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SIFF ‘23: The Toxic Workplace is a Silent Killer in ‘NEXT SOHEE’

A contemplative and unique Korean thriller, Jung Ju-ri’s Next Sohee is artfully directed and performed with reserved grace. Sohee (Kim Si-Eun) is an “extern”, a student worker exploited for their labor, mandated to work a call center as a precondition for graduation. Ju-ri turns the office worker grind into a mental prison that chisels away Sohee’s identity, dulling her sparkling presence to a nub. Gaslit by her superiors, manipulated into manipulating customers, subject to degrading psychological warfare, it’s no wonder Sohee is falling apart. Ju-ri paints a portrait of a young adult’s evolution from student-to-worker that’s deeply dehumanizing, revealing a shockingly broken system that’s intentionally stacked against the Sohees of society. Powerful stuff. (B+) 

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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It’s Grizzled Prospector vs. Nazis In Badass War Actioner ‘SISU’

There’s an entire genre of movies where a grizzled old-timer with a particular set of skills gets entangled with unsuspecting ruffians who mistakenly stick their noses in his business. Sisu, a Nordic import from writer-director Jalmari Helander, distributed in the U.S. by Lionsgate, is exactly that movie. Only a bit better than you’re used to. Helander’s down-and-dirty prospector vs. Nazi actioner has no interest in rewriting the bones of these familiar trappings so much as getting that formula almost perfectly right, in part by setting it in Nazi-occupied Finland in the closing moments of WWII. Focusing on over-the-top physicality and no-holds-barred brutality, Sisu is an ultra-violent exploitation B-movie that caters to its simple strengths at nearly every junction. Read More

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Existential Dark Comedy ‘BEAU IS AFRAID’ is Unhinged, Overlong, Hysterical 

Reeling from the death of his iconoclast mother, an emotionally stunted, mentally ill man must traverse to her funeral in Ari Aster’s oft-indescribable dark comedy, Beau is Afraid. Aster frames the journey as if he were Homer himself, making for a melodramatic and depraved comedy of errors turned familial nightmare, stuffed to the brink of bursting with pure orchestrated chaos. Shocking, subversive, and very often hilariously funny, the genre-defying A24 feature stars Joaquin Phoenix as the titular Beau, a man for whom the pressures of the world are quite overwhelming. The film plays like What About Bob as remade by the director of Hereditary, but as an Oedipal fever dream. It’s a lot thematically. It’s a lot structurally. It’s a lot from a performance-perspective. It’s just a lot of movie. And most of it is pretty brilliant. Read More

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Army Commercial ‘GUY RITCHIE’S THE COVENANT’ Fails to Explore Anything of Value

Guy Ritchie’s The Covenant, stylized as written, with the director’s name in the title, for reasons unknown, is the kind of movie that feels the needs to define what “covenant” means for its audience. This takes place not in the opening moments, but as a punctuation mark to the whole affair. As if the intended audiences is so unfamiliar with the dictionary that they don’t even understand the definition of a seventh-grade vocab word. And yet would still show up to see a movie called The Covenant. I’m sorry, Guy Ritchie’s The Covenant.* This fact becomes even more bewildering the more we dig into what this alleged “action-thriller” is actually about and what its apparent intention is. Read More

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‘RENFIELD’ Is a Cringy Husk of a Vampire-Comedy

In a world where the utterly iconic What We Do in the Shadows exists, it’s a real affront to the entire motion picture medium that a hacky, low-brow vampire-farce like Renfield somehow passes muster and makes its way onto our screens. Reanimating the corpse of the Dracula story for this “horror-comedy” – one that’s notably short on both horror and comedy – director Chris McKay (The LEGO Batman Movie, The Tomorrow War) mashes together the lowest common denominator (demon-inator?) of both genres to make something that is almost entirely devoid of charm, joy, and a pulse. Read More

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‘AIR’ is Supremely Likable But Short of a Slam Dunk

Ben Affleck’s unlikely sports drama Air is a surprisingly involving, often very funny piece of corporate histrionics. The Amazon Studios and Warner Brothers coproduction about Sonny Vaccaro (played by Matt Damon) and Nike’s risky venture to land a contract with hotshot NBA rookie Michael Jordan in a bid to invigorate their failing basketball sneaker line isn’t the kind of movie that pops on paper but under Affleck’s steady hand, it’s a verifiable upset of a feature. Read More