Romanian Documentary ‘Collective’ Gets Incisive on a Tragic Scandal

November 17, 2020

jmunney Cinema, Movie Reviews , , Leave a comment

Collective (CREDIT: Magnolia Pictures)

Starring: Journalists, Doctors, and Government Officials

Director: Alexander Nanau

Running Time: 109 Minutes

Rating: Unrated (It would probably be a PG-13-level for graphic medical images)

Release Date: November 20, 2020 (Theaters and On Demand)

I have a confession to make: I didn’t realize that Collective was a documentary until after I finished watching it. (The press notes had touted it as Romania’s Oscar entry for Best International Feature Film, which I had neglected to realize could include docs.) I’ll go ahead and turn that into a compliment by saying that I was impressed by its strong sense of verisimilitude. That’s not always easy to accomplish when telling a true story on screen, whether it’s in the form of a docudrama or an actual documentary. Collective presents a story of government and corporate corruption and medical malfeasance in Southeastern Europe, but if you’ve been alive  anywhere in the world in 2020, you’re surely acutely aware of the scourge of those ills no matter where you live. The fight to expose all of the terrible decisions is kind of Sisyphean, but it’s reassuring to know that there are still people who are willing to fight that fight.

The tragedy that sets everything off is a fire at a Romanian nightclub that killed about a couple dozen people from burns and smoke inhalation, with the number of the dead more than doubling in the hours and days following the conflagration. It quickly becomes clear that a lot of these deaths could have been prevented if not for common dangerous practices at the medical facilities, as multiple fatalities are tied to disinfectants that were diluted to save money, thus allowing bacteria to spread to dangerous levels. We discover what this means in quite stark terms with the shot of a human body crawling with maggots on a hospital bed. Amidst it all, a group of journalists keep asking the questions that need to be asked for the public to hear. They’re hardened by the corruption, but not numb to it; widespread incompetence is the day-to-day muck they know that they have to wade through.

There is a clinical, procedural approach to the material in Collective that is quite dry, but it gets the point across. There’s a lot of talk about “pyocanic bacteria,” surely more than in any other movie I’ve ever seen. (You might think that surely this tone would have tipped me off to the fact that this was a documentary. I guess I just assumed that this was the Romanian way, or at least the way of director Alexander Nanau.) If you’re tired of getting outraged at the scandals in your own country but still want to be angry, Collective offers you plenty to get worked up about. It won’t assure you that this world will be fully redeemed anytime soon, but you might come away a little optimistic that redemption is somewhat possible at some point in the future.

Collective is Recommended If You Like: Real-life journalists doggedly reporting on the worst of humanity

Grade: 3.5 out of 5 Epidemiologists in the Pocket

Entertainment To-Do List: Week of 11/13/20

November 13, 2020

jmunney Cinema, Entertainment To-Do List, Music, Television , , , , , , Leave a comment

LEGO Star Wars Holiday Special (CREDIT: Star Wars/YouTube Screenshot)

Every week, I list all the upcoming (or recently released) movies, TV shows, albums, podcasts, etc. that I believe are worth checking out.

Movies
–Freaky (Theaters) – A bloody good body swap slasher.

TV
–Aunty Donna’s Big Ol’ House of Fun Season 1 (Premiered November 11 on Netflix) – Sitcom/sketch hybrid from some silly Australian dudes.
–His Dark Materials Season 2 Premiere (November 16 on HBO)
-The LEGO Star Wars Holiday Special (November 17)

Music
-AC/DC, Power Up

Vince Vaughn and Kathryn Newton Get ‘Freaky,’ and a Bloody Silly Time Will Be Had By All

November 11, 2020

jmunney Cinema, Movie Reviews , , , , , , , , 1 Comment

Freaky (CREDIT: Brian Douglas/Universal Pictures)

Starring: Vince Vaughn, Kathryn Newton, Katie Finneran, Celeste O’Connor, Misha Osherovich, Uriah Shelton, Alan Ruck

Director: Christopher Landon

Running Time: 101 Minutes

Rating: R for Stunningly Over-the-Top Gore and Bluntly Disturbing Profanity

Release Date: November 13, 2020 (Theaters)/December 4, 2020 (On Demand)

When the elevator pitch for a movie is “A serial killer swaps bodies with a teenage girl,” how could its title be anything other than “Freaky Friday the 13th”? Maybe litigiousness was a concern, or perhaps brevity really is the soul of witty knifeplay, as co-writer/director Christopher Landon and company ultimately settled on the shorter moniker Freaky for this breezy and deadly concoction. Landon is best known for mashing up slashers and time loops in Happy Death Day and its sequel, and now he’s got another unlikely complement for his preferred horror subgenre. The hallmarks of the two formulas mix together mostly seamlessly, as mystical mumbo-jumbo and a race to a point-of-no-return countdown are punctuated by buckets of gore.

The teenage girl in question is Millie Kessler (Kathryn Newton), who’s been going through life in a bit of a daze ever since her dad died about a year ago, while the serial killer (Vince Vaughn) is known as the Blissfield Butcher, and that’s pretty much all you need to know about him. Freaky‘s slasher approach is most directly inspired by the Friday the 13th franchise, particularly the early sequels in which the be-masked Jason Voorhees’ motivation gradually drifts away from revenge and more towards a general unquenchable thirst for killing. For Newton, that means playing the Butcher in Millie’s body as mostly a silent stalker, while occasionally dropping piercingly vulgar threats of violence. If the Butcher is motivated by anything, it’s shiny objects, as he is positively entranced by a beautiful kitchen knife, while his fashion sense leads him to outfit Millie’s body in a striking blood-red jacket.

Vaughn has a much more effervescent role to play, which he tackles with a level of relish that is always ready to be tapped whenever he’s given the right material. With arms akimbo and his heart on his sleeve, he nails the looseness of someone who suddenly finds herself a foot taller and about one hundred pounds bigger. Millie’s fascination with all the nooks, crannies, and appendages of her new body is infectious and an inspiration for all of us to celebrate the vessels we’re currently living in, body swap or no. Good on Vaughn for being so fully up for anything!

As for the actual story, Freaky lacks the emotional oomph present in the best of the body swap genre (or the best of the slasher genre, certainly). The thematic heft of the body swap tends to be driven by the swappers ultimately coming to an understanding with each other, but that’s not exactly going to work when one of them is basically an embodiment of pure evil. So we must be sated by the goofball charm, of which there is plenty, and the absurd graphic violence, of which there is even more. Landon is clearly here to revel in the most baroque excesses of the slasher world, as the Butcher utilizes the likes of a toilet seat and a tennis racket in profoundly lethal ways. Also there’s apparently a cryogenic chamber in a high school locker room. All that AND there’s a “Que Sera Sera” needledrop. Quite frankly, I think Freaky knows exactly who its audience is.

Freaky is Recommended If You Like: Friday the 13th Parts 3 through 6, Grindhouse-style gore, The continued relevance of Vince Vaughn

Grade: 3 out of 5 Magic Daggers

‘Ammonite’ Review: Love on the Rocks

November 10, 2020

jmunney Cinema, Movie Reviews , , , , , , , Leave a comment

Ammonite (CREDIT: NEON)

Starring: Kate Winslet, Saoirse Ronan, Fiona Shaw, Gemma Jones, James McArdle

Director: Francis Lee

Running Time: 120 Minutes

Rating: R for Some Quite Graphic Bedroom Scenes

Release Date: November 13, 2020 (Theaters)/December 4, 2020 (On Demand)

Man, if you’re into rocks AND forbidden love stories, you’re gonna love Ammonite. Me personally, I can certainly enjoy the latter, though they can be heart-wrenchingly bittersweet. As for the former, rocks definitely serve their purpose here on Earth, but I’m not particularly inclined to spend an entire day studying them. Nor am I particularly inclined to watch a movie that dedicates a good portion of itself to people doing just that. But I always aim to be open-minded, so I decided to give Ammonite a chance to see if it could win me over. Ultimately, it all went about exactly as I would have expected, with the paleontology scenes making me go, “Wow, Kate Winslet sure does enjoy studying fossils a lot more than I ever would” and the romance scenes making me go, “Wow, Kate Winslet and Saoirse Ronan sure do trust each other enough to get really, really explicit.”

It’s the 1840s on the Southern English coast. Winslet plays Mary Anning, who is now officially the most passionate paleontologist I’ve ever heard of. She supports herself and her mother by selling fossils to tourists, and one of those folks, geologist Roderick Murchison (James McArdle), offers her something rather unique. His wife Charlotte (Ronan) is suffering from one of those vague 19th century illnesses that result in general exhaustion, and he’s entrusted Mary to caring after her. Mary and Charlotte proceed to spend plenty of time alone, thus awakening passions that are generally not spoken about in polite British society.

Like most other recent period queer love stories I’ve encountered, the affair between Mary and Charlotte is able to thrive in a little pocket of the larger world. There’s even a hint that it could last indefinitely. So I’m fascinated that the ultimate roadblock for these two is less about society frowning upon them and more about the struggle to bridge the gap between their very different lives. Mary is so married to her work that she cannot imagine uprooting herself in any way (there’s also the matter of supporting her mother). With Ammonite so firmly foregrounded in the literal ground, it comes off as rather quotidian and even dispassionate (though certainly not shy). So in conclusion, I haven’t suddenly been inspired to start studying fossils myself, but I am still heartbroken when two star-crossed souls can’t quite make it work.

Ammonite is Recommended If You Like: Fossils, Portrait of a Lady on Fire, Rocks on the beach, Walks on the beach

Grade: 3 out of 5 Rocks

‘Come Play,’ Says the Leggy Monster on a Tablet

October 28, 2020

jmunney Cinema, Movie Reviews , , , , Leave a comment

Come Play (CREDIT: Jasper Savage/Amblin Partners/Focus Features)

Starring: Azhy Robertson, Gillian Jacobs, John Gallagher Jr.

Director: Jacob Chase

Running Time: 96 Minutes

Rating: PG-13 for Spooks and Terror

Release Date: October 30, 2020

Did The Babadook fully sate our appetites for creepy bedtime story characters breaking out into the real world to spook a little boy and his mom? Come Play sure hopes that there’s room for one more! But it’s going to be very hard for it to avoid being referred to as “The Babadook, but the dad’s alive.” There’s even a moment when Gillian Jacobs echoes Essie Davis almost exactly when she shouts, “Can you just be normal for one second?!” There are some elements about Come Play that are worth recommending, although while I was watching them, I wondered if I was enjoying them mainly because of residual positive feelings for The Babadook. That’s far from the worst thing in the world, though. It’s at least better than resenting it for its resemblance.

The vibe of the game in Come Play is disconnection. Sarah (Jacobs) and her husband Marty (John Gallagher Jr.) have been struggling to communicate with their non-verbal autistic son Oliver (Azhy Robertson) his whole life. Really, though, it’s Mom who’s bearing the brunt of the struggle. It comes down to the typical split of household labor. Marty is mostly fine with the way Oliver currently talks, which is by pushing word buttons on a cell phone that vocalizes for him, but Sarah is constantly frustrated, partly because she spends a lot more time at home. Into this angst-filled situation crawls Oliver, a long-limbed creature on a tablet who would like his tale told to the end so that he can become a real monster who can be friends with Oliver forever and ever.

As Larry makes his presence more and more known, he spreads to Oliver’s parents and friends as a sort of supernatural infection. He’s like the Entity in It Follows or the certainty of death in She Dies Tomorrow: once you’ve been exposed, you cannot deny his existence. Voices of reason try to insist that this is just a case of powerful empathy with Oliver, which almost seems to be playing out as a sort of shared delusion. Of course, we know it’s not that, because the terms of the genre that we as audience have agreed to assure us that Larry is as real as any monster can be. But the emotional tethers that Oliver is attached to and the terror transported along them are quite telling. Larry represents and draws upon loneliness. Anyone lacking connection or fighting so hard to maintain an emotional bond is vulnerable. He can sting your heart, and that’s what really makes him memorable.

Come Play is Recommended If You Like: Horror Movies That Remind You of Other, Better Horror Movies But Still Have Enough to Say on Their Own

Grade: 3 out of 5 Legs

I Have One Important Thing to Say About ‘The Witches’ (2020)

October 26, 2020

jmunney Cinema, Movie Reviews , , , , , , , , , , Leave a comment

The Witches 2020 (CREDIT: Warner Bros./YouTube Screenshot)

Starring: Octavia Spencer, Anne Hathaway, Jahzir Kadeem Bruno, Stanley Tucci, Chris Rock, Codie Lei-Eastick, Kristen Chenoweth

Director: Robert Zemeckis

Running Time: 105 Minutes

Rating: PG

Release Date: October 22, 2020 (HBO Max)

There’s one thing I really want to mention about the 2020 adaptation of Roald Dahl’s The Witches. It’s something that caught me by surprise, and I was happy to have it. It wouldn’t have surprised me if I had seen the trailer ahead of time, but I still would have been delighted by it nonetheless. I’m talking about Chris Rock’s narration! I had no idea he was playing the older version of our hero (who’s named Hero). But oh yeah, I totally approve of the flavor that he added to the mix. And at the end when we got a glimpse of him in the flesh, I was thrilled to see what he’s up to now. The rest of the movie is mostly more-or-less standard kids adventure fare. I would have hoped for something a little weirder from Bob Zemeckis taking on Roald Dahl. Maybe I missed some hidden weirdness!

Grade: 5 Giant Chickens Out of 3 Mice

Entertainment To-Do List: Week of 10/23/20

October 23, 2020

jmunney Cinema, Comedy, Entertainment To-Do List, Music, Television , , , , , , , , , Leave a comment

Eric Andre Show Season 5 (CREDIT: YouTube Screenshot)

Every week, I list all the upcoming (or recently released) movies, TV shows, albums, podcasts, etc. that I believe are worth checking out.

Movies
–Borat Subsequent Moviefilm: Delivery of Prodigious Bribe to American Regime for Make Benefit Once Glorious Nation of Kazakhstan (October 23 on Amazon) – If you’re in the mood for a Very Nice evening.

TV
–The Eric Andre Show Season 5 Premiere (October 25 on Adult Swim)
–American Housewife Season 5 Premiere (October 28 on ABC)
–Superstore Season 6 Premiere (October 29 on NBC)

Music
-Bruce Springsteen, Letter to You

Comedy
–An Evening with Tim Heidecker (October 23 on YouTube) – Should be as funny as 5 bags of popcorn.

Sacha Baron Cohen Can Still Clown Us Like No Other in ‘Borat Subsequent Moviefilm’

October 21, 2020

jmunney Cinema, Movie Reviews , , , , , , , , 3 Comments

Borat Subsequent Moviefilm (CREDIT: Amazon Studios)

Starring: Sacha Baron Cohen, Maria Bakalova

Director: Jason Woliner

Running Time: 96 Minutes

Rating: R for No-Holds-Barred Outrageousness

Release Date: October 23, 2020 (Amazon Prime Video)

About four and a half minutes into Borat Subsequent Moviefilm: Delivery of Prodigious Bribe to American Regime for Make Benefit Once Glorious Nation of Kazakhstan, Kazakhstani reporter Borat Sagdiyev says “My wife,” and when I heard it, all felt right in the world. The first Borat flick came out on November 3, 2006, and on November 4, 2006, the world became overrun with hacky Borat impressions. In the fourteen years hence, his catchphrases have gone through a cycle of sincere to ironic to post-ironic and back again about 14 times (or maybe 1400 times). Somehow, though, Baron Cohen is now able to slide back into his famous creation without suffering one bit under the weight of his legacy. Borat’s reputation is primarily about his ability to hold up a mirror to society, but he’s also a fascinating character in his own right, layered with so many levels of absurd details. Joining that absurd litany is his daughter Tutar, brought to dementedly go-for-broke life by Bulgarian actress Maria Bakalova.

A new Borat film is enough justification for a chaotic imp like myself to pepper all my conversations with outbursts of “wah wah wee wah” and “very nice,” but will everyone else be speaking the same language, as they were back in 2006? My gut says no, because it’s nearly impossible to recreate a phenomenon like that, but also because this sequel won’t have the benefit of huge crowds enjoying it together in packed theaters. Of course, that formula is a bit different in the midst of a pandemic, so there’s a chance that Subsequent Moviefilm actually could hit the zeitgeist pretty hard as a straight-to-streaming release. But ultimately, to my mind anyway, that shouldn’t be the main goal of this endeavor. The most important question to ask ourselves should be (and I cannot reiterate this enough): after watching this film, does saying “my wife!” feel funnier than it did before? In my case, the answer is “absolutely.”

As much of a big deal as I’m making of the “my wife” of it all, it should be noted that that gag is a relatively small portion of the running time. Ostensibly, Baron Cohen’s goal is to once again expose the dark, bigoted underbelly lurking within America. But if you’ve lived in this country for the past few years, you might have noticed that there’s not that much left that needs exposing. But that doesn’t mean there aren’t still revelations to be had. The MAGA types that Borat encounters along the way behave pretty much as you expect them to. But once he tells them stories about the backwards traditions of his fictional Kazakhstan, it starts to get interesting. Some people play along, perhaps just to be polite, while others double down on their prejudiced impulses. But then there are those moments when the most knee-jerk conspiratorial thoughtfully disagree with him, laying bare the sort of pretzel logic that is perhaps quite commonplace in human society.

While the improvised interactions with civilians are frequently poignant, it’s the scripted moments that I found most hilarious. The plot is driven by Borat’s mission to deliver to Vice President Mike Pence (“America’s most famous ladies man”) a gift of Johnny the Monkey, Kazakhstan’s most popular primate porn star. But when that goes awry, the plan changes to him offering the teenage Tutar as a new wife for Pence (or whomever in Donald Trump’s orbit will take her). Baron Cohen is famed for his clown training, and Bakalova matches (and often tops) him in her willingness to transform into the most comical possible version of herself.

As outrageous as their antics mostly are, there’s also a sweet, beating heart at the core of their interactions. He wants her to sleep in the biggest, most comfortable cage in the world, and she loves him for his efforts to do so, but she eventually starts to wonder if maybe the fairy tales she’s heard about women not being able to do pretty much anything aren’t as true as she once thought. (The revolution she endures when confronted with the truth actually reminds me of the fight scene in They Live, with its similar underscoring of the disruption inherent to having your eyes opened.) So while Borat’s cries of “my wife” have been delightfully echoing in our ears for quite some time, maybe now they’ll also be paired with proud proclamations of “my daughter.”

Borat Subsequent Moviefilm is Recommended If You Like: Hearty Belly Laughs, Fractured Fairy Tales, Cultural Icons That Endure Much Longer Than Expected

Grade: 4 out of 5 Hrams

Entertainment To-Do List: Week of 10/16/20

October 16, 2020

jmunney Cinema, Entertainment To-Do List, Music, Podcasts, Television , , , , , , , , , , , , , , , , Leave a comment

The Trial of the Chicago 7 (CREDIT: Netflix)

Every week, I list all the upcoming (or recently released) movies, TV shows, albums, podcasts, etc. that I believe are worth checking out.

Movies
–The Trial of the Chicago 7 (October 16 on Netflix)
–The Witches (October 22 on HBO Max) – Bobby Zemeckis takes on Roald Dahl.

TV
–Card Sharks Season Premiere (October 18 on ABC)
–Supermarket Sweep Reboot Premiere (October 18 on ABC) – Host Leslie Jones sends the contestants on their grocery hunts.
–Who Wants to Be a Millionaire? Season Premiere (October 18 on ABC)
–black-ish Season 7 Premiere (October 21 on ABC)
–The Conners Season 3 Premiere (October 21 on ABC)
–The Goldbergs Season 8 Premiere (October 21 on ABC)

Music on TV
-Miley Cyrus Backyard Sessions (October 16 on MTV)

Music on Stage as a Movie on TV
–David Byrne’s American Utopia (October 17 on HBO)

Podcasts
–Dead Eyes Season 2 (Premieres October 22) – Connor Ratliff is still wondering why Tom Hanks fired him from Band of Brothers.

‘American Utopia’ Doesn’t Lose Any of Its Power in Its Trip From the Stage to HBO

October 14, 2020

jmunney Cinema, Movie Reviews , , , , , , , , , , , , 2 Comments

American Utopia (CREDIT: David Lee)

Starring: David Byrne, Chris Giarmo, Tendayi Kuumba, Bobby Wooten III, Karl Mansfield, Gustavo Di Dalva, Jacquelene Acevedo, Angie Swan, Mauro Refosco, Daniel Freedman, Stephane San Juan

Director: Spike Lee

Running Time: 105 Minutes

Release Date: October 17, 2020 (HBO)

Stop Making Sense is one of the best, if not The Best, concert documentaries ever made. I don’t know anyone who’s seen it who doesn’t share that opinion. Can lightning strike twice? Probably not, but something very similar to (but not exactly the same as) lightning can strike (or do something similar to striking) after that initial lightning strike. And that’s what we have in the case of American Utopia, which features Talking Heads frontman David Byrne with a group of musicians who are not Talking Heads members performing a set that includes some Talking Heads songs as well as other prime selections. It started as an album of originals released in 2018, made its way to Broadway in 2019, and now one of those performances has been recorded for a concert film directed by Spike Lee. If you know Byrne and his singular penchant for showmanship, then it goes without saying there’s no reason to think that that could ever be a formula for dilution.

“Once in a Lifetime” is one of the most iconic songs in rock music history. It was retooled for the stage show, and I first saw that version when Byrne was the musical guest on SNL back in February of this year. Despite my thorough familiarity with the song, I got chills once again while watching the latest filmed performance as if I were witnessing the birth of a new classic. That is the power of what has been assembled here. Byrne and his crew strip everything down to basics and reintroduce to us what we thought we already knew thoroughly. It is as if for an hour and 45 minutes we forget that there was ever any music before American Utopia.

We also get a refresher course on philosophy, as Byrne muses in between songs about the wonders of human perception. At one point, he asks why it is that we find looking at other people inherently more interesting than looking at anything else. If anyone is looking for any evidence as to why that is the case, American Utopia provides plenty of examples.

David Byrne, Spike Lee (CREDIT: David Lee)

If you’re wondering what attracted Spike Lee to direct, there won’t be any confusion once the credits are rolling. I’m not terribly familiar with his musical tastes, but he and Byrne clearly share many concerns over the state of the world, which is most obvious during the performance of “Hell You Talmbout,” a cover of a 2015 Janelle Monáe protest song that invokes the names of people of color who have been killed by police. When Byrne asked Monáe what she would think of a white man of a certain age performing it, she responded that she loved the idea and declared that the song is “for everybody.” This segment takes the fullest advantage of the journey from stage to screen, with relatives holding up memorial images of the deceased. American Utopia is a call to change for a better country and a better world. Can we ever meet the promise of that title? It’s a daunting task, but the wonder that this show inspires can’t hurt.

American Utopia is Recommended If You Like: Stop Making Sense, the Black Lives Matter movement

Grade: 4 out of 5 Gray Suits

Older Entries Newer Entries