Archive | 2020 RSS feed for this section

Under the Sun (Short Film)

7 Sep

Smith’s Verdict: ***1/2

Reviewed by Tanner Smith

Sad as it is, we still need more movies serving as anti-prejudice parables because there are still many groups of people in today’s society that are victimized and often attacked by other groups of people who have their own idea of “normal.”

Take the 28-minute short film “Under the Sun.” What is the conflict? Well, it’s an unspecified time in the future–you can tell because it’s set in a bleak city that looks like sunset all day every day, people don’t often dress in color, and there are glitchy florescent advertisements on wall screens. No wonder people are miserable…oh, and there’s also a breakthrough in medical science that allow people to undergo surgeries that result in cybernetic augmentations (while their human minds remain intact).

Dem derrty rerberts dernt berlerng wit’ uss nerrmal ferrks! Subtitled: “Them dirty robots don’t belong with us normal folks!” That’s over-the-top hater speak for “I do not particularly care for those with that kind of alteration.”

“Under the Sun,” written and directed by Kansas City’s Samuel Tady, conveys this idea very effectively, with good commentary and skillful filmmaking. (For a short sci-fi film made on the cheap, the production values are pretty impressive.) We do see this kind of thing happening today, with violent hate groups and casual bystanders (you know, the kind that “support” a cause without actually doing anything), and this film comments on the complicated issues of all sides through a science-fiction parallel–one in which the remaining humans who haven’t been augmented look upon the half-cybernetic individuals as a threat to society and thus treat them like second-class citizens.

Solymar Romero plays Meadow, a woman with a replacement robotic arm. Her journey gains interest in an audience because she feels halfway between human and cybernetic. When she sees a cybernetic person being attacked by a hate group, she turns away. When she sees the story of his attack on the news, as the victim’s cousin Dominic (Alfredo Mercado) expresses his disdain for how the situation is being handled, she starts to listen. After meeting a new augmented friend, Zetta (Valeri Bates), and having her eyes opened wider by everything happening around her, she learns there’s a time when something has to be done about current wrongdoings.

The film is surprisingly rich with character. (I shouldn’t say “surprisingly,” but I’ve seen many sci-fi stories where characters are more of a side thing to the environments they inhabit.) I’ve already mentioned Meadow, Dominic, and Zetta, all of whom are interesting protagonists to follow. But there’s also the group of anti-cyborg demonstrators, led by Daina (Meredith Lindsey) and Nick (Samuel Kelly), who take a new recruit: James (Zachary Weaver). We don’t know where their hatred of cyborgs comes from, but I can’t pass them off as one-dimensional violent bully types because there are sadly more people like this in the real world (again adding to the film’s social commentary, whether the augmentations stand for race, disability, sex, or whatever). Of the trio, James’ story is predictable but still well-handled due to a solid performance from Weaver–when he sees the extent of what these people do in order to spread their anti-cyborg message, he starts to question his morals/ethics. He’s an angry college-aged kid trying to find a place in this world, so he’s at that point where he needs to figure out what to do. Predictable, yes, but it works.

There’s also a character who represents the type we know all too well: the well-meaning but socially-unfocused type of person who will voice their support without actually taking the time and effort to do something for a certain group or cause. (Instead, they use semi-sincere statements such as “I have a friend who’s [such-and-such]” or whatever makes them look good.) That character is played by Meadow’s all-human friend Stella (Debbie Diesel). Her interaction with Dominic, whom she saw on TV news, is the most priceless moment in the film.

Stella also has a brilliant payoff at the end, in which all key characters (Meadow, Zetta, Dominic, James, Daina, Nick, Stella) are fatefully brought together to partake in a climax in which there is a clear winner and loser…or is there?

“There’s thousands like us,” one of the villains states, regarding the anti-cyborg demonstration. True, but A) who exactly is “us”? And B) There are more of the rest of us than one would like to think. It’s just a matter of who stands up first (or next). I think that message is at the core of “Under the Sun,” and I recommend the film for its well-meaning, imaginative, and powerful storytelling.

Check out the film on YouTube.

The Half Of It (2020)

13 Jul

Smith’s Verdict: ***1/2

Reviewed by Tanner Smith

I don’t review enough Netflix teenage romcoms, but I have seen my fair share, from the good (“To All the Boys I’ve Loved Before”) to the mediocre (“Tall Girl”) to the pretty-bad (“Sierra Burgess is a Loser”) to the laughable (“The Kissing Booth”). Why review those movies when I could review the one Netflix teen flick I think stands high above the rest? So let’s talk about Mindy Kaling’s “Never Have I Ever”…

I apologize—that’s a series, and I rarely review series. You want my review of that? Here it is: “Never Have I Ever” is the best Netflix Original teen romcom yet. There you go. Now let’s talk about writer/director Alice Wu’s “The Half Of It,” which is a step above “good,” which means it’s pretty darn good. 

“The Half Of It” is Wu’s queer take on the “Cyrano de Bergerac” story. And when I first heard that, I groaned because another Netflix teen romcom (“Sierra Burgess is a Loser”) already used similar elements, and not to good effect. But to quote the late Jean-Luc Godard, “The best way to criticize a movie is to make another movie.” Thus, “The Half Of It” succeeds where the other movie failed. (I know there are fans of “Sierra Burgess,” and I don’t want to dump all over that movie so much, but it just didn’t work for me at all.) 

“The Half Of It” stars Leah Lewis in a star-making performance as shy, awkward, intelligent high-schooler Ellie Chu, whom her classmates pay to write their essays for them. Because she’s so good with words, a goofy football jock, Paul (Daniel Diemer), hires her to write a love letter to his crush, the pretty popular girl Aster (Alexxis Lemire). Though reluctant at first, she agrees to help him woo her. In the process, Ellie and Paul become good friends…which makes things very difficult as she also develops romantic feelings for Aster. 

That’s basically the gist of it. Even though many parts of “The Half Of It” feel familiar, the way Wu plays them does not. From the visually intriguing opening scene, which illustrates the idea of a “soul mate,” we already know we’re in good hands. Wu also more than enough care for her characters to make them more than the archetypes we’ve read about in young adult novels (or seen in young adult novel-to-film adaptations). 

“The Half Of It” is a film about desire. Ellie hasn’t felt anything towards another person because she’s so closed-off—and now, she experiences friendship with Paul and a growing longing for Aster. Paul feels something for Aster, even if he isn’t entirely sure what it is (though he’s pretty certain he’s in love—a lot of us remember what that high-school self-assurance is like). Aster is trapped in a constant loop with the in-crowd on campus, and thus isn’t allowed to express her true desire just yet. (Again, it’s high school—you do what you can do.) Aster kind of reminded me of Lea Thompson’s character in the John Hughes dramedy “Some Kind of Wonderful,” struggling between placement in the high-school hierarchy and truly expressing herself.  All three key characters are well-developed and also wonderfully acted. 

Wu’s script and direction, which I’m guessing (having not read many articles about the making of the film as of now) comes from a place of semi-autobiographical truth, are tender-hearted and result in numerous scenes that made me feel for these people. Another character my heart reached out to is Ellie’s father, played by a wonderful Collin Chou—even before his inevitable big speech in the final act (because these movies always have one), I loved this guy.

Speaking of speeches, there’s one scene that felt false to me. (And it’s not the scene involving a character’s homophobia—I think given the film’s small-town setting, there were enough subtle touches to set that up.) It’s a scene set in a church where our key characters each get a chance to give speeches about what they’ve lied about and what they’ve learned and so on. It’s a “courtroom-outside-a-courtroom” moment, which usually don’t work. However, I’m willing to give it a slight pass because I found the payoff to be pretty hilarious, resulting in my favorite line, “Now THAT’s divine intervention!” (That line, by the way, was delivered by an effective Becky Ann Baker as a teacher. As someone who grew up with “Freaks and Geeks,” it was great to see her in another teen flick.)

But even with that bit of forced melodrama, I still very much enjoyed “The Half Of It.” I loved what these characters had to say to each other (whether it’s about artists or loneliness or God or even something called “taco sausage”). I loved Leah Lewis in the lead role. I loved how Wu was able to turn the small-town setting into its own character. And with the exception of the church scene, I also loved how so many issues were handled with just the right touches. I haven’t seen Alice Wu’s previous film, “Saving Face,” made 16 years before this one. I’ll happily check that one out, as well as whatever Wu delivers in the future.

Palm Springs (2020)

12 Jul

Smith’s Verdict: ***1/2

Reviewed by Tanner Smith

Tell me if you’ve heard this before: this is a movie in which the protagonist is stuck in a time loop, repeating the same day, over and over, again and again AND AGAIN…unless they can find a way to become a better person and/or inspire everyone around them.

No, I’m not reviewing the 1993 Bill Murray metaphysical comedy/drama “Groundhog Day,” but it’s the one movie we think about when we hear that premise. Every time its formula is carried over in other genres—science fiction (“Source Code”). action (“Edge of Tomorrow”), horror (“Happy Death Day”), high-school drama (“Before I Fall”)—we always say the same thing: “That sounds like ‘Groundhog Day.’” 

“Palm Springs,” directed by Max Barbakow and written by Andy Siara, is a romantic comedy with the same “Groundhog Day” formula…sort of. Let me explain:

We start off with our main character, Nyles (Andy Samberg), a 30something man-child trapped in an arrested development stage. Literally. Like Bill Murray’s Phil in “Groundhog Day,” Samberg’s Nyles is (I’m using the same phrase again) stuck in a time loop, repeating the same day, over and over, again and again AND AGAIN. When we first meet him, he’s already done it hundreds of times—he’s comfortably content with his situation by now. 

The day is Saturday, November 9. The setting is a posh wedding in Palm Springs, California. Nyles is the plus-one of his self-absorbed and humorously vapid girlfriend Misty (Meredith Hagner), who is a bridesmaid. Oh, and she is also cheating on Nyles, who is well aware of it (but what can he do about it?). And every time the loop begins again, she’s the one to wake him up. Nyles and Misty’s sex life is practically empty since Misty doesn’t want to make love because it might smudge her makeup. But MEH. Doesn’t matter to Nyles—he can hook up with a wedding guest, no matter who it may be, and not have to worry about consequences because the next day is always a chance to start over again (LITERALLY). 

Nyles has already accepted being in his continual loop long ago. He can mess with people, he can live the life in this place, he can show up to the wedding and the reception in shorts and a bright Hawaiian shirt (sir, you are the king of Palm Springs weddings), he can get to know everybody present, and he doesn’t have to worry about the future because he’s always living in the now. 

What’s that? Why, yes, “Palm Springs” DOES contain effective commentary for this formula. And that’s one of many reasons I like this movie so much. 

Why is it always just one person experiencing a time loop in these movies? Wouldn’t it be interesting if the main character had some company? Well, here’s where things get even more interesting in “Palm Springs.” The answer (so to speak) for the loop seems to come from inside a nearby cave. After Nyles picks up the wedding bride’s older sister, Sarah (Cristin Milioti), something goes wrong, causing Nyles to retreat inside the cave. Despite Nyles’ warnings not to follow him, she does…and now she’s trapped in the loop too! 

Needless to say, she’s not happy about this. She demands answers from Nyles, who answers as best as he can. They’re both stuck in the same day. No matter what they try to do (and she even travels all the way from Palm Springs to Austin, Texas…only to wake up back in the Palm Springs hotel again!), they always reset every time they fall asleep. 

Well, sh*t. Now what? 

Well, now Nyles and Sarah can form a connection (I mean, after a lot of arguing, of course). Then, they can start having fun together with this opportunity to mess with people just for fun. Then, they can learn some deep life lessons. Then, they can learn about what they could mean to each other. And yeah, it’s a romcom formula to go with the time-loop formula, but you know what? It works. It REALLY works, because both these actors (Samberg and Milioti) are great together. And their characters individually develop into something more than we’d expect, leading to a third act that is actually pretty darn compelling and rich. 

Oh, and I forgot to mention there’s a strange man who seems to have it in for Nyles and continuously shows up at the wedding to kill him. I won’t go into who this character is in this review, but I will say he’s played by JK Simmons, just so I give you more reason to stream this movie on Hulu. 

Anyway, Nyles and Sarah start to wonder if there’s a chance for romance for them. But at the same time, the thought that’s always on Sarah’s mind is whether or not there’s a way out of this loop so they can have a future together. But Nyles, who has been living in the now so long he’s fine with it, isn’t sure he wants to have a future at all. 

“Palm Springs” is one of the most refreshingly original romantic comedies I’ve seen in a long time. It’s sweet, funny, and smart all at the same time, thanks to a great script. The characters (and the actors playing them) are appealing and winning. The directing sprinkles nice touches here and there (such as a party banner that reads “FOREVER”). And most importantly for any romcom, I care deeply about whether or not our main couple in question stays together. 

“Palm Springs” is available exclusively on Hulu. 

The Assistant (2020)

2 Jul

Smith’s Verdict: ***1/2

Reviewed by Tanner Smith

“The Assistant” got under my skin. This is a film about a day in the life of an assistant (or rather, an assistant to other assistants) in a prestigious movie studio run by an intimidating figure–an all-powerful, abrasive personality with predatory tendencies….if you had told me this studio was Miramax and the chief was Harvey Weinstein, I wouldn’t be the least bit surprised.

Julia Garner plays the assistant, named Jane, who’s been working for this man for a couple of months and is noticing the shady goings-on around this place, not at all helped by the constant angry phone calls from the boss’ wife, demanding to know where he is. And on this particularly long and busy day, she does all the mundane tasks she’s asked to do (arrive just before dawn, turn on the lights, make the coffee, print the daily itineraries, etc.–and that’s just the beginning of her shift), but after a new young woman shows up for another assistant position…and the boss put her up at a fancy hotel and takes off in the middle of the day to meet with her…she decides to speak with the business lawyer.

By this point, we’re about 50 minutes into this quiet, subtle film, written and directed by Kitty Green, where we as an audience are as quietly observant as Jane is and just taking it all in, one piece at a time. And when this scene hits, it hits HARD. The conversation that occurs between Jane and the lawyer (played by Matthew Macfayden) is so painful to watch because it feels all too real. This young woman has protected herself by keeping her eyes open but saying as little as possible, and today, she decides to speak up about what she sees (but still, she’s nervous and trying to choose her words extremely carefully), and this guy thinks so little about her case that he makes her feel foolish for even thinking of speaking out.

An interesting and very effective motif that surrounds “The Assistant” is that we never see the studio chief himself. (We never even learn his name.) We hear his angry outbursts over the phone and we get hints of his behavior from the way others refer to him (jokingly) and evidence left in various spots of the office (such as a woman’s earring found on his sofa…found as Jane was washing off a disgusting stain on said-sofa). His presence is felt all throughout the office, which emphasizes that the main reason no one speaks out is because they’re afraid of him.

“The Assistant” is riveting stuff. It is slow-going, as is the point to show a day in the life of this person and her position in this company. But if you stay with it, I think you’ll be very intrigued (and all the more thankful that men like this pervert are being run out of business when enough people speak out against them).

Note: Upon further investigation, apparently this guy IS based on Harvey Weinstein (again, no surprise here). After the Weinstein scandal broke out, writer-director Green interviewed people who worked for him–including the assistants because they always know everything.

The King of Staten Island (2020)

14 Jun

Smith’s Verdict: ***1/2

Reviewed by Tanner Smith

Scott is a loser. He’s a 24-year-old tattoo-covered man-child trapped in limbo with hardly a foot ready to step into the real world. He still lives with his widowed mother and mostly sits around watching TV and getting high while his younger sister is leaving for college. He’s constantly stoned. He has friends who are equally as unmotivated or unambitious. He doesn’t want to define his relationship with his sort-of girlfriend, even though she’s patient enough to wait for him to come around (and she shouldn’t). At least Scott has a goal…to open up a tattoo parlor that is also a restaurant (“Ruby Tattoosdays,” he calls it…yeah that’ll happen). He’s even about to give a 9-year-old kid a tattoo (in the middle of nowhere, where he and his friends are lazing about) because the kid says it’s OK (that is, until the kid freaks out and runs because the needle hurts). 

Scott needs a wake-up call. And FAST. 

Scott is the main character of “The King of Staten Island,” director Judd Apatow’s latest effort to bring a stage/TV comedian’s talents to film—in this case, it’s Pete Davidson. Davidson plays Scott and also co-wrote the script, originally conceived based on true events from his life. I hope some of these events are exaggerated—there are enough blurred lines between fiction and reality, just like with many of Apatow’s other works, such as “Trainwreck” with Amy Schumer and the Apatow-produced “The Big Sick” with Kumail Nanjiani. Either way, “The King of Staten Island” works just as well because Apatow’s talent of blending hilarious raunchy comedy with moving human drama is put to very good effect here. “The King of Staten Island” is a compelling coming-of-age story about a lazy young adult who confronts his demons and prepares for something new in his life…and it’s also very funny. 

Scott’s world of arrested development is shattered when his kid sister, Claire (Maude Apatow), leaves for college. Actually, no, it’s not that—it’s when his mother, Margie (Marisa Tomei), who’s been a widow for 17 years, starts dating fireman Ray (Bill Burr). Not only did Scott and Ray get off on the wrong foot (it was Ray’s 9-year-old son that Scott almost tattooed), but Scott feels especially threatened about the intrusion of this new guy in his mom’s life because his late father was also a fireman (who perished on duty*). Ray immediately puts responsibility onto the 20something punk by having him walk his children to school (and Scott also takes a restaurant busboy job, which of course he’s unfit for), and the more Ray and Margie see each other, the more motivated Scott is to split them up fast. 

Minor-spoiler alert, but Scott does succeed in ending the relationship between his mother and the loudmouth fireman. There’s almost an hour left in the film. Where does it go from there? This is the most surprising and refreshing part of “The King of Staten Island”—not only does it show the consequences of Scott’s actions, but it also follows Scott climbing up from rock-bottom, step by step. Scott finds more answers and closure regarding his father whom he desired to know more about. He even finds refuge at Ray’s firehouse, where his father was stationed, and also finds ways to make himself useful there as well. He also finds his true passion, really talks with his mom about dad, and even manages to help someone in dire need (that scene feels a little false, but it’s a climax, so I’ll let it pass). 

None of this film’s back half would have worked if not for the dedicated work of Pete Davidson, who turns in a fully realized performance that allows us to see this unsympathetic jerk flaws and all. Sometimes, Scott is the absolute worst—but he’s always real, and there’s more than enough room in this 2-hour-17-minute long movie to allow him to grow.

The comedy is present mostly from Scott’s snarky remarks and how he relates (or tries to relate) to everyone around him. But the drama is even stronger for exactly that—the comedy is Scott’s defense mechanism (as I’m sure it’s Pete Davidson’s). For every blunt, unfiltered, smart-ass comment, there’s a hint of sad truth when he shares his thoughts as to why firefighters shouldn’t have families. This film has a unique balance that most mainstream “dramedies” could learn from.

The supporting cast serve Davidson terrifically. Marisa Tomei as Margie, Scott’s long-suffering widowed mother, is lovely as always; Bill Burr delivers particularly strong work as the guy who tries to toughen the kid up; Bel Powley deserves her own movie as Kelsey, Scott’s tough-talking but loving potential-girlfriend who wants to pursue city planning; Maude Apatow is good as Scott’s sister who is off pursuing a bright future; Steve Buscemi is always a delight and no different as Papa, senior fireman; and Lou Wilson, Derek Gaines, and Moises Arias (who I want to see in more movies—this guy’s a riot) share great comic timing as Scott’s friends. None of their characters are as developed as he is, but I think that’s the point as we’re supposed to see them through Scott’s eyes.

By the end of “The King of Staten Island,” it’s hard for me not to wish the best for Scott now that he’s found more clarity in the most important part of his life that left him aimless for 17 years. And I hope the same for Pete Davidson. Even though Davidson is popular in his standup acts and on “SNL,” it’s hard not to wonder what demons he’s still struggling with. I hope writing and starring in this film was an effective therapeutic expression. 

*In real life, Davidson’s father was a New York City fireman who died in service during the 9/11 attacks. I get why they altered this detail for the film because it would probably be too much of an overshadow for the film’s comedy. But knowing this information adds an extra layer of pathos.

The Invisible Man (2020)

4 Jun

Smith’s Verdict: ***1/2

Reviewed by Tanner Smith

With a concept like an invisible stalker, I feel three things need to handled exactly right–1) the directing and atmosphere, 2) the cinematography, and 3) the leading performance.

To say Blumhouse’s “The Invisible Man” handled all three of these crucial elements exactly right would be an understatement—in fact, I was surprised by how effective “The Invisible Man” was. I didn’t think a recent stalker-thriller could give me chills and keep me on the edge of my seat anymore–this one did, and the stalker’s INVISIBLE!

The film was directed and written by Leigh Whannell, whose work I’ve admired before, particularly in writing the first Saw and directing the underrated “Upgrade”–I think he outdid himself here.

The cinematography from Stefan Duscio is also outstanding–much of the time, it feels very voyeuristic (keeping in theme), which makes other certain shots (where we anticipate one thing while waiting for another) all the more chilling.

But more importantly, it’s the leading performance from the target of the invisible stalker: Elisabeth Moss in her career-best work. She plays Cecilia, who, in a very tense and disturbing prologue, barely escapes from her abusive relationship with the wealthy Adrian and tries to be free of him forever. A couple of weeks pass when Cecilia gets the news that Adrian has killed himself and left her with $5 million. The end? Not quite. Even after seeing photos of Adrian’s blood-soaked corpse, she can’t believe he’s truly gone…in fact, she feels like he’s still with her…silently and INVISIBLY stalking her.

Moss handles all of her scenes of paranoia and terror brilliantly and flawlessly. But what I also love about this movie is how we see her from everyone else’s point of view, especially when we learn more about Adrian and Cecilia’s relationship and how Adrian was a sly manipulator to the point where he could psychologically damage people severely. It’s that kind of clever storytelling that I love to see, especially in modern mainstream horror.

And it is scary! The film overall has this feel of “oh man, he’s in here and they can’t see him” creep-factor that never got old, even when it got to its inevitable climax. And there’s one jump-scare that truly got me (you’ll know it when you see it).

Overall, “The Invisible Man” is a film about a young woman trying to regain her independence and put to rest a psychologically damaging relationship, making it an effective stalker-thriller especially for today’s day and age. There’s so much to recommend in “The Invisible Man”–it’s just really damn good.

Disney+ Original Movies (Togo, Timmy Failure: Mistakes Were Made, Stargirl)

4 Jun

By Tanner Smith

Wondering what else to watch on the streaming service Disney+ when you already revisited Disney movies/shows you grew up with? Believe it or not, there is some good, quality Disney+ Original content besides “The Mandalorian” (the “Star Wars” series that finally put divisive fans in perfect harmony). There are three Disney+ Original movies I can recommend for being just as solid and entertaining via streaming on a small screen as they would be via projecting on a big screen. 

In chronological order of release, here are three mini-reviews of three solid movies available exclusively on Disney+.

Togo (2019)

Smith’s Verdict: ***

Reviewed by Tanner Smith

Hey, remember the Universal Studios animated 1995 film, “Balto,” supposedly based on a true story? Sure you do. Do you care about the TRUER true story that inspired it? Not especially. Do you know anything about musher Leonhard Seppala and his dog Togo who contributed even more to the 1925 serum run to Nome that inspired “Balto”? Well, whatever the case, “Togo” is an entertaining watch if just for a little insight into these two key figures in rescuing an Alaskan town from an epidemic. 

Willem Dafoe stars as Seppala, who sincerely cares for his dog Togo. As a puppy, Togo is too small for mushing. But as Togo gets older, he proves his worth as he leads Seppala and other sled dogs on a treacherous trek to bring medicine to their small Alaskan town of critically ill children. This obviously means we get intense scenes of conflict upon this journey (and unlike the recently-released “The Call of the Wild,” I can tell they used actual canines instead of CGI for the most part), but what surprised me were the scenes that take time to show Dafoe and his lovable doggie companion forming what looks to be a genuine connection. 

Those scenes are sure to make any dog lover happy, but there’s also a good deal of well-executed sequences of great danger, such as a highlight in which Togo and company must race their way across a quickly dissipating field of ice! (Good use of green-screen here, and again, I feel like the actual dogs are really there!)

Some of the pacing is a bit slow (and I’m sure it’s also not 100% historically accurate), but I forgive it because there are several great moments throughout the film that make “Togo” overall entertaining and heartwarming. 

Timmy Failure: Mistakes Were Made (2020)

Smith’s Verdict: ***

Reviewed by Tanner Smith

One of the reasons I was interested in “Timmy Failure: Mistakes Were Made” was because it was a Disney movie that premiered at the Sundance Film Festival, which I thought was unheard of…even if the director/co-writer was Sundance favorite Tom McCarthy (“The Station Agent,” “The Visitor,” “Win Win,” “Spotlight”). (But to be fair, he was also one of the credited writers for Disney/PIXAR’s “Up,” so that automatically makes him a Disney favorite too.)

“Timmy Failure: Mistakes Were Made,” based on the book series of the same name, is about a wildly imaginative little boy named Timmy Failure (yes, that is his real name) who holds his own private-detective agency (the attic of his mother’s house is his office) and whose partner is an imaginary giant polar bear. (That polar bear, named Total Failure, will put a smile on any cynic’s face.) Timmy goes on many different misadventures when his mother’s Segway goes missing and races all about town (Portland) to find it. Along the way, he learns lessons about “normal” and “different” and…it’s actually a pretty heartfelt conclusion that the movie leads to. 

The film is very funny, in the same grounded, character-driven way that McCarthy can direct a kid’s fable. But it also feels like it’s about something as well. In the way this environment is set up and seen through this wild child’s eyes, as well as how he sees the people around him who either want to scold or help him due to his self-destructive behavior, it’s a film that kids will enjoy just for the comedic deadpan nature of the wacky antics this likable kid embarks upon. But it’s also enjoyable for adults who remember what their childhood was like and what taught them to put at least one foot in the real world. 

I like this movie. You did good, McCarthy—you can actually make a good fable (and make me forget about “The Cobbler”). 

Stargirl (2020)

Smith’s Verdict: ***1/2

Reviewed by Tanner Smith

“Stargirl” is a coming-of-age high-school movie based on the novel of the same name by Jerry Spinelli. (I haven’t read yet, though strangely, many of Spinelli’s other works are no stranger to me.)

Directed by Julia Hart and also co-written by Hart and her partner Jordan Horowitz (they also collaborated together on wonderful indie fare such as “Miss Stevens” and “Fast Color”), “Stargirl” is about a 16-year-old student named Leo (played by Graham Verchere) who has spent years blending in with his classmates (after an incident involving his favorite necktie, which he wore at school when he was 9) in a school where nothing happens. (In fact, the school is so uneventful that the trophy case has always been empty.) He’s fine with his status until he’s attracted to a new girl in school, simply because she’s so…DIFFERENT. She dresses in rainbow-influenced wear and sings while strumming a ukulele—oh, and her name is Stargirl. (Her real name is Susan, but Stargirl is the name she prefers because it suits her identity.) But Leo’s not the only one turned on by her eccentricities—the moment she performs the Beach Boys’ “Be True To Your School” in the middle of the field at a football game, it raises everyone’s spirits, thus making her the school’s “good-luck charm.” Before too long, Leo engages in conversation with Stargirl, thus beginning an interesting relationship that of course changes his life forever. 

Even though we’ve gotten many, MANY movies that contain messages about “being yourself,” we still need them. After all this time, most of us are still afraid of appearing even slightly foolish in front of large crowds—and this is especially true of high-schoolers, who need movies like this. As these movies go, “Stargirl” is one of the best to come around recently—and for a high-school movie released by Disney (and featuring musical sequences at that—don’t worry, it’s as far away from “High School Musical” as you could get), that’s especially impressive. 

Leo is a genuinely nice and likable kid. Stargirl (played by Grace VanderWaal of America’s Got Talent—not a very polished actress, but with this role, that doesn’t matter) is charming and adorable but not without fears and vulnerability, which surface late in the film. I like Leo and Stargirl individually and I like Leo and Stargirl together. 

The cinematography is lovely, the writing is solid, both our leads are appealing, we get some much-appreciated mature moments here and there, and I was invested throughout the whole film. Even when I wasn’t smiling at the film, I was still invested. 

I didn’t expect to find a new coming-of-age high-school movie on the same level as John Hughes’ best-known works or “The Perks of Being a Wallflower” or “Love, Simon” brought to me by Disney+. But it’s here and it’s available to stream for your viewing pleasure. 

Bad Education (2020)

4 Jun

Smith’s Verdict: ***1/2

Reviewed by Tanner Smith

HBO’s “Bad Education,” based on a true story, begins with the implication of a few important questions viewers should ponder. 

For instance, why is it that one of the top public school systems in the country (in this case, New York’s Roslyn School District) has roof leaks (in many different places)? It’s a bit strange, especially considering the school has enough money in the budget for construction of a “Skywalk” for the students to access easily. Wouldn’t there have been numerous budget requests to repair the roof(s)?

And what about the superintendent Frank Tassone (Hugh Jackman)? He undergoes many a plastic surgery to make himself appear forever youthful. He sports many expensive suits to look stylish each day. He takes expensive trips wherever he chooses. He has a luxurious apartment. 

And what about Tassone’s second-in-command Pam Gluckin (Allison Janney)? She and her family have a fabulous home in the Hamptons. 

No one bothers to ask any such questions, because…well, Tassone is too cool to judge, frankly. Everyone at the school worshipped the direct, charismatic Tassone because he was able to propel the school district one of the highest ranking in the USA. They all trust and respect him—his staff, the students, their parents. But we know he has secrets belonging to a second life (maybe even a third life as well) that he wouldn’t want any of his peers to know about. 

Because the school is so highly regarded, it grants students rides into Ivy League schools of their choice. But as a reporter for the student newspaper discovers, there’s something fishy about the budget. This leads to the discovery of theft brought on by Gluckin. Tassone gets her to resign quietly, under the cover of her having a “serious illness”—but that’s mainly because the embezzlement goes farther than that. The reporter, Rachel (Geraldine Viswanathan), and her editor, Nick (Alex Wolff), dig deeper into the oddness within the school’s invoices, which promises to expose more than Tassone argues (or threatens) the school will allow. 

Side-note: I mentioned “Bad Education” was based on an actual embezzlement scandal (the largest in public school history) in the mid-2000s—the screenwriter, Mike Makowsky, was a Roslyn student at that time. Apparently, every major newspaper in the tristate area covered the scandal story only after it was exposed in this student paper. I don’t doubt that part is also true, but it’s so awesome that it’s practically unbelievable. 

“Bad Education,” skillfully directed by Cory Finley, approaches this serious subject matter with a dark comic edge—and not with over-the-top asides, such as breaking the fourth wall or celebrity cameos to explain background details or whatever “The Big Short” or “I, Tonya” did. For instance, Tassone’s passive-aggressive approach to those who threaten to expose him and the system for the corrupt crooks they really are make those scenes all the more interesting—you want to laugh at his attempts to cover it up, but at the same time, you know just how far his manipulative techniques can go. There are times when he’ll even attempt to make himself out to be the real victim. Class act. 

It’s played for satire, which is even more effective than performance art. (I like “The Big Short” and “I, Tonya” and “Vice,” to name examples of the based-on-a-true-story performance art pieces, but it wasn’t until I saw “Bad Education” that I realized I needed something a little more subtle.) 

Not a single person asked any questions about how anyone working at a school was able to afford their fancy lifestyles. That’s because no one wants to believe there’s anything suspicious about the behavior from the higher-ups in the fourth highest-ranking school in the country. Even Nick is hesitant about printing Rachel’s story because Tassone is writing his college recommendation letter. 

Hugh Jackman turns in one of his very best performances as Frank Tassone, the narcissistic,  likable authority figure with many secrets as well as talents for impressing those around him. It also helps that he has the ability to form connections with teachers, students, and the students’ parents. There’s a wonderful scene where a worried mother brings in her autistic son, and Tassone is able to connect with him. That’s all I’ll say about the scene—you have to see it to try and interpret what could be on Jackman’s mind as he plays it. I know this is an HBO film, but don’t waste his talent on an Emmy—give him an Oscar nomination!

Also great are Allison Janney as Gluckin and Ray Romano as the school board president who can’t grasp what’s really happening—even when the story is printed and the truth is exposed, he doesn’t want to believe it and his heart is broken. (Romano is turning into one of the most reliable character actors of today’s films.) 

“Bad Education” is sharply written, features excellent acting, and is overall effective at being what it set out to be: a darkly funny, informative study on a 2002 public-school corruption that also serves as an allegory for similar events that are still happening today. Check it out on HBO.