Film and TV Reviews and Podcasts
Since it’s poorly repurposing such a fantastic Japanese film, much (if not all) of Godzilla, King of the Monsters feels like a waste of time meant to dumb down a good story for an American audience.
Making its world premiere at Indy Film Fest 2020, HUM is a cerebral dance through an ethereal landscape of grief, regret, and the doubt that’s cast by overwhelming existential uncertainty.
Currently screening virtually at Indy Film Fest 2020, The Last Christmas Party takes a vérité approach to its telling of intersecting romantic dramas playing out over one college Christmas party. Through three central couples, the film examines meaty relationship quandaries such as casual vs serious dating status, who’s really in love with who, and how individual decisions can wreak havoc on long-term relationships. The Last Christmas Party brings these elements together to form a worthy and contemplative entry in the tried and true subcategory of film that is the one night existential crossroads movie.
In the latest installment of our Ebert’s Great Movies Review Series, our contributor and friend Ben Sears joins me to discuss the Yasujirō Ozu masterpiece Tokyo Story (1953) and Sidney Lumet’s prescient satire Network (1976) from Ebert’s “Great Movies” list. We also chat about Indy Film Fest, currently underway virtually, Ben’s thoughts on Yes, God, Yes and more.
Released just six months after 1954’s original Godzilla film, Godzilla Raids Again is not nearly as well-executed and nuanced as its predecessor. However, there is a lot of fun to be had in this movie and, in at least one case, it actually eclipses the original.
Netflix’s Project Power gives summer 2020 movie audiences a much needed infusion of blockbuster entertainment and superpowered action. Joseph Gordon-Levitt, Jamie Foxx, and Dominique Fishback make up a strong triumvirate in a story that’s exciting and filled with varied big-budget set pieces. Directors Henry Joost and Ariel Schulman create impressive action sequences and Mattson Tomlin’s script provides an engaging plot with sympathetic yet flawed characters, despite some missteps along the way.
Sputnik, the new Russian sci-fi horror film from IFC Midnight directed by Egor Abramenko, infuses elements of creature and body horror with the humanity of a compassionate protagonist.
In a sense, Boys State acts as a document of the political climate of today. It shows the passion and fervor of those who seek elected office while also showcasing the lengths to which people will go to win; whether it’s in the name of their political party or if they are seeking office for themselves. The fact that this depiction of our democracy is filtered through the perspective of 17 year old boys creating a mock government over the course of a week gives Boys State a prescient energy. Seeing the potential next generation of politicians navigate an ultra conservative group and play to the whims of the general populace helps peel back the curtain on the democratic process while also exposing the less savory aspects of the political machine.
This week, Fekkes makes his return to the podcast for a review of Palm Springs and The Old Guard. We also discuss Fekkes’ experience having COVID-19, Disney’s decision regarding Mulan and the future of cinemas and round out the episode with some Potpourri.
An American Pickle’s concept should be a delightful fish out of water story around which to build a movie. For the first 20 minutes or so, it achieves this well enough. However, it soon abandons that concept in favor of a satirical look at capitalism and the pursuit of the American dream in the age of social media mob rule. Unfortunately, it isn’t as interesting or as funny as the premise that it leaves behind in its first act, which itself was only skating by on the charisma of Seth Rogen’s performance.
Godzilla creates the monster as an antagonist in a way that brings the fear of nuclear arms, humanity’s race toward self-destruction, and the horror of creating that which you can’t control to the forefront of its story.
Amy Seimetz’s command of the film’s wave-like spread of bleak mental illness is highly commendable. The tone she strikes is an accurate depiction of the feeling one experiences when they’re being blanketed with depression and anxiety.
This week, Tiny returns to The Obsessive Viewer for an extended potpourri wherein we discuss several movies (as well as book tangents) and touch on some entertainment news that has popped up recently.
Yes, God, Yes is not an outright teen sex comedy; it’s much more nuanced because its ultimate goal is more than just seeing its protagonist get laid. At a lean 78 minutes, the film just wants Alice to gain a better understanding of herself and her sexuality. Funny but critical, biting but not mean-spirited, Yes, God, Yes is a promising work for all involved.
This week, Mike joins me to review IFC Midnight’s new releases Relic and The Rental. We also chat about Mike’s recovery from nose surgery, the newly announced Scream Factory Friday the 13th Blu-ray collection, and the ill-advised Days of the Dead convention.
The Obsessive Viewer 