In this episode, Ben and I share our thoughts on some of the films playing at this year’s Heartland Film Festival both virtually and in-person in Indianapolis October 6th-16th. For more information on Heartland Film Festival, visit HeartlandFilm.org.
There’s a slight crisis of identity to the tone and pacing of Windfall, overall. The weighty themes and serious nature of the plot sometimes clash with the almost comic tone of some of the situations that arise. When more serious and immediate developments occur, there’s a bit of whiplash for the audience as we’ve moved into a more conventional thriller from the semi-absurd plot in which Windfall feels the most at home.
In this special episode, I am releasing the first 2 episodes of my Patreon-Exclusive episode reviews of Netflix’s Dark here on the main feed. To hear my thoughts on the rest of the series, you’ll need to sign up to our Patreon at the $2 or higher levels at Patreon.com/ObsessiveViewer.
In this episode, we continue our journey through Roger Ebert’s “Great Movies” list with reviews of M, The Color Purple, and Magnolia! We also discuss Robert Zemekis, Pinocchio, and the recent passing of Jean-Luc Godard.
There was once some charm to the idea of Smith revisiting the Clerks universe every decade or so to check in with the characters as he (and they) reach certain milestones of aging. However romantic as that notion was at the end of Clerks II, Clerks III obliterates it and ensures that Smith will likely never return to this series. Following the abysmal showing here and in 2019’s Jay and Silent Bob Reboot, which suffered the same nostalgic callback issues as Clerks III, it’s just as unlikely that this reviewer will be persuaded to give Smith’s future work much, if any, attention.
Cosmic horror in a rest stop bathroom sounds like a bizarrely twisted country song. It’s not. It’s the elevator pitch for Glorious, a bizarrely twisted Lovecraftian horror film premiering this week on Shudder. Glorious pits the heartbroken Wes (Ryan Kwanten) against the disembodied voice of a demigod of unimaginable power named Ghat (J.K. Simmons) with the fate of the universe hanging in the balance. It’s not a battle of wills that brings these two together. It’s a request to lend a helping hand so that the universe may continue on its merry way existing and fostering life.
While the tension and most of the visual effects are strong enough to trigger anxiety in even the least acrophobic viewer, Fall’s script seems like someone had an idea and built an unoriginal, cobbled together drama around that concept. If you’re looking for a anxiety producing acrophobic thriller you can shut your brain off for, Fall should deliver. If you’re looking for something a bit more character driven, you’d be better off looking elsewhere.
In this episode, we continue our journey through Roger Ebert’s “Great Movies” list with reviews of The Red Shoes, The Godfather Part II, and Dark City! We also discuss the recent news regarding changes at Warner Bros and HBOMax.
Day Shift, the debut film from director J.J. Perry, is the latest offering from Netflix’s “throw it all at the wall and see what sticks” streaming blockbuster playbook. Despite dressing up an overdone action movie skeleton with genre fare, Day Shift succeeds by the skin of its stylistic action choreography and fun buddy energy between Dave Franco and Jamie Foxx. Though the story isn’t as meaty or interesting as you might like, the energy and quick pace of the film helps Day Shift stand out from the pack.
James Ponsoldt’s Summering is a peculiar coming of age drama with some slight genre leanings that spring up seemingly out of nowhere. The film is very clearly a riff on Stand By Me, but it doesn’t have the nuance or even the sense of direction that Rob Reiner’s classic film had. Not by a long shot. Instead, Summering is a tonal mess as the characters are haunted by visions of a dead man whose body they discover and (inexplicably) decide to move and desecrate. Again, this is a coming of age drama, so these genre trappings seem completely random and do not fit well in the narrative at all.
In this episode, I am joined by my friends and IFJA colleagues Andy Carr and Joe Shearer to review B.J. Novak’s film, Vengeance ( currently in theaters)and round out the episode with a review of Dan Trachtenberg’s Prey (Hulu).