In this episode, Ben and I share our thoughts on the 2021 Golden Globe nominations and chat with Dean Kapsalis, whose cerebral character-driven psychological thriller The Swerve is currently available to stream on Amazon Prime Video.
Premise: An ex-convict strikes up a friendship with a boy from a troubled home.
Many elements of AppleTV+’s Palmer will probably seem familiar to many of its viewers, but the film still does offer some redeeming qualities. Fortunately, director Fisher Stevens imbues the film with enough heart, and fills the cast with capable actors from top to bottom, to get past any glaring issues. Stevens, primarily a documentarian behind the lens, makes the film feel like a real place, populated with real people, rather than mouthpieces trying to get an agenda across. Too often we take for granted that aspect of movie-making, and here it’s one more feather in Palmer‘s cap.
In this episode, Ben and I continue our journey through Roger Ebert’s Great Movies list with reviews of Akira Kurosawa’s Yojimbo (1961) and Jean-Pierre Melville’s Le Samourai (1967). We also discuss Tenet, Dazed and Confused, the latest news regarding Master of None season 3, and more.
2020 is finally over and we’re here with The Obsessive Viewer’s 2020 Year in Review episode! It’s our annual episode where Tiny, Mike, and myself share our movie viewing stats for the year and our top ten favorite movies lists. So join us as we bid adieu to the shit storm that was 2020 and hope for a better 2021.
Premise: A father and daughter are on their way to dance camp when they spot the girl’s best friend on the side of the road. When they stop to offer the friend a ride, their good intentions soon result in terrible consequences.
Welcome to the Blumhouse. Based on a 2015 German film, Canadian thriller The Lie begins with Kayla (Joey King) killing her best friend Britney en route to a ballet retreat. Kayla’s father Jay (Peter Sarsgaard) decides to help cover up the crime and soon thereafter Kayla’s mother (and Jay’s ex-wife) Rebecca (Mireille Enos) is brought into the fold. Together the estranged family must protect Kayla from the authorities and Britney’s father (Cas Anvar), whose mounting frustration with the lack of answers as to the whereabouts of Britney becomes more and more threatening. Continue reading →
Premise: A young apprentice hunter and her father journey to Ireland to help wipe out the last wolf pack. But everything changes when she befriends a free-spirited girl from a mysterious tribe rumored to transform into wolves by night.
It’s been 6 years in the US since the latest film from Japanese master filmmaker Hayao Miyazaki, which means that the animation world (and yours truly) has been sorely lacking an animated film with enough style and heart to break through the candy-coated onslaught of Disney and Pixar films.
Premise: A famous author goes on a cruise trip with her friends and nephew in an effort to find fun and happiness while she comes to terms with her troubled past.
The title of director Stephen Soderbergh’s latest film feels less like a thematic summation and more like a way to describe Soderbergh’s method of approaching his subject matter. Filmed almost entirely aboard a cruise ship as it makes its way from New York to Southampton, the script reportedly consisted of minimal outlines from scene to scene, and the actors were left to improvise the rest. Soderbergh, who has made a habit lately of experimenting behind the scenes by filming entire movies on iPhones, may have finally found a gimmick that meshes successfully with his sensibilities. Of course, a film with no script can only be buoyed by the performances of its cast, and Let Them All Talk is brimming with talented actors.
Premise: This post-apocalyptic tale follows Augustine, a lonely scientist in the Arctic, as he races to stop Sully and her fellow astronauts from returning home to a mysterious global catastrophe.
George Clooney’s latest directorial effort, The Midnight Sky, tells of a world evacuated and a dying man keeping the light on to notify the last remnants of humanity. Unfortunately, what could have been a thought-provoking exploration of regret and isolation ultimately turns into a piecemeal rehash of genre and wilderness survival elements that were done much better in the films from which Clooney draws inspiration. He forsakes exposition in favor of needless ambiguity that leads to a payoff lacking the emotional resonance the film desperately needs. What’s left is a hollow and joyless expedition into the last days of Earth that’s devoid of any real intrigue. Continue reading →
Premise: A heavy-metal drummer’s life is thrown into freefall when he begins to lose his hearing.
I had an optometrist appointment several years ago, in which I was told by the end of it that my vision in my right eye was slightly worse than my left. Naturally, the diagnosis wasn’t ideal, but, considering my work as a photographer, the development left me even more worried. As most photographers do, I primarily use my right eye to look through the viewfinder while using my camera. How could I continue on as a photographer if I couldn’t see the pictures I wanted to take?
In this episode, Ben and I continue our journey through Roger Ebert’s Great Movies list with reviews of Oliver Stone’s JFK (1991) and David Lynch’s Mulholland Drive (2001). We also discuss the recent Elliot Page news and the surprising news regarding Warner Bros and HBOMax.
Premise: Chicago, 1927. A recording session. Tensions rise between Ma Rainey, her ambitious horn player and the white management determined to control the uncontrollable “Mother of the Blues”. Based on Pulitzer Prize winner August Wilson’s play.
Adapted from August Wilson’s play of the same name, Ma Rainey’s Black Bottom has the energy of watching a stage production that’s morphed effortlessly onto film. This isn’t an easy accomplishment by any stretch and the fact that it’s pulled off so brilliantly here is a testament to George C Wolfe’s direction and overall vision for the film. The way the camera swings through sharp and incisive dialogue spoken between multiple characters in a green room gives the film a fluidity that can only be matched by seeing a stage performance. The camera commandeers the drama and makes it feel like the film itself is a ride through the interpersonal spats and ambitions of the characters without letting up. In terms of pacing, Ma Rainey’s Black Bottom is spectacular. Continue reading →
In this episode, Kyrsten and I review the new monster-pocalypse Dylan O’Brien film, Love and Monsters! We also catch up on some things we’ve been watching, discuss the potential tastelessness of the upcoming COVID-themed thriller, Songbird, and finally return to our LOSTPoint series where we watch episodes of LOST and the Canadian police show Flashpoint.
In this episode, Ben and I continue our journey through Roger Ebert’s Great Movies list with a special Heartland Film Festival edition of our review series. We discuss two Hitchcock films on the list that were part of Heartland’s lineup of special drive-in screenings. First, we review 1954’s Rear Window and then follow it with 1958’s Vertigo.
Review to come on ObsessiveViewer.com. This delivered on the type of cool zombie violence that I really love from the genre. It's nice to see Snyder shed some of his more annoying habits (like the ultra dark composition and unnecessary slow motion in his DCEU movies) in favor of something a bit more vibrant.But the characters leave quite a bit to be des […]
There's some good coming of age stuff in this with a very "Dazed and Confused" feel to it, which I liked. But I didn't find the characters terribly compelling and a lot of the plot threads are left either unresolved or suddenly resolved with little context.