Tag: DRAMA

BABES (2024)

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Directed By: Pamela Adlon 

Written By: Ilana Glazer and Josh Rabinowitz 

Cinematography: Jeffrey Kim 

Editor: Elizabeth Merrick and Annie Eifright

Cast: Ilana Glazer, Michelle Buteau, Hassan Minhaj, John Carroll Lynch, Stephen James, Oliver Platt, Sandra Bernhard, Elena Ouspenskaia 

Lifelong friends Eden and Dawn, one single and wanting a baby, the other already a mother, navigate challenges to their bond when Eden pursues pregnancy alone after a one-night stand.

This film should have been a slam dunk but it seems like there are two forces working against each other throughout. Where on the one hand you have more raunchy comedy and outlandish moments. That is more par for the course when it comes to star Ilana Glazer. The film carries that sensibility. Which works but at times seems more shocking at times and somewhat truthful.

Yet the direction and tone of the movie fits director Pamela Adlon’s series BETTER THINGS. Which can be funny and humorous as well as truthful. It mixed in with a dark tone with sentimentality. Works half the time but then at other times seem to be battling each other.

The film does manage to entertain the audience and get them to care and even feel emotional in the third act. 

This film works better than Ilana Glazer’s last starring role FALSE POSITIVE. Here she is charming and slowly coming into her own. Though wish the film could be as hilarious as its trailer seemed. Though it seems to soften quickly. 

Michelle Buteau is solid, believable, and funny as always. 

The film isn’t bad. It will get you teary towards the end, and it really drives home there. Where it offers a look at motherhood and single motherhood. That would also feel like a bunch of downtown comedians got together and tried to make a film, though with more heart but plenty of comedy.

It would have been nice if we could have spent more time with the baby’s father and his fate was handled better, rather than just kind of a joke. 

While this might seem like a harsh review. I will admit that I am not the ideal audience for this film, but like many who will watch it. It does remind one of those special close friendships. 

Grade: C

WICKED LITTLE LETTERS (2023)

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Directed By: Thea Sharrock 

Written By: Jonny Sweet 

Cinematography: Ben Davis 

Editor: Melanie Ann Oliver 

Cast: Olivia Colman, Jessie Buckley, Anjana Vasan, Timothy Spall, Gemma Jones, Hugh Skinner, Alisha Weir, Malachi Kirby, Lolly Adefope, Eileen Atkins, Joanna Scanlan

When people in Littlehampton–including conservative local, Edith–begin receiving letters full of hilarious profanities, the rowdy, Irish migrant, Rose, is charged with the crime. Suspecting that something is amiss, the town’s women investigate.

This is the type of film that Sunday screenings were made for quirky comedies that are usually period pieces that are historical in nature. Though showcase modernization in its earliest stages.

unfortunately, this film seems to have gone straight to streaming with no theatrical release, which is a shame as it feels like there is no theatrical marketplace for films such as these, even though these are the ones that audiences more or less don’t know that they are searching for something simple, pleasing fun and artistically worthwhile 

Whereas this film definitely has two stars, Jesse Buckley, and Olivia Colman both noted award-winning actors, playing the lead roles and pretty much against each other, it becomes a comedy of errors in an ensemble effort, whereby the end your shock that this is actually based on a true story and real people.

everyone in the cast excels not that you would ever doubt any of them. Jesse Buckley and Olivia Coleman are both having fun playing somewhat familiar roles. The wildfire, free thinker, and the repressed rule follower 

The film is a darkly comedic tale that is laid-back and plays at first like a mystery and then like a Colombo episode as you wait to find out how the guilty will get caught and what will become of them while seeing the falsely accused having to suffer and they have to go through.

though through the comedy they found does shine a light on issues. Women had to face this at the time. Misogyny sexism, repression jealousy of one another. How some can live free with no repercussions and others feel trapped with no release.

The film is very diverse as it has people of color enrolled that you wouldn’t expect in most period pieces and there isn’t much made about their culture or casting involved. It’s just more natural that they are in society and hold positions of power. and did not be scandalized or the whole film be just about that

The film is a fun romp. That mostly goes for comedy but reveals the drama and conflicts involved. Most of all it’s funny and eventually kind of a buddy comedy. Though offers plenty of comfort for the audience. 

A film filled with personality that goes by but keeps you engaged and having fun with it as you wait to see where it’s going to go.

This is another great memorable performance from Jesse Buckley. who never quite gets the recognition or that star-making role that catches on and shows the world and audiences just how great she is

The film allows, two great acclaimed actresses to share the screen it’s truly an injustice, this film, was silently released onto streaming.

This isn’t a big story but a good period-set comedy of manners with dramatic impact at times it’s quietly hilarious. It’s full of jealousy as one character wishes she had the bravery and freedom of the other. Based on a true story.

This is actually a perfect Sunday film as it is relaxing and laid-back with a diverse cast where Race isn’t brought up even for its time. Just as the sexism of the time is fully examined by examples.

It showcases, The fragility and support of female friendships.

As we find out, the letters are an extension of a passive-aggressive psyche, and the reasoning that adds more scandal which grows as it goes along, so does the story and circumstances

The film is quite refreshing as you don’t quite expect it as it up the steaks, adding an investigation, angle, and suspense.

Showcasing actions, no matter how minor have consequences. As well as adventure, characters, and observation with arcs joining along some reluctantly do away with the mystery element rather quickly..

The camera is solid yet moves along quickly at times with perfect timing 

Grade: B

SNACK SHACK (2024)

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Written & Directed By: Adam Rehmeier

Cinematography: Jean-Philippe Bernier

Editor: Justin Krohn

Cast: Conor Sherry, Gabriel LaBelle, Mika Abdalla, Nick Robinson, David Costabile, Gillian Vigman, June Gentry, April Clark 

Nebraska City, 1991, two best friends get the chance to run the swimming pool snack shack, that later comes to be the perfect scenario for transgression, fun, personal discovery, and romance.

This film was kind of a quiet victory as it slowly rolled out and released a lot of people praised this film so I took my time before watching it and I have to say it’s heartwarming and a good film.

Even though it’s familiar, it doesn’t talk down to its audience and while being rebellious it still feels a bit suburban where it feels perfect for teens, even though set in 1991 as it gives them respect and hints of a little bit of nostalgia for the audience watching it.

Casting Nick Robinson in this film was a mini-stroke of genius for audience members who remember him starring in another coming-of-age summer film called KINGS OF SUMMER here it feels like he is passing the torch to the actors here.

This film has mostly what you would expect a romantic triangle and a love story best friends who might be growing apart, rebellious against strict parents who mean the best for their children, but also seem like strict disciplinarians for no reason smoking, drinking gambling, and scoring 

Though I do applaud the characters for being so financial and business-minded at such an early age and being go-getters, but also go a little wild, not only for the profits but even the ideas.

The film and the characters have a certain charm that carries the film to the finish line and goes over the audience. It seems a little more random even though you know that they’ll probably come the way in which they are handled seems a bit looser.

The film isn’t as plot-structured.  as a lot of these summer coming-of-age films usually are and there’s no real villain or deadline or person that they’re fighting against. It’s just the lazy hazy days of summer where one day everything seems to be normal and slow and then the next day full of excitement, then something shattering the next. There doesn’t seem to be an ultimate plan.

Though the film has many female characters, there’s only one female man, and it would’ve been nice if maybe there were some others to provide either commentary support or temptation, even if the main female is quite fetching so that you can understand why the boys are quite head over heels for her. Luckily they give her enough personality to be a character who could stand on her though rarely give her a chance played by the impressive Mika Abdalla.

It took me quite a while to recognize Gabriel LaBelle as the character of Mike. He played in another coming-of-age film MEET THE FABELMANS starring as a younger version of Steven Spielberg who directed the film. So once again he is in another coming-of-age story as one of the leads. Quite impressive and strong character. 

What is also impressive is that the film is written and directed by Adam Rehmeier, whose previous films have been riskier and, shockingly, he goes here for more of a family film vibe that while it has its vices never out of place or even racy. It’s nice to see his range as this is an enjoyable independent film just as his previous film KIDS IN AMERICA was enjoyable but a lot more hard-core and punk rock and its rebellion.

Won’t say believe the hype that it is a sweet surprise of the easy-going nostalgic coming-of-age cinema. 

Grade: B

BOILING POINT (2021)

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Directed By: Philip Barantini 

Written By: Philip Barantini and James Cummings 

Cinematography: Matthew Lewis 

Editor: Alex Fountain 

Cast: Stephen Graham, Jason Flemyng, Vinette Robinson, Alice Feetham, Ray Panthaki, Hannah Walters, Lauren Ajufo, Malachi Kirby, Taz Skylar, Izuka Hoyle

Enter the relentless pressure of a restaurant kitchen as a head chef wrangles his team on the busiest day of the year.

Some people might compare this film to the television show THE BEAR even though this film came out first. it does have the intensity of that show’s pilot and its most agonizing episodes. With a head chef, dealing with all the calamities and kitchen crew not to mention his personal problems. 

Interestingly, The film did have a four-episode television spinoff that, I have not watched, but seems to be the story. For this review, one will stick to the film and its perimeters.

Though this film isn’t as comedic, is its own animal and maintains its own identity, dealing with all the different pressures in one evening. The staff’s constant interaction with one another, and also shows more interaction with the customers and their individual and seemingly difficult demands at times.

This film is made to look like it takes place all in one continuous shot or one take. The film is a little more detailed and showcases its construction. As well as the meals construction.

We see how the kitchen must run like a well-oiled machine, so must the film and direction. it’s also revelatory that not all the crew are doing what’s best for the team some can be downright selfish and more self-serving. Especially in one scene where the bellboy takes a trip outside and it allows for the film to take us out of the chaos for a bit of a cleanser. As we see the nefarious dealings.

It’s those moments where we can have a bit of the character’s own drama while dealing with the main narrative that makes it successful and helps steer the ship. As in the slow burn, everything comes to a head. 

Showcase is being part of a team that you were only as strong as your worst worker. The continuous pressure is felt throughout.

As well as giving a voice and allowing the audience to witness the hardships of the workers, the hardships of the service hospitality, industry, and the abuse faced by them from customers and other staff when it’s coming from both ends, where are you supposed to find your peace.

The film offers no real resolutions to some problems, though it does reveal quite a bit or hints at things that can cause frustration. Though, we are only here for one evening so it’s not that type of film where everything will be tied up by the end. It offers many surprises.

The film is like a thriller so much suspense and reserved intensity yet it stays action-packed to a degree. So that it’s identifiable and just as frustrating as real life at times.

Stephen Graham scores another great damaged character holding on by a thread who seems to have a calm demeanor, but seems to be crashing underneath. He gives a great memorable performance at the center and knocks it out of the park seeming like he can do no wrong in a role, but this is an ensemble effort. He stands out as much as the rest of the cast. Which is the film’s definition.

What is so powerful about the film is that the audience’s opinion might constantly change about certain characters as the reveals and connections happen. So by the end of the film is a roller coaster hitting rock bottom. There are so many highs or maintenance levels. Either way, it’s all well executed.

Meticulous. Beautifully crafted and constructed Like a well-crafted meal with a strong aftertaste. Which is what makes it all the better, Loved it. 

Read about it when it came out. Unfortunately put it on the back burner and finally got around to watching it… in amazement. 

Also shoutout to Lauryn Ajufo whose character is so punished throughout and eventually gets a moment of manners. Really felt for her the most throughout mostly 

This is a film that needs to be discovered and more people need to see this.

Grade: A 

FULL TIME (2021)

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Written & Directed By: Eric Gravel

Cinematography: Victor Seguin

Editor: Mathilde Van De Moortel

Cast: Laura Calamy, Anne Suarez, Genevive Mnich, Nolan Arizmendi, Sasha Lamaitre Cremaschi, Cyril Guei, Lucie Gallo, Agathe Dronne, Mathilde Weil, Dana Fiaque 

Just when Julie finally gets an interview for a job that will let her raise her children better, she runs into a national transportation strike.

This film seems to have the mentality that when it rains it pours.

It seems the first to be such a simple film. You know a single mother trying to do better for her kids and her life by trying to get a better job you know pays more maybe a little closer to home better hours. 

Then it turns it into a thrill a minute story of tension as she has to deal with bringing the kids to this babysitter, then trying to get to work on time where you know either trains are off schedule or late or you know the workers are having a strike, and She has to take a different route or find a totally different way to go to work 

Even you know, kind of flirting with someone who she’s not necessarily really attracted to, but she knows it suite on her just so she can get a ride and then shockingly him rebuffing her. so that even her sideline romance seems to fail in the middle of all her other hardships you rule for her throughout, but feel the loss.

And then not only that struggling to get to work late with her supervisor notices and penalizing her for but then also trying to get back home on time to pick up her kids on time you know it’s not quite run Lola run or that was it character dealing with all these different fates and felt kind of mystical this is just hard-core reality.

Justice things seem to go positive for this character they always seem to be a curveball throw as we watch in the way that she has to maneuver for survival as she faces one challenge or dilemma at a time, and usually after another close together.

It’s a portrait of one single mother that speaks for a number of them out there as they try to do their best for themselves, and most importantly, their families, and the seemingly increasing levels of difficulty and challenges they must face it seems even just to break even.

Her ex seems to disappear, avoid, and take no responsibility or offer solutions. You admire her to a degree, and the film teaches. You have to take it day by day moment by moment, each one seems to be worse and truly a horror film of its own.

Thank you to John Waters, whose list of 2023‘s best movies listed this film as one of them, or else I probably never would’ve heard of it, or probably not for some as the film is exhilarating and exemplary 

Grade: A

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+ 

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- 

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 

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-