I honestly don’t know what is more offensive to me; Alex Kendrick’s abrasively preachy screenplay, his complete inability to direct a single sequence in a way that is realistic or technically competent, or the fact that he casts himself in what must by blindness of vanity and power. I venture to say that the acting is the most offensive, but all of Overcomer reeks of opportunism and pandering trying to disguise itself as sincere faith. It feels like the only thing that Kendrick really believes is that he doesn’t have to improve as a filmmaker for sheltered and naïve Christians to continue to throw their money at him. The only thing that has changed over a decade of shitty Alex Kendrick films (Facing the Giants, Fireproof, Courageous, War Room) is the size of the role he gives himself.
Freaks is one of those films you can almost hear the pitch for, as it is a clear hybrid of two successfully used formulas from recent past. The initial approach may be somewhat original, but this is essentially just a variation on the same mutant-human themes that have been at the center of countless superhero movies and TV series in the past few decades. Add to this trope a child character forced to spend their entire life inside a single home, and it is quite clear that Freaks was intended to be Room meets X-Men. At times this combination is compelling, while too much of the film is devoted to the protagonists bickering and in-fighting about what to do, and far too little time following through on those conversations.
The end is finally here for the Skywalker saga of Star Wars. Now that Disney owns the franchise, there are sure to be plenty of other Star Wars stories to tell, both on and off the big screen. But for many fans, this is the end of a storyline that has continued (more or less) for over four decades. This means the return of several iconic characters (Carrie Fisher is given top billing for a couple of lines and knowing looks), many answered questions (Rey’s identity chief among them), and a lot of satisfying action. The real question for many fans will not be whether or not they will see The Rise of Skywalker, but how many times, and in what format. For those who are looking for a completely immersive experience, there is no better choice than 4DX. Having previously compared the film-viewing experience to the Star Tours ride at Disneyland, it was fitting to finally see that comparison blend into one ride of movie. And for those who have never experienced the format before, The Rise of Skywalker is the ideal first film given how much time and attention has been given to every detail. Few films utilize as many effects as often as this film, which I will discuss in greater individual detail below.
In recent years there has been an increase in the number of films taking place in the mansions of extremely wealthy families, and they are often the villains of the narrative. It wasn’t long ago that the wealthy family of You’re Next suffered a home invasion plot, and we recently saw these same themes with the successful murder-mystery Knives Out. And earlier this year was the horror-comedy, Ready or Not. While Knives Out takes the social commentary a step further by making the outsider protagonist an immigrant and lower class employee of the family, Ready or Not features a beautiful blonde bride who has just married into the family. If it weren’t for a supernatural deal with the devil, one can imagine that Ready or Not’s protagonist might have been welcomed into the villainous circle of wealth, which comes with the implication that it was built upon blood of those outside the family.
It is a positive thing to see a Hollywood film with an Asian lead, especially when it doesn’t have “Asian” in the title, and somehow even more so when it is in a role of sex appeal. It is also extremely positive that a film can be made to take place predominately in a strip club, but somehow manage to avoid objectification of its stripper characters. It is also extremely relevant to tell this story of hustling during a time when much of the population feels disenfranchised, and likely to enjoy the vicarious thrills of the narrative. And somehow even with all of those positives, Hustlers still felt like a movie about a group of women who decided that they were entitled to money from men simply for their unfortunate possession of a penis.
These days I usually have to avoid trailers and other promotional materials for new film releases, as the marketing departments are more interested in selling tickets than preserving the integrity of the storytelling. As a result, I often find plot points and narrative twists spoiled long before I have even entered the theater. However, despite having watched the trailer for Where’d You Go, Bernadette, I still had little idea what to expect from the film. Was it a comedy? Was it a drama? Was it a thriller? It ends up being all of these things, and also none of them.
The idea of combining action with a demon possession narrative is not exactly original, although this is the first time I have seen an MMA-fighting character punch the demon-possessed in the face as a way of combating the evil. At the same time, although the possession narrative may have added action elements, this never removes the dramatic core of the story in the South Korean horror film, The Divine Fury, which fittingly deals with issues of faith lost and regained. William Friedkin has long said that he considers The Exorcist to be more of a film about faith than horror, and The Divine Fury follows in that tradition. It just adds some enjoyable fight choreography along the way.
Typically the films I am most excited about experiencing in 4DX are the ones that promise the widest variety of effects. Sure, it is nice to have the seats move, but that is pretty a much a constant through most 4DX experiences. The additional effects like snow, rain, or fog machine only occur at key moments, making their use that much more impactful. With that being said, I was sold on seeing Ford v Ferrari in 4DX after seeing the trailer in the format, and it was able to convince me with the use of seat motion alone. Some of the other effects are used sparingly, but the primary reason for seeing this film in the immersive format of 4DX is for the experience of feeling every gear shift, acceleration, and curve in the road, through the motion of the seats.
Good Boys knows how to push the boundaries just enough to guarantee an R-rating and the possibility to offend some of the more conservative audience members, but at its core this is a carefully calculated studio film that makes sure to toe the line without ever coming close to crossing it. In other words, Good Boys likes to play at being shocking and offensive in the same way its protagonists are playing at being grown ups. It is laughable when compared to any truly edgy films. Even studio films of the past have been willing to take more risks, while the main source of edginess in Good Boys is the involvement of young actors.
Less of a documentary and more of a soundscape film in the tradition of the Quatsi trilogy, and the other films by Godfrey Reggio and Ron Fricke, Aquarela is a distinct cinematic experience. Sequences are linked thematically by spectacular high definition photography, careful editing, and a mood-inducing score. But while the Quatsi trilogy often considered the impact of human development, Aquarela remains solely interested in the terrifying power and simultaneous beauty of nature.
For everyone anxiously awaiting the next installment of the Cross superhero film franchise, Cross: Rise of the Villains, it has arrived. Now that I have addressed the parents of family members with supporting roles in the film, I can address everyone else. There is absolutely nothing redeeming about this film beyond the paychecks it provided an assortment of washed up minor celebrities. And there is nothing impressive about the film beyond its ability to attract name actors, all of which sleepwalk through their performances.
The Swan Princess may be celebrating its 25th anniversary, but watching the Blu-ray release that coincided with this occasion was my first opportunity to see the film. I probably should have watched it for the first time at a younger age, because The Swan Princess is a film that is far easier to love with nostalgia attached. For me, I had no childhood connection and was simply able to see how dated both the narrative and the animation style truly is.
Despite being late additions to the franchise, Dwayne Johnson and Jason Statham have easily been the best part of the last few Fast and Furious films, so it must have seemed like a no-brainer to give them their own spin-off film. Unfortunately, even if the other characters have never been my favorite, it is hard to deny that something is missing from this endeavor. Worse yet, what the film does contain feels as though it was formulated by a committee of writers determined to mine and imitate the successful moments from the franchise, rather than attempting something innovative or original.
releases are merely about the status quo of entertainment standards these days.
As long as it makes for a good trailer, nothing else really matters.
With a title like Legend of the Demon Cat, I was uncertain what genre the narrative belonged to until I had already viewed a majority of the film. From the word ‘Legend’ one might assume martial arts or action of some sort, while the phrase ‘Demon Cat’ certainly brings to mind the horror genre. In reality, the film belongs to neither. There are sequences of action and a few gruesome deaths, but this film owes more to period costume dramas than either action or horror. The most difficult thing about the film is managing expectations, both brought from the title and expectations from Chinese epics. Well, that and the often unconvincing CGI cat.
It is difficult to tell if the re-release of the original film adaptations of the classic TV series is a way to promote the upcoming film reboot of Charlie’s Angels, or simply a way to capitalize on the anticipation of that film to sell a few past properties again. Either way, I am not sure that it was the best idea. For those looking forward to the new film, I suppose the release of the old ones is a double-edged-sword. On one hand, Charlie’s Angels: Full Throttle is so incredibly bad that it removes any interest in the franchise. On the other hand, this film is so incredibly bad that anything coming next will be an improvement.
At only 85-minutes, My Son doesn’t waste much time with exposition or sub-plots. Instead, it dives right into a storyline involving the frantic actions of a father after his son’s disappearance. This makes it a lean and effective thriller, even if it simultaneously limits the room for creative revision of a familiar storyline or intelligent explanations for character actions. It combines the mystery-suspense elements from Tell No One with the emotional impact of the separated father/son storyline of Come What May. In the end, My Son definitely feels like a Christian Carion film, though not his best.
Even with the popularity of zombie movies waning in culture, a Zombieland sequel has potential to reverse the recent failures in this particular undead subgenre of horror. What Zombieland: Double Tap promises is also it’s greatest asset, and something no new season of “The Walking Dead” has ever been able to guarantee; all of the original cast has returned. It has been ten years since the first movie, so the reunion of Abigail Breslin, Emma Stone, Woody Harrelson, and Jesse Eisenberg is an impressive feat. Their reunion is met with a screenplay (Dave Callaham, Rhett Reese, and Paul Wernick) that is clever one moment and a bit too obvious in the next, but it is an easy view at just under 100-minutes. The inconsistency in the material prevents Zombieland: Double Tap from reaching the level of the original, though this is without the added entertainment value of the 4DX experience.
There are a lot of things that don’t make sense in The Lingering, and that includes the basic premise of the film. What sounds like a generic haunted house narrative is complicated by the fact that ghosts and zombies are censored from art by the Chinese government. This explains the careful language describing the supernatural element as a “strange and dangerous presence” rather than a ghost or haunting, but this film still might now have been made if it weren’t for a bit of ambiguity and a shovelful of propaganda mixed in with the melodrama that inevitably replaces the horror.
One location, bad CGI, and a storyline that feels made for a pre-teen audience; these are the defining elements of Andy Lau’s Kung Fu Monster. It is disappointing in a way that a lot of Chinese cinema has become in recent years, and a way that should be familiar to American audiences. Try as they have to make this film entertaining to as broad of an audience as possible, the end result is too childish for adults and may even be too monotonous for the attention span of the modern child. It is hard to believe this filmmaker once made Infernal Affairs.