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Halloween Ends (2022)

14 Oct

Smith’s Verdict: ***1/2

Reviewed by Tanner Smith

Before you read my thoughts about “Halloween Ends,” you should know up front that I was one of the few that liked “Halloween Kills.”

For those of you still reading, I’ll just state my initial thoughts up front: I kinda loved “Halloween Ends”… That being said, I can see it being just as divisive as “Halloween Kills.” Director David Gordon Green and co-writer Danny McBride have taken a big risk with the final installment of this new “legacy-quel” trilogy in the Halloween franchise, and it may turn diehard fans off.

Well, it didn’t turn me off. I respect the risk, I admire the results, and I’ll say it again, I kinda loved this movie.

You know how people dissed “Halloween III: Season of the Witch” because it was so different? Well, that’s what may happen with “Halloween Ends.” And I don’t think Green & McBride cared that much–hell, the opening-credits font is the same as “Halloween III!” They know they’re doing something different, and they say you can either stay with it or get off the ride.

Laurie Strode is back and played by the ever-awesome Jamie Lee Curtis (who, along with John Carpenter himself, has championed Green for his hard work and risk-taking in this trilogy)–and thankfully, she has more to do in this film than the previous one. But this new Halloween film isn’t merely about how the killer Michael Myers affected her life–it’s about how he (or “it,” seeing as Michael is pretty much evil in the shape of a man) affected the town of Haddonfield, Illinois. This was touched upon in “Halloween Kills” in how mob mentality can do some damage. But in “Halloween Ends,” it’s four years after the night he returned and killed more people, and because Michael Myers has never been caught, most people in Haddonfield haven’t moved on and don’t know how to deal with it. (Laurie, however, has found some closure and a bit of normalcy–hell, she’s even decorating her house for Halloween night!) Some people blame Laurie for provoking Michael while most people look for a new monster to hate and fear. That’s where Corey Cunningham comes in…

Corey (Rohan Campbell) is a young man who is bullied and ostracized by the locals after he accidentally killed a kid he was babysitting. He has a chance at something hopeful with Laurie’s granddaughter Allyson (Andi Matichak), who takes an interest in him. But the town won’t let the past go and keep punishing this guy for what was an accident–a bizarre and VERY unpleasant accident, but still an accident.

His bullies even include a group of high-school marching-band kids who see no repercussions from bullying adults. I mean, it’s not like shoving an issue-filled guy off a bridge is gonna do some damage…IS IT???

I won’t give away what happens after that (and it happens about 30 minutes in), but let’s just say it causes a strange effect in Corey for the rest of the movie.

This is where the film may divide audiences–“Halloween Ends” includes a new serial-killer origin story while Michael Myers sort of hangs out in the background, occasionally getting in on the carnage himself, while we see the growth and horrific progression of a new killer to fear in Haddonfield.

There are no long speeches like in “Halloween Kills,” but there are telling lines of what causes evil to erupt, how do people handle it, are people to blame for what happens, etc. Some of it works, the rest are kinda hokey–it’s not subtle, but it’s not overly drawn out either. (Oh, and no one says “EVIL DIES TONIGHT”–although, “LOVE LIES TODAY” is seen spray-painted.)

And I got into what happens with Corey–it gave me a lot to think about, it kept me intrigued, the guy playing him is a good actor, and most importantly, I admired it because it was happening in a “Halloween” film that was actually doing something different. It felt very fresh.

Although…I do wish they did something more interesting with Allyson. They started to, with her now being a nurse and hanging out with Corey and dealing with people constantly bringing up the murders she survived four years prior (but her parents didn’t). But then, after that, I feel like they took the easy way out in dealing with her character’s progression–that’s a shame, because I actually started to care about her. (Yeah, sorry, but Allyson was the character in this new “Halloween” trilogy that I was least interested in.)

“Halloween Ends” is ultimately a character-based horror film that shows people dealing with some heavy sh*t. This is a very David Gordon Green film in that sense (it even has moments that reminded me of Green’s drama “Snow Angels”)–I feel like this is the “Halloween” film he wanted to make. There’s a lot of dreariness and loneliness here, but there is some hope at the surface–it’s just ever a question of who deserves to hold on to that hope.

Oh, and we DO get the Laurie vs. Michael battle we’ve been waiting for and it is ultimately satisfying–Green is trusting that you’ll stay with the film to get to that point, which is another risk I applaud.

I’ll say it again–I kinda loved “Halloween Ends.” And I like what was done with this trilogy.

Alan Jones Part One (2022)

14 Oct

Smith’s Verdict: ***1/2

Reviewed by Tanner Smith

There are a lot of crime thrillers out there. They’re practically a dime a dozen. So many of them are interchangeable. We get the mood; it’s bleak. We get the scenario; someone is missing (usually a kid). We get the characters; they have personal conflicts. We get everything.

It’s gonna take a special vision to get me to care about a new crime thriller–and maybe it’s because I came into “Alan Jones Part One” with a more open mind, but I did care about the vision brought upon this one from writer/director Baron Redman. It reminds me of why people make these films–to delve deep into the knowledge or lack thereof of why things like this happen in the world. And with stunningly detailed cinematography, a thrilling mystery, and a couple of interesting characters to root for, Redman’s feature film is intriguing and a standout.

Kurt Hanover stars in a superb leading performance as Henry Allen, an embittered private detective with a tragic past and a rough edge. We already know this guy’s got issues. When we first meet him, it’s in a dream sequence where his hands are stained with blood (and an avalanche threatens to engulf him in the same dream); next time we meet him (in reality), he’s in a bar meeting with police captain Charles Hollis (Greg Lane), who wonders why they didn’t meet at his apartment–his answer: “I ran out of scotch.” Following that, we catch on quickly that a horrific occurrence drove him to leave the force, be a private detective, and drink.

In a refreshing change of pace from most character-based crime thrillers, we also learn just as quickly that Hollis feels guilt for it seeing as it was his case. This type of character-dilemma in this type of dramatic-thriller has been done before, but it’s this kind of pacing that keeps it interesting.

We get even more of a rooting interest in FBI Special Agent Valerie Hall (Wendy Morris). She’s a Kansas City agent being called to handle a missing-child case in the same Oregon town Allen lives in. (Allen is also working the same case on his own.) This is complicated for her as she doesn’t normally do missing-person cases, she and Allen used to be a couple, and their own child disappeared many years prior. But come to Oregon, she does, and she begins by questioning the missing kid’s parents (Stefanie Stevens and Shawn Eric Jones)–they of course question why the FBI is involved here, so we don’t have to. (I joke, but this scene is pretty strong–the writing is great and the acting is on-point, especially from Jones & Stevens’ confusion and uncertainty to Morris’ calm, collected manner of questioning.)

Could the child have run away? Not according to Hall’s instincts…

Soon enough, Allen and Hall are on the case and in each other’s business, as more evidence piles up as to what could’ve happened and more traumatic details are surfaced and resurfaced. This is where “Alan Jones Part One” excels at the most: the characters and the actors playing them. Hanover, in particular, has so much to tackle in his performance as a tortured man trying to let some things go and others linger–he’s up to the challenge.

But the filmmaking at hand can’t escape praise because this is some truly sharp direction provided by Baron Redman, who also wrote the film (he actually began it as a web series before he decided it worked better as a film). He helps keep the tension heavy and the choices unpredictable. Why? Because he’s seen one too many crime thrillers too and thus knows how to make an interesting one. (He also provided the film’s cinematography, which as I said before is absolutely outstanding.)

Other characters, including suspects, give their actors time to shine. (These include Jack McCord as a neighbor whose testimony to Allen may or may not be reliable and Naomi Chaffee as a troubled woman who has an interesting encounter with Hall followed by an emotional breakdown during interrogation.) But who is the titular character of Alan Jones (played by Dan Daly)? Well…that’s not really for me to disclose in a spoiler-free review.

“Alan Jones Part One” is an exceptional crime thriller. The characters are compelling and engaging, the mystery is involving, the filmmaking is terrific, and it’s over in less than an hour-and-a-half. And again, I did care. How much did I care? This is only “Part One” and I’d be interested in seeing a “Part Two” come to light.

“Alan Jones Part One” is available on-demand and you can find out how you can help bring “Alan Jones Part Two” to life by checking out this crowdfunder.

Tsunami (Short Film)

28 Jun

Smith’s Verdict: ****

Reviewed by Tanner Smith

“Tsunami” is a short drama about a couple arguing as sad truths are revealed and the gloves are off. The topic of a supposed-loving couple’s intense argument makes for intense drama in films such as Before Midnight and “Malcolm & Marie,” in which we got to know about the couple prior to (or even through) the confrontation–but in the case of “Tsunami,” which at a brisk 15 minutes doesn’t have a lot of time for very thorough characterization, we don’t really know much about this couple at the center.

HOWEVER (yes, me spelling “however” in all caps was intentional), when we’ve heard the cases stated by both parties involved, gained some revelations in a character’s privacy, and ultimately empathized with what is truly on display here (and I’ll do my best not to give away any plot spoilers here*)…you realize you know what you need to know about these people in a short character-based/conversation-driven drama.

You also realize that you may have been here before, whether you want to admit it or not. (Even if you haven’t, the purpose of many films of this nature is to allow you to empathize with other people, so there you go.)

The couple in question in “Tsunami,” directed by Joel Shafer, is Raymond (Earl McWilliams) and Janine (Franchesca Davis, who also wrote the film). The opening shot shows us a typical wedding photo of the lovely couple on their special day before tracking over to a bitter Janine walking around their apartment, waiting for Raymond to come home from work. As he enters, he’s chatting on the phone (well, not “chatting”; more like he’s arguing already with someone else) and doesn’t even notice Janine’s bitter facial expression…even when he gets off the phone, casually kisses his wife on the cheek like nothing’s out of the ordinary, and goes on about how messy his day was.

Oh Raymond…you should pay more attention.

This brilliant introduction (shot beautifully, as is the rest of the film, by Devonte Brown, whose long one-camera-takes add to the film’s atmosphere) speaks volumes about where this couple is in life–so much so that you might want to brace yourself for where the uncomfortable situation is about to go as Janine wants to have a little talk…which may or may not affect their future together. The resulting centerpiece of “Tsunami” is a brilliantly written and acted verbal battle that had me concerned as well as invested.

(NOTE: The “Tsunami” in the title is a metaphor–the film’s IMDb description reads: ‘[Both Raymond and Janine] have always managed to weather the storm, however this particular storm may by the demise of their relationship. Can it survive?’)

A certain topic (one that is the cause of many separations and divorces) is brought up that escalates the argument and it helps not only raise the tension but also to get us in the mindset of these two. There’s also a surprising development at the end that truly got to me. (And just to get us in the feels, we even are treated to a flashback of a better time between the once-romantic couple.)

And that helps my point–you don’t need to know everything about a couple to think about what they’re going through. In “Tsunami’s” 15 minutes, I was able to catch on to a lot of things and satisfied to find myself pondering about the rest. With the aid of expert direction from Shafer, terrific cinematography from Brown, and of course great acting from McWilliams & Davis (the latter of whom also wrote brilliant dialogue for the script), “Tsunami” is a raw, effective display of marital conflict and domestic verbal confrontation that got under my skin.

*Yes, I know it’s unfair not to give away spoilers for a short film I cannot share at this moment–when it is released online, I’ll come back and share it with you. Then you’ll see what I mean (I hope).

Cha Cha Real Smooth (2022)

28 Jun

Smith’s Verdict: ***1/2

Reviewed by Tanner Smith

“Cha Cha Real Smooth” is the sophomore effort from actor-filmmaker-auteur Cooper Raiff, whose debut feature, S#!%house, is one of my favorite films of the 2020s so far.

In my review of “S#!%house,” I referred to Cooper Raiff, who is now in his mid-20s, as “the real deal”–his work feels so sincere and unpretentious; it even makes the works of other talented auteurs like Zach Braff, Lena Dunham, and Josh Radnor feel forced by comparison.

Now, with “Cha Cha Real Smooth” (does he pick these titles himself?), Raiff maintains the same sincere, unpretentious charm for a more mainstream-friendly (and perhaps a little predictable at times) yet still delightfully offbeat and smart new film.

In addition to being a good filmmaker, Cooper Raiff is also a good actor. He has an awkward charm to match his handsomeness with an eccentric, easygoing attitude.

“Cha Cha Real Smooth” (and yes, “Cha Cha Slide” by DJ Casper does play once in this movie) stars Raiff as a recent college graduate named Andrew, who has no idea what he wants to do with his life, like many people fresh out of college. His girlfriend left for Barcelona (and most likely is never going to see him again), he works a boring job at a “meat-stick” fast-food joint, and he lives at home with his puberty-stricken kid brother (Evan Assante, very good), bipolar mother (Leslie Mann), and stepdad Greg (Brad Garrett), who is so dismissed by Andrew that he even refers to him as “Stepdad Greg.” (Even David, the kid brother, has to tell him to lay off because their mother loves him.)

We’re not sure what dreams Andrew had as a kid–I’m not sure Andrew remembers them either. We do get a prologue in which we see Andrew as a kid pining over an older woman at a dance party and experiencing his first heartbreak upon expressing his feelings toward her. (An awesome tidbit: said-“older woman” is played by Kelly O’Sullivan, who wrote and starred in “Saint Frances,” another underrated indie released in 2020, same as “S#!%house.”) Now, Andrew is 22, graduated, aimless…and now pines over another older woman he meets at another dance party. (Guess he has a type.)

How did this happen? Andrew chaperones David at a neighborhood Bat Mitzvah party, where Andrew gets David’s shy classmates on the dance floor (which then leads him to head the dances of other parties in the neighborhood)–this includes Lola (Vanessa Burghardt), a shy, autistic girl with large headphones. (How Andrew gets Lola to dance is both funny and sweet.) Andrew also meets Lola’s mother Domino (Dakota Johnson), who takes a liking to him the moment he talks her daughter into dancing. She even asks Andrew to babysit Lola every now and then, which then leads to Andrew and Domino getting to know each other better and grow closer together…

Whether or not this develops into a May-December romance, I’ll leave for you to discover. You may even be able to see where it goes, but that’s not a bad thing–a film isn’t about what it’s about but more about how it goes about it, to paraphrase Roger Ebert. What drives the narrative forward is the relationships Andrew shares with Domino, Lola, David, his parents, and others. (Side-note: I’m very thankful that the addition of the character of Domino’s attorney fiancé Joseph [Raul Costillo] didn’t go the way I was afraid it would go.)

And what also aids “Cha Cha Real Smooth,” as with “S#!%house,” is the way Raiff makes something fresh out of familiar cliches while embracing them at the same time. (I’m telling you, Cooper Raiff is a remarkably great talent.) For that matter, Raiff also isn’t afraid to make his own character look downright pathetic and idiotic at times–as with his character in “S#!%house,” Raiff’s Andrew has his own admirable qualities and empathetic, but he messes up, just as we all do; it helps him grow on this coming-of-age journey.

Dakota Johnson is wonderful as Domino. I’ve liked her in movies like “The Peanut Butter Falcon” and “Our Friend,” but here, she gives what is probably her best work as a sad, lonely woman who loves and cares for her daughter, loves her fiancé even when he’s away for work too often, feels a connection with this 22-year-old man but doesn’t always know how to react upon it, and also feels as alone as Andrew at times. There are many layers to her character that help make this my favorite performance of Dakota Johnson’s by far.

Everyone in this film does fine work–Raiff, Johnson, Mann, Garrett, the likable younger actors, Costillo, and also Odeya Rush (in a small but still nicely-done role as Andrew’s friend-with-benefits). But It’s Dakota Johnson and Cooper Raiff who deserve credit for giving us a charming feel-good movie that’s as important as it is charming.

Available on Apple TV+.

The Black Phone (2022)

28 Jun

Smith’s Verdict: ****

Reviewed by Tanner Smith

I was curious to see the horror film “The Black Phone” just because it features one of my favorite likable everyman actors, Ethan Hawke, playing against type as a child-snatching masked madman/killer–it’s also from Scott Derrickson & C. Robert Cargill, the same director and writers behind another Hawke-centric horror film, Sinister, which I really liked.

I think “The Black Phone” is even better. I mean it, guys–this film got me GOOD!

It even got me in the first act. It takes about 25 minutes before our lead kid character, Fin (Mason Thames), is snatched by the aforementioned scary-ass creepo-psycho known as The Grabber (Hawke)–but well before then, I was already scared for this kid and his sister/buddy Gwen (Madeleine MacGraw), as they deal with not only school bullies but also an abusive alcoholic father (Jeremy Davies) who beats them with his belt. Somebody get these kids some help!!

All the while, we keep hearing of the disappearances of local kids who are last seen (sadly, by only the audience) with a creepy black van approaching them. One of them was a friend of Fin’s; another was a brief acquaintance at Fin’s baseball game, calling Fin’s pitching arm “mint” (the film is set in 1978; thanks to the 1979-set “Super 8,” I know what “mint” means). Vibes of IT with stranger-danger undertones get me creeped out before Fin even encounters the Grabber…

Can I just take a moment to say Ethan Hawke is pretty much perfect in this role? I’m familiar with him as the likable everyman in the “Before” movies, “Boyhood,” and “Training Day”–but here, he’s having a lot of fun playing pure evil. We don’t get a lot of background on this Grabber character, let alone a name, but all we need to know is he is very unstable, has a particular and sinister mindset, loves to play with his victims, and has disposed of many innocent children already. Even though he wears a mask most of the time (and I mean many different creepy masks), I can feel his facial expressions change underneath it…and it’s disturbing. Very disturbing.

Anyway, Fin gets locked in a basement dungeon by the Grabber who says he wants to “play a game” with Fin. But Fin knows anyone who has ever been down here has never resurfaced alive. There’s a black phone connected to the wall that is disconnected and doesn’t seem to work…or does it? Whatever its use is, it could help Fin find a way out, escape with his life, and/or dispatch the killer.

Every attempt Fin tries to escape and every encounter he has with the Grabber whenever he comes downstairs to visit him (he even watches him sleep at one point….yikes) gave me THE CREEPS. I don’t use that expression often, but that’s what “The Black Phone” did to me–this film gave me. The. CREEPS. Shivers up and down my spine. Half a dozen times.

You get the point (I hope).

Derrickson’s direction is on-point and I can tell both he and Cargill both have a passion for great horror filmmaking. And they also both know that in a great horror film, you can’t have horrificness without love or compassion–that’s where Fin’s loving sister Gwen comes in; Gwen has psychic visions and has had glimpses of previous victims before and now she’s determined, some would say hellbent, to find her brother. (She’s even allowed to have a few funny moments here or there too, particularly when she’s praying to Jesus for help and uses some particular choice words.)

With the aid of a hella scary villain in Hawke, two excellent juvenile actors playing characters I root for, and a great sense of atmosphere and care, Derrickson & Cargill have taken a short story by Joe (son of Stephen King) Hill and turned into a horror film that I think is determined to be treasured and revered for years to come.

It’s earned a definite spot on my year-end list, that’s for sure.

The Fallout (2022)

27 Mar

Smith’s Verdict: ***1/2

Reviewed by Tanner Smith

Not long ago, I praised a brilliant film called Mass, about the aftermath of a school massacre–and now here’s “The Fallout,” about roughly the same subject. Like “Mass,” “The Fallout” doesn’t focus on the incident but on the effects it has on the survivors. We don’t even see the killer or the spree (or even the victims, for that matter)–we just hear the horrifying gunshot sounds from inside the girl’s restroom, where two teenage girls, upon hearing the first couple pops, hide in one of the stalls while shaking in fear. It’s a brilliantly chilling sequence, being with these characters (plus a boy who rushes in and hides with them) who don’t know what’s happening outside or if this will be their last moment alive.
From there, we cut immediately to the aftermath, and that’s what the film focuses on–the days and weeks of these young people going through several different emotions: guilt, anger, emptiness, confusion, among others.

Also like “Mass,” “The Fallout” is the directorial/screenwriting debut for an actor-turned-filmmaker–in this case, it’s Megan Park, probably best known for “The Secret Life of an American Teenager,” with Shailene Woodley…..side-note: my mind is blown that Shailene Woodley is old enough to play a therapist in this movie–was “The Spectacular Now” really 9 years ago?? Boy I’m getting old!

Where was I? Oh, right–Megan Park. She does great work here. She knows to let a scene play; she communicates with her actors; she knows when to bring in levity; and it’s clear she has a vision here. I look forward to seeing what she does next.

The actors are great too, all convincing and effective. Jenny Ortega is terrific in the lead role of Vada, who copes with her emotions not as easily as she might think. Maddie Ziegler is just as good as Mia, who is an influencer and what some may see as a social butterfly but is really just as lost and confused as Vada and many other classmates. (The more she does films like this, the more likely people are to forget about “Music.”) Also good are Niles Fitch, the boy who copes with the loss of his brother (who was killed in the incident), and Will Ropp, Vada’s best friend who can’t seem to relate to her at this point due to his own coping mechanisms.

“The Fallout” ends on an ambiguous and unsettling note. I think Vada will be OK…but it’s going to take a lot more than one movie to mend what’s been broken.

“The Fallout” is available to stream on HBO Max.

X (2022)

27 Mar

Smith’s Verdict: ***1/2

Reviewed by Tanner Smith

I was very curious and excited about the new horror film “X,” because it’s writer-director Ti West’s return to the horror genre. (I got into his chilling works in my college days–“The House of the Devil,” “The Innkeepers,” and my personal favorite, “The Sacrament.” Until Mike Flanagan came along, I was calling Ti West the king of modern horror.) I liked his previous film, a Western called “In a Valley of Violence,” but I wondered what a return to his roots would’ve been like…

It didn’t disappoint. In fact, “X” may even rank superior to his prior horror works. I kinda loved it.

Oh and it’s from A24, the studio that produces horror films that are too twisted for Blumhouse to touch (films like “Hereditary,” “The Witch,” “Midsommar,” and “The Lighthouse”)…or maybe they just give horror films the extra care that others normally wouldn’t.

“X” is very much “Texas Chainsaw Massacre” with a little “Boogie Nights” thrown in (and some callbacks to “The Shining” too, particularly in the music score). Set in 1979 rural Texas, “X” follows a group of filmmakers who make adult erotica. They rent a small cottage in the middle of nowhere, right next to a house where an elderly couple live, so the filmmakers can make their new adult film, titled The Farmer’s Daughters–guerilla-style, without the old folks knowing anything, and thus no one gets hurt…well, that’s the plan anyway. (You don’t really think things are gonna turn out smoothly in this atmospheric, depraved, chilling period-piece horror film, do you?)

Before the blood hits the fan (and it is a slow-burn movie), we get to know our lead characters–they’re all identifiable, somewhat relatable in one way or another, and they have an interesting dynamic together. We get to see them making their movie, and we also get to see them wind down and chill after wrapping for the night in a scene that also includes a nicely-done acoustic cover of Fleetwood Mac’s “Landslide” (vocals by Brittany Snow and acoustic guitar playing by Scott Mescudi aka rapper Kid Cudi).

All of the actors are terrific. Mia Goth plays Maxine, a cocaine-addicted actress who wants to be famous (“like Lynda Carter”). Martin Henderson has a McConaughey-like smoothness as the film’s producer/mastermind Wayne, who has a knack for talking his way out of anything. Brittany Snow is the free-spirited Bobby-Lynne, who delivers the lion’s share of the T&A for the movie. Scott Mescudi (again, Kid Cudi) is solid as a Marine who is willing to step into this film genre and have some fun at the same time. Jenna Ortega (sheesh, this is the FOURTH movie she’s been in this year, after “Scream,” “The Fallout,” and “Studio 666”–take a break, kid!) is a PA named Lorraine–her character arc, I’ll leave for you to discover, but it’s intriguing and especially chilling in hindsight.

They’re all memorable and the actors all do capable work, but my favorite character was the film’s director: RJ, a young up-and-comer who is heavily influenced by the French New Wave style and determined to make this the first “good adult film”–however, everyone is reminding him that people will only watch the film for the sex and nudity; it doesn’t matter how good the filmmaking is. (Also, RJ is played by Owen Campbell, who starred in “Super Dark Times,” one of my favorite horror films from the last 5 years–it’s good to see him again.)

We get to know our villains a little bit too, with carefully chosen lines of dialogue and enough subtlety to give us what we need to know without informing us that we need to see a prequel involving this old couple. (And fun fact: there IS a prequel to this movie, supposedly already made by West in secret. Wonder how that’ll turn out.) It’s made even more fascinating when you find out who is the actress that played the creepy old woman in this movie…

I don’t think I’m giving “X” the credit it deserves by simply acknowledging the characterizations and the horror callbacks. There are also themes of blooming sexuality, moral values, judgment, and religion–every now and again, we’ll catch glimpses on an old TV set of a televangelist warning those who give in to the temptations of the human flesh. I’m going to see this film again just so I can try and interpret what this little detail means or what that small aspect meant. I love movies that allow me to do that.

Oh and it’s bloody. Very, very bloody.

But it’s also very funny too. (The humor, again, comes from the lead characters’ interactions with each other.)

“X” is a horrific, tense, atmospheric chiller about how real people get into a real horror of a mess they didn’t expect…and possibly can’t get out of.

Welcome back, Ti West. This is your best film yet.

Mark, Mary & Some Other People (2022)

27 Mar

Smith’s Verdict: ***1/2

Reviewed by Tanner Smith

Let me get this out of the way first. “Mark, Mary & Some Other People” recently dropped on Hulu and I remember constantly looking for updates on this film in 2021, wondering when it would get released after its Tribeca Film Festival premiere. Well I guess it’s out now…and I don’t recall it being available on any streaming services around the time I made my 2021 list, so screw it, I’m considering it a 2022 film (hence the “2022” credit in the title for this post).

It’s the same reasoning I used to put “Minari” on my 2021 list. Maybe “Mark, Mary & Some Other People” has a chance for my 2022 list…maybe.

Why was I interested in this film? Because of who made it: actress-filmmaker Hannah Marks. I just think she’s very interesting and I admire her passion and drive to make films about…whatever. I saw an interview with her in which she name-dropped movies like “50/50” and “Frances Ha,” and she said she wanted to make movies about what happens with other characters in similar situations to the ones in those movies. And she’s good at it–“After Everything” (which she co-directed/co-wrote) is an interesting dramedy about life after cancer; “Banana Split” (which she wrote and starred in) tackles female friendship through difficult circumstances; and I’d very much like to see what she did with directing the John Green adaptation “Turtles All the Way Down” (but I haven’t heard a thing about that one since 2019; weird).

Now we have “Mark, Mary & Some Other People,” in which a pair of newlyweds (named Mark & Mary) try out an ethical open marriage. Right away, that’s interesting–I don’t see that very often. How do these two complicated lovebirds (played by Ben Rosenfield and Hayley Law) play this out? Well…it’s complicated. These two are kinda reluctant about it, they’re only doing it because they wonder what’s the point of strict monogamy (millennials these days; we question everything, am I right?), and when it gets down to the subject of ethical non-monogamy, they HAVE NO IDEA WHAT THEY’RE DOING.

This film kinda reminded me of “Humpday,” about people questioning the concept of sexual identity just because of what’s “usual” in their world. These characters in “Mark, Mary & Some Other People” are in a similar boat. This is what I love about indie film–it can go places the mainstream is generally afraid to tackle unless it’s “cool.”

I liked the two lead actors. Ben Rosenfield’s playful goofiness is something I like to see in a lead character, and Hayley Law (who I liked in “Spontaneous” and “Echo Boomers”) fares just as well with a solid charisma, a guard up, and an attitude to go with the rhetorical questions her character continually asks (again, us millennials…we can be the most annoying sometimes). The supporting cast is made up of mostly the leads’ friends, who are very snarky and annoying at times, but then again, the two leads are very snarky and annoying at times–why criticize it?

The chemistry is on point and there are some genuinely funny moments (such as Mary’s outrageous band names and a welcomed cameo by Gillian Jacobs as a doctor) to go with heavy (and sometimes uncomfortable) scenes in which the things these two crazies joke about blow up in their faces. So where does this whole scenario end up? Well, again…it’s complicated. BUT it’s also inevitable.

I kinda love this movie. “Mark, Mary & Some Other People” may be Hannah Marks’ best effort as a filmmaker yet. If you have a Hulu account, you can check it out there–see if it’s a stream-worthy romcom with a couple annoying albeit charming, realistic, complicated newlyweds…or if it’s a deplorable mess featuring insufferable people. Either way, I think it’s worth thinking about.

7 Days (2022)

27 Mar

Smith’s Verdict: ***1/2

Reviewed by Tanner Smith

“7 Days” is the latest from Duplass Brothers Productions (executive produced by Mark & Jay Duplass, two of my favorite people in the indie-film world) and it recently won the Indie Spirit award for Best First Feature. So, what did I think of it?

“7 Days” is one of my favorite films of the year and I recommend it wholeheartedly.

It seems enough time has passed to accept more films centered around the Covid-19 pandemic. Next week, we’re going to get a pandemic-based comedy from the big-timers (Judd Apatow’s “The Bubble,” coming to Netflix)–this week, we get the more grounded “7 Days,” which takes mostly in one rural house during the first week of quarantine and is centered on two characters who are stuck together, don’t get along much, and then…well, you probably know the drill–but just because it’s predictable doesn’t mean it’s not fun or well-executed or moving.

But “7 Days” is indeed fun and well-executed and moving, for two obvious reasons: the acting and the writing.

Karan Soni, a likable presence in “Safety Not Guaranteed” (another Duplass Brothers production) and the “Deadpool” movies, plays Ravi, and Geraldine Viswanathan (the young reporter from HBO’s “Bad Education”) plays Rita. Ravi and Rita are two Indian-American young adults set up on a prearranged date by their traditional parents. It doesn’t go very well–he’s too forward and awkward (probably as a result of being too forward) and they don’t really click–even before Rita’s true self is revealed to Ravi shortly after their picnic date, Ravi is convinced she is not his “wife.”

Oh, did I mention it’s March 2020?

During their awkward date is when they get alerts from all over declaring everything closed and demanding everyone take shelter. Ravi has no car and the car-rental service isn’t reliable, so Rita lets Ravi stay in her home for a little while. This is when Ravi notices some things that Rita didn’t list on her dating-site profile: she’s anti-traditional, she eats meat, and she drinks, all of which turns Ravi off entirely. (Oh, and her house is too messy for high-strung Ravi’s liking–at one point the next day, he practically begs to clean.) Rita also has a secret of her own (only a bit of which Ravi overhears early on, in a hilarious moment) and she’s a bit impulsive (and she also does something to Ravi that no one should EVER do; even tight-assed people have boundaries, for goodness sake). Oh, and Ravi is still going on prearranged online dates (one of which is right in front of Rita who insists on texting him advice).

It’s a classic will-they-won’t-they scenario, as the trapped-together Ravi and Rita talk more, get to know each other, let down their defenses, trust one another, learn to relate with each other, and maybe…well…just maybe.

Both Soni and Viswanathan portray convincing, well-defined characters, are fun to watch, and more importantly for the material, are great together. Soni also co-wrote the script with director Roshan Sethi, and it’s a neat blend of screwball comedy and realistic drama.

I liked “7 Days” a lot–it’s very funny and sweet. It’s in limited theaters now, so see if it’s playing anywhere near you.

Almost, Sorta, Maybe

27 Mar

Smith’s Verdict: ***1/2

Reviewed by Tanner Smith

To start off this review of the indie romcom “Almost, Sorta, Maybe,” I’ll mention the moment in which this film had me and didn’t let me go until the end. It’s a moment that rings true to so many of us who are each trapped in an office job that is as unfulfilling as it is excruciatingly boring, and our protagonist, Liz, tells off her snooty, manipulative boss in such a fashion that results in…well, I won’t give away the surprise that would have made it meaningless had it not been handled with clever execution and care.

10 minutes in, and this moment was a sign. I laughed hard then, laughed many times in the remaining 95 minutes of running time, and kept a smile on my face when I wasn’t laughing.

But more importantly, I also felt for the main character. Liz, played wonderfully by Lindsay Weaver, is stuck in a job she doesn’t like, has gone through a horrible breakup with a creep, puts up with numerous cellphone calls from her nagging mother, and has a terrible self-image problem (“fat and ugly,” she describes herself to her sister Amy [Lauren Pope], a fitness instructor). She’d love to quit her job and pursue her dream to be a photographer. (She even weighs pros and cons of making important decisions–one of the comic highlights of this very funny movie is the way it plays with fantasy sequences.) Oh, and even though she’s not even 30 yet, she’s often referred to as “ma’am” due to her plain appearance.

Sheesh, I barely know this person and by the time the second act begins, I want to tell her it’s all going to be OK!

“Almost, Sorta, Maybe” is the film about Liz’s coming-of-age in quarter-life crisis and how she manages to be comfortable with herself. Thanks to a keenly layered script from filmmaking duo Patrick Poe & Lolo Loren (whose previous film I reviewed, Zoink, was also funny but completely different from this one) and a rich and vibrant performance from Lindsay Weaver, “Almost, Sorta, Maybe” is a romcom (romantic comedy) with refreshingly sharp edges and doesn’t go the usual routes you would expect in your typical comfort-food movie. For example, Liz gets an assistant: David (Zachary Weaver), the one male worker working in the office (much to the delight of the overly flirtatious and predominantly-female staff). You may think you know where the film is going with this character–but not quite. That’s the beauty of this script–both Poe and Loren made a romcom that they wanted to see. The results make the familiar feel fresh.

Patrick Poe, the film’s co-director/co-writer/co-producer/co-cinematographer (let’s just say he and Lolo Loren are both auteurs), gives a comically brilliant performance as Todd, the hunky dumbo with surfer-like blond hair whom Liz practically stalks and, with support from her sister Amy and Amy’s girlfriend Rebecca (Bethany Fay), asks on a date. We spend more time with this dopey character than you would think, and he doesn’t come off as a one-dimensional tool–that’s not to say there aren’t moments in which you’ll groan loudly due to his foolishness, but the groans are more from a relatable feeling than anything else.

Other standouts in the supporting cast include Dianne Paukstelis as Liz’s aforementioned boss Melissa, Casey Jane as the wildly flirty receptionist who smacks David’s behind on his first day of work, Jerad Langley as Liz’s divorced father, and Vilma de Leon as Liz’s overbearing mother whose identity is a unique twist. (I actually would have liked to see a whole movie about this mother character–I would say this part of the film is underdeveloped, but what we do get is quite intriguing.) The film also finds time to explore Liz’s relationships with Amy and Rebecca, and her complicated relationship with an old boyfriend (Richard J. Burt) who may or may not want to seriously start over again.

Wherever “Almost, Sorta, Maybe” goes with Liz, whatever important life decision she makes, whichever guy has eyes for her, I just wish the best for her. She deserves to be happy.

I think she’s going to do just great, and she’ll look back on this long, complicated, funny, sweet journey and pat herself on the back for making it through. And I’m sure Patrick Poe, Lolo Loren, their assistant Amber Joy, and of course Lindsay Weaver would agree.