VOD

THE FAREWELL (2019)

January 22, 2021

(kanopy/Prime/VOD)? With the recent handwringing about theaters potentially going out of business due to the pandemic, a lot of folks focus on the communal experience of shared spectacle and of whiplash moments, but few discuss how the darkness of theaters also allow us to nakedly indulge in other emotions with strangers.

Case in point: THE FAREWELL. (Warning, some small spoilers ahead, but really, they aren’t.) I watched it solo on a balmy Friday night, late in July 2019. There was a fairly sizable crowd and, while we laughed and tensed up at every well-crafted moment, it was the end — and I don’t mean the epilogue — that brought the entire room to tears. As the taxi drove away, everyone was audibly sobbing, men and women, myself included. (Although, I admit, I’m a soft touch when it comes to tears.)

Obviously, we were saddened for Billi, for her grandma, for the front that the family felt forced to put up, their regret at not being able to be truthful and have proper closure. However, as the camera revealed the rest of the family inhabiting the cab, it felt like we were also crying for those around us who had lost family, who knew what it was like to experience unreconciled grief. The theater became a shared funereal experience, one that simply wouldn’t have happened in a brightly lit room with a giant LCD screen.

While the film’s epilogue staunched the tears a bit, there remained a somber feeling in the air as we numbly walked towards the exit, barely looking at one another, perhaps a bit embarrassed, perhaps a bit raw. It’s these sort of experiences I’ve missed the most during the pandemic, and I’m sure I’m not the only one.

THE BROKEN HEARTS GALLERY (2020)

January 20, 2021

(Starz/VOD) A funny and surprisingly sweet quarter-century crisis film/rom-com that’s is well-calibrated for minds hungry for loads of smart quips.

Lucy (Geraldine Viswanathan, BLOCKERS, MIRACLE WORKERS), a mid-20s pack rat with the habit of hanging onto keepsakes of her exes, is working towards her dream job as a gallery owner with her attractive and responsible boyfriend Max (Utkarsh Ambudkar, PITCH PERFECT) at a NYC museum run by her idol Eva Woolf (Bernadette Peters, who needs no introduction).

Within the span of one night, she loses both Max and her job and, in a drunk/depressed stupor, gets into what she thinks is her Lyft, but it’s just one dude who forgot to lock his passenger side door. The dude, Nick, takes pity on her and drives her home, and they start orbiting around each other. Lucy discovers that he’s trying to rehab an old YMCA into a hotel, and she takes the opportunity to set up a gallery inspired by her attempts to let go of her exes’ knickknacks, hence the title of the film.

This is writer/director Natalie Krinsky’s debut film, but she’s been writing for TV — including a long run on GOSSIP GIRL — for quite some time, and it shows. The heart of the film is the bluntly smart and rapid comedic patter of the dialogue, as opposed to flashy visuals or convoluted set pieces — although he film’s lighting is vibrantly under-lit, a rarity in rom-coms — and Krinsky couldn’t have hoped for a better lead for her script than Viswanathan. While Viswanathan has always stood out in every work she’s been involved in, her extremely expressive face and ability to turn on a dime pulls off a character that could come across as a bit too intense or creepy.

Viswanathan doesn’t have to solely carry the film on her shoulders either, as the supporting cast is ridiculously talented and fill out the film’s flavor: Lucy’s extremely supportive, but gloriously unique, roommates are HAMILTON’s Phillipa Soo (not a role I expected to see her in) and Molly Gordon (TNT’s ANIMAL KINGDOM and Hulu’s RAMY), and Arturo Castro (BROAD CITY, NARCOS) has a great rapport with Lucy as Nick’s friend. Even Nathan Dales (LETTERKENNY) pops up in a slightly gimmicky role!

While the breathless jokes, earnestness, and conventional story beats may turn some folks off, I couldn’t help but embrace it. In a genre full of paint-by-numbers comfort food mediocrity, it’s nice to see a rom-com add some verve and push the boundaries a bit, while remaining supremely entertaining.

POPEYE (1980)

January 18, 2021

(HBO MAX/VOD) This is perhaps one of the strangest films in Altman’s already eclectic oeuvre: a live-action children’s musical adaptation of the comic strip adventures of Popeye, penned solely for the screen, directed by Robert Altman, with Robin Williams as Popeye. Yes, this happened, all because Paramount lost the bidding war for the film rights to ANNIE.

Turns out, this mixture of incongruent ingredients actually worked. The shantytown feels like Altman’s returned to MCCABE & MRS. MILLER, and his trademark overlapping dialogue finds a home in over-crowded comedic numbers. The songs, while extraordinarily basic, are sweetly catchy and are always in-tune with the characters, while also managing to mine the past of the comics and animated reels.

Altman also managed to luck out with a rather subdued Williams, who perfectly encapsulates Popeye’s mutters and utterances, while also being able to turn on the physical bravado when necessary. Also, there’s Shelley Duvall, in the role she was born to play: Olive Oyl. Altman gives her more to work with than you’d expect of Oyl and Duvall runs with it, while still echoing the familiar in-peril shrieks but buttoning it with a defiant barb.

If there’s one fault of the film, it’s the camerawork, which approaches physical comedy with Altman’s standard approach to his improv-centric filming style: a hodge podge of clumsy master shots. Sadly, that doesn’t play well with the slapstick scenes here, so several of the big physical numbers feel slipshod.

Otherwise, this feels like a template for future musicals adapted from ill-fitting sources. While it wasn’t nearly as successful as ANNIE, it’s a far more interesting work.

VIVARIUM (2019)

January 16, 2021

(Prime/VOD) A high-concept slow burn about a couple (Imogen Poots and Jesse Eisenberg) who, in the process of looking for a house, find themselves trapped in an empty suburban development with no exit.

VIVARIUM recalls the hour-long episodes near the end of the first THE TWILIGHT ZONE run, the ones that still had a kernel of an interesting concept, but struggled to draw it out over the 50+ minutes allotted to them and, ultimately, left you feeling listless and frustrated, perhaps sighing loudly. Like those episodes, VIVARIUM has an intriguing concept, and there are a few interesting reveals peppered in, but watching Eisenberg and Poots — despite both injecting some much needed pathos into characters — try to crack the mystery of their situation while they waste away is a frustrating endeavor, especially as the film nears the end.

However! I still watched each and every one of those hour-long TWILIGHT ZONE episodes and never felt it was wasted time, and I feel similarly about VIVARIUM. Director Lorcan Finnegan and writer Garret Shanley — both of whom previously shared the same roles on WITHOUT NAME (2016) — make the film’s peculiarities feel fresh which, for a piece so focused on domestic roles and suburbia, is no small feat. Would I have preferred it to have focused on how three different sets of people would react when placed in this situation? Certainly, especially given the title of the movie, but this is the film we received, and it’s a film I’ll be chewing over for a while.

As usual, the trailer gives away too much, but here it is anyway:

THE TRUE ADVENTURES OF WOLFBOY (2019)

January 13, 2021

(hoopla/kanopy/Prime/VOD/Vudu) Paul (Jaeden Martell, IT (2017), THE LODGE) is a thirteen-year-old boy with Hypertrichosis (also known as ‘Werewolf Syndrome’), whose body is fully covered with hair. He’s grown up without his mother and feels ostracized and misunderstood by all — even his loving but somewhat misguided father (Chris Messina, SHARP OBJECTS, BIRDS OF PREY) — so, when he gets a birthday present from his mom, marking a spot in Philadelphia and promising answers, he takes off in search of her.

What follows is a misfit coming-of-age story as Paul encounters all sorts of threats and oddball friends along the way, many of whom mirror those Odysseus met during his adventure, including Sophie Giannamore (TRANSPARENT) as a singer who loves water, executive producer John Turturro as a predatory carnival owner — Turturro should really play more villains — and Eve Hewson (TESLA, previously recommended) as an energetic eye-patched punk who loves to steal.

WOLFBOY’s penned by Olivia Dufault (a playwright who has also written for LEGION and PREACHER — the very definition of an epic misfit adventure) and while the unique folks Paul meets along the way are the focal point of the film, she inserts whimsical elements while keeping them grounded in the real-world. First-time feature director Martin Krejcí manages to instill artistic wonder and scale into traditionally humdrum urban locations. A soundtrack featuring the delightfully melancholy DeVotchKa and Timber Timbre also imbue WOLFBOY with swoony charm.

In my opinion the trailer shows too much but, with this film, it’s about the journey.

LUXOR (2020)

January 12, 2021

(hoopla/kanopy/Prime/tubi/VOD) A quiet drama about British Aid doctor, Shea (Andrea Riseborough, MANDY, CHRISTINE), who is currently on leave because she’s ‘seen some things no one should see’. She embarks on a trip to Luxor, Egypt and, quite quickly, runs into her former lover of twenty years ago, Sultan (Karim Saleh, TRANSPARENT, COUNTERPART), who is there on an archeological dig.

While the above may sound like a ‘late-in-life rekindled romance’, it isn’t, although the looks and stumbled phrases they exchange upon seeing each other after so many years ensure they’ll be orbiting each other for the rest of the film. The core is a human story about a woman who is not confident that she will feel broken for the rest of her life. While the undercurrent of revitalized romance is there, it’s just one facet of Shea’s present time.

Quiet tales like these, about people with lived lives, of adult reflection, are rarer and rarer nowadays, and writer/director Zeina Durra (THE IMPERIALISTS ARE STILL ALIVE!) does an exceptional job realizing her script, letting the camera follow the actors and allow the silence to speak volumes.

SPACESHIP EARTH (2020)

January 9, 2021

(Hulu/kanopy/VOD) Released in May 2020, this doc focused on the first real attempt to create a self-sustaining, human-made biosphere, was perfect pandemic fodder, and remains that way. It’d be enough to just hear the tale of those who lived through two years of isolation, but the doc’s juiced by the corporate intrigue and mismanagement that occurred. A fascinating, bewildering experiment that calls for a slightly grander film than this, but I’m just happy to be able to experience it.

BANANA SPLIT (2020)

January 8, 2021

(hoopla/kanopy/Netflix/VOD) A delightfully filthy ‘last summer before college’ tale co-written by and starring Hannah Marks (DIRK GENTLY’S HOLISTIC DETECTIVE AGENCY, the previously mentioned I USED TO GO HERE). Marks plays April (coincidentally, also the name of her character in I USED TO GO HERE) who, after a whirlwind senior year relationship with Nick (Dylan Sprouse, as in the Sprouse that -isn’t- in RIVERDALE) — swiftly conveyed through a montage set to X-RAY SPEX’s -Obsessed With You- — the two break up. Nick rebounds with new-to-town Clara (Liana Liberato, THE BEACH HOUSE (2020)) who, much to April’s surprise, isn’t a terrible person. In fact, the two hit it off and become fast friends, despite their shared history with Nick.

It’s a winsome look at the intensity of both young love and teen friendships, earnest and honest but never too serious, and features in-jokes that are earned as opposed to a litany of pop culture riffs. First-time director Benjamin Kasulke (hard-working indie cinematographer who has shot everything from Guy Maddin’s BRAND UPON THE BRAIN to BETWEEN TWO FERNS: THE MOVIE) keeps the pace lively, embellishing bits here to wring the most from a scene, but often gets out of the way and lets Marks lead the way.

“We are going to have -one dinner- that doesn’t end in kissing fat asses or sucking dicks!”

BLOOD ON HER NAME (2020)

January 6, 2021

(hoopla/Prime/tubi/VOD) This is one hell of a neo-noir thriller. In the wrong hands, this story of mother accidentally murdering a man could have been Lifetime movie, but director/writer Matthew Pope, along with lead Bethany Anne Lind, shape it into a wickedly ruthless tale, then punctuate it with a gut-punch of an ending.

ROGUE (2020)

January 4, 2021

(Hulu/VOD) If you’re a big fan of Cinemax’s short-lived pulpy action programming — I, for one, am a big fan of one-season wonder QUARRY, based on Max Allan Collins’ gritty novels. — you’re probably familiar with M.J. Bassett, the writer/director of ROGUE *, and steadfast Cinemax action creative. (Bassett also helmed SOLOMAN KANE (2009) and SILENT HILL: REVELATIONS (2012).)

If you aren’t familiar with Cinemax’s action block, which includes STRIKE BACK and BANSHEE — the former of which Bassett contributed to — you know that you’re not watching for plot, but for jaw-dropping action set-pieces, stylish gunfights, and occasional bits of counterpointing character work. ROGUE is in the same mold: Megan Fox is a gun-for-hire, paid to form an extraordinarily well-armed troop to rescue the governor’s daughter (which governor? It doesn’t matter!) from a nefarious crime ring that traffics in guns, underage girls, and giant cats. (Before becoming a director, Barrett also was a nature photojournalist, so much of ROGUE feels like a big -fuck you- to the hurt that she’s witnessed.)

Shortly after Fox’s troop rescues the daughter and a few other girls from their cages, they find themselves stranded in the wilderness, pursued by the very angry crime ring and surrounded by the vengeful lions that they accidentally ended up freeing.

From there it dials into ‘survive until sunrise’ mode and, while the locked location could drag the material down, Bassett and the cast/crew elevate it into a thrilling romp. While Fox’s performance as an action hero is a bit hit-and-miss, the supporting cast — including Philip Winchester — insert their own quirky mannerisms and bring a bit of levity to what could otherwise be a mind-numbing array of bloody deaths. There are number of quaint little scripting details, such as one dude thanking another character for a hot grenade, during a massive firefight, that also ramp up the charm in a film that other filmmakers might not think to include.

* To be clear, this is unrelated to the giant croc film ROGUE (2007) that I recommended in October.