Shana Feste’s pot-slinging cross-country road-trip dramedy deals in paternal disappointment and familial reconciliation but remains a bit high on its own supply. Vera Farmiga and Christopher Plummer stand out as a neurotic, animal-rescuing single mother and her laid-back, ne’er-do-well father, an 85-year old who enlists grandson Henry (Lewis MacDougall) to help sell marijuana under her nose. A well-meaning bong-rip of family drama, if a bit meandering and overcooked, Boundaries is definitely not your average stoner film, and works best as an earnest two-hander between the always reliable Plummer and Farmiga. (C) Read More
SIFF ’18 Capsule Review: ‘BLUE MY MIND’
A maybe-mermaid metamorphosis, MDMA, and mean girls combine to make Blue My Mind an unforgettably queasy coming-of-age body horror fantasy. Lisa Brühlmann’s Kafkaesque sexual awakening exists somewhere between Raw, Girlhood and The Fly – a Cronenbergian exploration of feminine maturation that deals in earnest themes of friendship and acceptance, tackling the challenges of life’s transitions through a unique, sexually-charged, and often dangerous lens. This Swiss import boasts the distinction of complicated performances (Luna Wedler’s fire) and a supercharged young talent in Brühlmann, who, mind-blowingly, submitted this as her film-school thesis. Bravo. (B+) Read More
SIFF ’18 Capsule Review: ‘REVENGE’
Vengeance is a dish served gory in this stylish, brutish bloodbath that updates 70s rape-revenge fantasy exploitation films to the #MeToo era. The bare bones plot leaves Jen (a hypnotic Matilda Lutz) pitted against three male assailants/trophy hunters, stranded in the middle of nowhere with an axe to grind. Hallucinatory camerawork and a throbbing soundscape bring artsy flair to this otherwise stripped-down final girl kill-fest that pops with cringetastic, French New Extremity levels of blood geysers. At nearly 2 hours, the feminist horror crowd-pleaser drags in spots but deeply satisfies nonetheless. (B+) Read More
SIFF ’18 Capsule Review: ‘FIRST REFORMED’
What is it to have faith, Paul Schrader’s haunting, meditative drama asks, luring audiences into a dreamlike spiritual journey in avant-garde exploration of the disharmony between modern religion and biblical teachings. This artful collision of good intentions turned awry and infectious melancholia pulsates with themes of despair, environmentalism, ailment and self-loathing, lead by a naked knockout of a performance from Ethan Hawke. Reminiscent of Taxi Driver (which Schrader wrote), First Reformed is an arthouse miracle of filmmaking and one of the most impactful, poignant, thought-provoking movies about faith ever made. (A) Read More
SIFF ’18 Capsule Review: ‘WON’T YOU BE MY NEIGHBOR?’
A potpourri of warmth and goodheartedness, ‘Won’t You Be My Neighbor’ explores Mr. Rogers’ overwhelming generosity of spirit and his well-concealed demons through the lens of his radically unfussy television program that ran from 1963 until 2001. Putting the unlikely star back in the spotlight, this heartwarming and tear-duct-attacking documentary from Morgan Neville dazzlingly teaches that we probably never deserved this low-spoken, child-whispering icon and yet his benevolent lessons on acceptance and kindness are more necessary today than ever. A good-natured salve for the soul and inspiring portrait of blinding decency. (A-) Read More
SIFF ’18 Capsule Review: ‘AMERICAN ANIMALS’
Bart Layton’s audacious feature debut uniquely tacks together documentary and narrative styles to tell the stranger than fiction tale of a notorious art heist gone horribly wrong. Barry Keoghan and Evan Peters are strong as apathetic, bored college students who fall victim to glamorized fables of the perfect crime in Layton’s white-knuckle exploration of young white male entitlement and the dubious nature of truth and memory. This slick caper boasts a unique storytelling approach and gripping moments of high tension but struggles with pacing and periphery character development. (B) Read More
Sundance ’18 Review: ‘TIME SHARE’
Hell is a timeshare. A designated parcel of property allocated to your family for one immobile week each year. A curated escape, one characterized by pool floaties, crawfish-colored sunburns and frozen cocktails melting in plastic hurricane cups, that lives in a state of semi-stasis. There’s a kind of “Twilight Zone” quality to the whole notion of the billion dollar industry – this turnstile of the self-safe experience, pocked with undulating regret for much of its clientele. Anyone who’s ever attended one know that the only thing worse than being padlocked to an eternal timeshare is facing a sales rep at a timeshare pitch and Sebastián Hofmann’s film, the aptly named Time Share (Tiempo Compartido), captures the sheer horror of that corporate jockeying for one’s undying commitment. Read More
SIFF ’17 Capsule Review: ‘PYROMANIAC’
A brightly burning ode to a troubled firestarter who happens to be the son of the fire chief in a small Norwegian village of about 800, Pyromaniac is an unsettling if unfulfilling character study. This mysterious slow-burn is more interested in the human drama than the narrative twists it sets up but fails to satisfyingly reveals the arsonist’s true motives – and I’m not convinced the ending is nearly as impactful as it ought to be – but Pyromaniac is accented by fiery cinematography and catchy Scandinavian punk rock, which helps it burn just a bit brighter. (C+) Read More
SIFF ’17 Capsule Review: ‘AT THE END OF THE TUNNEL’
Rodrigo Grande’s devilish Argentine caper pits a paraplegic engineer against a malevolent troop of thieves burrowing beneath his house to rob a nearby vault. Nail-biting and pitch black in tenor, At the End of the Tunnel employs star Leonardo Sbaraglia’s dramatic chops to create a complicated protagonist, even if his villainous counterparts are at times cartoonishly evil. Drawing inspiration from the likes of David Fincher’s Panic Room, Grande’s is a worthwhile pursuit for those who want a little slice of dark Hollywood sheen to their foreign language dishes. (B-)
SIFF ’17 Capsule Review: ‘CITY OF GHOSTS’
A stirring tribute to the journalistic heroes of ‘Raqqa is Silently Being Slaughtered’, City of Ghosts takes us into the epicenter of Syria’s ISIS occupation where a troop of citizen journalists seek to expose the true horror tearing their world to pieces. Matthew Heineman’s immersive filmmaking peels back the curtain, crafting a definitive take on one of the world’s most horrific war zones. The personal sacrifice each of the subjects must endure – some are killed, others see their families killed in their place – is unspeakably heartbreaking but Heineman’s powerful documentary never exploits their pain for political means. Must-see investigative journalism, City of Ghosts is a terrifying vision of hell on earth. (B+) Read More