Author: MCDave

I'm a Mathematics Professor at West Chester University in Pennsylvania and my relaxed work environment enables me to spend time writing about my passions ... movies, music, and everything baseball.

Geekscape Movie Review: Sound of Metal

by MCDave

With 2020 coming to a close and the race to the Oscars starting to ignite, Amazon Studios unleashes a rare indie gem that should put itself in the thick of the awards season discussion. The insanely gifted trio of Riz Ahmed, Olivia Cooke and Paul Raci are hardly household names, but their days of lurking in the background of Hollywood’s finest films of the last decade are officially behind them. While Cooke is least likely to land herself an Oscar Nomination, it’s the synergy of the trio’s interconnected performances that propel Darius Marder’s Sound of Metal into one of the finest first features of the 21st century.

Ruben (Ahmed) and Lou (Cooke) are more than just the two-piece Metal band called “Blackgammon”, they’re a passionate couple whose interdependent need for one another is both beautiful and alarming. But upon living a lifestyle that’s consumed by piercingly loud noise, Ruben soon faces intense episodes of irreversible hearing loss. Ruben, a recovering drug addict, begin to fear a relapse is on the horizon, so both he and Lou agree go to a remote Recovery Community for the deaf that’s run by a Vietnam Vet named Joe (Raci).  The community only allows deaf addicts, forcing Lou to return home and Ruben to tackle his darkest fears with no one except the group of deaf strangers around him.

Ambition is nothing new to writer and director Darius Marder. As the scribe of Derek Cianfrance’s big and bold 2012 effort, The Place Beyond the Pines, we can probably assume it’s in his blood. Unlike his previous work that, despite its overall success, admittedly weakens as the minutes mount, Marder never takes the pedal off the gas. Ruben is undeterred in his quest to hear again and we, as an audience, invest our hearts and souls into this journey of hope and desperation. All along the way we’re gifted a truly masterful examination of human emotion, filled with insightful introspection and profound discussion. But it’s at the film’s conclusion where Sound of Metal rings loudest, as Marder continues to crank the dial to 11 with a brilliant and unforgettable finale that perfectly captures the entirety of Ruben himself and the personal journey we’ve all endured. Everything from obvious standout performances from Riz Ahmed, Olivia Cooke and Paul Raci, to the carefully detailed sound mixing and other technical achievements that present themselves throughout the feature, Sound of Metal is screaming with both style and substance, making it one of 2020’s greatest films.

GRADE: 4.5/5

Geekscape Movie Review: The Trial of the Chicago 7

by MCDave

History has a way of repeating itself. And with his second directorial effort, Academy Award Winning screenwriter, Aaron Sorkin (The Social Network), transports us back in time to 1968, during the pinnacle of Vietnam protests where demonstrators and law enforcement clashed in an eruption of violence that mirrors the recorded imagery of present-day America. People were divided, political animosity had reached a boiling point, and a pivotal election was on the horizon. Ultimately, it was the result of that bitter 1968 election which set the stage for Sorkin’s latest film, The Trial of the Chicago 7, one that he demanded to be released by its distributor prior to election day 2020, with the hopes that maybe this time around history won’t repeat itself.

The Chicago 7 opens with a montage of footage regarding the assassinations of both Martin Luther King Jr. and Robert Kennedy over a mere two-month span. Advocates for peace were being buried with bullet holes in their head, leaving anti-war groups with little hope that a non-violent approach would enact change and end the bloodshed abroad. Protest leaders like Tom Hayden (Eddie Redmayne), Abbie Hoffman (Sacha Baron Cohen), Jerry Rubin (Jeremy Strong) and David Dellinger (John Carroll Lynch) attempted to obtain permits for peaceful protests in Lincoln Park, but were denied by the city’s mayor. After many days of protesting that included multiple violent encounters between law enforcement and protesters, disarray surrounding the Democratic party resulted in a loss of the election. Five months later, after Nixon took office as President of the United States, the surprising arrest of these protest organizers on federal charges of crossing state lines to incite violence sparked a controversial, months-long trial that placed the usage of America’s judicial system as a tool for political warfare under the public microscope.

The true story behind this iconic moment in United States history is unavoidably complex and detailed. Yet, the living wordsmith Aaron Sorkin delivers such a sleek and crisp script that unveils key components of these event in a purposeful and periodic non-chronological manner. Sorkin wastes very little time placing the audience inside the courtroom, where a majority of the film occurs and a setting that is a true comfort zone for the writer-director. And while The Chicago 7 never quite reaches the same heights as Sorkin’s legendary 1992 screenplay for A Few Good Men, there is still plenty to appreciate in this newest work. Humor and heaviness do a delicate dance between the pages of this script. The silliness of Sacha Baron Cohen’s and Jeremy Strong’s hippie figureheads make for exceptional comic relief when it’s so desperately needed. However, their hilarious quips and antics clearly take the backseat to a more serious and ominous tone that addresses themes of racism, politicizing our criminal justice system and violence at the hands of law enforcement.

The Chicago 7 is not only a brilliantly-penned screenplay, Sorkin also steps-up his game behind the camera as the direction here represents a stark and noticeable improvement over his debut film, Molly’s Game. Furthermore, it would be a grave injustice to avoid mentioning this star-studded cast and the outstanding onscreen performances given by this ensemble. Outside of the stellar and obvious lead performances from Redmayne, Strong and Sacha Baron Cohen, Oscar Winner Mark Rylance (Bridge of Spies) brings to life such a noble and naïve character as defense attorney William Kunstler, and Frank Langella will crawl under your skin as Judge Julius Hoffman, an unfair ruler of law. These performances, in conjunction with Sorkin’s writing, create a handful of unforgettable onscreen moments. Yet, the constant busyness of having to provide an abundance of details occasionally leaves the film feeling flat in between these masterful scenes. The Chicago 7 may not be Sorkin at his best, but Sorkin not at his best is still extremely worthwhile. You can catch this bona fide Best Picture contender streaming on Netflix right now.

Stars: 4/5

Geekscape Movie Review: Shithouse

by MCDave

With the crushing loss of this year’s SXSW Film Festival at the onset of our nationwide lockdown, 2020’s year in film has never fully recovered. Thankfully, though, many worthwhile indie endeavors are bursting into the forefront of newly-released cinema. The latest low-budget gem finding its way to streaming platforms across the globe comes from writer, director and star Cooper Raiff, whose deeply genuine work, Shithouse, was crowned the Grand Jury prize winner for Best Narrative Feature from this year’s SXSW class.

The earnest and dialogue-driven film follows Alex (Raiff), a college freshman struggling to find his social footing in the highly superficial and raucous world of campus life. With a roommate (Logan Miller) who doesn’t appear too fond of him and his only source of emotional support being his close-knit family that lives over 1,500 miles away, difficulties adjusting to this new lifestyle are even taking a toll on Alex’s grades. Yet, the bored and desperate loner decides to give socializing one more chance. He attends a party at “Shithouse” where he crosses paths with his sophomore RA Maggie (Dylan Gelula) whose looking for some company after experiencing a bad day herself. Together, these two drastically different young-adults will teach each other valuable lessons about “growing up”.

Shithouse relies heavily on the emotional bond forged between its two leading character and the audience that watches their every encounter. One of the most interesting and brilliant decisions by Raiff is his shattering of stereotypes. Rather than giving us a female lead who’s more in-touch with her feelings, Raiff hands us a male who isn’t afraid to cry and wrestle with his inner emotions. Conversely, Maggie’s character is more outgoing, sexually adventurous, and less-invested in personal interactions. By turning these expected social-norms on their side, Raiff is able to craft characters that are far more interesting to examine. And if penning diverse and fascinating characters weren’t enough, Raiff also demonstrates his long list of talents both behind the camera and on the screen. Shithouse isn’t pampered with exquisite cinematography, but Raiff wisely allows for his stellar writing and the ensemble’s solid acting to shine by never overstepping from his place in the director’s chair. Speaking of the film’s ensemble, leading actress Dylan Gelula delivers an impassioned performance and co-star Logan Miller is undeniably hysterical as a source of comic relief. The only dark cloud looming over the effort is its clearly limited budget. I can’t wait to see what writer, director and star Cooper Raiff is capable of creating with a looser set of purse strings.

The number of cinematic options isn’t as robust in 2020, but the lack of content certainly doesn’t mean a step-down in quality, especially when it comes to Cooper Raiff’s Shithouse. The film beautifully captures the struggles of transitioning into adulthood through the lives of two imperfect and naïve college students. Shithouse is fully deserving of its SXSW Grand Jury recognition and it’s a fantastic directorial debut from a truly versatile budding artist.

Stars: 3.5/5

Geekscape Movie Review: The Gentlemen

by MCDave

Director Guy Ritchie has always been a bit of enigma to me. While you can tell that operating in his comfort zone typically involves shady dealings, ruthless thugs and a whole lot of illegal money, Ritchie will also go on a head-scratching adaptation-spree that includes works like Disney’s live-action remake of Aladdin and a unique twist to the story of King Arthur. But no matter where you stand with the Snatch director, we can all agree that Ritchie’s on the top of his game when he’s delivering a story exactly like the one he brings in the new crime mystery, The Gentlemen.

Ray (Charlie Hunnam) is the right-hand-man for drug lord Mickey Pearson (Matthew McConaughey). Fletcher (Hugh Grant) is a sleazy private detective who digs up dirt on wealthy and powerful men and sells it off to the highest bidder. But when Ray finds Fletcher waiting inside his home and demanding a hefty payout from his boss Mickey, the two men try to piece together everything they know about a very elaborate story. One that includes the sale of Mickey’s weed-growing empire, a rival drug kingpin, a robbery and a healthy dose of twists all along the way.

The Gentlemen flows with energy, carrying an upbeat pace and toe-tapping soundtrack that serve as the perfect complement to Guy Ritchie’s action-packed and hysterical script. Framing the narrative through a story inside of a story lens, as Fletcher finds this whole ordeal fascinating and elaborate enough to turn it into a screenplay that he keeps trying to pitch to people, adds a “next-level” dynamic of comedy that really puts the film over the top. But as anyone familiar with Lock, Stock and Two Smoking Barrels and Snatch will know, vulgarity is a thing with Ritchie’s films. The Gentlemen is no exception, as the C-word feels like it’s on literal repeat for nearly two full hours. If this is something you can’t withstand, it’s important to know that going in. Otherwise, if the copious amounts of profanity won’t ruin the experience for you, expect to laugh loud and often. Ritchie’s script is littered with zingers and beautifully crafted moments of pure hilarity. And just as funny as the film’s dialogue are its actor’s mannerisms. Academy Award Winner Matthew McConaughey gets top billing here, but it’s the insanely effective work of Hugh Grant and Colin Farrell that capture your attention the most. Grant with a chameleon-like performance as he’s completely unrecognizable and simply brilliant as Fletcher, and Farrell with a nuanced and expressive turn that sticks with you despite a limited amount of screen time. The Gentlemen is another brisk and lively endeavor from Guy Ritchie that may not feel as impactful as his earlier work of a similar vein, but it’s always fun and certainly a unique experience witnessing Ritchie is his wheelhouse.

GRADE: 3.5/5

For more reviews, trailers and movie lists visit MCDAVE’s host site

Geekscape Movie Review: Bad Boys for Life

by MCDave

We’re inevitably trapped in an era of recycled work. Therefore, when news broke of a new installment to the Bad Boys franchise, I was hesitant to let my excitement get the better or me. Sometimes we’re handed some freshly polished rehashes like last year’s Shazam! and dare I say the controversial Joker, but for the most part these reboots are just mindless and unoriginal money grabs hoping to cash in on familiarity and nostalgia. So while I wouldn’t allow myself to get too invested in Bad Boys for Life (I hadn’t even watched a trailer for the film), my adoration for the series’ first two installments made me anxious to reconnect with these two foul-mouthed police officers.

Things have changed for law enforcement partners Mike Lowery (Will Smith) and Marcus Burnett (Martin Lawrence). Marcus is a new grandfather which prompts his talks of retirement once again, while Mike discovers troubles of his own when he becomes the target of the son from a past arrest. These two ride-or-die partners embark on one last hurrah to stop this young and deadly assassin from killing Mike.

Michael Bay, director of both the original film and its sequel, built a foundation on pulse-pumping action and laugh out loud humor that allowed the two young comedic actors, Smith and Lawrence, to shine brightly in their roles. However, a 16-and-a-half-year hiatus brings about noticeable aging in the film’s leading pair and it proves problematic. Everything about Bad Boys for Life feels older and slower. From the relaxed pacing to a disappointing reliance on geriatric humor, Adil El Arbi and Bilall Fallah’s new inclusion to the series lacks energy and bravado. Even its action-sequences seem to move at a more leisurely pace. In addition, an unnecessarily elaborate and inefficient story plague this melodramatic screenplay. Bad Boys for Life takes a lot of emotional swings, mostly as a substitution for the many moments where hilarity would take the reins in previous films, and the result is certainly underwhelming. And the movie’s primary “twist”, one that’s clearly shoe-horned into the story for dramatic effect, culminates in an unrealistic and brutally-forced manner. But despite all of the film’s obvious faults, blame shouldn’t be directed at Will Smith or Martin Lawrence, both of whom appear fully committed to the effort, their chemistry remains apparent and their characters stay true to form. Bad Boys for Life stands as a worthless and mediocre inclusion to the series as life after Michael Bay proves futile for the franchise.

GRADE: 2.5/5

For more reviews, trailers and movie lists visit MCDAVE’s host site

MCDAVE’s Top 10 Films Of 2019!

by MCDave

Honorable Mentions: Parasite, Ready or Not, 1917, Long Shot, The Irishman, Fighting with My Family and Marriage Story

10. Knives Out

Rian Johnson follows up his polarizing Star Wars entry, The Last Jedi, with the clever and unpredictable whodunit film, Knives Out. When the acclaimed murder-mystery author, Harlan Thrombey (Christopher Plummer), is found dead the morning after his 85th birthday party, eccentric Detective Benoit Blanc (Daniel Craig) begins to question if this apparent suicide is actually murder. Knives Out boasts a fantastic ensemble and a terrific script that turns the traditional mystery on its side and provides a bold and fresh take on this classic genre.

9. Uncut Gems

Benny and Josh Safdie’s insanely intense thriller, Uncut Gems, was the last movie I saw this year and I also have a strong feeling it may be the most memorable. Adam Sandler stars as Howard Ratner, a jeweler in New York City whose reckless gambling habits have put him in deep with bookies all over the city. My blood pressure was through the roof while watching this film, an experience I’ll never forget. And it all builds to an explosive finale that will completely blow your mind. Adam Sandler is the star of the show here and he gives a career-best performance in one of the year’s most unforgettable movie-theater experiences. 

8. The Peanut Butter Falcon

There’s so much heart and soul poured into Tyler Nilson and Michael Schwartz’s SXSW hit, The Peanut Butter Falcon, it’s impossible not to enjoy the film. Zak is a twenty-something man with down syndrome who dreams of being a professional wrestler and is being held against his will at a state-run retirement home. After Zak breaks out of the facility, he runs into Tyler (Shia LaBeouf) and they go on a Mark Twain-esque journey to a wrestling camp in North Carolina. This buddy comedy goes far beyond its laughs and tells a truly human story that shouldn’t be missed. 

7. Avengers: Endgame

Marvel’s epic saga comes to a close in Endgame, a box office smash and massively-adored film that certainly needs no introduction. They get so much right by using a time travel story to take the audience on a journey back to signature moments in the MCU’s history, all while tying a beautiful bow on the first wave of Marvel’s Avengers. Key characters all had their swan songs properly handled and Endgame can easily be summed up with these two words; completely satisfying!

6. Ford v Ferrari

If there’s a problem with James Mangold’s full throttle historical drama, Ford v Ferrari, it’s that the film feels to formulaic and purposely sculpted into an Oscar contender. But still, inside all of that artificial exterior rests a gripping story and interesting characters that make this awards season contender a worthy competitor. The film follows car designer, Carroll Shelby (Matt Damon), who’s summoned by Ford to make and build a car fast enough to beat Ferrari at the 24 Hours of Le Mans in 1966. Ford v Ferrari unexpectedly morphs into an anti-establishment drama that really resonates well from that angle, and one that stands among 2019’s finest films.

5. The Two Popes

Much has been made about Netflix’s two big Oscar contenders, Martin Scorsese’s The Irishman and Noah Baumbach’s Marriage Story, but I’ll go out on a limb and argue that their most recent release, The Two Popes, is actually better than both of them. Fernando Meirelles’ comedic fictional meeting between Pope Benedict (Anthony Hopkins) and then-Cardinal Bergoglio (Jonathan Pryce), the current Popes Francis, is a true showcase for these two veteran actors. They put on an absolute display courtesy of Anthony McCarten’s brilliant screenplay, one that’s heavy in dialogue and substance all while keeping a comedic energy alive and well. It’s sad to know that the whole film is essentially fabricated, but it’s a wonderful way to pretend how history went down.

4. Once Upon a Time … In Hollywood

Quentin Tarantino continues his dominance with another example of robust characters, smooth dialogue and handfuls of iconic moments. Once Upon a Time travels back to 1969 Los Angeles, where washed-up TV actor, Rick Dalton (Leonardo DiCaprio), and his stunt double, Cliff Booth (Brad Pitt), find themselves on the outside looking in at an industry they can hardly recognize. Thankfully, their neighbors are rising stars Roman Polanski and Sharon Tate (Margot Robbie), so perhaps fate could intervene on Rick’s behalf. But as we all know, the Manson Family Cult has different plans in mind. Once Upon a Time comes with its lulls, but there’s enough strong acting, sharp direction and witty dialogue to carry you through the tough times and to the film’s epic, must-see conclusion.

3. Midsommar

Ari Aster amazed me with last year’s Hereditary and blew my mind even more with his latest work, Midsommar. The film follows a group of friends who travel to Sweden with a foreign classmate who wants them all to experience his community’s annual Midsommar festivities. But what begins as a silly and harmless event, slowly transforms into a hellish nightmare for these outsiders. Florence Pugh’s character drives the entire film and her tale of sweet seduction is masterfully captured by Aster. Midsommar is without a doubt a polarizing film, and one I wouldn’t recommend to everyone. The film runs long and with a simmering pace, but the detail and artistry behind every frame is truly magnificent and why I’m completely enamored by this young and brilliant filmmaker.

2. Joker

In the lead-up to its early October release, I just kept trying to temper my expectations for Todd Phillips’ Joker. Then word spread of an eight-minute standing ovation following its world premiere, and headlines about the film’s violence and disturbing look at mental illness turned Joker into 2019’s biggest cinematic spectacle. But through all of the hype and debate, Todd Phillips delivers a phenomenal piece of filmmaking. Everything begins and ends with Joaquin Phoenix’s hypnotic interpretation of the title character. Yet, even beyond his Oscar-bound performance, Joker boasts a meticulous script, stunning cinematography, and a perfectly constructed score from composer Hildur Guðnadóttir. Full disclosure, there’s some ambiguity looming over the film, and I’ve convinced myself that I’m better off enjoying the experience rather than over-analyzing everything. Just sit back and enjoy this dark and gritty spiral into madness as one of the world’s greatest villains is born.

1. Jojo Rabbit

It’s surprising to look back and recognize how many strong films were released in 2019, but none had the same impact on me as Taika Waititi’s Jojo Rabbit. There’s a large faction of people who will simply refuse to watch the film because it pokes fun at the ridiculous nature of fanaticism with a backdrop set in Nazi Germany during the closing stages of World War II. Jojo Betzler (Roman Griffin Davis) is a 10-year-old boy who dreams of being a great Nazi soldier and his most trusted companion is his imaginary friend, Adolph Hitler (played by Waititi). Jojo thinks he has a pretty good understanding of the world until the day he discovers that his mother (Scarlett Johansson) is harboring a Jewish teenager named Elsa (Thomasin McKenzie) and things begin to get a lot more complicated. There’s a beautiful story nestled inside of this relatively short (about an hour and 45 minutes) and briskly-paced dramatic satire. The two young actors, David and McKenzie, stand toe-to-toe with the likes of Academy Award Winner, Sam Rockwell, and the always great Scarlett Johansson. Jojo Rabbit is hilarious, heartbreaking and hopeful, and just about everything you could ever want in a movie.

Geekscape Movie Review: Uncut Gems

by MCDave

Adam Sandler is a name that has long been synonymous with humor, albeit not always with the greatest reputation. After a bull-rushing start to his film career that began with signature classics like Billy Madison, Happy Gilmore and The Wedding Singer, it wasn’t long before Sandler’s name became tainted by films like Jack and Jill and Grown Ups. And suddenly, a man who was once the nation’s king of comedy was soon relegated to a longstanding partnership with the streaming service, NetFlix. But after a few promising attempts at breaking into the world of dramatic acting, 2019 may have changed everything for Sandler. His gut-wrenching turn in Benny and Josh Safdie’s stylish thriller, Uncut Gems, has caught the eyes of many Oscar voters and has left everyone wondering if Sandler’s finally turned the corner in his decades-long career.

Howard Ratner (Sandler) is a jeweler in New York City whose uncontrollable gambling habits have gotten him in deep with various loan sharks. And with a rocky home life, an erratic mistress (Julia Fox) and a six-figure debt all looming over his head, Howard sees his only way out of this mess in the form of a rare and precious opal stone that holds a special allure over a basketball star (Kevin Garnett) in the NBA playoffs. But when things fail to go according to plan, Howard starts digging a deeper and deeper hole that he can only escape by winning one last massive bet.

The Safdie brothers’ Uncut Gems is a two-hour pulse-pounding panic attack that’s cloaked in a stylish soundtrack and a gritty lead performance. Adam Sandler delivers a mesmerizing turn as a clear anti-hero, but a character that still demands your emotional investment despite his obvious flaws. This is no simple task as Howard’s troubles are all self-inflicted. He cheats on his wife, he has an undeniable addiction to gambling and he’s a liar trying to play everyone for a loop. And through all of these dirty deeds, we still take this anxiety-filled journey rooting for Howard’s victory the entire time. Adam Sandler serves as the driving force behind this moral quagmire for audiences. He’s a man in a predicament who only makes things worse with every ensuing decision. But Adam Sandler displays such raw emotion in the role, so much so that we overlook Howard’s series of lies and mistakes because we sense fearful human side of his character. Much has been made of “will he” or “won’t he” when it comes to Sandler’s chances of scoring an Oscar Nomination. Personally, he makes my Top 5 of the year and I hope the Academy feels the same. However, Uncut Gems is cut from an extremely dark cloth, one that doesn’t always resonate with Oscar voters, and especially in a year where Joker’s Joaquin Phoenix already stakes that claim. It wouldn’t surprise me to see the Academy lean in favor of a much safer pick like Taron Egerton (Rocketman) or Christian Bale (Ford v Ferrari), but Sandler’s career-best performance takes you into the hopelessness of his character and showers you with unease. Also, some of this unforgettable experience needs to be attributed to the film’s sibling directors, Benny and Josh Safdie who have shown a mastery of the stylish thriller genre with back-to-back efforts now (previously with Robert Pattinson in Good Time). The Safdie brothers once again prove they are as good as any at crafting a clever story with an explosive finale that forces the audience to forge a connection with its lead anti-hero. Mix in some unforgettable acting and a unique style, and that’s exactly what Uncut Gems gives you en route to being one of 2019’s most memorable films.

Grade: 4/5

Geekscape Movie Review: The Two Popes

by MCDave

NetFlix has muscled its way to the front and center of this year’s awards season as the financier behind prominent Best Picture contenders like The Irishman and Marriage Story. But there’s another NetFlix title certainly worth mentioning and, in my humble opinion, one that’s even a step above the aforementioned Oscar-titans which come from legendary filmmakers Martin Scorsese and Noah Baumbach. The Two Popes is a masterful and overlooked film from Fernando Meirelles, the man behind Oscar-recognized works like City of God and The Constant Gardener, and one whose awards season trajectory is still very cloudy. Nevertheless, Meirelles’ latest offering stands among 2019’s finest films and is currently available to stream on NetFlix.

It’s 2012 and Cardinal Bergoglio (Jonathan Pryce), a very liberal voice within the Catholic Church, requests permission to retire from the conservative-minded Pope Benedict (Anthony Hopkins). But as these two respected religious leaders clash in viewpoints, they still manage to forge a connection over their love of the church. Confessing their greatest regrets and darkest sins to one another, a sign of clarity will forever change the history of the Catholic Church.

At the center of The Two Two Popes is an elegantly-scripted story that’s placed in the careful hands of two magnificent performers. Jonathan Pryce and Anthony Hopkins should be absolute locks for Oscar nominations, however both failed to make the cut with the Screen Actors Guild. And the film depicts a clearly fictitious encounter between these two men, but presents their meeting in such an enjoyable and believable manner. The Two Popes flows like a stage-play, heavy in dialogue and extremely dependent on its actors. Pryce and Hopkins do more than rise to the occasion, they provide such resemblance and authenticity to their characters that it allows for a dramatic third act to completely suffocate you with genuine emotion. Pryce may give my favorite turn of the year, but that’s certainly no slight to Hopkins who marvels in his own right. Anthony McCarten’s brilliant screenplay is also deserving of some Oscar love as well. The story uses the philosophical contrasts of these two men as a beautiful juxtaposition to the shocking symmetry of their dark inner demons. The entire experience is soulfully dramatic but complemented wonderfully by a light and often comedic script. As someone who isn’t remotely in tune with the Catholic Church or religion in general, I can safely say that The Two Popes is in no way geared solely for a niche audience. It’s an exceptional character study with a religious back drop, but one that is relatable across all spectrums of life. And although the film can’t be viewed as a reliable historic source, these monumental moments in the Catholic Church are delivered exactly how we wish they would have happened. It’s not often you can sit down in the comfy confines of your own home and enjoy one of the year’s most impressive titles, but that’s exactly what Netflix is offering with their newly dropped Best Picture hopeful, The Two Popes.

GRADE: 4/5

Geekscape Movie Review: Bombshell

by MCDave

Director Jay Roach broke into the industry during the 90s as the fresh new comedic voice behind beloved classics like Austin Powers and Meet the Parents, both of which spawned successful movie franchises of their own. But despite the loads of laughs he’s generated over the years, Roach finds himself immersed in a much more serious light with the filmmaker’s latest effort, Bombshell. Chronicling Fox News Anchor Gretchen Carlson’s courageous lawsuit that exposed the despicable behaviors of former CEO Roger Ailes and became a precursor to the #MeToo movement, Roach’s important subject matter sadly disappears in a fumbling and erratic narrative that puts shock value and salacious details over character-driven emotional substance.

After watching her career as a Fox News Anchor crumble in the wake of rejecting sexual advancements by her boss, Roger Ailes (John Lithgow), Gretchen Carlson (Nicole Kidman) reaches out to a group of attorneys to help bring this monster down. Unfortunately, their lawsuit’s credibility hangs in the balance of the other women at Fox News who have fell victim to this systemic inappropriate misconduct and whether or not they’ll speak up against their bosses. Thankfully, truth reigns victorious when brave young women like the fictitious Kayla (Margot Robbie) and the influential voice, Megyn Kelly (Charlize Theron), decide to betray the hands that feed them and stand up against Ailes and the repulsive misogynistic culture he created at Fox News.

Bombshell is a disgustingly slanted and politically motivated drama that cares more about bashing Roger Ailes and “Right Wing Media” in general, than recognizing an obligation to tell a truly personal story of sexual abuse and the rippling effects of staying silent. Look no further than the tasteless title bestowed upon the film, one in which playfully tiptoes around the severity of these documented events. Instead, Roach force-feeds an obnoxious amount of anti-Trump rhetoric that grows frustratingly asinine, even to a left-leaning “snowflake” like myself. Still, what I was hoping for in Bombshell was a poignant and uncomfortable examination of victimhood and the collateral damage of these psychological horrors. Yet, depth is nowhere to be found here. Rather, Roach and writer Charles Randolph devote their two hours of storytelling to a TMZ-esque interpretation of these real-life tragedies. The film acts as a nonchalant head-nod to these victims via a headline and premise, instead of corralling the responsibility of pioneering social change through a visual and experiential lens. Occasionally, the magnitude of certain moments is definitely felt and captured adequately by the director, but these moments are mostly the result of a superior collection of acting talent that includes Academy Award Winners Nicole Kidman and Charlize Theron and Oscar Nominated actress, Margot Robbie. This trio of strong women all have to fight against the labels of feminism in their quest for justice and civility. It’s also worth noting the supporting work of Saturday Night Live’s Kate McKinnon and John Lithgow, both of whom completely command the screen at every opportunity. There’s certainly a bigger, bolder and more impactful story buried within the truth surrounding Roger Ailes his malicious oversight of Fox News. Unfortunately, Jay Roach fails to give us anything remotely close to that in Bombshell’s immature and perverse retelling of a reprehensible and disturbing era in American history.

GRADE: 3/5

Geekscape Movie Review: Richard Jewell

by MCDave

Father time is undefeated. And like a professional athlete who’s showing signs that they can’t quite keep up with a younger generation of competitors, Hollywood icon Clint Eastwood’s latest offering leaves me questioning how much quality filmmaking the 89-year-old has left in him. In typical Eastwood fashion, he places his sights on the true story of title character, Richard Jewell, the security guard and cop-wannabe who became a controversial figure following the bombing of the 1996 Olympics at Centennial Park in Atlanta. Eastwood uses Jewell’s heartbreaking experiences as an exposé on the careless and destructive behaviors of the mainstream media, the film’s clear antagonist. Yet, what transpires feels more like the incoherent grumblings of a miserable old man than an enlightening and eye-opening examination of what’s actually a legitimate issue.

Richard (I, Tonya’s Paul Walter Hauser) is a poor, overweight security guard with such a deep-rooted desire to protect people that it leads to some questionable behaviors that cost him a couple jobs along the way. But when Richard jumps on the opportunity to help protect his country at the security-needy 1996 Olympics, he can’t possibly prepare himself for the horrors that he’ll encounter after he stumbles across a bag of explosives. Richard Jewell may have saved countless lives by diligently doing his job on that fateful evening, but his sketchy past and a lack of other leads make him a prime suspect and anti-hero that a local journalist, Kathy Scruggs (Olivia Wilde), completely exploits with her reckless reporting.

Clint Eastwood’s film is a revolving conundrum. His intentions are deliberate, but meandering. His interpretation is clear, but clouded in hypocrisy. All of which make Richard Jewell a muddled mixed-bag of ideas and emotions. Eastwood waves a shameful finger at the news media and its desire for higher ratings and career-advancements built on the back of inconsiderate reporting. The film even goes as far as to accuse the now-deceased journalist Kathy Scruggs of obtaining private information from the F.B.I. by sleeping with an agent (played by Jon Hamm), none of which has ever been corroborated publicly, and this blatant disregard for truth and authenticity feels awfully hypocritical when you take into account the root of Eastwood’s story. It’s a back-handed low-blow by the director and his screenwriter, Billy Ray, who attempt to tackle the media’s obsession with releasing a story quickly rather than accurately, and the personal ramifications of those actions. Richard Jewell lived a grueling 88-day nightmare in the aftermath of the Olympic bombing, one in which he morphed from an instant hero to a devilish mastermind in the blink of an eye. In fact, this is the film’s most accomplished feat, hammering this burden and personal anguish into the viewer. However, Eastwood’s characterization of nearly every other facet of the story is shallow, superficial and deceptively inaccurate. Richard Jewell has the hopes of making an awards season splash but I’m not buying into this likelihood, even after Kathy Bates’ recent Golden Globe Nomination for her supporting turn as the security guard’s mother. Instead, Richard Jewell is another ho-hum effort from a once legendary filmmaker struggling to deliver a cohesive story in the twilight of his career.

GRADE: 2.5/5

Geekscape Movie Review: 1917

by MCDave

Family stories have a way of resonating with us. They act as vessels into another world that we’re able to know and experience through the scope of our ancestors. And their impact can be profound, just ask Academy Award Winning filmmaker Sam Mendes (American Beauty and Skyfall) whose latest work is inspired from the World War I tales told to him by his late grandfather when he was just a boy. Those stories have stuck with Mendes for decades and, by using his unique visual mastery, have thrust the war epic 1917 into the heart of the Best Picture race.

When Lance Corporal Blake (Game of Throne’s Dean-Charles Chapman) and Lance Corporal Schofield (Captain Fantastic’s George MacKay) are summoned by a superior officer in the midst of the First World War, they could never have imagined the assignment placed in their hands. General Erinmore (Colin Firth) informs the men that an attack is planned for dusk, but they have just received word that it’s a trap by the Germans and more than 1,600 men are preparing to be slaughtered, one of which is Blake’s older brother. In a race against time that requires the soldiers to journey deep into enemy territory along the most direct route to their fellow officers, Blake and Schofield encounter the crushing brutalities of war at every turn, with hopes of surviving this dangerous mission and delivering the General’s orders by sunrise.

Sam Mendes’ 1917 is a completely immersive experience that takes audiences to the front lines of battle and into the trenches of one the most gruesome wars in the history of the world. Filmed in such a way that it appears as one single shot where the camera never leaves these two men, Mendes has most certainly cemented himself and his film in the Best Director and Best Picture races. 1917 oozes with technical mastery and checks nearly all the boxes for Oscar voters. And while I too loved the riveting perspective of the film, I was far less impressed by Mendes’ script. The story becomes hamstrung by the decision of this stylistic approach which disallows an expansive use of subplots and secondary characters. Forcing us to travel beside these men essentially makes the majority of the story simply about their experiences. This can be mesmerizing at times and certainly helps with the film’s pacing, but it also leaves more to be desired in terms of developed and arcing story. I wonder if 1917 would have been better served by including a handful of massively long takes to generate a similar feel but still made traditional cuts to help broaden the story and characters. Either way, we can’t refute the overall impact and technical greatness behind another superb effort from an often-overlooked filmmaker.

GRADE: 4/5

Geekscape Movie Review: The Irishman

by MCDave

Martin Scorsese, it’s a name that will long outlast any of us thanks to nearly five decades of directing must-watch movies. He’s reached a rare status where every new film is an absolute spectacle. And after a brief theatrical stint to, in essence, qualify for the Academy Awards, Netflix is the proud host of Scorsese’s latest tour de force, The Irishman. This three-and-a-half-hour-long epic represents a more mature examination of the gangster genre, a territory very familiar to the director, but one he’s usually drawn to for the wild and reckless aspects of the lifestyle. Yet, that’s not Scorsese’s intent with The Irishman, here he journeys into the loneliness and isolation of the few who are, dare I say, lucky enough to survive a lifetime of double-crossings. It’s a bold and ambitious endeavor for the filmmaker, but one he still manages to handle exceptionally well, even if The Irishman fails to stand up to Scorsese’s best.

Frank Sheeran (Robert De Niro) is a hard-working World War II vet whose life is forever changed when he befriends the notorious mobster, Russell Bufalino (Joe Pesci). Frank’s comfort with killing, largely in part to his time in the war, makes him a natural fit as a hitman for the Bufalino crime family. Frank’s close ties with Russell eventually set him a collision course with the outspoken labor union leader, Jimmy Hoffa (Al Pacino), and the two men immediately become close allies. Their friendship lasts for many years, that is, until Hoffa gets in over his head with Russell Bufalino and other “made men” who demand the deadly services of Frank Sheeran one last time.

The Irishman attempts to bite off more than it can chew. Scorsese swings big, banking on an emotional conclusion that never really hits home the way it’s intended. With that being said, Scorsese still delivers a superbly crafted film that boasts phenomenal technical achievements and a pair of outstanding supporting turns. First, the widely discussed de-aging effect that’s used in the film is very impressive and executed at a never-before-seen level, making Scorsese’s firm dependence on the technique something that could very well change the way movies are made going forward. Now, onto the towering performances from Al Pacino and Joe Pesci. Both offer their finest work in decades and each do it in a completely different manner. Pacino’s turn is showier as he mimics the brash and animated demeanor of Jimmy Hoffa with immense precision. It’s a loud role that demands your attention, and for this reason it’s more likely to stand out when harkening back to the film. Conversely, Joe Pesci delivers a slick and subtle performance, magnificently detailed and remarkably nuanced. Both men are completely worthy of Oscar Nominations, although I wouldn’t necessarily say the same for lead actor Robert De Niro whose dry and soulless approach makes for a rather uninspiring central character. I, personally, felt no connection whatsoever with the character of Frank Sheeran and this is the driving force behind Scorsese’s whiff at an emotional conclusion to the film. And while I left the theater feeling unmoved and slightly disappointed in The Irishman as a whole, the film is still a strong feature that races along with a driving force that keeps you fully engaged up until the pivotal onscreen moment when we’re given Scorsese’s interpretation of Jimmy Hoffa’s disappearance. My suggestion would be to slightly temper your expectations before strapping in and enjoying another wild and worthwhile ride courtesy of a true cinematic genius.

GRADE: 4/5

Geekscape Movie Review: Knives Out

by MCDave

Once upon a time, Rian Johnson went from being a uniquely-voiced and rapidly-emerging filmmaker to instantly becoming the man who ruined the Star Wars saga (for me, at least). Needless to say, I didn’t (and still don’t) have a favorable view of Johnson’s The Last Jedi. But what a difference two years can make, as the stains of Johnson’s past can hardly be noticed courtesy of a brand-new, briskly-paced whodunit mystery that reminds us all just how brilliant of a writer and director he can be.

Knives Out tells the perversely entertaining and fictional story of beloved crime novelist, Harlan Thrombey (Christopher Plummer), who shockingly dies on the evening of his 85th birthday celebration. With a massively wealthy estate and a host of friends and relatives at the residence, each with their own motives and agendas, everyone must be considered a suspect. Thankfully, the witty and astute detective Benoit Blanc (Daniel Craig) has been mysteriously hired to unmask the truth behind Thombley’s unexpected death.

Rian Johnson’s cleverly crafted screenplay serves as the backbone to this unpredictable and amusing whodunit film. Knives Out cycles through a series of suspects and motives all while purposely tipping its hand quite a bit. Yet, as we soon find out, there are many mysteries buried within the veins of this story. And all throughout this creative and original script rests a healthy dose of humor and a diverse collection of notable characters, each of whom add a unique element to the overlying mystery. These characters come to life superbly thanks to one of 2019’s finest ensembles. Along with the aforementioned Daniel Craig and Christopher Plummer, co-stars Chris Evans, Toni Collette, Michael Shannon, Jamie Lee Curtis, LaKeith Stanfield and Don Johnson all deliver well-rounded performances that play off one another perfectly. Yet, it’s the underdog of the cast, up-and comer Ana de Armas (Blade Runner 2049), who truly steals the show with a deeply committed and soulful turn of her own. Knives Out has all the makings of an Original Screenplay Oscar contender, the script really is that good. If you’re in search of an energetic mystery that’s guaranteed to keep you guessing, Rian Johnson’s page-turning new effort not only has what you’re looking for, it’s one of the best films of year.

GRADE: 4/5

Geekscape Movie Review: Ford v Ferrari

by MCDave

Although he isn’t necessarily a household name, James Mangold’s extensive résumé speaks for itself. Works like Walk the Line and Girl, Interrupted have captured Oscar statues, while efforts like Logan and 3:10 to Yuma have enjoyed universal acclaim. And smack-dab in the middle of awards season, Mangold drops another heavyweight contender for audiences to enjoy with this weekend’s arrival of Ford v Ferrari, a high-octane drama that speeds to the Best Picture race on the wave of audience and critical support.

A dicey business dealing between the pair of high-profile automakers, Ford and Ferrari, leads to a battle for racing immortality in the 1960s. Ferrari has dominated the renowned 24 Hours of Le Mans race for years, but Henry Ford II (Tracy Letts) will stop at nothing to defeat them. Therefore, he enlists the aid of car designer and former driver, Carroll Shelby (Matt Damon), the only American to ever win the race himself, who believes that the hot-headed and stubborn driver, Ken Miles (Christian Bale), is the only man capable of beating Ferrari.

Ford v Ferrari proves to be one of 2019’s most appealing cinematic experiences for a multitude of reasons. For starters, the script is a magnificent blend of hearty comedy and compelling drama that bounce off one another all while developing wildly interesting and likable characters. Matt Damon and Christian Bale are gifted a brilliant and timely story, but it’s their attention to detail and dedication to craft that help take Ford v Ferrari to a whole other level. While it’s a little surprising that more hype hasn’t surrounded these performances as we approach the stretch run of awards season, I wouldn’t be shocked if at least one of them sneaks away with a nomination. Bale may be facing some stiffer competition with both of The Irishman’s supporting actors and a slew of other high-profile supporting turns to measure up against, but he also gives the slightly stronger performance. Damon is fine in his own right, but the character of Ken is so fascinating and Bale knows exactly how to capitalize on good writing. And not only does the script develop the framework for strong central characters, it also touches on some underdog and anti-establishment themes that naturally resonate with today’s moviegoers. In some instances, Ford v Ferrari regrettably re-gifts cookie-cutter moments of familiarity that soften an otherwise outstandingly executed film. Yet, James Mangold and company rise above these schematic similarities to Oscar contenders of the past by delivering what’s arguably Mangold’s best effort to date and one that should make a serious splash during this year’s awards season.

GRADE: 4/5

Geekscape Movie Review: Jojo Rabbit

by MCDave

Philadelphia’s annual Film Festival brings elite Oscar-destined content to the tri-state area every October and this year was no exception. One awards season contender generating some serious buzz at year’s event is Taika Waititi’s Jojo Rabbit, a polarizing and relentlessly hilarious endeavor that, despite some early mixed reviews, continues to ride a wave of momentum following its world premiere at the Toronto International Film Festival. There, Waititi’s film captured the prestigious People’s Choice Award, an honor known for translating into legitimate Oscar success. And although Jojo Rabbit’s future seems inevitably bright, there remains a stubborn and steady critical backlash against Waititi’s effort. Yet, it’s a superficial and irrational sensitivity stemming from the film’s satirical spin on Hitler’s reign and Nazi Germany’s disgusting place in world history. But such complaints are wildly misplaced, as Jojo Rabbit delivers a tender and earnest coming-of-age story that spreads a message of love, compassion and acceptance at a time when it’s most needed.

The film follows 10 year-old Jojo Betzler (Roman Griffin Davis), a young and impressionable Nazi-fanatic whose most loyal companion is his imaginary friend Adolf Hitler (Taika Waititi). But despite Jojo’s blind love and admiration for the real-life Führer, deep down he just doesn’t have the makings of a ruthless Nazi soldier. So when Jojo discovers that his mother (Scarlett Johansson) is hiding a Jewish teenager named Elsa (Thomasin McKenzie) in their home, he becomes torn between his love of country and a strange new friendship.

Photo by Kimberley French. © 2018 Twentieth Century Fox Film Corporation All Rights Reserved

In an age of filmmaking riddled with unrestricted run-times and blatant over-extension, Taika Waititi provides a refreshing reminder that it’s possible to tell a sincerely funny, emotionally heartbreaking and morally uplifting story in both a fun and energetic way. Jojo Rabbit keeps a brisk cadence with hard-hitting and never-ending laughs that help navigate Waititi’s poignant tale. As writer, director and co-star, Waititi’s complete commitment and unwavering dedication to the film also prove to be the bloodlines of its effectiveness. Furthermore, Waititi’s wildly animated portrayal of Adolf Hitler is brewed with a wackiness and absurdity that always allows this emotional roller-coaster to circle back to its comedic roots. In the vein of The Great Dictator, a clear source of inspiration for Waititi’s vision, Jojo Rabbit boasts a fearlessness with its script and its performances that shouldn’t be overlooked. Waititi rounds out his cast with elite talent like Academy Award Winner Sam Rockwell and the always dazzling Scarlett Johansson. But most impressive are the turns provided by youngsters Roman Griffin Davis and Thomasin McKenzie, whose performances are perhaps most vital to the film’s success. McKenzie put her acting chops on full display in last year’s Leave No Trace, and proves it was no fluke by backing it up with another exceptional onscreen display. On the other hand, Roman Griffin Davis is an unknown who takes this first opportunity and makes the most of it. Countless performers in the film deliver the “Oscar goods”, so don’t be surprised if multiple cast members make an awards season splash. In addition to a well-rounded screenplay and brilliant ensemble, Jojo Rabbit’s cleverly worked soundtrack includes spectacular German covers of popular rock songs that help add even more layers to this well-rounded feature. The entire package is there, neatly wrapped in a pulsating and energetic exterior that solidifies Jojo Rabbit as one of 2019’s most enjoyable cinematic experiences and a bona fide Oscar contender.

GRADE: 4.5/5

Geekscape Movie Review: Judy

by MCDave

Time alters perceptions, and it may be easy to forget the stark reality that Renée Zellweger was one of Hollywood’s eminent talents throughout the turn of the millennium. Her adored turn in Jerry Maguire helped steer the actress to Oscar-recognized performances in Bridget Jones’s Diary, Chicago and Cold Mountain three years in a row, the last of which finally earned Zellweger an Oscar statue. However, a strange thing happened and Zellweger’s endearing looks and charming personality faded from the spotlight for many years. Thankfully, though, she returns with a vengeance in Rupert Goold’s 2019 biopic, Judy.

The film highlights the final years of storied singer and actress Judy Garland (Zellweger) as she navigates through financial disarray and losing custody of her children. Judy reluctantly agrees to a series of concerts in London where her appointed tour overseer (Jessie Buckley) and latest love interest (Finn Wittrock) witness the sad and tragic decline of the legendary vocalist. Garland tries desperately to make it through the brief tour with hopes of earning enough income to help stabilize her situation and regain custody of her children, yet stability is anything but easy for Judy.

Rupert Goold’s grim and somber biopic truly encapsulates the well-documented history of Judy Garland’s depressing late-life struggles. And Zellweger steps into Garland’s shoes with impeccable ease, as an actress who was once on top of the world and somehow faded from the spotlight herself. However, in Zellweger’s case, this mild similarity is sure to catapult her back into the awards season discussion where her committed onscreen efforts shouldn’t go unnoticed. Perhaps most impressive is her vocal demonstration that isn’t necessarily shocking (as Zellweger showed she can sing in 2002’s Chicago), but it’s a fabulous reminder of her many well-rounded talents. And although her stunning likeness and exceptionally captured dejectedness are enough to keep the audience engaged throughout the film’s entire two-hour duration, Zellweger’s greatest efforts can’t keep Tom Edge’s screenplay from feeling misaligned. The non-chronological storytelling and usage of flashback is overtly contrived and far from effective, not to mention the film’s underlying soap-opera feel. Outside of the central title figure, other characters are hardly given anything to work with, making Judy a one-person show that’s placed in valiant hands thanks to a brilliant, career resurgent turn by Renée Zellweger.

GRADE: 3/5

Geekscape Movie Review: Once Upon a Time … in Hollywood

by MCDave

Quentin Tarantino is an iconic filmmaker who needs no introduction. His latest and ninth feature film, Once Upon a Time … in Hollywood, made a splash with its premiere at this year’s Cannes festival, the first time Tarantino debuted a movie there since 2009’s Inglourious Basterds a decade ago, and gave audiences a small taste of what this year’s Oscar season could look like. The two Tarantino films, Basterds and Hollywood, also share a common theme. Both use real life stories as backdrops to an alternate sensationalized reality that grows like a parasite from the depths of the writer and director’s perversely brilliant mind. This makes for a truly fascinating ride that, while certainly not an example of Tarantino at his best, proves Tarantino not at his best is still pretty darn good.

Oscar winner Leonardo DiCaprio (it feels awfully nice saying that) stars as fading actor Rick Dalton, a neurotic and immature performer who’s struggling to accept the downturn in his career and who’s completely reliant on his salaried friend and former stunt-double, Cliff Booth (Brad Pitt). While Dalton enjoys living his Hollywood lifestyle, a pretty young actress named Sharon Tate (Margot Robbie) and her famous husband, director Roman Polanski, move in right next door to Dalton. And little do they know that Cliff’s flirtatious encounters with a pretty young follower of cult leader Charles Manson could end up causing a bloody mess.

Some others that I have spoken to disagree with me on this, but Once Upon a Time … in Hollywood felt nothing like a Tarantino film until its unhinged final climax, a clear staple spread throughout the director’s accomplished catalog. Despite unraveling in a more traditionally delivered and less stylish demeanor, the film certainly provides handfuls of unforgettable moments, many of which come from the phenomenal onscreen work of DiCaprio. Leo’s brutally committed turn in this effort stands miles above any other performance I’ve witnessed all year and could possibly send him hunting his second Oscar. Pitt is no slouch either, ushering in a “cool guy” persona that flows from the actor with such a natural fluidity. But despite the film’s many strong performances and countless iconic moments, there’s obviously a hitch in its step early on and it’s one that lingers for some time. This isn’t what you hope for from a 160-minute marathon of a movie, yet the conclusion makes it all worth the ride. Once Tarantino gets all of his storylines and characters rolling, Once Upon a Time … in Hollywood flows masterfully, pulsates with a meteoric energy, and culminates in a bold, bloody finale that doesn’t disappoint. Tarantino’s latest could tread water throughout the fall Oscar season or fade away as just another fun summer flick, I wouldn’t be surprised either way. And although the film is far from Tarantino’s best, Once Upon a Time … in Hollywood represents another must-watch entry in the director’s mighty impressive filmography.

GRADE: 4/5

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Geekscape Movie Review: Midsommar

by MCDave

You never forget how the great films made you feel when you experienced them for the first time. It’s a unique ability that transcends the standard norms of filmmaking.  And one contemporary visionary who has mastered this skill is Ari Aster, a new generational voice in the psychological horror genre with a knack for capturing a quiet sense of Hitchcock-ian suspense throughout his works. Aster first astonished us with last year’s Hereditary, a spine-chilling examination of a family with sinister bloodlines that even stirred some rumblings of an Oscar Nomination for the film’s leading star, Toni Collette. It was quite a debut, but Aster wastes no time jumping right back into the director’s chair for his indescribable new psychological thriller, Midsommar, another hypnotic effort that’s quickly cementing Ari Aster’s reputation within the horror community.

Following a traumatic and devastating event, a young American couple travel to a remote Swedish commune with a group of friends to experience the local’s once-in-a-lifetime mid-summer festivities. But as they all become more and more immersed in the community’s bizarre rituals, the couple’s relationship becomes tested and their friendships become strained. Yet, things only get worse from there as this once culturally rich experience slowly evolves into a hellish nightmare at the hands of a pagan cult.


Let me be clear, Midsommar isn’t a horror film in the commercialized sense of the word. Instead, writer and director Ari Aster shapes an unnerving and terrifying journey into the human psyche. Florence Pugh stars as Dani, a love-starved young woman desperately holding onto a failing relationship with her boyfriend of four years, Christian (Jack Reynor), after suffering a horrible personal tragedy. The film explores the darkest depths of human connection in such a beautifully shot and viscerally engrossing demeanor. Midsommar stands as a slow-dance of macabre, meant to be savored and digested through sustained periods of intense imagery and a spine-tingling use of sounds. In fact, Ari Aster’s profound use of music and sounds elevates his craft to a whole new level and helps elicit a variety of emotions, it’s truly remarkable. And outside of the film’s apparent technical achievements and majestic cinematography, Midsommar also boasts an impressively detailed and absorbing script. Aster’s story is fully outstretched to what some viewers will complain is a tiresome two-and-a-half-hour affair, especially after the end goal begins to reveal itself about halfway in. Yet, I found this crawling transformation to be mightily impactful with each and every step along the way. Furthermore, another common criticism will be aimed at the film’s silly elements of dark humor. There are numerous scenes which are odd and seemingly over-the-top, but the deeper purpose of these moments is to appropriately illustrate the insidious cult’s desire to bond through empathy. They laugh together, love together, cry together and experience pain and heartache together. All of which align perfectly with Aster’s intended end result. Midsommar is a beautiful and poetic psychological horror that ventures far beyond the superficial norms of its genre and shakes you to the core. It’s one of 2019’s standout features and an experience that’s certainly worth the ride. 

GRADE: 4/5

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Geekscape Movie Review: Spider-Man: Far from Home

by MCDave

Following Marvel’s epic conclusion with Avengers: Endgame earlier this year, the stakes have never been higher as the cinematic universe pivots and plots a new course for the first time since its 2008 inception. And who better than the friendly neighborhood Spider-Man to pave the way for this new era in the MCU? Director Jon Watts returns with Spider-Man: Far from Home, a cozy and familiar sequel that ushers in a new Marvel figurehead and crisply handles its central antagonist in 2019’s finest summer blockbuster.

After the tragic concluding events of Endgame, there’s nothing Peter Parker (Tom Holland) wants more than to relax and enjoy his chaperoned summer school trip to Europe. But just as he leaves for his trip away from being Spider-Man, Peter’s vacation abroad quickly becomes interrupted by Nick Fury (Samuel L. Jackson). Strange attacks at the hands of elemental creatures put his relaxing summer on hold as Peter fights to protect a world that will never be the same again.

There’s no denying the pressure that was on Jon Watts and everyone behind Far from Home to smoothly transition the MCU following Endgame. Yet, the film rises to the challenge by boasting a wide collection of valuable storylines, otherworldly visual effects, and a brilliantly captured villainous foe to Spider-Man that will have fanboys awfully pleased. Far from Home carries a primary “passing of the torch” theme that proves an obvious, but also necessary, pathway for this bridging entry in the MCU. Consequently, Peter Parker’s character experiences quite a bit of turmoil in his quest for introspection. This enables Tom Holland to really shine as a performer, something we’ve all known that he could do quite well since his exceptional dramatic debut in 2012’s The Impossible. There’s also a hearty romance plot here, one that sometimes feels like it’s getting in the way, but one that stands as a major source of the film’s humor as well. From top to bottom Far from Home’s branded formula of intense action and relentless comedy fits the bill and offers a comforting first step into the dawn of a whole new era for the MCU.

GRADE: 4/5

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Geekscape Movie Review: Late Night

by MCDave

If I’m being honest, The Office’s Mindy Kaling has always been an actress I’ve preferred in small doses. Therefore, upon initially viewing the trailer of her upcoming film, Late Night, one which Kaling also penned, my reservations grew with an expectation of too much face-time for the polarizing comedian. However, strong early rumblings surrounding the film forced me to reconsider my tilted assumptions and it resulted in a pleasantly surprising movie experience loaded with novel ideas and staunch creativity.

The legendary Emma Thompson stars as Katherine Newbury, an immeasurably successful Late-Night Talk Show Host with countless Emmy Awards to her resumé despite her and her entire writing staff going through the motions for the past ten years. But when Katherine decides to shake things up by hiring a new female writer to offer a fresh voice, an experience-less do-gooder named Molly (Kaling) becomes the beneficiary of this affirmative-action hire. Yet, things get amplified and the entire late-night team becomes tested when their network head (Amy Ryan) plots to replace Katherine after the season’s end, forcing Molly to quickly learn on the job and help re-brand Katherine’s career.

Late Night’s earnestly original story serves as the foundation to director Nisha Ganatra’s and Mindy Kaling’s critically adored comedy. In fact, Kaling writes herself out of the spotlight in order to let veteran performer Emma Thompson (Sense and Sensibility and Howard’s End) push the needle and she does so magnificently. Thompson’s onscreen persona, an emotional loner with no true relationship outside of her decades-long marriage, makes for the more interesting character study. Katherine Newbury is a huge celebrity who shields herself from the closest people around her, which makes for an interesting focal point as Katherine’s new annoyingly friendly writer Molly tries desperately to forge a connection. And as these two polar opposites begin warming up to one another, unforeseen conflicts arise and wonderfully shape their budding relationship. Late Night’s humor is evident but by no means overshadows the film’s finely crafted dramatic elements and robustly developed characters. Rather than taking wild, aimless shots with a rapid-fire of jokes, Kaling instead lets the humor naturally fall into place and complement the greater story and her work shines as a result. And while the film’s third act regrettably resolves all of its conflicts with a cheapened ease, Late Night’s well built and sturdy structure helps keep Nisha Ganatra’s effort standing tall by the time the credits roll.

GRADE: 3.5/5

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Geekscape Movie Review: Brightburn

by MCDave

In this superhero-crazed society where beloved Marvel and DC icons have a firm stranglehold over box-office revenue, it’s no surprise that David Yarovesky’s Brightburn, a new horror-twisting bend to the genre, was green-lighted and rushed into production as a massive money-grab. And with a perversely misleading marketing ploy that’s been throwing James Gunn’s (Guardians of the Galaxy) name around in order to lure fanboys into the theater, it’s not all that surprising to discover Gunn’s overwhelming lack of involvement in the film. Yes, his brother (Brian Gunn) and cousin (Mark Gunn) are the masterminds behind Brightburn’s gripping and original premise, but outside of a ceremonial producer’s credit and a time-consuming lap around the media circuit to draw publicity to the film, James Gunn’s fingerprints couldn’t feel further away from this superficial and emotionally devoid superhero origin story.

What if Superman had discovered his otherworldly powers and decided to do harm rather than good? That’s the primary idea behind Yarovesky’s Brightburn, a film that follows a loving couple (Elizabeth Banks and David Denman) struggling to conceive a child. Yet, their prayers are answered when a meteor strikes in the woods beside their home and the couple find a lost infant that they raise as their own. However, all the love in the world can’t stop Brandon (Jackson A. Dunn) from using his special abilities in sinister ways that eventually brings devastation to the family’s small Kansas town.

Brightburn represents the frustrating outcome of when a creative premise becomes terribly mishandled and there is plenty of blame to go around. Let’s begin with the film’s script. Brian and Mark Gunn’s initial idea is actually a golden one. And the thought to capture their villainous origin story through a horror-movie lens is risky, but still clever and original. Yet, Brightburn’s natural progression through its story fails to build authentic characters and never appropriately justifies their actions or motives. This brisk 90-minute journey feels as constricted and glossed-over as its running time would suggest. And to compound this issue, relying on a cast of virtual unknowns also proves detrimental. The acting was distractingly bad at times. Not to the point of complete disarray, but ineffective enough to warrant a mention. Consequently, this leads to a bitterly disappointing finale, one in which Brightburn’s intended emotional conclusion never fully packs the punch we so desperately deserve. However, we can’t ignore that hidden beneath this messy screenplay and wide collection of sub-par acting talent resides a worthwhile story. But it’s one that David Yarovesky and company fail to bring to life.

GRADE: 2.5/5

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Geekscape Movie Review: Avengers: Endgame

by MCDave

After more than a decade in the making, the Marvel Cinematic Universe (MCU) unearthed its epic finale with its 22nd feature film, Avengers: Endgame. It wasn’t always the smoothest of rides. You won’t have to look any further than Thor: The Dark World and Avengers: Age of Ultron to know that each individual installment was far from perfect. Yet, every separate chapter serves a unique purpose, highlighting the notion that the whole is far greater than the sum of its parts. And with Endgame, specifically, the concluding film reinforces the phenomenal fact that, like a clutch athlete who performs best when the game is on the line, the MCU continues to shine brightest on the biggest stages.

Following Thanos’ (Josh Brolin) cataclysmic finger snap that annihilated half of all living creatures in the galaxy, the remaining Avengers are forced to deal with their failures. Yet, when Scott Lang (Paul Rudd) luckily returns from the quantum realm only to discover what had happened, he finds his superhero allies and they discover a time-traveling plan that could potentially reverse all of the destruction caused by Thanos. Captain America (Chris Evans), Iron Man (Robert Downey Jr.) and the rest of the Avengers embark on a mission to undo the past without compromising the future.

For all its glory, Endgame stands as a monumental chapter in the MCU that opens certain doors and closes others. The film’s bulky three-hour running time proves effortless as the humor is as strong as it’s ever been and the story makes for a thrilling and engaging experience. And while I definitely applaud Endgame’s script for how it thrusts Thanos back into the heart of the story as well as other key characters that you might not expect, the film’s time travel elements are also some of its weakest. Any time you revolve a story around such a fragile and flimsy scientific idea, it becomes easy to poke holes in the many faults that surround it. However, these issues are rather minor and simple to ignore thanks to an otherwise brilliant showcase from the directing duo of Joe and Anthony Russo. Each central character that helped build the MCU becomes handled with immense care and respect, all while the story takes the audience through a trip down memory lane that’s both enjoyable to witness again and necessary to fulfill the film’s emotional climax. I was also pleased that Captain Marvel’s inevitable inclusion was not as some unstoppable saving grace to the Avengers, and rather a complementary figure to the heroes that we’ve spent a decade relying on. And although Endgame will understandably be viewed as a finale of sorts, it’s actually a bridge from the humble beginnings of the MCU to the limitless behemoth that it has evolved into. Fan theories have already begun circulating in hopes to dissect where exactly cinema’s greatest film universe will go. Yet, Endgame forces me to take a step back and appreciate everything we’ve been give. The MCU has created an expansive world unlike anything we’ve ever witnessed, and I’m convinced now more than ever that Marvel’s future is very, very bright.

GRADE: 4.5/5

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SXSW Review: Run This Town

by MCDave

The 2019 SXSW class has been comedy-centric, allowing indie auteur Ricky Tollman’s true story Run This Town to distance itself from the pack. The debut feature from this unknown voice shines a light on the bizarre story of Mayor Robert Ford, a Canadian politician who quickly turned into a viral sensation following public tirades regarding his professionalism and drug use while in office. Yet, for as compelling and animated a figure as Robert Ford truly is, Tollman’s aimless effort misses the mark completely with a haphazard examination of those underlings working on Ford’s campaign and a novice journalist trying to bring him down.

Pitch Perfect’s Ben Platt trades in his magician’s hat for a keyboard and stars as Bram, a cynical yet idealistic writer hoping for a big break at his new publication. But instead of uncovering conspiracies and unraveling the truth as an investigative journalist, Bram finds himself relegated to Top Ten Lists and other click-bait articles. Yet, when a potential big break comes his way regarding Toronto’s hefty and outspoken mayor, Robert Ford (Homeland’s Damian Lewis), Bram tries desperately to convince his editor for the necessary resources to help expose this disgusting and corrupt politician.

Run This Town reaches ambitiously for an Aaron Sorkin-esque screenplay, filled with zesty dialogue and rapid quips that barely give you time to breathe. However, unlike Sorkin, these barbs are merely jabs to the screenwriting legend’s knockout zingers and one-liners that dance among Hollywood’s all-time greatest movie quotes. In all fairness, few can stand toe-to-toe with Sorkin’s monumental legacy and Tollman’s dialogue is by no means elementary either. Instead, it’s the film’s poorly written characters who serve merely as individuals rather than a collective unit used to serve a larger purpose. Tollman’s story is riddled with frustration as Bram’s inexperience leads to his failures and all of Ford’s closely examined campaign workers prove to be hollow characters with uninspiring stories of their own. And this is all without even mentioning an unrecognizable Damian Lewis, who stars as the film’s central antagonist. Lewis’ fat-suit that’s needed to beef him up to Mayor Ford’s proportions and the coinciding facial make-up are all distractingly bad and borderline amateurish. I often try to avoid being so publicly critical of aspects such as this because I’m a lover of indie film and I understand budget constraints and all of the hard work that goes into trying to make everything look and feel right on set. Yet, this blatant disregard for authenticity cheapens Run This Town and sadly exposes the film as both an unoriginal and completely misguided effort.

GRADE: 2.5/5

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Geekscape Movie Review: Shazam!

by MCDave

Outside of the stellar and well-executed entry, Wonder Woman, it’s been a disastrous run (to say the lease) for the DC Extended Universe (DCEU). They built their brand on a darker and grittier counterpart to Marvel’s jovial, more action-packed, calling card but it never really materialized. And with Wonder Woman’s ability to ratchet-up the comedic charm, a fresh transition slowly began. But this revitalization still never took-off for DC, even with the stronger reviewed but, once again, uninspiring release, Aqua Man. No matter the delivery, this cinematic universe continued making money but at the expense of artistic quality. However, DC may have just found the spark it needed with this weekend’s release of Shazam!, a Big meets Superman mashup that hopefully helps DC finally catch lightning in a bottle.

Billy Batson’s (Asher Angel) a teenage foster child who got separated from his mom in a mob of people as a kid. But refusing to recognize that she never kept looking for him, Billy continues to run away from every subsequent foster home in hopes of relocating his mother. In the meantime, Billy is sent to live with a formerly-fostered couple who have taken in six children of their own. The teen struggles to give his new family a chance until he’s summoned by a mystical wizard (Djimon Hounsou) and gifted an immensely powerful superhero alter ego named Shazam (Zachary Levi). With the aid of his new family, Shazam must stop the world from the wrath of Dr. Sivana (Mark Strong) and his demonic sidekicks.


Despite serving as a fundamental building block for the future of DCEU, and certainly standing as a formidable film it its own right, we can’t overlook the fact that Shazam! is as frustrating as it is fun and energetic. We often tend to mischaracterize artistic quality based on relative comparison, and for that reason the hype surrounding Shazam! is admittedly overblown. David F. Sandberg has crafted a hilarious and emotional thoughtful spin-off that massively outstretches its novelty. One of the most endearing qualities of the film is its Big-like story where a child transforms into a man and a tidal wave of laughs ensue. This aspect was wonderful and enjoyable to no end. I even appreciated the piano-dancing callback to Tom Hank’s career-building film (I hope you noticed it). Yet, Shazam! piles on the minutes and coasts beyond the two-hour mark with sequences of scenes that fail to build the characters or progress the plot. Periodic laugh-out-loud moments in between help mask the film’s occasional meandering, but it inevitably spoils an otherwise worthwhile improvement to the DCEU. The film’s primary villain isn’t given much depth or attention to detail but Billy’s foster family and collection of new siblings are nicely developed and conjure a curveball to the story (for those unfamiliar with the comics). Shazam! is an entertaining ride that separates itself from the majority of mediocre entries within the DCEU, but one that hopefully marks only the beginning of greater things to come for Marvel’s rival film universe.

GRADE: 3/5

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SXSW Review: The Art of Self-Defense

by MCDave

The name Riley Stearns may not mean much to a majority of film lovers. Yet, while planning my movie-watching schedule for the 2019 SXSW Film Festival, I noticed Stearns name and his festival entry, The Art of Self-Defense, immediately catapulted into my list of “Must-See” films. For those of you who are unaware, Stearns delivered a sweet little indie gem with his heady and unpredictable 2014 debut feature, Faults, which starred his now ex-wife, Mary Elizabeth Winstead. The film boasted a compelling story, superb performances and refined direction, enough so that it’s had me circling back to Stearns’ name over the past five years, hoping to see something new in the works. The Art of Self-Defense has finally arrived and Riley Stearns gives us more of the same with his follow-up feature that generated a ton of buzz out of this year’s SXSW festival.

Jesse Eisenberg stars as Casey, a timid loner who lives at home with his pet cat. And one night a lack of pet food sends Casey wandering to the store in the dark and dangerous nighttime hours of his home city. On the journey Casey becomes swarmed by a gang of fully-cloaked motorcyclists who violently attack him. This mugging prompts Casey to take up karate at a nearby dojo where his sensei (Alessandro Nivola) helps instill a newfound confidence in the young man that he must eventually use to confront his attacker.

The Art of Self-Defense tiptoes the line of absurdism in a beautiful dance of rich originality that uses a gripping character study to unveil thematic elements of destructive male chauvinism in our modern society. In such a short amount of screen time, Casey goes from methodically crunching numbers at his bookkeeper job to openly displaying full-fledged porno scenes on his computer screen for all the office to see. This transformation, while so unnatural for many reasons, feels so desperately genuine and serves as a microcosm for everything that’s brilliant about the film. In such a tightly-wound 105-minute package, Stearns delivers a darkly comedic and immersive experience that culminates much like his debut film, Faults, with a monstrous bang that’s so unforgettably fulfilling. Jesse Eisenberg proves the perfect casting choice for Casey, as he hits every awkward note with immense precision. Yet, the true star of the film is Alessandro Nivola, whose supporting turn leaves its fingerprints on every square inch of the film. Tentatively scheduled for a June 21st release date, The Art of Self-Defense is a film worthy of your time and attention, and it comes from a filmmaker whose future continues to shine bright.

GRADE: 4/5

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The Best of SXSW 2019

by MCDave

Austin, Texas became the “City That Never Sleeps” as nearly 100,000 people converged on 2019’s SXSW festivities. Time restraints once again limited me to roughly four days of non-stop movie watching which resulted in 14 new titles added to my yearly total. But with a festival such as SXSW where world premieres are the norm, I see what I see even though there are countless other films like the largely touted Saint Frances, the well-regarded indie drama Mickey and the Bear and the April mainstream  horror reboot Pet Sematary that impressed audiences without my viewing. Nevertheless, here are my favorite films, scripts, directors and performances from what I watched at this year’s SXSW Film Festival:

Best Screenplay

Honorable Mention: Booksmart, Little Monsters and Pink Wall

#5. The Art of Self-Defense

#4. Extra Ordinary

#3. Villains

#2. Long Shot

And the winner is … 

#1. Come As You Are

Erik Linthorst’s heartfelt and riotously funny screenplay serves as a solid foundation for this tale about a trio of friends with physical disabilities who run off without their parents’ permission to a brothel in Montreal that caters to men with their specific needs. Richard Wong’s wonderfully executed road-trip comedy leaves a lasting impression thanks to its script’s uncanny ability to develop rounded characters and place them in hysterical situations as these men learn a great deal about life and themselves.

Best Supporting Actress

Honorable Mention: Nina Dobrev (Run This Town), Jillian Mueller (Porno) and Claudia O’Doherty (Extra Ordinary)

#5. Imogen Poots (The Art of Self-Defense)

#4. Lupita Nyong’o (Little Monsters)

#3. Elizabeth Moss (Us)

#2. Gabourey Sidibe (Come As You Are)

And the winner is …

#1. Kyra Sedgwick (Villains)

Kyra Sedgwick is skin-crawling creepy and totally uninhibited in Dan Berk and Robert Olsen’s Villains. It’s Sedgwick like you’ve never seen, and her fully committed turn helps transform this darkly comic tale of love-stricken amatuer criminals who choose the wrong house to rob into a bona fide winner. And while the Supporting Actress field in general felt a little thin, that’s no slight to her masterfully unforgettable performance in one of SXSW’s finest entries.

Best Supporting Actor

Honorable Mention: Mena Massoud (Run This Town), Barry Ward (Extra Ordinary) and Keith L. Williams (Good Boys)

#5. Josh Gad (Little Monsters)

#4. Ravi Patel (Come As You Are)

#3. Jeffrey Donovan (Villains)

#2. Alessandro Nivola (The Art of Self-Defense)

And the winner is …

#1. O’Shea Jackson Jr. (Long Shot)

Long Shot was such a well rounded rom-com and one of the unexpected heroes of the film is O’Shea Jackson Jr. His character is like blood to a shark, attracting laughter with every well-placed appearance. He constantly throws comedic blows like a boxer and part of me can’t help but wonder if Jackson Jr. wasn’t utilized enough. However, his selective screen time certainly keeps you wanting more and that’s obviously to the film’s benefit. Either way, you can’t argue with the results of Jonathan Levine’s hysterical new romantic comedy, Long Shot.

Best Actress

Honorable Mention: Anna Akana (Go Back To China), Lupita Nyong’o (Us) and Alexi Pappas (Olympic Dreams)

#5. Maika Monroe (Villains)

#4. Maeve Higgins (Extra Ordinary)

#3. Kaitlyn Dever (Booksmart)

#2. Charlize Theron (Long Shot)

And the winner is …

#1. Tatiana Maslany (Pink Wall)

Tatiana Maslany first burst onto my radar following her sadly forgotten turn in the underappreciated 2017 drama Stronger. It was an Oscar worthy performance that never resonated with voters quite as much as it did with me personally. Nevertheless, Maslany returns with another superb showing in Tom Cullen’s Pink Wall. This emotional relationship-drama spans six specific moments in the life of a couple whose romance becomes tested after years together. Much of Pink Wall‘s success hinges on its lead performances and boy does it get one with Tatiana’s Maslany’s continued onscreen dominance.

Best Actor

Honorable Mention: Alexander England (Little Monsters), Ben Platt (Run This Town) and Jacob Tremblay (Good Boys)

#5. Seth Rogen (Long Shot)

#4. Jay Duplass (Pink Wall)

#3. Hayden Szeto (Come As You Are)

#2. Jesse Eisenberg (The Art of Self-Defense)

And the winner is …

#1. Bill Skargsgård (Villains)

Bill Skarsgård has slowly been infiltrating the mainstream spotlight over the past few years with roles in Atomic Blonde and Deadpool 2, but the talented up-and-coming actor is best known for his recreation of Stephen King’s Pennwise in 2017’s Itreboot. But behind all that clown makeup lies a crafty performer who shows his deadbeat charm and uncultured wit in Villains. Skarsgård morphs into such an appealing character that it brandishes a genuine investment into this darkly comedic thriller. The Best Actor field wasn’t overcrowded with top tier options, but Skarsgård still manages to deliver one.

Best Director

Honorable Mention: Mike Ahern & Enda Loughman (Extra Ordinary), Tom Cullen (Pink Wall) and Richard Wong (Come As You Are)

#5. Dan Berk & Robert Olsen (Villains)

#4. Riley Stearns (The Art of Self-Defense)

#3. Olivia Wilde (Booksmart)

#2. Jonathan Levine (Long Shot)

And the winner is …

#1. Jordan Peele (Us)

As Jordan Peele’s Us embarks on what’s destined to be a record-setting opening weekend, there have been few critics daring enough to speak against this grossly anticipated follow-up to Get Out. However, I’ve been clear and firm with my stance that Us is a step forward for Peele as a director, but maybe two steps back as a writer. And rather than nitpick against my issues with its screenplay, I’ll take this opportunity to say that without Peele’s hyponotic direction the film could have very well been a disaster. His camerawork and unique vision heighten the various moods that he aims to achieve, but sadly a plagued screenplay hinders Us from being the next great American horror film that you’re being told it is.

Best Picture

Honorable Mention: Extra Ordinary, Little Monsters and Pink Wall

#5. Booksmart

#4. The Art of Self-Defense

#3. Come As You Are

#2. Villains

And the winner is …

#1. Long Shot

Fred Flarsky, what more can I say? Set Rogen’s lovable character has conviction, and his soulful inner belief in Secretary of State and Presidential hopeful, Charlotte Field (Charlize Theron), makes him the greatest of underdogs in his one shot at love. Jonathan Levine’s Long Shot isn’t the most daring film or the most original selection from the 2019 SXSW lineup, but it’s certainly the most polished. It feels like a big time rom-com and it definitely plays like one, checking all the necessary boxes and delivering a workout-full of laughs that will leave those abs sore for the next few days (you’ve been warned). Levine’s latest possess such allure and enchantment that Long Shot easily separates itself among the field from the 14 films I had the pleasure of viewing. It’s due for a May 3rd release date so keep an eye out!

SXSW Reviews: Come As You Are

by MCDave

If the 2019 SXSW film slate is truly a microcosm of what to expect from this upcoming cinematic year, then prepare to drown in laughter because there’s been a comedy takeover at the festival and few movies have generated as many laughs as Richard Wong’s Come As You Are. This festival darling comes from a filmmaker who has floated around the industry without actually breaking through. But Richard Wong’s career could be headed for a whole new trajectory thanks to delivering one of this year’s finest SXSW entries.

Scotty (Grant Rosenmeyer) is a 30-something year-old quadriplegic virgin who still lives at home with his chatty and overbearing mother (Janeane Garofalo). And when his sexual curiosity leads him to discover a brothel in Montreal that caters to his specific needs, Scotty rounds up fellow disabled friends Mo (Ravi Patel) and Matt (Hayden Szeto) to join him on a road trip up north. But without seeking the approval of their helicopter parents, these men secretly recruit a chauffeur (Gabourey Sidibe) via Craigslist to help escort them on their upcoming sexual conquest.

Come As You Are stands as both a refreshing indie comedy and an empathetic exposé into the everyday difficulties of life as a physically handicapped individual. The laughs are relentless and superbly complement a sturdy and heartfelt story from screenwriter Erik Linthorst. Scotty as a quadriplegic, Mo as a blind man and Matt as someone paralyzed from the waste down, each character brings a different perspective to the group, an element that shines a light on the vast diversities of the physically impaired. But even as earnest and forthright as the film is regarding these disabilities, Come As You Are also uses them as a comedic vessel for riotous laughs and laugh-out-loud humor. The entire collective cast offers one of the best ensembles of the festival with a strong stockpile of performances. Most notably are turns from The Edge of Seventeen’s Hayden Szeto and Master of None’s Ravi Patel, both of which channel their deeply personal and good-hearted characters with a stunning reverence. As an audience we gladly journey on this hilarious road trip with an immoral intention only to discover a brave and more humanistic purpose to the endeavor. It’s a truly introspective journey in the vein of another similarly-themed and exceptional film called The Sessions that’s filled with heart, laughter and drama. Come As You Are represents a wonderful indie comedy that still manages to separate itself from the many other successful funny films at this year’s SXSW festival.

GRADE: 4/5

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SXSW 2019 Review: ‘Good Boys’

by MCDave

What if I were to tell you that the creators of Superbad and Sausage Party joined forces to deliver a brand new live-action comedy about a trio of foul-mouthed 12-year-olds that plays like a long episode of South Park? Well if that grabs your attention, then brace yourself for Gene Stupnitsky’s impudent and vulgar new comedy, Good Boys. However, if watching maturing tweens drop f-bombs for 95 minutes doesn’t sound like your idea of a good time, then you’re better off moving along.

The “Bean Bag Boys” are made up of Max (Room’s Jacob Tremblay), Lucas (Keith L. Williams from last year’s SXSW entry Sadie) and Thor (Brady Noon), a trio of inseparable best friends slowly adjusting to middle school life. But when an impromptu invitation to a “kissing party” sends the guys on a mission to learn the ropes of making out, they recklessly destroy Max’s dad’s expensive drone. The Bean Bag Boys set out on a wild adventure to replace the drone and make it back to the party in time for Max to finally kiss the girl of his dreams.

Despite the film’s bullish irreverence, one that quickly loses its immediate sense of entertaining shock-value, Good Boys does navigate toward a warm and important central theme that helps keep this often messy and erratic tale somewhat grounded. You’ll laugh at the naivety of these youngsters as director Gene Stupnitsky and co-writer Lee Eisenberg continually places them in R-Rated situations that often rest well beyond the boys’ steep learning curve. Yet, the laughs earned by this uninspiring script symbolically reflect a cheap lack of creativity, as if thrusting these maturing children into a bevy of sexual innuendo and filling every other line of dialogue with adult language is an artistic substitute for clever screenwriting. There’s an overlying laziness that drowns out the film’s otherwise impactful sentiment, the belief that growing up involves finding your appropriate place amongst the tribal world in which we live. All of Tremblay, Williams and Noon clearly deserve more to work with as they offer up fully committed turns that are more impressive than anything else associated with Good Boys. And although the film does provide the occasional comedic highlight, ones that are almost exclusively tied to an unapologetically crude punchline, Good Boys ultimately resides as a forgettable effort overshadowed by countless other comedies at this year’s SXSW festival.

GRADE: 2.5/5

https://youtu.be/PpgHqPHbZiE

SXSW 2019 Review: ‘Villains’

by MCDave

Maika Monroe was a female face of indie horror for a brief moment in time. With leading roles in the beloved festival darling, It Follows, and the campy b-horror movie, The Guest, Monroe felt like a modern-day scream queen in the making. Yet, as her career has materialized over the past few years, she’s dabbled in all sorts of genres in both large scale and very modestly budgeted films. But finally, Monroe returns to her horror roots in the buzzed-about SXSW entry, Villains.

Mickey and Jules (It’s Bill Skarsgard and Maika Monroe) are a crazy-in-love pair of amateur criminals determined to start a new life on the coastal beaches of Florida. But when their car breaks down after a convenience store robbery, the couple quickly ventures to the closest residence they can find. Hoping to steal a new set of wheels and quickly be on their way, Mickey and Jules stumble across a sadistic husband and wife (Jeffrey Donovan and Kyra Sedgwick) harboring a deep secret inside their home.

There are quite a few elements that propel co-directors Dan Berk and Robert Olsen’s Villains into a standout film from this year’s crop of SXSW titles. A witty interweaving of dark comedy and edge-of-your-seat suspense join with wonderful lead performances to help shape this brilliantly bizarre and creepy endeavor. And while Maika Monroe has cemented herself as a true horror fixture, her onscreen beau is magnificently delivered by Bill Skarsgard. He ditches the Pennywise makeup for dopey but lovable character whose buffoonish charm shines through despite his obvious poor moral decision-making. And even though Mickey and Jules are criminals themselves, they aren’t the real villains so blatantly addressed in the film’s title. That’s where Jeffrey Donovan Kyra Sedgwick turn their dials up to “11” with skin-crawling turns that in actuality set the proper mood for this modern horror-thriller. Villains compels, disgusts and entertains in the most shocking of ways making it an ideal SXSW world premiere and one that has set a steady buzz around the viewing masses here in Austin, TX.

GRADE: 4/5