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 Reviews: Lady Bird

by MCDave

Thanks to countless collaborations with acclaimed indie filmmaker Noah Baumbach, Greta Gerwig has cemented her standing as a formidable lead actress in contemporary Hollywood. And even after a steadily climbing career inexplicably found her on the outside looking in at this past Oscars ceremony, where her work in Mike Mills’ 20th Century Women was actually one of the year’s strongest performances despite the snub, Academy voters will have a difficult time turning a blind eye to Gerwig’s beloved festival darling, Lady Bird. This indie treat combines the witty charm of Gerwig’s screenplay with a familiar Oscar player, Brooklyn star Saoirse Ronan.

The self-nicknamed “Lady Bird” (Ronan) wants nothing more than to escape her Northern California roots by getting into an east coast college despite her mom’s (Laurie Metcalf) strongest efforts to keep her local. And as Lady Bird navigates through senior year with her best and only friend, Julie (Beanie Feldstein), she encounters many firsts that slowly shape her her transition into adulthood.

Sadly, if you’ve seen Lady Bird‘s official trailer then you’ve seen many of the films most memorable moments. But still, Gerwig’s endearing script miraculously finds ways of triggering familiarity to our own teenage years, full of awkwardness and immaturity that we’ve all encountered in some shape or form. Saoirse continues to demonstrate her acting prowess by channeling her inner irrational self, without a filter and desperate to develop a sense of self. Lady Bird makes for such an interesting character because she’s so relatable, a testament to Gerwig’s crafty writing and Ronan’s ability to bring the title character to life. Equally as impressive as Ronan’s stout onscreen performance is the reemergence of Roseanne co-star, Laure Metcalf. Playing Lady Bird’s combative mother, Metcalf brings a natural fluidity to the role and their meticulously crafted co-dependence proves a marvelous component to the film. Lady Bird moves well with its brisk nearly 90-minute running time, but it also lacks a big emotional punch to the gut with its meandering resolution. Gerwig’s effort is certainly a strong one and seems primed to be an Oscar player as the year comes to a close, but Lady Bird also falls short of greatness in many regards.

GRADE: 4/5

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Geekscape Movie Reviews: Happy Death Day

by MCDave

The horror genre meets Groundhog Day in Christopher Landon’s engaging new effort, Happy Death Day. We’ve seen this repetitious formula filter into the sci-fi/action genre with 2014’s The Edge of Tomorrow, and it feels like such a natural fit for scary movies, making Happy Death Day‘s premise on odd combination of both familiar and original storytelling. But despite the film’s creative foundation, the manner in which everything pieces together is less that satisfying.

When sorority queen Tree Gelbman (Jessica Rothe) wakes up on her birthday in the dorm room of an underclassman named Carter (Israel Broussard), she instantly regrets all of her previous night’s decisions. Yet, little does Tree know that Carter may be the only person on campus she can actually trust. As Tree continues on with the rest of her day, it ends in a grisly murder at the hands of a determined killer sporting a mask of the university’s mascot. And when she awakes to the same morning routine in Carter’s dorm room, she quickly finds herself forced to relive the day over and over again until she can correctly identify her killer.

Happy Death Day is short on scares and gore, evident by its limiting PG-13 rating. For an idea as clever and death-filled as this one, the film is sorely mishandled with its tame and subdued demeanor. Instead, Christopher Landon and writer and Scott Lobdell deliver a more teen-centric and fun endeavor than a truly horrific one. And as Tree falls victim to her mysterious killer over and over again, she gains a newfound perspective on life that helps transform a once cruel and superficial sorority sister into a more grounded and introspective young woman. This nice and pretty little bow that’s tied to Happy Death Day‘s main character is certainly gratifying, yet a head-scratching journey to unlocking Tree’s killer is riddled with red herrings and plot holes. While some of the story’s misdirection works well in the moment, the most notable twist is in many ways unforgivably bad. Happy Death Day proves to be another immature horror effort that squanders an otherwise creative premise. Thankfully, a brisk pace and likable main characters allow Christopher Landon’s latest to be, at worst, a tolerable experience.

GRADE: 3/5

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Geekscape Movie Reviews: ‘Blade Runner: 2049’

by MCDave

It was 35 years ago when Ridley Scott broke ground with his sci-fi classic Blade Runner. Trading action-packed thrills for a tempered and more cerebral science fiction endeavor helped make an impact on an entire generation of movie lovers. And if a sequel had to be done, what better filmmaker to take the reins than Arrival helmer Denis Villeneuve? Brandishing an intellectual screenplay and Villeneuve’s keen visionary mastery, Blade Runner 2049 has clearly been placed in the most worthy of hands.

Set thirty years after the original, Officer K (Ryan Gosling) is a new-hybrid of replicant Blade Runner, programmed to fully obey his human masters. But as he becomes assigned to a very delicate case, the mystery he’s supposed to solve slowly forces him to question his own existence. And with all of the answers belonging to former agent Deckard (Harrison Ford) who has gone into hiding for decades now, K must track down the legendary Blade Runner in order to finally unlock the truth to his cloudy past.

Much like Ridley Scott’s Alien franchise, Blade Runner 2049 finds a unique beauty in its ability to pose more questions than answers. But despite a frustrating ambiguity that’s assured to displease select audiences, Denis Villeneuve and company do an amazing job of expanding on the universe that Ridley Scott created 35 years ago. Taking the auteur’s classic idea of building compassion for the replicant population and transforming that into a core principal within the structure of this new examination, Villeneuve enlightens the viewer with fascinating psychological quandaries and thought-provoking introspection. Ryan Gosling offers a stellar lead performance that’s wonderfully complemented by a multitude of smaller, yet unbelievably effective, roles. And while Gosling undoubtedly hogs the film’s face time, not a single side character wastes a moment on screen. Don’t be fooled, though, Blade Runner 2049 comes with a fair share of criticisms. The film wallows in a sluggish and thrill-less delivery that snow-piles throughout an often painful 160-minute duration, and its uncharacteristically weak score with the great Hans Zimmer on board proves to be a bit of a disappointment. However, loyal and respectful fans of the original Blade Runner can look past these flaws and find solace in Denis Villeneuve’s originality and heady subtext that rival the work of its predecessor.

GRADE: 4/5

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Geekscape Movie Reviews: American Made

by MCDave

Doug Liman returns with his second offering of 2017, re-teaming with his former Edge of Tomorrow star, Tom Cruise, in the wild true story of a commercial airline pilot-turned-CIA recon gatherer. American Made plays to a similar tone that we’ve witnessed on many occasions, shedding its light on the notorious Medellin drug cartel and leader Pablo Escobar. This aura of familiarity and a complete disregard for character building haunt Liman’s latest and have us pining for the level of success he showed early in his career with hits like The Bourne Identity and Swingers.

After growing tired of the monotony involved in his everyday life as a commercial pilot for TWA in the late 70s, a rare opportunity falls in the lap of Barry Seal (Tom Cruise) when he’s recruited by the CIA to fly recon missions in South and Central America. Barry’s thirst for adventure proves reckless when he finds himself immersed in a cocaine smuggling scheme under the behest of ruthless dealer Pablo Escobar. With all sorts of government agencies on his trail and danger certainly looming, Barry puts everything at risk when he makes a compromising decision that places him and his loved ones in grave danger.

Eerily reminiscent of Ted Demme’s 2001 cult classic, Blow, American Made suffers from what can only be described as an apparent egotistical grandstanding from leading star Tom Cruise. You’d be hard-pressed to find any extended period of time without Cruise’s long, flowy locks and devilish grin plastered across the screen. Sadly, the film focuses exclusively on Barry Seal, and its failure to properly address the impacts of Barry’s decisions on everyone else in his life through an adequate development of side characters proves detrimental. Barry’s family, most notably, is nothing more than a silhouette to Cruise’s demanding character. But despite this glaring weakness and unforgivable oversight to the film, American Made still manages to attract an audience with an energetic and amusingly tragic story. As Barry continues to fall deeper into his corrupt world of drug trafficking and money laundering, its like watching a car crash develop, where you refuse to look away for fear of missing the most destructive moment of impact. Cruise isn’t at his best but he certainly remains capable of carrying a film, even if we’re forced to take him in overflowing doses. But for as engaging and consuming as American Made‘s story allows it be, you can’t help but feel like Liman should have accomplished so much more.

GRADE: 3/5

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Geekscape Movie Reviews: Battle of the Sexes

by MCDave

Following an unusual career path to filmmaking that included nearly two decades of making MTV music videos for accomplished artists like REM, The Red Hot Chili Peppers, Weezer and countless others, Jonathan Dayton and Valerie Faris began their Hollywood career with a bang. The husband and wife’s debut feature Little Miss Sunshine went on to win a pair of Oscars (Best Supporting Actor and Best Original Screenplay) and earn heaps of critical praise. And despite an egregiously overlooked second feature, the superbly told fantasy love story Ruby Sparks, the couple’s latest work has them back in the spotlight.

Battle of the Sexes tells the timely true tale of female tennis great, Billie Jean King (Emma Stone), as she emerged as a beacon of the women’s liberation movement during the early 1970s. While embroiled in a bitter fight concerning equal cash prize payouts for the men’s and women’s tournament winners, King also discovers her inner desires and begins a secret and risque affair with a pretty young hair dresser named Marilyn (Andrea Riseborough). Meanwhile, 55 year old former men’s champion and gambling aficionado , Bobby Riggs (Steve Carell), comes up with a crazy sideshow idea to play King in an exhibition match, and puts on a chauvinistic display to help make it happen.

Caught in the midst of a heated social climate, Dayton and Faris’ Battle of the Sexes proudly parades its pro-feminism and pro-LGBTQ rights agenda. You’ll be hard pressed to find a single scene where King’s character is on screen and neither of those issues are involved. Consequently, the film will assuredly polarize audiences, so it’s important to take all passionate opinions regarding the movie with a grain of salt. And even though Academy Award Winning screenwriter Simon Beaufoy’s (Slumdog Millionaire) script comes off as a bit preachy, recent Oscar Winner Emma Stone and co-star Steve Carell both deliver outstanding performances. If anything, Battle of the Sexes could have used a larger dose of Steve Carell, as Bobby Riggs’ energetic character merely lurks around in the film’s first two acts, giving way to a tepid romance story between Billie and Marilyn. Both Austin Stowell, as Billie’s husband Larry King, and Andrea Riseborough fail to offer convincing and meaningful characters, which certainly creates a void in the film. Battle of the Sexes tells an interesting true story in a rather uninteresting way, making it a decent but unfulfilling watch.

GRADE: 3.5/5

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Geekscape Movie Reviews: Stronger

by MCDave

Less than a year ago Peter Berg, a director increasingly known for tackling events from recent history, delivered a tense and thrilling recreation of 2013’s Boston Marathon bombing and the subsequent days-long manhunt for the suspects at large with Patriots Day. The film was effective but lacked a subtle and more personal feel to the Boston-Strong tragedy that rocked the world. Yet, nearly nine months later we’re given just that perspective from a mildly unexpected source. David Gordon Green, an indie filmmaker who finally broke through with his 2008’s stoner-comedy Pineapple Express, finally returns to his dramatic roots. Stronger tells the emotional true story of Jeff Bauman, a bombing victim who struggles to come to grips with the debilitating results of this tragic event.

Jeff Bauman (Jake Gyllenhaal) is an unreliable and immature jokester living in the Boston suburb of Chelmsford. And when he runs into his long-time on-and-off girlfriend Erin (Tatiana Maslany) at a local bar trying to raise money for the marathon, he promises to be there at the finish line to cheer her on as she finishes the race. But Jeff’s decision to finally come through on his promise leads to the greatest struggle of his life when he losses both of his legs in the bombing and reluctantly becomes a hero to the entire city of Boston.

David Gordon Green’s Stronger grips its audience with a compelling character-driven story that’s eloquently brought to the screen by Jake Gyllenhaal. The actor’s storied career adds another shining inclusion to his already long list of achievements as Gyllenhaal delivers the year’s most notable performance to date. But for as masterful as Gyllenhaal is on screen, co-star Tatiana Maslany complements his work with an earnest and skillful turn of her own. Stronger tells a nuanced story that’s thin on memorable scenes but effective because of its refusal to cater the the heart-tugging backdrop of its over-arcing tale. The film’s undeniable dramatic moments are supported by laugh-out-loud humor courtesy of Jeff Bauman’s family members, which add a layer of depth to the entire experience. Stronger isn’t anything exceptional, and it may not even end up in the Best Picture field, but David Gordon Green shows why he’s a capable storyteller and exemplary filmmaker.

GRADE: 4/5

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Geekscape Movie Reviews: Mother!

by MCDave

Darren Aronofsky is no stranger to crafting polarizing pieces of film. As the visionary behind works like Requiem for a Dream, The Fountain and even Noah, Aronofsky has a profound way of both dazzling and alienating select audiences. But perhaps none of his oeuvre has divided critics and moviegoers quite like his latest ambitious feat, Mother!, a dark and spiraling journey into madness and creation.

Jennifer Lawrence stars as the wife of a world renowned writer (Javier Bardem). But as she works tirelessly to restore his childhood home to the exact proportions from before it tragically burned to the ground, her husband can’t seem to find the inspiration he needs to create his next great masterpiece. However, when a strange cast of unexpected visitors (Ed Harris and Michelle Pfeiffer) arrive at their home, the ensuing chaos leads to a chain of events that send the writer’s career to even greater heights, which begin to threaten the sanctity of their marriage.

Equal parts bold and absurd, Aronsky’s Mother! rings familiar to the recent adapted work of another ambitious filmmaker, Ben Wheatley. Wheatley’s High-Rise serves as a metaphor for societal breakdown and anarchy in a lawless skyscraper where the higher the floor, the more power and wealth. Similarly, Mother! has much to say about the deterioration of society and structure. But where Wheatley’s effort unapologetically prides itself on the foolish lunacy of its story, Mother! half-heartedly masks the same goal with mystery and intrigue. And when Aronofsky finally reveals his hand, the bravado has already begun to wear thin. Mother! stands as a periodically gripping tale with committed performances from a rangy and impressive cast. Yet, much like the chintzy exclamation point thrown at the end of the film’s title, Mother! is as subtle as a sledge-hammer, mercilessly dragging the viewer to a far-off finish line that provides very little in terms of a reward when all is said and done.

GRADE: 3/5

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Geekscape Movie Reviews: A Ghost Story

by MCDave

David Lowery’s filmmaking career has been all over the map. He first stepped onto the scene with his uber-artsy Bonnie & Clyde-esque Sundance selected drama, Ain’t Them Bodies Saints, in 2013, only to follow it up with last year’s successful re-imagining of Pete’s Dragon. Lowery’s upward trajectory following his well-received summer-film reboot would normally send a director in search of his or her next big venture, but Lowery went in a completely different direction. He returns to his artistic prowess in the ambitious festival darling, A Ghost Story.

Casey Affleck and Rooney Mara stars as a loving couple who experience an unforeseen tragedy following a car accident  that results in Affleck’s character’s death. As the saddened widow confirms his passing at the morgue, Affleck’s spirit emerges from the bed as a sheet-covered ghost who transports back to his home where he watches his wife grieve the loss. But as she moves on with her life and leaves a secret note in the crack of a doorway as she sells and leaves the home, the ghost stays in the dwelling desperate to uncover the note’s contents.

A Ghost Story is a beautifully poetic expression of love, loss and countless other emotions. Lowery’s bold endeavor both captivates and mesmerizes throughout a loosely coherent storyline that becomes more and more muddled as it progresses. Nonetheless, uniqueness and originality effectively guide the audience through an existentially-crafted plot and mildly ambiguous resolve. Mara’s soulful turn and Affleck’s surprising depth, even cloaked behind a sheet for the majority of the film, are transcending enough to keep the effort afloat.

“Polarizing” would be an apt descriptor for Lowery’s latest critically-adored work. The filmmaker begins by utilizing excessively long takes that the audience is forced to muscle through. Thankfully, nearly all of these shots include a purposeful conclusion that help alleviate the frustration. Furthermore, A Ghost Story possesses a misleading title. The film is strictly a drama and fantasy, so don’t expect any horror whatsoever. In fact, the scariest moment in the film is a nearly five-minute shot of Mara sorrowfully spoon-feeding an entire pie down her throat following the loss of her husband. Symbolic of the film’s painfully slow demeanor, but also its poignant capturing of human emotion, A Ghost Story is a sluggish 90-minute indie that certainly pays off from a creative and artistic perspective.

GRADE: 3.5/5

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Geekscape Movie Reviews: The Glass Castle

by MCDave

Destin Cretton is anything but a household name. Yet, the gifted filmmaker turned heads with his massively overlooked 2013 drama, Short Term 12. The effort bridged together Cretton’s singular story and vision with the remarkable acting talents of Brie Larson. Since then Larson has gone on to win an Academy Award (Room), but her career comes full circle in her latest collaboration with Destin Cretton in the adapted film The Glass Castle.
Told non-chronologically through various flashbacks, The Glass Castle follows the unconventional childhood of gossip columnist and eventual Best-Selling author Jeannette Walls (Larson). Prior to her career as a writer, Walls grows up under the dysfunctional supervision of her alcoholic father (Woody Harrelson) and her amateur artist mother (Naomi Watts). But as Jeannette and her siblings begin to mature and fully comprehend their squatter-lifestyle and impoverished upbringing, they must work together to escape the clutches of their deadbeat parents.

Destin Cretton’s The Glass Castle serves as a heavy drama that illustrates the director’s keen vision and his cast’s stellar performances. There are many captured shots scattered throughout the film that transcend the normal standards of direction, reminding us just how impressive Cretton truly is. Likewise, Brie Larson continues to shine and reinforce her standing as one of the best actresses alive today. And her counterpart, the underappreciated Woody Harrelson, always has a knack for commanding the screen. Witnessing these two titanic performers deliver the goods over and over again for more than two hours is what keeps this film from crumbling at the hands of its weaker elements.

For starters, The Glass Castle begins its constant rewinding of time through flashbacks with a fluid approach that effectively links the present with the past. However, eventually, the film ditches its smooth transitions and forcefully breaks from its underlying format. And as Jeannette’s character begins to truly ponder the joy vs. sorrow of her childhood, deciding whether her father was an inspiration or a burden, the flashbacks become a hokey and contrived element rather than a useful and informative tool. But even through much of the screenplay’s over-extension and sloppiness, exceptional direction and performances keep the audience connected to this powerful tale of familial struggle.

GRADE: 3/5

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Geekscape Movie Reviews: Wind River

by MCDave

Oscar-nominated screenwriter Taylor Sheridan (Hell or High Water and Sicario) knows a thing or two about crafting a well-oiled story. But nowadays, the hot commodity has his sights set on a larger role as he directs his first feature film since 2011, the Wyoming-set crime thriller Wind River. Sheridan’s Cannes and Sundance selected feature takes a little time to get going, but it ultimately plays quite well by the time the credits roll.
Cory Lambert (Jeremy) works as a hunter and tracker for the Department of Game and Fish in the snowy mountains of Wyoming. And when Cory stumbles upon the body of a dead girl on a Native American reservation, he teams with a rookie FBI agent (Elizabeth Olsen) and the reservation’s head of police (Graham Greene) to investigate the murder. Together they battle jurisdiction complications and harsh wintry conditions while trying to solve the local crime.

Taylor Sheridan’s Wind River struggles through a moping first act that reaches boldly for distractingly ineffective dramatics. Leading pair Jeremy Renner and Elizabeth Olsen also stumble out of the gate, never feeling right for their roles at first glance. But as Sheridan’s cohesive story begins to take shape so do their characters, which allows the film to build momentum en route to its sleekly delivered “big reveal”. Wind River‘s mystery comes together through an original and remarkably fluid explanation that reminds us just how talented of a writer Sheridan truly is. And although his direction clearly plays second fiddle to a riveting murder mystery, Wind River improves with every passing minute and closes with an absolute bang, once again solidifying the writer/director’s standing in contemporary Hollywood.

GRADE: 3.5/5

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Geekscape Movie Reviews: Dunkirk

by MCDave

Christopher Nolan, a name that needs no introduction. As one of the most notable filmmakers in the world today, Nolan has earned the right to not be questioned. “Unconventional” is his calling card. So when it was reported that his new WWII epic, Dunkirk, boasts a running time of only 106 minutes, a far cry from the two and half and three hour staples we’ve come to expect from iconic war films, the only thought running through my head was “in Nolan we trust”.

In the early stages of World War II, the Germans have cornered Allied forces onto the beaches of Dunkirk, France. And rather than wasting valuable tanks to finish them off, the Germans bombard these helpless soldiers with an aerial attack of gunfire and bombs. But as word spreads to the common folk of Great Britain that their young fighters are stranded on the beachfront, they take matters into their own hands and embark on a heroic rescue mission across the channel to retrieve their soldiers.

Look no further than works such as The Dark Knight trilogy, Inception, Memento, Interstellar and many others to understand that Christopher Nolan has made a career off of unforgettable filmmaking. His latest entry is yet another spellbinding experience that refuses to waver in intensity. Nolan’s direction is sharp and on point while Dunkirk‘s cinematography is nothing short of majestic. But when all is said and done, the true all-star behind this film is Nolan’s regular collaborating partner, composer Hans Zimmer. His relentless score keeps your heart pounding as the bullets fly and the bombs explode throughout the entire duration of the film.

Although Dunkirk represents an exceptionally-made piece of cinematic art, it doesn’t come without its blemishes. Dialogue is rare to come by, not that it necessarily matters, but it leads to a lack of character development and any real semblance of a story that ultimately plagues the film and keeps it from being an absolute masterpiece. Instead, Dunkirk simply unravels as a sequence of events which capture a truly amazing real-life occurrence. And the film’s underlying dichotomy of both bravery and cowardice in the face of danger is delivered eloquently. Dunkirk is another strong piece of filmmaking from Nolan, something we’ve come to expect with each new release of his, but its complete disregard for character building and failure to offer a true narrative structure absolutely destroy the film’s re-watchability. Oscar chatter is already being thrown around for this July release and I really wouldn’t be surprised one way or the other. But if you’re in search of a gut-wrenching and high octane throwback to World War II, Christopher Nolan’s Dunkirk will certainly take you on a ride unlike any other.

GRADE: 4/5

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Geekscape Movie Reviews: Spider-Man: Homecoming

by MCDave

While many critics and outlets constantly insist that audiences are starving for the Spider-Man film that they deserve, it feels too much like revisionist history. Sam Raimi’s Spider-Man starring Tobey McGuire in 2002 (89% rating on Rotten Tomatoes, 73 Meta-Critic score) and Marc Webb’s The Amazing Spider-Man with Andrew Garfield in 2012 (72%, 66) both opened to strong critical approval. Yet, this rapid return to the Peter Parker character is a whole new ballgame with a completely different feel and trajectory. Marvel’s Cinematic Universe (MCU) enters the heart of its third “Phase” with a mountain of steam, but can Spider-Man: Homecoming deliver?

Set a few months after the events of Captain America:Civil War, a 15 year-old Peter Parker (Tom Holland) is operating under the watchful eye of Tony Stark (Robert Downey Jr.) and his loyal assistant Happy Hogan (Jon Favreau). But as Peter tries harder and harder to impress Stark with his superhero alter ego Spider-Man, he uncovers an underground arms creator and dealer (Michael Keaton) whose powerful weaponry bridges alien technology with human machinery. Instructed by Stark to stop his pursuit of the arms dealer, Peter disobeys the orders and finds himself face to face with a nefarious foe.


Homecoming fits seamlessly into the MCU with a familiar foundation of humor and action. Built on the shoulders of an ingratiating and clumsy teenage geek, played wonderfully by rising star Tom Holland, Marvel’s latest release places the universe’s macro storyline back on course. Insane visual effects form a web-like cohesion with witty one-line zingers to help keep the action-train churning. These over-extended sequences occur frequently and dwindle in effectiveness with each recurring appearance in the film, yet they’re easily overshadowed by some clever maneuvering with the screenplay and Tom Holland’s alluring performance. And as I usually criticize the MCU for its lack of attention to its film’s central villains, Michael Keaton’s Vulture is birthed from a truly intriguing concept. Although Homecoming fails to adequately venture down that creative path, instead delving too deep into Peter’s buffoonish teenage quandaries, there’s enough meat on the bones to entertain in exactly the way a summer blockbuster should.

Grade: 3.5/5

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Geekscape Movie Reviews: The Big Sick

by MCDave

Kudos are in order as Judd Apatow has officially transformed an acclaimed filmmaking career into legitimate brand-name recognition. The “Apatow” name has become synonymous with comedy, and it’s been plastered all over television screens and billboards as a luring attraction for the general public. His film company’s latest production, director Michael Showalter’s Sundance Audience Award winner The Big Sick, brings hilarity back to the forefront of independent cinema, reminding us why it’s always worthwhile to take a chance on any creative endeavor cloaked with the “Apatow” seal.

Kumail (Silicon Valley‘s Kumail Nanjiani) is a Pakistani-born amateur comedian living in Chicago. After a performance one night, he meets a free-spirited white woman named Emily (Zoe Kazan) and their instant connection quickly turns into a meaningful relationship. But when the strict Muslim beliefs of Kumail’s family force a wedge in their relationship, Emily soon suffers a severe sickness that leaves her comatose, and the trying situation helps give Kumail the strength he needs to confront his loved-ones.


The Big Sick is a poignant and timely examination of the modern Americanized Muslim struggling with their own faith. In an era of division across all walks of life, Michael Showalter’s hysterical work addresses cultural and religious differences with nothing but sheer love. The tenderness displayed from scene to scene is effortlessly organic and stems from the real-life inspirations of star Kumail Nanjiani and his wife and co-writer, Emily V. Gordon. Scripted from their own crazy and true love story, taking creative license with only a few minor exceptions, Nanjiani and Gordon pen a wonderful screenplay that does a phenomenal job of setting up perfect comedic conclusions to the film’s more personal moments. No matter what direction the story wanders, The Big Sick always circles back to its humor-first foundation. This well-balanced dramedy also benefits from brilliantly crafted characters that come to life through unique chemistry and fearless performances. Nanjiani and Kazan light up the screen together, which allows for a bitterly outstretched third act to feel like nothing more than a mere hiccup in an otherwise exceptional romantic comedy.

Grade: 4/5

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Geekscape Movie Reviews: 47 Meters Down

by MCDave

The Discovery Channel’s “Shark Week” marathon is right around the corner and if you’re trying to find a way to set the mood for July’s annual festivities, you may want to consider Johannes Roberts’ new underwater thriller, 47 Meters Down. Roberts, who has also been handed the keys to the upcoming 2018 horror sequel The Strangers 2, brings a recognizable lead, Mandy Moore, on board for this new release. And with shark infested waters and bikini clad women dominating the screen time, what more could a horror fan ask for?

Sisters Lisa (Moore) and Kate (Claire Holt) are vacationing in Mexico trying to break Lisa out of her conventional and boring lifestyle. But when Kate convinces her sister to climb into a rickety cage in the middle of the ocean surrounded by enormous Great White Sharks, things go south quickly when the cage breaks from the ship and crashes 47 meters below to the ocean floor. Running out of oxygen and with blood-thirsty sharks hovering above, the sisters try desperately to formulate a plan for survival.

There are some noteworthy elements to Johannes Roberts’ tense new thriller. After a heart-pounding free-fall into the dark depths of the ocean floor, 47 Meters Down makes you feel the confinement of its lead characters. The film provides an inherent “ticking time bomb effect” with air-tank gauges that constantly remind the audience of the impending doom. Moreover, the visual effects with the sharks are superb, creating genuine fear during their timely arrivals on screen. But despite these effective attributes to the film, 47 Meters Down finds itself mired in a repetitious cycle of conflicts and resolutions that transform this 89-minute experience into an unimaginable marathon. And as the film crawls to its finale, Roberts and co-writer Ernest Riera miss the mark completely with a crafty ending that doesn’t quite provide the punch that they were expecting. 47 Meters Down is a frustratingly slow, albeit occasionally tense, thriller that turns its back on some golden opportunities.

GRADE: 2/5

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Geekscape Movie Reviews: Rough Night

by MCDave

Back in 2009 Paul Feig’s Bridesmaids launched the R-rated female comedy genre into the middle of mainstream cinema. And since then, stars like Melissa McCarthy, Tina Fey and Amy Schumer have carried the torch through a mostly unspectacular crop of releases. But in-steps the eye-popping Scarlett Johansson, an unlikely character actress who finds herself starring in Broad City director Lucia Aniello’s feature film debut, Rough Night.

The film centers around bride-to-be Jess (Johansson), a state politician caught in the middle of a neck-and-neck race. Her former college roommate (Jillian Bell) demands an elaborate bachelorette getaway weekend, and things go completely sideways when a freak accident leads to a dead stripper in their shore house. Jess and her best friends need to put their petty grievances aside and work together to avoid some serious jail time.

There are a few strong positives provided in Lucia Aniello’s Rough Night. Cleverly scripted humor is sprinkled throughout, allowing the film to do more than just rely on raunchy and vulgar jokes. In addition, Scarlett Johansson transitions from drama to comedy with exceptional ease. Her performance is the glue that holds the rest of this up-and-down cast together. Co-stars Jillian Bell, Zoe Kravitz, Ilana Glazer and SNL‘s Kate McKinnon, who sports her finest Aussie accent, each offer a handful of shining moments. Yet, they also suffer from grossly embellished characters and instances of all-out absurdity. Sometimes the craziness is effective, but other times it’s a legitimate concern. Futhermore, Rough Night‘s secondary storyline following Jess’ fiance Peter (screenwriter and co-star Paul W. Downs) is way over the top. If you’re seeking some easy and constant laughs with little regard for a sensible plot, Rough Night will surely suffice. But if you’re searching for a comedy that’s plausible and grounded in reality, then you should look elsewhere.

GRADE: 2.5/5

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Geekscape Movie Reviews: The Book of Henry

by MCDave

Director Colin Trevorrow’s career has been on an odd trajectory ever since his impressive 2012 indie debut, Safety Not Guaranteed. The film’s sci-fi backdrop and critical success paved the way for Trevorrow’s emergence on the big-budget blockbuster stage with the money-printing franchise reboot, Jurassic World. Yet, before he closes out the latest Star Wars trilogy as the visionary behind 2019’s concluding Episode IX, Trevorrow changes course entirely with the new limited-release drama, The Book of Henry.

Henry (Jaeden Lieberher) is a remarkably gifted and bright 11 year old boy who serves as the voice of maturity in a household that includes his waitress mother Susan (Naomi Watts) and younger brother Peter (Jacob Tremblay). But when Henry discovers that his next door neighbor and classmate Christina (Maddie Ziegler) is being abused by her police-chief stepfather (Dean Norris), he concocts a deadly plan to help free her from this miserable home life. Yet, unable to take care of matters himself, Henry pens a precisely detailed book so that his mother can carry out the plan.

At its core, The Book of Henry tells a heartbreaking, albeit somewhat uplifting, tale that satisfies with minor elements of humor, suspense and tenderness. Yet, an unforeseen sappy mid-section, one that would typically crumble under normal circumstances, plays surprisingly well thanks to a pair of Hollywood’s most talented young performers. Jordan Lieberher and Jacob Tremblay. Lieberher broke into the industry as Bill Murray’s sidekick in the affable comedy St. Vincent, while Tremblay is best known as the youngster in recent Best Picture nominee, Room. Together, these two stars in the making guide the audience through a messy and flawed story. Trevorrow and screenwriter Gregg Hurwitz attempt to wrap everything up in an inspiring fashion, yet force puzzling and unrealistic behaviors onto characters in order to make this narrative fit. Henry’s cerebral and premeditated nature constantly preaches the notion that any miscalculation can throw off a plan entirely. Sadly, in opposition to what The Book of Henry teaches, flimsy and imperfect writing transforms this fun and heartfelt drama into a wildly mediocre film.

GRADE: 2.5/5

Geekscape Movie Reviews: It Comes at Night

by MCDave

Having experienced both of his films, it’s clear that Trey Edward Schults cares more about how his movies make you feel rather than the boldness of their stories. Consequently, the young filmmaker has maneuvered a stranglehold over the independent filmmaking world with his festival-darling debut feature, Krisha. Countless accolades from the most prominent indie awards groups bridged Schults’ accessibility to bigger talent and larger funds in order to return with his shamefully mis-marketed follow-up, It Comes at Night.

A highly infectious disease has dwindled mankind and a former history teacher (Joel Edgerton) has managed to keep his wife and teenage son alive in a secluded and enclosed shelter in the middle of the woods. But when a stranger arrives at their safe-haven seeking water and refuge for his family, they agree to stay in the shelter together and combine resources. Yet, tensions arise when both families quickly discover that they’ll do whatever’s necessary to stay alive.

I can’t understand why It Comes at Night has been branded as a horror film when its most terrifying scenes all occur in a handful of brief dream sequences. If you’re chasing scares, then look elsewhere. Instead, Schults’ sophomoric effort blends feelings of claustrophobia, paranoia and fear into a rangy psychological drama that offers rare and thinly-spread moments of suspense. Trey Edward Schults uses a manipulation of aspect ratios and clever camerawork to frame instances in the story that elicit various emotions from the viewer. It’s a unique ability that resonates well, but one that also needs a complement of other factors to fully appease the audience. Therefore, despite the film’s narrowly developed story, exceptional performances from the entire cast help ease its slow-building tension that mounts like a well-choreographed dance as the stakes for survival grow higher and higher. It Comes at Night shows a darker side of humanity through a largely ambiguous lens. Personally, I enjoyed connecting the dots and cementing my own belief to the film’s events. However, if you’re someone who needs to know every little detail of a story, then expect to be frustrated. But either way, we’ll all remember exactly how the film’s explosive finale made us feel.

GRADE: 3.5/5

Geekscape Movie Reviews: The Gifted

by MCDave

Most directors would envy a debut as successful as Marc Webb’s 2009 Golden Globe-nominated film, (500) Days of Summer. Webb then took a bit of a leap by following-up his rom-com with superhero blockbusters, The Amazing Spider-Man and its 2014 sequel. But success is fickle in this industry and, like many do, the filmmaker has gone from being handed a major franchise to taking on the new limited-release drama, Gifted.

Chris Evans trades in his Captain America uniform for a much simpler life as Frank Adler, a boat repairman raising his deceased sister’s child, Mary (Mckenna Grace), who’s firm understanding of advanced mathematics is a rarity. But as Frank pushes Mary towards a conventional childhood built on playing and making friends in the public school sector, rather than a taxing life of studying rigorous mathematics at a specialized institution, his mother (Lindsay Duncan) resurfaces and takes legal action with a custody battle over guardianship of the seven year-old girl.

As a professor of mathematics myself, Gifted‘s distinct premise certainly raised my interest. Marc Webb’s latest work attempts to master the delicate balance between a hearty drama and frequent humor. Chris Evans’ sarcastic delivery feels organic and newcomer McKenna Grace offers an impressive turn as well, however the entire cast ultimately becomes limited by a one-dimensional screenplay. At it’s core, Gifted merely scratches the surface of its fundamental moral quandary regarding whether or not a truly exceptional child prodigy should be pushed towards a lifetime commitment of study and research as a duty to humanity, or if they’re should also be entitled to a “normal” upbringing. But rather than tackling this issue head-on, Gifted tip-toes around the predicament with an overly sentimental examination of its story. Regrettably, co-stars Octavia Spencer and Jenny Slate find their talents wasted as expendable characters who are written into the script as obvious fillers. Yet. while Gifted does manage to boast a few tender moments of cinematic expression, they are far to0 sporadic to withstand a fatally flawed screenplay from writer Tom Flynn.

GRADE: 2.5/5

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Geekscape Movie Reviews: The Zookeeper’s Wife

by MCDave

Ever since her near-Oscar win for the role of CIA Operative Maya in Kathryn Bigelow’s Zero Dark Thirty, Jessica Chastain has built a career portraying strong female characters in the films she’s tackled. This trend continues in Niki Caro’s World War II drama, The Zookeeper’s Wife. But even with the feature’s amazing true story and its formidable lead actress, Caro’s work lands as an early-year release and not an Oscar-season contender for a reason.

As Nazi Germany begins its invasion of Warsaw, Poland in 1939, Zoo-owners Antonina and Jan Zabinski (Chastain and Johna Heldenbergh, respectively) lose many of their animals due to the bombing of their facilities. And as the Nazi occupants begin rounding up Jewish residents and relocating them to an enclosed ghetto, the Zabinskis devise a creative plan to help these persecuted individuals escape from the ghetto and take refuge in their Zoo. But under the watchful eye of German soldier Lutz Heck (Daniel Bruhl), the Zabinski family finds themselves taking an enormous risk.

Considering the film’s heavy-handed source material, The Zookeeper’s Wife sadly elicits only artificial emotion that feels expected rather than earned. Perhaps this vital flaw emerges because the audience never truly believes that the Zabinski family is at risk of being exposed. This unforgivable omission of necessary conflict leads to a flat dramatization filled with weakly developed characters that ultimately fails to break ground on the often highlighted World War II era. Thankfully, though, The Zookeeper’s Wife manages to tell a fascinating story that deeply examines the methods of the Zoo-owner’s harboring. Jessica Chastain delivers another fine performance, but one that seems very unlikely to linger deep into the awards season run. Niki Caro adapts an exceptional true story in a very mediocre and sluggish way, leaving plenty to be desired with The Zookeeper’s Wife.

GRADE: 2.5/5

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Geekscape Movie Reviews: The Discovery

by MCDave

Non-traditional film studios have carved a niche in the movie industry as both Amazon Studios and Netflix earned Oscar wins this past year. One of Netflix’s most recent purchases includes the Sundance selection, The Discovery, which releases globally on the streaming platform this weekend. After a snubbed performance for his elite portrayal of American author, David Foster Wallace, in The End of the Tour, Jason Segel continues his dramatic push in Charlie McDowell’s fascinating examination of the afterlife.

Set in the near future Segel stars as Will, son of the famed Dr. Thomas Harbor (Robert Redford) who proves that our consciousness travels to a different plane of existence after we die. Once news spreads of a definitive afterlife, suicide skyrocket by individuals looking for “a fresh start”. And when Will disrupts a young woman’s (Rooney Mara) attempt at suicide, they travel together to Dr. Harbor’s research compound where they discover the truth behind where our consciousness goes.

Ambitious and artsy almost to a fault, The Discovery ponders bold ideas and stirs the imagination with a thought-provoking finale that explodes with possibility. However, Charlie McDowell decides to spend the wide majority of the film developing a slow-burning story of love and loss that merely uses this cerebral conclusion as an afterthought. Rooney Mara grips the audience with a nuanced performance. Her onscreen prowess is further complemented by Jesse Plemons’ energetic supporting work. Sadly, lead star Jason Segel, whom I have defended and supported in the past with all my might, provides a monotonous turn that constantly strikes the same chord over and over again. The Discovery isn’t the most entertaining or exciting watch, but once everything finally pieces together, there’s a satisfying bit of beauty to this somewhat muddled and arduous affair.

GRADE: 3/5

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Geekscape Movie Reviews: The Belko Experiment

by MCDave

Guardians of the Galaxy writer and director, James Gunn, lends his twisted and unusual imagination with the screenplay for Greg McLean’s latest horror film, The Belko Experiment. In this wicked blend of The Hunger Games meets corporate America, 10 Cloverfield Lane‘s John Gallagher Jr. learns just how far human decency and compassion goes when society’s rules and structures are thrown out the window. So if you’re a horror fan with a taste for violent and visceral behavior, The Belko Experiment isn’t exactly groundbreaking material, but it definitely delivers on the gore.

Nestled away in the farmlands of Bogota, Columbia, a United States Government facility houses many local and American workers. Yet, something rings different when Michael Milch (Gallagher Jr.) notices heavily armed guards greeting employees at the front gate and turning away all the local workers. And not long after their work day begins, security panels turn the building into an inescapable fortress as a random voice comes over the intercom system informing all 80 employees that they’re now involved in a game of kill or be-killed.

The Belko Experiment leaves little to the imagination by putting its graphic R-rating to good use. If you’re seeking a grotesque movie experience filled with blood, guts and other unspeakable acts of violence, then director Greg McLean certainly delivers in that regard. Yet, it can’t be ignored that James Gunn’s writing is a bit fundamentally flawed. The audience is forced to accept that all of these workers would have allowed the government to implant tracking devices into their heads for their own safety abroad, something that clearly seems far-fetched and unfathomable. Yet, if you can withstand sporadic head-scratching plot points that are necessary to allow this deadly game to unfold, then The Belko Experiment will definitely please a niche audience. McLean’s film eases through its effortless 88-minute running time with escalating tension and a subtle darkly comedic tone that isn’t stressed nearly enough. Lead actor John Gallagher Jr. plays his role as the sensible and level-headed employee well. But when all hell breaks loose, James Gunn’s writing proves strongest through Michael’s clear character arc. The Belko Experiment offers a somewhat flat finale, but the brisk and brutal ride there is a treat for the sickest of horror fans.

GRADE: 3/5

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SXSW Movie Reviews: Us and Them

by MCDave

Without getting overly political, it’s impossible to ignore the growing divide between the wealthy and the working class in developed nations all across the globe. Such an observation serves as the core principle behind Joe Martin’s feature film debut, Us and Them. This SXSW selection also stars newcomer Jack Roth, son of Quentin Tarantino regular Tim Roth (Pulp Fiction, Reservoir Dogs and The Hateful Eight), in a diabolical role that shows the apple doesn’t far from the acting tree.

Danny (Roth) is a bitter and frustrated working class Brit who’s fed up with the class warfare that plagues society. In a plan to get back at the wealthy elite, he and two fellow accomplices hold a prominent banker and his family hostage and broadcasting the entire ordeal over social media in hopes of starting a political revolution. Yet, things fall apart quickly when Danny’s helpers begin to deviate from his big-picture objective.

Joe Martin’s Us and Them represents a worthwhile achievement that benefits most from its clever non-chronological storytelling and a brilliant lead performance from Jack Roth. Told through multiple chapters, the film offers laugh-out-loud British wit to complement its thrilling kidnapping tale. In its brightest moments, the film rings reminiscent of iconic Guy Ritchie works like Snatch and Lock, Stock and Two Smoking Barrels. However, writer and director Joe Martin eventually loses sight of his overriding voice on the focal point of the feature, watering down his once-poignant socio-political message. However, Us and Them still manages to impress with its unpredictable characters and an unforeseen resolution that ties a satisfying bow on the debut feature.

GRADE: 3.5/5

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SXSW Movie Reviews: Like Me

by MCDave

With enormous crowds swirling all over Austin, Texas, sometimes it’s to your benefit to pass up a more anticipated screening at SXSW for a smaller, more intimate, one. And after catching Robert Mockler’s first credited feature, Like Me, I was grateful for taking a shot on this unknown title. Blending together elements of experimental filmmaking with a traditional narrative core, Mockler stands out against the other directorial debuts at this year’s SXSW festival.

The film opens with a lonely teenage sociopath named Kiya (Addison Timlin) holding up a drive-thru market clerk and broadcasting the entire robbery live on her social media feed. From there she continues on a crime spree that she uses to connect with her followers online, and results in the kidnapping of Marshall (Larry Fessenden), a pedophile hotel owner she lures into captivity. Kiya begins to interact with Marshall more and more and the human connection may or may not be enough to stop her vile behavior.

Robert Mockler’s thriller unfolds in a David Lynch-like manner, intense from the get-go and increasingly creepy as the story progresses. Like Me solidifies Mockler’s voice and vision as a progressive filmmaker, and someone I plan to keep on my radar in the future. While some may refute the narrative structure of the film, claiming Mockler’s obsession with style over substance as a detriment to the finished product, I’d combat those claims by addressing the story’s phenomenal ability to develop its characters. It’s no easy feat to turn an admitted pedophile such as Marshall’s character into a sympathetic figure. Yet, Like Me plays along to an unpredictable beat with a unique approach to story-telling that’s both unconventional and effective. Addison Timlin delivers a spellbinding performance that’s immaculately counter-balanced by co-star Larry Fessenden. Like Me appeals to all the senses and propels director Robert Mockler to the forefront of the indie scene by making one of the most memorable impressions at this year’s SXSW festival.

GRADE: 3.5/5

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SXSW Movie Reviews: T2 Trainspotting

by MCDave

It feels like ages ago, but back in 1996 an unknown filmmaker named Danny Boyle madehis mark on the industry by shaping an entire generation with the revolutionary heroin-addiction drama, Trainspotting. Two decades have passed and Boyle has emerged as one of Hollywood’s elite directors thanks to the overwhelming success of films like Best Picture Winner Slumdog Millionaire, for which Boyle won a Directing Oscar, and Best Picture Nominee 127 Hours. So what’s left for a man who’s clearly reached the pinnacle of his profession? How about a return to his roots with the wildly anticipated sequel, T2 Trainspotting. As this year’s official SXSW “secret screening” selection, unsuspecting audiences were given a wonderful treat.

Renton (Ewan McGregor) returns to the streets of Edinburgh 20 years after ripping off his best friend Simon (Jonny Lee Miller) by running away with their 16,000-pound score following a successful drug deal. Renton hopes to make things right with his friend and ultimately agrees to help Simon with a new money-making scheme. They bring Spud (Ewen Bremner) on board to help with the plan, all while trying to avoid the craziness of Begbie (Robert Carlyle), who’s back on the streets after escaping from prison.

There is so much to enjoy about Danny Boyle’s long-awaited return to the boys from Edinburgh, but it all begins and ends with his direction. Boyle’s sharp-style continues to impress as he plays with elements of time both visually and physically. We bear witness to decades of wear and tear to these former kings of the street, but their sense of desperation is as strong as it’s ever been. Ewan McGregor and company jump back into their roles without ever missing a beat, infusing a nostalgic energy that eases the audience into the beautifully chaotic world of Trainspotting. Clever writing also resurfaces throughout the work, transforming timely jokes into necessary plot points, all of which remind us of John Hodge’s exceptional ability to craft a story. Yet, perhaps the most fascinating element to T2 is how well the film plays as both a stand alone effort, and not just a continuation of the 1996 saga. But beyond all of the double-crossing and redemption that unravels throughout the film, Danny Boyle shows us all how a special kind of dedication and a distinct love for the characters are essential pieces to making any sequel a successful one.

GRADE: 4/5

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SXSW Movie Reviews: Small Town Crime

by MCDave

One of the greatest perks to attending the SXSW festival is having the opportunity to view world premieres of films. One such example is the comedic thriller, Small Town Crime, from the minds of California-born sibling writers and directors, Eshom and Ian Nelms. The film bridges a taut story with immense acting talent, namely Academy Award Winner Octavia Spencer and the Oscar-nominated SXSW favorite, John Hawkes, to create a uniquely pleasant movie experience.

An alcoholic ex-cop (Hawkes) awakes in the middle of a field after an evening of binge-drinking and somehow avoiding a DUI. As he climbs back into his car and begins driving away, he soon discovers the body of a pretty young woman on the side of the road. The man’s former police instincts take charge as he dives deep into an unauthorized investigation of the girl’s murder that uncovers a small-town secret which puts him and his adopted sister’s family (Octavia Spencer) in grave danger.

Brothers Eshom and Ian Nelms craft an amusing and suspenseful tale that satisfies on many levels. Channeling their inner Coen brothers, the siblings utilize moments of comedic levity to fill the gaps between a remarkably-paced game of cat & mouse. Veteran performer John Hawkes has always been a personal favorite of mine, and once again he offers a multi-dimensional lead character that resonates with the audience. He’s certainly flawed, but his passion and overall kind-nature help form an instant bond between him and the viewer. Joining Hawkes is the always capable Octavia Spencer who also puts her emotional prowess on full display. It would be unjust to ignore some other fantastic supporting turns which come from Robert Forster, Anthony Anderson and Clifton Collins Jr., all of whom infuse a heavy dose of humor that adds a vital element to the film. Small Town Crown checks-off nearly all the boxes and unfolds as a well-scripted and superbly-told thriller that stands as one of SXSW’s finest offerings this year.

GRADE: 4/5

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SXSW Movie Reviews: Gemini

by MCDave

Lola Kirke first caught my eye in Noah Baumbach’s 2015 indie-comedy, Mistress America. Even standing alongside the versatile indie starlet, Greta Gerwig, from scene to scene, Kirke’s performance jumps off the screen and immediately commands your attention. The same can be said for her latest work in Aaron Katz’s new L.A. mystery, Gemini, which completely reaffirms that Lola Kirke is an emerging star.

Jill (Kirke) is a personal assistant and best friend to her famed Hollywood-celebrity boss, Heather Anderson (Zoe Kravitz). Throughout the course of the day, Heather’s odd behavior ultimately makes mortal enemies out of her now ex-boyfriend, and a filmmaker whom she leaves hanging out to dry. Therefore, when Jill returns to the actress’ home the next day and finds her dead body on the floor, she becomes the lead detective’s (John Cho) number one suspect in a sea of possible murderers, prompting her to manipulate her appearance and dig deeper into the mystery herself.

Aaron Katz delivers another fine piece of filmmaking with his latest feature, Gemini. Katz’s direction continues to embolden itself with every subsequent project. It’s been an absolute pleasure to watch his progression as both a writer and filmmaker, which culminates into this new career-best effort thanks to brilliant performances and a clever screenplay that help propel his overall vision. Leading star Lola Kirke possesses a hypnotic ability as a performer, one that takes you on her chaotic journey through Katz’s smartly written murder mystery. Zoe Kravitz also provides an exceptional supporting turn by molding a complex and conflicted character. Gemini swiftly navigates through a bleak Los Angeles backdrop, disjoint from all the glamour and glitz of Tinsel Town, in order to tell a unique story. And despite the film’s mildly unsatisfying finale which leaves a little to be desired, this twist-filled “whodunit” tale still proves to be completely worth the ride.

GRADE: 4/5

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SXSW Movie Review: This Is Your Death

by MCDave

Giancarlo Esposito may not be a household name, but for millions of Americans and fans of AMC’s Breaking Bad all over the globe, he will forever be known as “Gus Fring”. Yet, Esposito is far from a one-dimensional artist. His second directing credit belongs to This Is Your Death, another 2017 SXSW selection recently experiencing a world premiere at the festival.

After a deadly rampage is captured live on a reality tv show finale, the network head (Famke Janssen) and show host, Adam Rogers (Josh Duhamel), create a twisted new series where people take their own lives on air for the betterment of those they care most about in their lives. But as the fame and success of the show grows wildly out of control, Adam starts to lose a handle on why he wanted to go through with creating the show in the first place.

This Is Your Death begs to unveil a poignant message about the savage nature of our society and our fixation on exploitative reality television. Instead, Esposito’s muddled tale goes off the rails with illogical plot points and melodramatic writing. As a filmmaker, Esposito delivers fine direction that’s nothing spectacular, but completely adequate. Yet, the character development surrounding host Adam Rogers is both perplexing and drastically artificial. While the fault clearly belongs to co-writers Noah Pink and Kenny Yakkel, Josh Duhamel’s performance does nothing to improve the situation. Futhermore, Giancarlo Esposito steps out from behind the camera and offers a major supporting turn as well. While his role is executed slightly better than the film’s leading star, flawed writing once again tears down this emotional dynamic to the story. Due in large part to an influx of over-dramatization where you’re constantly being told how to feel rather than actually made to do so, This Is Your Death serves as a classic example of when a film’s premise far exceeds the overall delivery.

GRADE: 2/5

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SXSW Movie Review: Win It All

by MCDave

Joe Swanberg has been a staple in the indie film community as a writer, director and actor for the better part of a decade. His pinnacle of success came in the form of Drinking Buddies, a 2013 dramedy in which a pair of brewery co-workers, Jake Johnson and Olivia Wilde, wonder if their flirtatious behavior will ever develop into something more. Swanberg makes his return to SXSW this year for the world premiere of his newest collaboration with co-writer and star, Jake Johnson, in the indie dram, Win It All.

Eddie Garrett (Johnson) works odd jobs throughout the week to fund his late night gambling addiction at an illegal basement casino. But when a loan shark from his past returns with a simple proposition, Eddie agrees to watch a duffel bag while he goes to jail for 6 months. However, Eddie’s curiosity gets the better of him as he searches through the bag’s contents only to discover a huge collection of money. Things go south quickly when he burns through an insurmountable sum of the money and receives a surprising call that the loan shark is getting out of jail early due to a clerical error.

There’s humor, tenderness and conviction embroiled all throughout Joe Swanberg’s latest work. Jake Johnson is clearly the heart and soul of the feature, and the star of The New Girl delivers with a knockout performance. Addiction is a disease and it becomes painful to witness Eddie Garrett’s relapses into darkness, but Johnson does such a fantastic job of creating an affable and kind-hearted character that the audience becomes invested in his quest for a changed lifestyle. Win It All relies on organic humor to keep its story engaging and it does so effectively, even through all of the monotonous casino scenes where we see Eddie experience his ups and downs with the luck of the cards. In conjunction with Jake Johnson’s exceptional turn, performances from co-stars Joe Lo Truglio and Aislinn Derbez, who plays Eddie’s love interest in the film, can’t go unnoticed. It’s a complete team effort as Joe Swanberg’s direction continues to progress as well, making Win It All a new career best for the indie filmmaker.

GRADE: 3.5/5

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SXSW Movie Review: Person to Person

by MCDave

Indie filmmaker Dustin Guy Defa makes his return to the SXSW festival six years after his directorial debut, Bad Fever, premiered there. This time around he returns with a larger and more prominent cast in the hilarious new comedy, Person to Person. This thoughtful examination of human interactions is wrapped within a bright comedic shell that highlights the everyday humor in life and personal connection.

Set throughout the course of one day in the lives of various New York City residents, Person to Person follows a vinyl record collector (Bene Coopersmith) who stumbles across a rare find, a pair of magazine reporters (Michael Cera and Broad City‘s Abbi Jacobson) struggling to uncover the truth behind a murder (or was it a suicide?), a computer illiterate romantic (George Sample III) who does the unthinkable to the love of his life, and a cynical teen (Tavi Gevinson) unsure of her own sexuality. These mostly non-intersecting storylines tackle a wide array of personal issues and human connection with a hilariously tender approach.

Endearing and genuine, Person to Person captures the true essence of indie filmmaking with raw performances and modest city settings. Yet, even through its minimalist backdrop, Dustin Guy Defa crafts an assortment of enriched characters that are brought to life with skilled actors and actresses. You’ll recognize some of the talent involved such as Michael Cera, Philip Baker Hall, Abbi Jacobson and Isiah Whitlock Jr., but it’s a whole host of other unknowns that truly steal the show. Bene Coopersmith proves to be a naturally gifted source of laughs and the heartfelt performances of both Tavi Gevinson and George Sample III propel their complex characters to the forefront of the film. Person to Person lacks an all-encompassing message, but the film brings levity and originality to its dissection of human connection.

GRADE: 3.5/5

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Geekscape Movie Reviews: Kong: Skull Island

by MCDave

In an era full of reboots and remakes, chain reactions often open the door for classic characters and beloved films to make a return to the big screen. Inevitably, 2014’s $500 million worldwide box-office smash, Godzilla, ultimately paved the way for The Kings of Summer director, Jordan Vogt-Roberts, to reintroduce the world to King Kong. And with an infusion of energy and some fresh new ideas, we’re given a version of Kong that we’ve never seen before.

A pair of scientists (John Goodman and Straight Outta Compton‘s Corey Hawkins) piggy-back on an expedition to an uncharted island in the Pacific where they sense some strange occurrences are taking place. Escorted to this dangerous and unknown territory by an Army helicopter fleet headed by a war-hungry Lieutenant Colonel Preston Packard (Samuel L. Jackson), an unexpected encounter with Kong sends the surviving few deep into the woods of this mysterious island. Forced to withstand attacks from multitudes of different monsters inhabiting the strange land, they all hope they can make it home and live to tell the tale of Kong.

Kong: Skull Island stands as a comedy-rich monster film with only one goal, to entertain the audience. From that perspective, Jordan Vogt-Roberts absolutely delivers the goods. The visuals are amazing and the footage of Kong leaves nothing to be desired. Nightcrawler writer and director, Dan Gilroy, pens a clever story surrounding an island full of new monsters that continues to surprise even as the running-time mounts. However, corn-ball dialogue purposely intended to deliver trailer-made one-liners masks a larger problem with the film. Gilroy lazily uses character interactions to explain the plot to the audience and progress the story. Consequently, Skull Island unravels as nothing more than a thoughtless popcorn flick guaranteed to generate gaudy box-office totals and propel a whole new franchise of films.

GRADE: 3/5

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