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SIFF ‘23: Danish Mindf*ck ‘SUPERPOSITION’ Freaked Me Right Out

Teit (Mikkel Boe Følsgaard) and Stine (Marie Bach Hansen) are storytellers who’ve left civilization to live off the land for a year – and podcast about the experience – in Superposition. The issue is that might not be the only Teit and Stine out there. This dense and well-constructed metaphysical thriller is designed to screw with your head, with splashes of heady sci-fi creepers like Coherence, Good Night Mommy, and The Night House spliced throughout to create an unnerving exercise in existential dread and doppelgänger distress. Though impressively economic and “small” in scope, Superposition feels expansive by virtue of its big ideas and Karoline Lyngbye’s staggering, inventive direction. She ratchets up the tension and pokes at philosophical quagmires, like the meaning of fidelity in bold, metaphysical ways. It all begs the question: if you met an exact copy of yourself, would you rather fuck, marry, or kill them? (B+)

Capsule Review for Seattle International Film Festival 2023. 

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SIFF ’23: ‘My Animal’ Unleashes Queer Love and Werewolf Angst

In My Animal, Jacqueline Castel deftly blends ’80s nostalgia and Giallo inspiration into a queer, modern fairy tale. This indie film take on high school werewolf erotica feels like a darker, more niche Stephanie Meyer creation, complete with issues of abuse and alcoholism, the tension of forbidden love, and, yes, werewolf angst. Bobbi Salvör Menuez and Amandla Stenberg offer a pair of compelling lead turns as Heather and Jonny, new friends falling headfirst into forbidden flirtation, their palpable chemistry grounding the more outlandish elements of the film. A worthwhile slow-burn, My Animal succeeds in spite of obvious budget constraints, leaning into its over-the-top ’80s-inspired synth score and cheap production design element to add a nostalgic touch – which lends the howling haunt a major whiff of after-school special. (B-)

Capsule Review for Seattle International Film Festival 2023. 

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SIFF ‘23: Romantic Korean Drama ‘PAST LIVES’ Aches With the Power of Many Lifetimes

Some of the most romantic movies to ever exist (Before Sunset) don’t feature even a kiss. Enter Past Lives, Celine Song’s achingly romantic two-hander about a pair of entangled Korean childhood friends who must navigate their deep connection across 7,000 miles (she’s in New York, he’s in Korea) and 24 years as they drift into and out of each other’s lives. Song makes it all feel so natural and real, allowing an outsider’s glimpse into this simmering relationship to blossom into something closer to deep knowing and genuine intimacy, eliciting a complex spectrum of emotion that’s both universal and deeply specific. Her debut feature, which boasts spellbinding cinematography and a yearning musical score, is just so alive; as ponderous and philosophical as it is well-acted and deeply-felt. One of the best of the year thus far. (A-)

Capsule Review for Seattle International Film Festival 2023. 

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SIFF ’23: Gothic Thriller ‘MOTHER SUPERIOR’ A Tight Haunt

The occult dabblings of the Nazi party casts a dark pall over the estate of a witchy Baroness circa 1975 Austria in Marie Alice Wolfszahn’s Mother Superior. The  atmospheric, feminist midnight movie tells the story of deep-cover nurse Sigrun (Isabella Händler) as she attempts to puzzle out the mysteries of her lineage, only to stumble upon the bewitching practices of the Blood Moon Templar. Wolfszahn’s direction is economical and effective, the film clocks in at just a smidge over 70-minutes but never skimps on mood or narrative tidiness. The result is slight, spooky, and impactful; a calling card for an emerging horror talent in Wolfszahn. (B-)

Capsule Review for Seattle International Film Festival 2023. 

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SIFF ‘23: Daddy-Daughter Dramedy ‘SCRAPPER’ a Delightful Diversion

Georgie (Lola Campbell) is a 12-going-on-30 type, living on her lonesome in her London flat following the death of her mum in Scrappers. When her estranged deadbeat dad (Harris Dickinson) hops the fence and re-enters her life one day, Georgie has to navigate her newfound feelings towards her out-of-the-woodwork parental figure in writer-director Charlotte Regan’s pleasant but lightweight debut. This airy dramedy, clocking in just over 80-minutes, succeeds by virtue of the strong chemistry between its two leads, though there’s not a lot of texture to any of the other characters or character dynamics, making it a somewhat one-dimensional – though pleasant – distraction. What it lacks in narrative complexity, it makes up for in scrappy charm. (B-)

Capsule Review for Seattle International Film Festival 2023. 

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SIFF ‘23: Horrifying ‘20 Days in Mariupol’ is As Traumatic as it is Necessary 

Dying babies. Dead bodies. Mass graves. Shelled maternity wards. War crimes. 20 Days in Mariupol is not for the faint of heart. It is however an urgent and unblinking reminder of the atrocities occurring to this day in Ukraine, with director Mstyslav Chernov documenting indiscriminate violence in horrifying detail. This makes for a documentary that’s a necessary but exceedingly difficult watch. Chernov documents the horrors of war waged on the civilians of Mariupol with the resolute courage of a wartime journalist and the pressing eye of a documentarian, making for a glimpse inside the war in Ukraine that’s utterly horrifying while also being must-watch. Extremely heavy stuff. (B+)

Capsule Review for Seattle International Film Festival 2023. 

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SIFF ‘23: Belgium Drama ‘WHEN IT MELTS’ a Painful Kick in the Feels

A feel-bad Belgium coming-of-age story, Veerle Baetens’ When It Melts focuses on increasingly predatory pubescent children as they learn the art of exploitation. Icky but powerful – and powerfully performed (young Rosa Marchant is outstanding) – this somber drama is incredibly uncomfortable but packs an emotional wallop. Though it becomes increasingly obvious where things are headed, it remains an entirely engrossing – and at times rather gross – watch. Ultimately, Baetens’ film is a poignant, seething indictment of parents who fail to protect the innocence of their children. Trigger warning indeed. (B+)

Capsule Review for Seattle International Film Festival 2023. 

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Writer-Director Paul Downs Colaizzo Talks the Long Road of ‘BRITTANY RUNS A MARATHON’

Coming from the world of theater, Paul Downs Colaizzo makes his directorial debut with Brittany Runs a Marathon, a somewhat-inspired-by-a-true-story about an NYC party-girl reclaiming her life by strapping on sneaks and going jogging. Starring a very game Jillian Bell, Brittany Runs a Marathon is a fitness and lifestyle glow-up for the “Yass queen” generation that is both humorous and human, an aspect that Colaizzo found essential in his telling of the story. The writer-director discussed his motivation for directing for the first time, how he hopes to inspire audiences to become the best versions of themselves, the challenges of “learning the technical stuff” and Jillian Bell’s intense physical transformation.  Read More

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SIFF ’19: ‘YESTERDAY’ Part Sunny Beatles Musical, Part Terrible Rom-Com

With Yesterday, a rom-com Trojan-horsed in a concept comedy that imagines a world where Paul, John, George and Ringo never formed The Beatles, Danny Boyle (Slumdog Millionaire) has allowed the musical catalog of that formative group to do most of the dramatic heavy lifting. If you’re up for a poppy movie about Beatles music that co-stars Ed Sheeran, this is the movie for you. Otherwise – yeah, probably best to not pay it much mind. Using just enough of Boyle’s trademark flair behind the camera to simulate a modicum of visual intrigue, Yesterday deeply fails its quasi-sci-fi conceit by treating the intriguing parallel universe concept as mere window dressings for a lukewarm romance between struggling artist Jack Malik (Himesh Patel) who strikes it big exploiting his knowledge of Beatles music, and his DIY manager Ellie (Lily James). The movie earns good graces when its blazing through the band’s discography and seeing the world at large react to their music for the first time but the rom-com-heavy second half drags it all off the rails with Oscar-nominated screenwriter Richard Curtis (Love Actually) succumbing to one tired, obnoxious cliché after another in increasingly painful manner. (C) Read More

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SIFF ’19: Zom-Com ’THE DEAD DON’T DIE’ Is Stiff Attempt at Satire

As if struck with rigor mortis, Jim Jarmusch’s take on zombies is a DOA satire of sorts, one that’s much too self-aware for its own good. Foregoing the traditional scares of an undead creeper, Jarmusch swings and misses trying to put the “dead” in deadpan comedy. Even his pairing of stars Adam Driver and Bill Murray remains something that sounds better on paper than actually works in this context, their synchronized low-energy, unfazed drift through the world of the undead unable to get much of a rise. Read More