Author: jbg

WORKING GIRLS (1986)

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Directed & Edited By: Lizzie Borden

Written By: Lizzie Borden and Sandra Kay 

Cinematography: Judy Irola

Cast: Lousie Smith, Deborah Banks, Liz Caldwell, Marusia Zach, Amanda Goodwin, Boomer Tibs, Richard Davidson, Ronald Willoughby 

A lesbian college graduate, trying to bankroll her own photography business, works as a high-priced New York City escort.

This film presents a day in the life of hookers at an uptown, brothel escort service, where we see the ins and outs of the service the various customers who come by as well as the different types of girls working there.  

We mainly follow the character of Molly, who is more or less the lead here played by Louise Smith,  as we see her waking up, traveling to the job, getting ready, and thrust into working as well as the responsibilities during the downtime.

We see some of the sessions, the sweetness of some customers, the nastiness of others, and even the strange requests

The relationship between the coworkers and different personalities and types provide an overall character study that can be fun at times as well as sad and shocking. It never feels off for any kind of dramatic reasons or tension so it stays truthful in its depiction and never quite sensationalizes.

The film is in an epic and never feels exploitative It stays quite dramatic and humanistic. Never offer an opinion on any of the characters or the profession.

It’s more of a female look at the profession full of truth and camaraderie, in this high-class brothel.

The film takes place mostly in a single location for most of the film, though it does explore a little not much. It feels like a play for the revolving door of characters and the conversations.

Each session can be a turning point in the film or add some new dramatic intrigue, maybe even a comic premise, but it stays on the level.

There are many stories that could have happened here, but only a few are truly explored as that is the life or the job plenty of fantasies, but in the end, staying themselves and not allowing themselves to get lost. As in their rules as prostitutes, there’s plenty of acting, but never any true lying.

There are no defining traumatic moments until the end. When that happens, it’s not as strong as one would expect. It stays a workplace drama.

We see how the mail customers say the same thing thinking they are different or special, which is why they care for fantasy and to either have control or lose their own to a degree.

The film is based on actual clients witnessed and told about to the filmmaker and the cast. it’s an early eight 1980s independent film with a low budget that was filmed in the director’s apartment in a week, through plenty of rehearsal, which also leans more towards its theatrical feeling and pacing. the film manages to say so much it ends up being more of an observant look for the audience to witness and make their own assumptions

The film ends with an ironic statement

GRADE: B+ 

TWISTERS (2024)

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Directed By: Lee Isaac Chung 

Written By: Martin L. Smith 

Story By: Joseph Kosinski

Based on characters created by: Michael Crichton and Anne-Marie Martin 

Cinematography: Dan Mindel 

Editor: Terilyn A. Shropshire 

Cast: Daisy Edgar-Jones, Glen Powell, Anthony Ramos, Sasha Lane, David Corenswet, Katy O’Brian, Tunde Adebimpe, Maura Tierney, Kiernan Shipka, Brandon Perea 

As storm season intensifies, the paths of former storm chaser Kate Cooper, lured back to the open plains after a devastating encounter years prior, and reckless social-media superstar Tyler Owens collide when terrifying phenomena never seen before are unleashed. The pair and their competing teams find themselves squarely in the paths of multiple storm systems converging over central Oklahoma in the fight of their lives.

Let me just say upfront, I saw the first Twister movie in theaters in fact on opening day, and I was heavily disappointed in that film. so I was very jaded early on hearing about this film and then finally decided to give it a try.

I am happy to report that I am happy to give it a try as this film is probably the original or first Twister film needed. This film is not as obsessed with special effects or making this an event movie.

This film actually has a lot of heart and is filled with characters that you’re actually interested in and are two-dimensional and though there’s a lot of flirtation, this one is not as romantic or has that conflict in the middle of everything going on.

This film actually has suspense, and it has action in the form of storm chasing and the effects of it while being in the middle of it, but it also makes you care. The country and folk music on the soundtrack takes place in the Midwest most of the characters are from the Midwest and it feels like a film that lets nature take its course rather than being forced.

It’s not subtle at times and can be silly, but you go with it because it works it’s fun it’s entertaining, and most of all it makes you care about charity corporations don’t have as many and not as much violence or punishment for characters that deems evil or corporate.

In fact, the film starts off with the heroine on the corporate side out of a loyalty to a friend and you can tell that she’s corporate because her wardrobe is all buttoned up and making the more fun and naturalistic country. Boys and girls seem a little more into it out of business and as a form of excitement and challenge. Then, of course, as the film goes along the tables kind of turn, and she sees the error of her Waze and we know she’s had a change of heart throughout the rest of the film. She’s wearing more homegrown natural clothes, not the turtlenecks that she necessarily started off in.

Sort of like the films of old like let’s say the African Queen we have the female lead in the male lead at odds, but obviously attracted to each other, and then as the story gets deeper, we learn more about each of their past there seems to be a kind of flirtation and attraction that gets deeper as the film goes along, though it doesn’t overpower the story, which is the most important part The characters and the mission are more important than necessarily the Romance.

Not to mention, the romance comes about naturally and never feels forced and there’s a natural chemistry between the legs and hell even all of the characters.

Now I must note this film started to get more pressing come out. I wasn’t intrigued as it did seem like the type of summer fun blockbuster they just go out and have fun and be entertained letting a film come along and do it and not more but also an actress who I am a huge fan of and look forward to every time she is in a film, especially on the big screen, Sasha Lane now she’s not the lead, but she plays a fun supporting character and really she was the reason I got Tipped Towards going to see this film in Cinemas and I am all happier for it as this is a film that is best to be seen on the big screen.

It’s just more effective that way. Maybe the Director started off as a more naturalistic independent filmmaker whose films were based on character and made his way up more toward bigger budget stories with a little more action and special effects. Lee Isaac Chung the Director was obviously the right choice to take a chance on a Director who is of more independent means and might be a little more artistic and works within the genre.

Grade: B 

THE PLATFORM 2 (2024)

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Directed By: Galder Gaztelu-Urtuitia 

Written By: Galder Gaztelu-Urtuitia, David Desola, Egoitz Moreno and Pedro Rivera 

Cinematography: Jones Sangroniz

Cast: Milena Smit, Hovik Kruchkerian, Natalia Trent, Oscar Jaenada, Ivan Massague, Zorion Eguileor, Bastien Ughetto 

A thrilling physical journey that allows an approach to the darkness, where it is scary to look. It appeals to the viewer’s civil responsibility and forces them to face the limits of their own solidarity.

This is an unnecessary sequel. That is more of the same but tries to keep or Impart an anti-authority message. While also including some personal stories about sacrifice and acceptance. 

The film is overblown and has the effect of feeling like we got the message the first time and now you are just pounding it into the audience’s head who Were already on board. So at times, it feels overblown and annoying. Especially including a leader who ultimately works As a physical manifestation of a villain. Who resembles a version of Jesus.

Though the film is fine and if you haven’t seen the first film it might be shocking or like something new, but if you have seen the first it’s like a procedural more of the same only different faces and new characters. Basically more of the same.

Though the film tries to add mythology to its tale it feels overblown like most sequels and a bit too much for something that should have kept it simple and not overthought it.

It will be satisfying more if you haven’t seen the first one. As this film feels unnecessary.

Grade: C+

HOW TO BLOW UP A PIPELINE (2023)

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Directed By: Daniel Goldhaber 

Written By: Daniel Goldhaber, Ariela Barer and Jordan Sjol

Based On The Book By: Andreas Malm

Cinematography: Tehillah De Castro

Editor: Daniel Garber 

Cast Sasha Lane, Ariela Barer, Forrest Goodluck, Jayme Lawson, Marcus Scribner, Kristine Froseth, Lukas Gage, Jake Weary, Irene Bedard 

A crew of environmental activists plot a daring plan to disrupt an oil pipeline.

This is an interesting little thriller. As it starts off so anonymously. Then turns into an ecological heist movie. It lives up to its title but the strength is in the storytelling 

We see how the plan is all coming together and what everyone’s duties and responsibilities are.

Meanwhile, we get glimpses into the characters’ reasons origins, and what brought them here.

Only in pivotal moments of the storyline. This also shows how the group all came together in the first place. As characters sometimes overlap in these moments.

The film provides plenty of drama, but also plenty of twists, turns, and double-crosses. Even when you think you know what’s going to happen, the film throws either a monkey wrench or what you think will happen but in a different way that you weren’t expecting.

The film is loosely based on the book of the same name which talks about the dilemma and the history of the problem. it is more dramatized and focused on this group of characters and their individual reasons as to why they came together to do this.

The ensemble works as each one is definitely passionate and works well with one another and you are on the edge of your seat plenty of times as this plan goes into effect. Even the aftermath is fascinating. As there is more to tell even during the credits as to the character’s fates. There is still the question was it all worth it?

This film is definitely worth watching even if you’re not necessarily into the politics of the character it works as a heist, film, and as a thriller and a film that examines the issues they are protesting against. Wow, the film provides plenty of suspense.

The film does feel like you are a fly on the wall, including your access to the information as a lot of times the film feels shot on the fly and feels as organic do it yourself and homemade the characters in their plan are. 

Oh, the MVP of the film  is Ariela Barer as she is the producer, writer, and one of the stars of the film. The film is an ensemble actor and character gets their moments to shine.

Grace: B

KIND OF KINDNESS (2024)

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Directed By: Yorgos Lanthimos 

Written By: Yorgos Lanthinos and Effhimis Filippou 

Cinematography: Robbie Ryan 

Editor: Yorgos Mavropsaridis 

Cast: Jesse Plenmons, Emma Stone, Hong Chau, Willem Dafoe, Margaret Qualley, Hunter Schaffer, Mamoudou Athie, Joe Alwyn, Yorgos Stefanakos 

a triptych fable, following a man without choice who tries to take control of his own life; a policeman who is alarmed that his wife who was missing at sea has returned and seems a different person; and a woman determined to find a specific someone with a special ability, who is destined to become a prodigious spiritual leader.

Fresh off the heels of his critically acclaimed Hollywood films director Yorgos Lanthimos seems to be Going back to his more experimental type of films bringing with him acclaimed actors.

On the one hand, I applaud him as he exposes more general audiences to experimental films and brings them a little more into the norm. As much as he can. Where he not only actually challenges audiences and their expectations. As well as providing material that is deeper and more thought-provoking than most. Letting them make their own minds on the stories and not hand-holding them throughout.

One only wishes that one could say it feels worth it. While one can enjoy the dynamic aspects and camerawork of his filmmaking. Though have never been the biggest fan of his early experimental work. There always seems to be a challenging renegade spirit to his work. 

Here he presents three different tales that have not only the same cast but the character of RMF to connect them. Essentially a minor character but revolving around various characters. Each tale has a theme, but all seem to include toxicity and love of some kind 

The first story revolves around a character 

Reliant on a boss so much in aspects of their life. What happens when true freedom is offered to them and not know how to survive because we have become so dependent on them. Some might say this story is an analogy of capitalism.

The second story involves a cop whose wife has gone missing at sea and he is not taking it well. Once his wife is back he is overjoyed but becomes convinced something is off and that she is an imposter. We see him seemingly break down as he tries to convince others she is not who she says she is. This story like the one before it revolves around control how comfortable one might be with it and what happens when they are not in control. It also shows how relationships can work and break once your partner makes their own decisions and doesn’t fit the ideal anymore of their partner and how people will stay in an Avis or relationship in hopes of things going back to the way they used to be and are willing to practically sacrifice themselves to make the other happy. 

The third take involves a cult. The members believe in two leaders. Who they can only have sex with. Who are in search of a young woman who can bring the dead back to life. While one of the members keeps running into their ex-husband and daughter. Eventually kicked out one member believes they have found the miracle and then plays like a tragic comedy.

This one shows our reliance on others to make us feel whole and keep us safe give us some kind of meaning and how those who love us can easily break us or betray us for their own comfort and happiness. 

Throughout all do these tales the ensemble cast plays different characters. Some of the biggest names in the cast might be the star of one tale and then a minor character in another.

The title gives away the themes, of how there are different kinds of kindness and how they can be used for good and how some use them to hurt others or have power.

As a whole, these short films coming together make an alright feature. Though separately they might not be as strong or powerful and might either come off as pretentious or offer ideas the audience already knows.

The cast is clearly having fun and in their element throughout. One only wishes it was mutual for the audience. As the film goes along the shocking moments become defining and also expected. It finds the director and cast more at play than offering anything truly strong or solid. It doesn’t seem wasteful, though it doesn’t come off as anything more than a healthy budgeted experiment.

I seemed to have not enjoyed it as much as others, especially critics.

Grade: B- 

THE COFFEE TABLE (2023)

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Directed & Edited By: Caye Cesas

Written By: Caye Cesas And Cristina Borobia

Cinematography: Alberto Morago

Cast: David Pareja, Estafina De Los Santos,  Josep Maria Riera, Claudia Riera, Eduardo Antuna, Gala Flores, Cristina Dilla, Aitzair Castro

Jesus and Maria are a couple going through a difficult time in their relationship. Nevertheless, they have just become parents. To shape their new life, they decide to buy a new coffee table. A decision that will change their existence.

before I even start trying to write about this film. please know that this is a very heavy spoiler written review because it’s very hard to talk about this film without spoiling it. Don’t watch the trailer. Don’t read about it to truly experience the film. It is best to go in blind that is first.

So now here we go Secondary this film is very disturbing so if you have a light sensibility and can’t handle dark material, it is highly suggested you stay away from this movie. Especially if you are a parent.

HEAVY SPOILERS 

So now here we go

The film begins like a truly dark black bleak comedy, and it gets right to the point at first I thought it was going to play out as a bunch of just bad luck and circumstances of the purchase of this coffee table. I didn’t think it would start off so quickly with the dilemma

throughout the film, there is humor and a bit of the absurd, but I think what is generally disturbing about the film is that it also plays so real. It feels like the actual reactions of a person who is in that circumstance and then panicking and figuring out how they’re going to relieve the dilemma, and also having to deal with all these characters around them.

Considering the film takes place in one location it also almost feels like this could’ve easily been a play a stage show. Throughout plays, even the minor supplies seem to be more about character than pieces or funny material.

it’s partially a character piece as we do get to know bits and pieces about the characters and their past and their relationships and really the film depends on them and their believability and emotions. while it has a sense of dread and a cloud of despair hanging through it

Luckily, the film doesn’t go for too much shock value, or show you violence or being exploitative about the situation. The filmmaking is it distracting it’s more of the dramatics of the situation and the believability of the characters that come through the most in this film. As it stays shocking yet always believable.

what I believe makes this film feel so heavy at the end is that there doesn’t seem to be any release or Relief and even with its dark humor there’s no punchline. It’s an all-out tragedy.

As there are no true villains in this film only victims. As it plays It just seems cruel to a certain extent not that it wants to be, but you do wonder why these characters have to be caught up in this and suffer. If not at the time you know it’s coming. The only question is how and why. This is a film that you can just sit back and watch you’re going to find yourself involved somehow even if it’s just in your reactions which will most likely be loud.

By the end, you’re even wondering why this film was made it’s just so heavy and sad that this is the type of film where afterward you’re gonna need something to definitely try to cheer you up whatever you can find as it leaves you in a dark place. as this is one nasty experience that you can’t help but feel something while watching.

this is one of those films that just stays with you even if you don’t like the film or aren’t impressed by the film or its filmmaking. Though I will admit with this kind of imagination, I am interested to see what the Director comes up with next.

Grade: B 

IN FABRIC (2018)

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Written & Directed By: Peter Strickland 

Cinematography: Ari Wegner 

Editor: Matyas Fekete

Cast: Sidse Babett Knudsen, Marianne Jean-Baptiste, Julian Barrett, Steve Oram, Richard Bremmer, Fatma Mohamed, Gwendoline Christie, Hayley Squires, Jaygann Ayeh 

In Fabric is a haunting ghost story set against the backdrop of a busy winter sales period in a department store and follows the life of a cursed dress as it passes from person to person, with devastating consequences.

Visually stylish, surreal, and fashionable. 

I wanted to like it more than I actually did. I adore the director Peter Strickland and this seems like it should be a slam dunk.

As it has its peculiarities it ultimately seems to Try for the director to be too mainstream. Which seems to either dull his impulses or feel like he is holding back. While offering quite a visual feast.

The film feels enriched more like literature. It feels like a truly dark fairytale.

As it tries to say something more Than it is letting on. As an object leads to the owners of it unraveling. After They have never felt more beautiful or special. It’s downhill from there literally.

The film does offer a sense of humor and is self-referential. It also seems to be bizarre at times with little or no real reason. It just wants to be that way. 

In the end, the film seems to be about obsession and fetish. How obsessions with objects can become all-consuming and eventually destroy us. 

Literally, this plays like a storybook. That by the end feels like nothing. As it leaves us with little to care about and still confused. There is not too much to take away from it or the experience.

Grade: C

HOUSE OF SPOILS (2024)

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Written & Directed: Bridget Savage Cole and Danielle Krudy

Cinematography: Eric Lin

Editor: Marcus Vives 

Cast: Ariana DeBose, Barbie Ferreira, Arian Moayed, Martin Csokas, Mikel Brett Silset, Amara Karen

It tells the story of a chef who opens her first restaurant where she battles kitchen chaos, a dubious investor, and self-doubt, but the pressure heats up thanks to the spirit of the estate’s previous owner who threatens to sabotage her.

This is a film that never seems to get started. As it builds up to a certain degree of what’s the worst that could happen. Which adds a certain comedic paranoia. Though it feels like it drops the ball.

As it seems to take It’s Time to get the audience excited and ready, by the end it gets to its conclusion it feels like much ado about nothing. Making. It feels like most of the movie was a tease with an unsatisfying ending.

It might have been better as a short or an episode of an anthology. So it could get to the point. At least have a stronger ending.

As for the need, it feels more like a film that tries to tie in feminism and witchcraft. Where recipes seem to be the spells and an offering. 

It never feels like a thriller or horror. Though it has elements of each. In the end, it feels more like a drama. That tries to have some mood of THE BEAR mixed in with what might be some supernatural elements. 

The one strong thing about this film is the lead role played by Oscar Winner Ariana DeBose. One only wishes the film and script could be as strong as she is throughout. 

Grade: D 

LOWLIFES (2024)

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Directed By: Tesh Guttikonda and Mitch Oliver

Written By: Al Kaplan

Cinematography: Matt Young 

Editor: Jason Hamill

Cast: Matthew MacCaull, Amanda Fix, Brenda Llewellyn, Cassandra Sawtell, Richard Harmon, Elyse Levesque, Josh Zaharia, Kevin McNulty 

The survival instincts of a road-tripping family are put to the test when they have no other choice but to stay the night at a remote homestead.

This is a film that is definitely better. If you don’t know much about it before you watch it even though the poster makes it look like a run-of-the-mill horror film. Hopefully, you are reading this after the film, As there are minor spoilers.

This film offers the typical violence thrills and scares, but it also offers up quite a few twists that are quite original and fun that keep the film entertaining.

Though the film might reveal its hand early. It seems necessary to heighten the situation that the characters find themselves in.

Most of the most creepy characters in this film, or actually the most innocent, and those that seem the most innocent tend to be the most disturbed ones.

This is a single horror film for the most part, so it maintains its ground and stays on the ground, which works for this tale. All the actors are spot-on in their performances.

This film deserves more of a theatrical release or to be part of the BLUMHOUSE productions. The film gives more to the audience and shows respect for them rather than being easily formulaic and providing cheap thrills. just as this is more entertaining than any of the American horror stories by Ryan Murphy

Surprisingly, this film is more solid than expected. It shows what can be done with imagination and a low budget. it offers a lot with what little it makes you believe it has. It even has a pro-LGBTQ+ romance in it. 

Grade: C+

THE PASSENGER (2023)

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Directed By: Carter Smith 

Written By: Jack Stanley 

Cinematography: Lyn Moncrief 

Editor: Eric Nagy

Cast: Kyle Gallner, Johnny Berchtold, Liza Weil, Kanesha Washington, Sue Rock, Lupe Len, Mariah Benoit, Brooks Anne Hayes 

A man is forced to face his fears and confront his troubled past. He must find a way to survive when his co-worker snaps and goes on a violent killing spree.

This film passed any expectations that I had going in as it seemed like it was going to be pretty much a crime spree movie that might have gotten off on its violence.

Instead, we get a film that is not a deep character study, but a character study nonetheless where the two leads and part of the cast of characters are all dealing with past trauma that they seem to have dealt with, but didn’t necessarily get past and the different ways in which they’re dealing with it.

While the whole cast rises to the occasion, as usual, I have the shout-out actor, Kyle Gallner who is the character actor who I have seen in many different films, and recently has been playing more leads, and he seems to always rise above or Fitz right in and more makes the movie his.

The film starts off with what looks to be mundane before a shocking act of violence gets you out of that mindset And keeps you on edge throughout. You truly never quite know what’s going to happen next, as we are taken along with the psychopath and the boy he takes hostage and a sort of accomplice, determined to understand and cure him.

Along the way we did into both of their pasts one is clear, the other not quite, but leaves us to figure it out and doesn’t spell it out yet we believe we know.

Separates this from other criminals on the run films in that the lead character the psychopath isn’t stupid but while at first he seems like he has a plan and knows what he’s doing along the way the film does it make him necessarily a hero, or a stand-in for any certain subject or new story he’s a human being, a person dealing with rage And just as most of us acting like he has an altogether but underneath he’s just going through the motions and trying to do what seems right to survive.

The film actually, while being violent isn’t as violent as it would make you believe it’s more psychological than physical, and is quite chatty rather than action-oriented.

There are ways in which the material could’ve been different or dealt with but the way it is is fine and it still manages to be a genre film yet makes it and definitely deserves to be seen and talked about.

It wouldn’t have taken away from the film if maybe it had more of a homoerotic theme throughout which it seems to flirt with, but never goes that far as it has bigger fish to fry and other issues and it wants to convey.

Grade: B-