while I think one can argue that this new film is in fact largely unnecessary, that doesn’t mean that it’s bad.

Quite the opposite, really.

Now, it doesn’t clear the high bar set by the first movie, whose surprising and innovative craftsmanship made it one of the best horror movies of recent years. But it does have plenty to offer, and with Emily Blunt to lead the cast and Krasinski steering the ship, it proves to be quite a successful film.

It’s bigger and louder than the first film – sometimes to its detriment – but it still manages to expand upon that film’s world, both in terms of the apocalyptic present day and, through flashback, the horrifying swiftness of society’s collapse beneath the weight of an attack by a seemingly invincible enemy.

Published in Movies
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