Film Review: “Dating & New York” Is Gratifying, If Predictable

My review for Dating & New York on Film Festival Today! If you like rom-coms (especially those of the 80s/90s/Nora Ephron variety) then definitely don’t miss Dating & New York!

Wendy and Milo…are courtship-weary millennials still pining for romance and…Wendy, a pragmatist, concocts an idea (and a contract): best friends with benefits. Milo, an idealist, is dubious of the arrangement at first, hoping for a real connection. Still, despite warnings from friends and Milo’s own misgivings, they proceed … From the jump, this is an of-the-moment story about dating-app culture and overall virtual communication … Nothing happens, plot-wise, that you can’t at least predict from the start. The surprises are found in smaller moments within those expected beats: when characters break through the digital haze, call each other out, zero in on mistakes, flaws, and quirks. The tonal shift should be jarring but it actually draws you further in. Much of this is owed to Reale and Young-White’s performances.

Read the full review on Film Festival Today:
“Dating & New York” Is Gratifying, If Predictable


Film Review: Free Guy (no spoilers)

Spoiler-Free Review!


Free Guy (2021)
Director: Shawn Levy
Writers: Matt Lieberman, Zak Penn
out of 4 stars.

I’m pretty neutral on Ryan Reynolds. I enjoy his brand of comedy for the most part but my interest in Free Guy sparked almost entirely from the casting of Joe Keery and that Shawn Levy was the director (because I’m a huge Stranger Things fan). In looking over Levy’s filmography as part of my research for my Coffee & Contemplation podcast, I realized that I often like his style and the stories he tends to tell; in particular, the Night at the Museum franchise, Arrival, The Famous Jett Jackson, and, obviously, Stranger Things. Like those properties, Free Guy seemed to be another effective blend of pastiche and originality. Plus Taika Waititi was in the cast, too? Sign me up.

The film itself far exceeded my expectations. Free Guy is celebratory rather than pretentious in its homage. While others are citing The Truman Show, The Lego Movie, and Wreck-It-Ralph as influences, I also detected a lot of the original Tron. Yet Free Guy carves out its own style, its own characters. How it manages to do so is nigh untraceable but it doesn’t really matter because you’re too busy enjoying the result. There are scant few things I didn’t enjoy about it — more on that later — and even in the spots where it doesn’t quite work, there’s a palpable spirit of enthusiasm. Some reviews criticize the film for not delving deeper into the more serious questions and concepts Free Guy indirectly presents — the nature of Artificial Intelligence, corporate strategy, sequels versus original IP, what qualifies as a soul — but I would argue that the film doesn’t avoid these subjects outright, either. The trailers also make it very clear that deep, intellectual exploration is not the point here. Science-Fiction is rife with such explorations and there’s plenty to be found elsewhere if you’re looking for that. In Free Guy, meanwhile, you can expect a buoyant, fun energy at its core. However, I was surprised at the — go with me — level of subtlety at play. No, seriously. There is no shortage of loud, brash, even salacious humor but it never goes too far off the rails and is even quite effectively balanced by some aspects that practically fly under the radar, along with some surprisingly sweet messages.

The real-world and Free-City-world feel equally balanced along with the arcs of the characters in each, both in the writing and the visuals. The cinematography (George Richmond, Rocketman) deftly shifts between cinematic and gaming styles. The cameos and Easter eggs are present and delightful but don’t distract from the center narrative. Guy’s story is our A-Plot, the Soonami story is the B-Plot, but the characters’ comparable screen time, combined with (I believe) dynamite performances by Jodie Comer and Joe Keery, Lil Rel Howery, Utkarsh Ambudkar, and Britne Oldford, all synchronize successfully. Many critics are ragging on the real-world characters but I buy the characterizations and believe their performances are deeper than they’re getting credit for. Where some have cited that the Soonami storyline drags the film down in the middle, I would question whether Guy’s story — genuinely fun and entertaining though it is — would be able to sustain itself alone, without a supporting plot. Maybe, but I, for one, appreciate the range.

The only pieces that didn’t work for me mostly surrounded the underuse of Taika Waititi as Antwan and some of the humor. For all that the marketing emphasized his role, Waititi seems to be doing a lot with so very little. The film’s antagonist might be the one aspect where the film would have benefited from easing back on the humor in favor of complexity. Waititi would have been more than up to that task; but perhaps it weighed the film down too much? In any case, I’m hoping for a plethora of deleted scenes awaiting us on the eventual Blu-ray. And, apart from that, I found myself tired of the “gamers are lame dudes who live in their mom’s basement and never get laid” joke even just after watching the multiple trailers. It’s directly at odds with the appearances of Professional Streamers. I’m not sure that we needed that particular brand of degrading humor in a movie that is otherwise very uplifting – even respectful – of gamer culture.

Beyond that, though this is an overwhelming net positive. I already want to see the film again and look forward to the conversations that it will inevitably inspire. Will it change the world? No, but it is a huge mood boost, and amongst these dark times, sometimes that’s exactly what we all need.


Read Christopher Llewellyn Reed’s Film Festival Today review here!


Film Review: “The Magnificent Meyersons” Drifts Towards Ambiguity

My review for The Magnificent Meyersons on Film Festival Today.

The five Meyerson children, their mother, their grandmother, and, eventually, their father, introduced through a series of vignette-like scenes during which they go about their day-to-day life and ponder their past, their future, their existence, and the existence of God. The exhibition is not as solemn as such a premise might imply. In fact, it almost goes over a little too breezily…
The big “twist” element introduced in the middle of the film, hinted at in the trailer, barely registers in the overarching story. It’s possible that it’s intended to serve as a metaphor for the absent father, Morty, but it’s not strong enough to make its inclusion worthwhile. The film attempts to evoke a curiosity in the past, and specifically Morty’s abandonment of the family, largely through late-introduced flashbacks, but their history is never quite made fully clear. It would seem that the more natural direction of the film would have been to focus on who the kids grew up to be in Morty’s absence, rather than dwelling so heavily on the past…

Read the full review on Film Festival Today:
“The Magnificent Meyerons” Drifts Towards Ambiguity


Film Review: Free Guy (spoilers)

This review contains spoilers.


Free Guy (2021)
Director: Shawn Levy
Writers: Matt Lieberman, Zak Penn
out of 4 stars.

I’m pretty neutral on Ryan Reynolds. I enjoy his brand of comedy for the most part but my interest in Free Guy sparked almost entirely from knowing that Joe Keery was in the cast (because I’m a huge Stranger Things fan) and also that Shawn Levy was the director. In looking over his filmography as part of my research for my Coffee & Contemplation podcast, I realized that I often like his style and the stories he tends to tell; in particular, the Night at the Museum franchise, Arrival, The Famous Jett Jackson,and, obviously, Stranger Things. Like those properties, Free Guy seemed to be another effective blend of pastiche and originality. Plus Taika Waititi was in the cast, too? Sign me up.

The film itself far exceeded my expectations. Free Guy is celebratory rather than pretentious in its homage (Tron, anyone?) yet carves out its own style, its own characters. How it manages to do so is nigh untraceable but it doesn’t really matter because you’re too busy enjoying the result. There are scant few things I didn’t enjoy about it — more on that later — and even in the spots where it doesn’t quite work, there’s a palpable spirit of enthusiasm. Some reviews criticize the film for not delving deeper into the more serious questions and concepts Free Guy indirectly presents — the nature of Artificial Intelligence, corporate strategy, sequels versus original IP, what qualifies as a soul — but I would argue that the film doesn’t avoid these subjects outright, either. Many critics are ragging on the real-world characters but I buy the characterizations and believe their performances are deeper than they’re getting credit for. Where some have cited that the Soonami storyline drags the film down in the middle, I would question whether Guy’s story — genuinely fun and entertaining though it is — would be able to sustain itself alone, without a supporting plot. Maybe. But I, for one, appreciate the range. The trailers also make it very clear that deep, intellectual exploration is not the point here. Science-Fiction is rife with such explorations and there’s plenty to be found elsewhere if you’re looking for that but in Free Guy you can expect a buoyant, fun energy at its core. However, I was surprised at the — go with me — level of subtlety at play. No, seriously. There is no shortage of loud, brash, even salacious humor but it never goes too far off the rails and is even quite effectively balanced by some aspects that practically fly under the radar.


SPOILERS AHEAD!

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Film Review: “Charming the Hearts of Men” Almost Succeeds

My review for Charming The Hearts of Men on Film Festival Today. This one was tough to write about. I find myself thinking and saying this a lot when I’m writing reviews, but this film really had such potential that never got fully lived up to. I say as much in the full review, but I really do believe Charming the Hearts of Men have worked better as series, limited or otherwise.

The seeds of an innovative premise can be found, though they don’t get the chance to mature … the film calls out sexism more directly than racism, which winds up feeling disproportionate and awkward. First-time director S.E. DeRose examines the concurrent struggles of multiple oppressed groups and outsiders, as well as the parallels, the distinctions, and the insidious way that prejudice can affect the very oppressed people, themselves. It’s not a new idea, but worth investigating further and, sadly, the film doesn’t invest in an equally nuanced payoff … Where the film takes a bolder approach, it works … it hammers home the reality of how little has changed since the 1960s…

Read the full review on Film Festival Today:
“Charming the Hearts of Men” Almost Succeeds


Film Review: “Vivo” Is Fun but Surprisingly Emotional

My review for Vivo on Film Festival Today!

I enjoyed it very much but it also really shocked me. It’s surprisingly intense, emotionally-speaking. This is a spoiler, but I think it’s important for anyone considering watching it: Vivo is primarily a grief story.

Vivo boasts absolutely stunning animation​… the soundtrack is catchy and charming and the songs span a wide range of genres​… the real magic occurs, though, when Vivo and Gabi harmonize, musically and narratively.​ ​It’s worth noting, however, that this is a grief story, which hits unexpectedly hard. Moments in which multiple characters express regret and desperation reach Pixar levels of potency in their ability to conjure tears​.​.. Yet, at other times, the story careens into side-quests, almost like a series of Odyssey-style vignettes, needing to overcome obstacles and, sometimes, literal monsters.

Read the full review on Film Festival Today:
“Vivo” Is Fun but Surprisingly Emotional


Film Review: “Scales” Conceives a Fresh and Sinister Take on Mermaids

My review for Scales on Film Festival Today!

This film was a real experience. As part of the “stunning visuals” I mention in my review, the stunning black-and-white presentation was a real surprise and metaphor in and of itself.

Very rarely does one come across a truly unique interpratation of the mermaid mythos. They usually fall into a trope of one sort: the sweet, feminine ideal; the monstrous siren; or some unsettling mix of the two. However, in Scales, Saudi Arabian writer/director Shahad Ameen explores the mermaid concept in a fascinating new way. Here is a depiction of mermaids as nightmares and deep-seated beliefs made uncomfortably real. The story, or what there is of one, takes place in a dystopian landscape and commences with the disturbing ritual in which the citizens of a fishing village must sacrifice one daughter to the “sea maidens.”

Read the full review on Film Festival Today:
Scales Conceives A Fresh And Sinister Take On Mermaids


Film Review: “Chasing Childhood” Makes Good Arguments But Could Be Stronger

My review for Chasing Childhood on Film Festival Today!

Chasing Childhood primarily questions the lack of ‘free play’ and independence from parents among children today, in tandem with a ferocious drive towards the best grades and the best sports’ statistics, all in pursuit of admittance to the top colleges … the focus is mostly on white and upper-middle class families. The documentary would have benefited tremendously had it leaned more into how this problem is shared across economic, racial and cultural divides.

Additionally, the impact of social media is almost entirely absent … How can it possibly not factor into this conversation?”


Read the full review on Film Festival Today:
“Chasing Childhood” Makes Good Arguments but Could Be Stronger


Film Review: “Sisters on Track” Leaves You Rooting for Team Sheppard

My review for Sisters on Track on Film Festival Today!

“What’s refreshing is that this film isn’t interested in telling the rise-to-the-top, the sports-driven, winning-of-the-big-game kind of story … Sisters on Track excels at grounding the audience in the present … the balance between work, sports and play; decisions regarding high school and college; managing grief; job hunting, etc. Early on, the film recounts the Sheppards’ struggle through financial distress that led to homelessness. As the youngest of the girls, Brooke, states, ‘I thought we would be homeless for the rest of our lives,’ which sets up the very pragmatic and visceral need for success in track. It isn’t just a hobby or an after-school activity. As with so many other athletes, sports is their passage to an education and, beyond that, security in life.”

Read the full review on Film Festival Today:
“Sisters on Track” Leaves You Rooting for Team Sheppard


Film Review: The Young Cast of “Skater Girl” Shines Despite a Disjointed Script

My review for Skater Girl on Film Festival Today!

This film really made me want to bust out my rollerblades…

Skater Girl treats both the titular character and her sport with a lot of heart. Beautiful intentions are on display here, between some gorgeous, energetic cinematography and a few stellar performances by young and relatively unknown actors. The downsides are an inconsistent tone and a plot that builds to an abrupt and limited ending, dulling the many other elements of this story about being true to oneself and following your dreams … It’s a shame, too, because it is easy to see how great this movie could have been … Gupta absolutely shines in her performances on and off the skateboard. Patel is a tremendous delight, too, with whimsical counterpoints to many serious moments. On the whole, Skater Girl is quite enjoyable and worth watching

Read the full review on Film Festival Today:
The Young Cast of “Skater Girl” Shines Despite a Disjointed Script