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Surfacing (Short Film) (2009)

18 Mar

Smith’s Verdict: ***

Reviewed by Tanner Smith

Hannah, the main character of the short film “Surfacing,” is an athletic college swimmer with temporal lobe epilepsy. In the film’s opening scene, she’s preparing to compete in a latest swim meet when she knows a seizure is coming. She knows she still has some time before it happens, and she’s nervous yet familiar with these feelings at the same time. She swims the laps to get it over with…and then has the seizure almost immediately after she’s out of the water. The next scene shows a new side of Hannah–happier, livelier, more energetic, ready to go out partying for a night on the town with her friends. One of her friends, who I’m assuming hasn’t known Hannah very long, questions this behavior, to which one friend answers: “She’s always like this after a seizure.” In comes another friend, who actually wrote a paper based on Hannah’s condition, to explain (to the friend and to those viewing the film) that it’s a condition known as “Geschwind syndrome.”

I’m kind of ashamed to admit that I had to look up “Geschwind syndrome” for confirmation. I shouldn’t have done that, for two reasons. 1) That kind of confession can mean I didn’t put any faith in the filmmakers behind “Surfacing” having done their homework before making a film about the subject in question. And 2) Even if it wasn’t real (which now I know it is), the film should still make me believe (which it did).

“Surfacing,” which runs at about 30 minutes and was written and directed by Bruce Hutchinson (whose 2014 short drama Sidearoadia I greatly admired), shows Hannah at a dilemma with this condition. She can keep swimming, possibly risking brain damage if she has another seizure too late during another meet, or she can get her illness treated. Her seizure aftereffects are what make her feel truly alive, so she has to decide whether or not she wants to be rid of them for that very reason. But on the other hand, her coach (Pammi Fabert), her sister (FE Mosby), and her best friend (Jennifer Richman) all grow more concerned about her as the seizures seem to be more frequent lately.

Hannah is played with a truly marvelous performance by Kristy Barrington (who, since this short, has gone on to a memorable side role in Mud). It’s a deeply layered portrayal of a suffering yet free-spirited young individual who lives in the now and must consider the future, if not for herself then for her loved ones. The quiet moment in which she feels the entire weight of her world crashing down on her, which comes at around the 25-minute mark, is so moving and convincing and beautifully done. (I’ll even go as far as to say it rivals the best moments of “Sidearoadia,” which Hutchinson made five years after “Surfacing.”)

The skillful direction from writer-director Hutchinson and casually observant cinematography from Chris Churchill help keep “Surfacing” on a grounded level. But Kristy Barrington is this film. She exhibits great screen presence here and makes an already-interesting character even more fascinating.

“Surfacing” can be seen here. I recommend you give it a watch.

Spree (2020) – Rent-A-Pal (2020)

1 Mar
Joe Keery, “Spree”

Smith’s Verdicts:

Spree: ***

Rent-A-Pal: ***1/2

This past week, I caught up with three 2020 horror films. One was Freaky. The other two: “Spree” and “Rent-A-Pal.”

One film involves one of our favorite “Strange Things” actors as a cyber-serial-killer, and the other involves Wil Wheaton as one of the scariest villains of the past year. (Didn’t think that second one could happen, but here we are.)

“Spree” is an uneven but intriguing cyber-thriller told from the perspectives of different livestreams, one of which is hosted by a pathetic loner named Kurt (played by Joe Keery). Kurt is obsessed to the point of making it big as a large social-media presence with thousands of followers–he’s tried everything by this point to bring in the views and nothing seems to work for him (even when he tries interfering with the streams of his frenemy Bobby (Josh Ovalle), who’s a mega influencer). But now he has the answer to get everyone’s attention…

As a driver for a rideshare app called Spree, Kurt documents himself picking up passengers…and instead of dropping them off to their destinations, he murders them! At first, no one watching (the numbers aren’t even in the double digits) thinks it’s real; they think it’s an act, causing Kurt to get more extreme with his victims. And of course, all Kurt cares about is gaining more and more followers/viewers, so he does everything he can to up his game (and the body count).

The social commentary is obvious and the film sags in the middle act particularly, but director/co-writer Eugene Kotlyarenko uses dark humor and a darkly brilliant leading performance from Joe Keery to keep things interesting. “Spree” has enough clever tricks up its sleeve to keep cyber-savvy viewers invested.

Wil Wheaton in “Rent-A-Pal”–can this “friend” be trusted?

Now…as for “Rent-A-Pal,” I didn’t know anything before streaming it on Hulu recently, aside from Wil Wheaton is in it and some critics have praised it as one of the best thrillers of 2020.

I didn’t realize I was getting into this deeply disturbing, brilliantly crafted, and truly twisted character study of a lonely 40-year-old named David (played very well by Brian Landis Folkins) who…well, I’ll keep it spoiler free, but I’ll just talk about the story’s setup.

The film is set in 1990. David, a bachelor who cares for his Alzheimers-stricken mother, uses a video dating service to try and find a romantic partner, but to no avail. He then buys another videotape called “Rent-A-Pal,” in which its host, a seemingly nice, charismatic guy named Andy (Wil Wheaton), sits in the middle of the frame, talks directly to the viewer, and leaves in pauses to simulate a conversation. It doesn’t do much for David at first, but the lonelier he gets, he more into the tape he becomes. He’s soon able to partake in conversations with Andy, which leads to Andy being his confidant and his best friend.

And…that’s all I’m going to describe for you. The idea of this sad, lonely, depressed man taking comfort in a friendship through someone in a TV screen is interesting enough…but where it goes from there is riveting. I don’t even know who’s creepier here–David, for having this seemingly one-sided relationship with a videotape he watches repeatedly, or Andy, whose friendly demeanor and prerecorded phrases seem to have alternative meanings. I’m going to have to go with Andy as the scarier choice, mostly because we don’t know anything about the person who made the video in the first place, and that itself gets unnerving, the more I think about everything I saw in the film before. (Something else I like about “Rent-A-Pal”–there are no easy answers at work here.)

Both “Spree” and “Rent-A-Pal” feature unbalanced main characters seeking purpose and companionship, whether personal or virtual…but of course, they’re both horror movies, so you can expect some nasty business. Both films work as parables of such a concept, and I recommend them both (particularly “Rent-A-Pal”) for giving us unique, original ways of putting us in the heads of each of those disturbing individuals.

Happiest Season (2020)

28 Feb

Smith’s Verdict: ***

Reviewed by Tanner Smith

There’s a sappy, sugary holiday romcom exclusively on Hulu called “Happiest Season”…and I guess I have a soft spot for certain B-movies of this sweet, innocent sort because this one definitely worked for me.

Or maybe I just love the actors. Whatever the case, “Happiest Season” is a seasonal treat.

Kristen Stewart and Mackenzie Davis play Abby and Harper, a lesbian couple happily in love–so much so that Abby decides it’s time to pop the question after getting Harper’s father’s blessing first…but there’s a problem with that: Harper is still in the closet. It’s not until they’re en route to a holiday get-together with Harper’s conservative family that Harper drops the bomb to Abby that she never came out to her parents.

Annnnnnnd the mother (Mary Steenburgen) is this super uptight, extremely passive-aggressive type, and also the father (Victor Garber) is running for mayor, and ALSO Harper told everyone that Abby is her roommate (and an “orphan,” which practically translates to everyone as “alien from another planet”–I’m not joking; they keep referring to Abby as an orphan constantly).

So…hijinks ensue!

“Happiest Season” is as formulaic as you can get–I have to wonder if director/co-writer Clea DuVall (who I know has made it big as a character actor but I’m always going to remember her as Stokely in “The Faculty”) is a big fan of Hallmark Christmas movies. There’s a lot of misunderstanding. There’s a lot of coverups. There’s even a stereotypical helpful-gay-best-friend-with-no-life-of-his-own character (played by Daniel Levy). (I guess in order for this film to give us these two realistic LGBT characters for this formula, plus a dignified supporting role played by Aubrey Plaza, they had to give us one stereotype.) And then of course, there’s the big emotional resolution in which everyone’s secrets are revealed for better or worse.

I think you can guess the ending. You can guess so much of this movie. But I don’t care–because it works. It’s just a likable, pleasant comedy for my Christmas stocking and I recommend it because the actors are giving it their all (especially Steenburgen, who’s a riot as the mother), a lot of it made me laugh, and I did feel something for both Abby and Harper when things inevitably get tougher for them.

There are going to be 40something Hallmark holiday movies every year–not to be too judgmental of the subgenre (because I liked this one so much), but I recommend you use this as the standard.

“Happiest Season” is available exclusively on Hulu.

Run (2020)

28 Feb

Smith’s Verdict: ***

Reviewed by Tanner Smith

From the guys who previously made the brilliant cyberthriller Searching (director Aneesh Chaganty and co-writer Sev Ohanian), “Run” is about a wheelchair-bound teenage girl named Chloe (Kiera Allen) who has been homeschooled and sheltered by her overprotective mother (Sarah Paulson). After discovering a suspicious new pill as part of her medication, Chloe starts to suspect that there’s something her mother isn’t telling her…

“Run” is a slow burn with enough twists and turns to keep you guessing as the paralyzed but super-smart Chloe is forced to use her wits to go behind her mother’s back in order to get clarification as to what’s going on. It helps that both key roles here are portrayed wonderfully. Sarah Paulson, one of the best character actors working today, deserves credit for playing a motherly figure we’re not quite sure about. And Kiera Allen (who actually uses a wheelchair in real life) is excellent as Chloe–it’s a role that’s physically demanding to say the least, and she’s both up to the challenge and wonderful to watch at the same time.

When the answers are revealed late in the film, it’s disappointing because I saw the twist coming miles away. It’s important for a psychological thriller to always be ahead of their audience, and I was hoping that the guys behind “Searching,” which had me guessing all throughout, would give me something I didn’t expect. However, I still recommend “Run” for its two leading performances, its effective simplicity in telling the story, and Chaganty’s ability to keep me invested even after the inevitable reveal.

“Run” is available exclusively on Hulu, and I give it 3 stars out of 4. (Maybe my rating will change after a second viewing. There’s too much good in this film for me to complain about the twist being predictable.)

Love, Victor (Limited Series) (2020)

11 Dec

Smith’s Verdict: ***

Reviewed by Tanner Smith

“Love, Victor” is a series available exclusively on Hulu. (I usually don’t review series, but whatever–here I go…)

This is a sequel/spin-off to the hit teen film “Love, Simon.” When I first saw “Love, Simon,” I liked it fine. But after seeing it again (and a few more times since then), I celebrate it for the game-changing and beautiful gem that it is–it’s a wonderful film.

For those who don’t know, “Love, Simon” was about a closeted gay high-school kid (named Simon) who searched for his soulmate while finding the courage to tell his family and friends his secret. I did mention in my original review that Simon had it easier than most gay teens who have a tougher time with coming out of the closet than he did, especially since he had understanding, sympathetic family & friends and even the support of the entire school. Though, when you think about it, John Hughes movies weren’t any grittier.

(2018, the year “Love, Simon” was released, did give us two grittier films about the subject: “The Miseducation of Cameron Post” and “Boy Erased,” the latter of which ended up on my year-end list.)

Anyway, now we have the 10-episode series “Love, Victor,” about a Latino teen (named Victor) who goes to the same high school as Simon did. Simon and his boyfriend Bram are now in college in NYC, but the high school in Atlanta is still looking back on the events of “Love, Simon,” finding inspiration in Simon’s act of courage. Well, Victor (played by Michael Cimino) isn’t so inspired–in fact, he even emails to Simon, “Screw you for having the world’s most perfect, accepting parents, the world’s most supportive friends. Because for some of us, it’s not that easy.”

He’s right.

Victor is either unsure about his sexuality or just doesn’t want to admit it to himself, but he feels that if he comes out about it, it will hit his religious parents hard. And the parents (and his sister Pilar) are going through enough right now, especially after the move from Texas. He tries to put his focus on other people, including his new high-school friends such as his annoying geeky buddy Felix (Anthony Turpel), the popular rich girl Mia (Rachel Hilson) who connects with Victor, and the handsome (and gay) Benji (George Sear), whom Victor has a crush on, thus complicating things with Mia, who doesn’t know that Victor is struggling with his sexual orientation.

Victor can only trust Simon as they correspond through email back and forth. (And yes, Simon, played by Nick Robinson who was also a producer for this series, does narrate numerous parts of all 10 episodes as well as make a brief but important appearance in one of the later episodes.) Simon knows that Victor’s deal isn’t the same as his own, but he still finds ways to help inspire him to keep moving forward.

Victor is a likable lead and is played very well by Cimino, but I was surprised (more than I should have been, considering it’s a 10-episode series) to find room for development amongst the other characters. Felix has his own fling with a popular girl who would rather have their relationship kept secret. Benji has a boyfriend but still harbors some feelings for Victor, which results in an awkward encounter when he invites him on a road trip later. We find out more about the parents and why they uprooted the whole family to start a new life. Victor’s sister Pilar (Isabella Fierra) slowly but surely finds ways to help other people besides herself.

And then there’s Mia, who I think is the most interesting character in the series. Played wonderfully by Rachel Hilson, Mia has to go through A LOT. First of all, her father brings home a new woman and is thinking seriously about a future with her–Mia still isn’t over her mother abandoning them. Secondly, she is in love with Victor and they do start a romance, but she doesn’t understand why Victor’s interests in her seem to turn on and off at random. That’s the most moving part of the whole series to me–when you love someone who knows they can’t love you back in the same way, isn’t that sad? And Victor, who does care for Mia, wants to tell her the truth but doesn’t want to hurt her any further than she’s already been hurt…but that just hurts her more, sadly.

All 10 episodes are solid and wonderfully written, with one character development as interesting as the next. If I had to pick my least favorite one, it’d probably be episode 8, in which many of our side characters are brought together for a little “Breakfast Club” homage (right down to one of them thrusting his arm into the air)–that felt a little forced to me.

“Love, Victor” will most likely have a second season (or at least, that’s the hope for the creators–the series ends on a cliffhanger). I’ll definitely be interested in seeing what happens with Victor, his family, Mia, Benji, Felix, and others in the future. It’s a solid series.

Words on Bathroom Walls (2020)

2 Dec

Smith’s Verdict: ***

Reviewed by Tanner Smith

Charlie Plummer is one of my favorite young actors working today. He has a certain innocence and world-weariness to himself that comes through in each role he plays, and it’s always interesting to see him work because of that. In 2018, he delivered an excellent performance as my favorite character of the year: Charley in Lean On Pete. In 2019, he was the lead in the Hulu dramatic limited series “Looking for Alaska” (based on the John Green novel). And just a couple of months ago, in October 2020, he gave another truly impressive performance in Spontaneous. Now, here in “Words on Bathroom Walls,” he plays probably his most challenging role to date. He’s up to the challenge.

In the film, based on the award-winning novel by Julia Walton, Plummer plays Adam Petrazelli, a nice teenage boy with a potential future in culinary arts…who is also diagnosed with schizophrenia. He hallucinates terrifying situations in which rooms are filled with blackness and/or a flaming inferno, has imaginary friends including a heavyset bodyguard ready to pounce on anyone who comes near him, and is often derided by a tormenting disembodied bass-tone voice that always seems to be with him. Adam’s inner demons become all too real to him, which leads to consequences in trying to escape them–one of which results in his school friend getting severely burned in chemistry class and Adam getting expelled for his own good.

“Words on Bathroom Walls” is a mainstream-friendly teen movie similar to John Hughes’ movies, Love, Simon, and The Perks of Being a Wallflower, in that while it plays it safe with a serious issue, it still does a service to it while also being a charming, likable, entertaining film with appealing characters and a worthy message.

That being said, I’m not sure that Adam’s invisible friends (which include a hippie girl, the aforementioned bodyguard, and a horny-best-friend type) who come and go in Adam’s life are necessarily an accurate representation of what it means to live with schizophrenia (they mostly serve as comic relief)–but they’re not overly exaggerated that they lose the respect the movie deserves, in my opinion. (I could be very wrong here–but they didn’t bother me that much.)

Anyway, Adam goes through a medical trial to treat his illness and isn’t allowed to cook anymore (not with big knives at least). His caring mother (Molly Parker) and her new boyfriend (Walton Goggins), whom Adam isn’t so sure about, get him enrolled in a Catholic school, headed by Sister Catherine (Beth Grant), who wants no mention of his condition whatsoever. Adam is here to get good grades, take his medications, and graduate–that’s what Sister Catherine wants to hear and that’s also what Adam wants to believe. But he’s very uncertain about his own future, further evidenced by witnessing a mentally ill homeless man–he wonders if that’s what’s going to happen to him. (Adam even wonders at one point why everyone cares so much about cancer and yet don’t want to acknowledge schizophrenia. There are moments of thought-provoking truth here.)

The light at the end of this long tunnel comes in the form of Maya (Taylor Russell), class valedictorian with secrets of her own. He takes a liking to her and gets her to tutor him in math, and from there sparks a touching romance that also includes a date at an outdoor-screening of “Never Been Kissed” (THAT old classic).

Another helpful supporting character on Adam’s road to safety is the kindly Father Patrick (Andy Garcia). Adam confesses he doesn’t believe in God–Father Patrick assures him that he’ll listen anyway.

I should also mention the actors playing the imaginary friends: AnnaSophia Robb plays the flighty hippie chick; Lobo Sebastian is the bodyguard; and Devon Bostick is Joaquin, the kind of smarmy best friend you’d find in teen movies. They do what they need to do, and they’re good company, despite playing caricatures (which I think is the point anyway).

What is the message of “Words on Bathroom Walls?” Basically, it’s that everyone deserves to be recognized, which we see in many teen movies. But it’s also something more than that here–Adam wants more than just to be loved; he wants to be independent and do what he loves. And it works very well here. The moment Adam shows Maya what his true passion is (which is to cook and to go to culinary school), I knew I was in, especially when his hands started to shake. I was surprised by how wrapped up I was in his struggle.

Plummer carries this movie like a champ; it’s another top-notch performance to add to his resume. I remember seeing his first film King Jack at the final Little Rock Film Festival back in May 2015–he appeared for a Q&A with director Felix Thompson. I remember thinking this kid was going to go places. How right I was.

Echo Boomers (2020)

1 Dec

Smith’s Verdict: ***

Reviewed by Tanner Smith

“Echo Boomers,” the feature debut from director Seth Savoy (whose work in short films I’ve admired in the past). is about a group of millennial activists who break into wealthy residences, steal valuables, trash the place, and get paid for what they consider a hard day’s work.

Did I say “trash the place?” I meant they f***ing DESTROY each house they break into.

Their general political message is to make middle-aged rich people suffer while their generation is struggling to make ends meet–and as a result of delivering/selling their stolen items to Mel (Michael Shannon), who runs a legit business while also providing the youths with the addresses to rob, they live carelessly. Of course, the irony of making money while partaking in heavy criminal activity (their own “Millennial Mob,” if you will) is that they’re self-entitled a**holes who spend everything on heavily expensive items such as clothing and cocaine, because what the hell, they’re gonna get more of it anyway.

Robin Hoods, they are not…necessarily.

A common criticism I’ve seen against this film is that it “takes itself too seriously,” and indeed, I was about ready to agree, especially when Michael Shannon’s Mel takes this operation just as seriously as the young people when (in my opinion) a toned-down authority-figure type would have been more effective. But the reason I appreciate this film more than other crime movies involving young adults, like “The Bling Ring” and “American Animals,” is because while those movies included youths who committed crimes due to apathetic boredom, these characters feel more of a purpose. Whether you agree with their statement or not (and like I said, it can be difficult to root for them), it’s more interesting to follow them. Because of that, I do admire how seriously the material is taken.

The film’s frantic kinetic energetic style keeps the audience on-edge as we see just how much joy these kids get out of what they do and especially when things start to go wrong, which they inevitably do. It’s the familiar message about how gaining more makes you want even more of it and so forth (that’s just how it goes).

The young actors, who include Patrick Schwarzenegger as the lead, Alex Pettyfer, Hayley Law (great in Spontaneous), Gilles Geary, Oliver Cooper (welcome back, Costa), and Jacob Alexander, all turn in good performances. And as much as I criticized the character portrayed by Michael Shannon…c’mon; it’s Michael Shannon. The guy could play a mobster in “Kangaroo Jack” and he’d still be incredible to watch.

There’s just such a heart and energy to “Echo Boomers” that I have to congratulate Seth and his co-writers Jason Miller and Kevin Bernhardt for. And I look forward to seeing what they do next.

The Hike

13 Nov

Smith’s Verdict: ***
Reviewed by Tanner Smith

NOTE: The film I’m reviewing has not been released yet, so consider this an “early review.”

“‘The Hike’ Drinking Game: The Next Time You Watch This Film, Take A Shot Everytime Vinnie Almost Falls Down Or Touches His Face. You Will Not Make It To The End…” -Post-credit stinger for “The Hike”

“The Hike” is a horror film made for cheap by a group of friends–a group you can tell just wanted to go up to some mountains and make a fun indie horror flick. It’s set in the woods, as a couple (played by co-writers Vinnie Vineyard and Kandi Thompson, who collaborated with the film’s director Luke Walker) go on this titular “Hike” for a camping trip–anyone who has seen any horror film knows that when you think you’re alone and isolated…someone with malevolent intentions might be creeping around. (There just aren’t enough dramas about camping, are there? They all have to be horror films.)

The couple comes across some disturbing photographs and a camera with something apparently even more disturbing (we never see what’s on the camera, but a change in filter indicates something is wrong before the characters can announce it). But why should they let a trek towards a ranger station (so they can report this evidence) get in the way of a good time when they could be trying out some ‘shrooms? By the time they get further along the trail and come across some troublesome folks (and yes, they’re burly mountain men with huge machetes and a bow-and-arrow), they’re already in danger.

There’s nothing that is particularly groundbreaking about this amateurish production, save for a particularly laughable extended sequence in the final act that had me going, “Are you kidding me? Is this really what we’re doing right now?” But the spirit of the thing kept me invested in staying to the end. I knew the people who made this film were making a film not for critics but for fun–and who am I to get in the way by stating what they already know and criticizing it for that reason?

There are some funny one-liners, such as when the couple argues about whether or not their potential oppressors are “rednecks” (she says they can’t be, because of their shoes), and Vinnie Vineyard is sincerely dopey as the male lead. And being a horror film, there are at least a couple of moments that I found particularly unnerving, such as when a character is alone with a lighter in a dark cave. There’s also a continually surfacing legend involving something called “Spearfinger” that may or may not be relevant to anything the characters are facing, but you never know…

I dunno, I just had fun with “The Hike.” Call it the side of me that appreciates both the art of filmmaking and the spirit/passion that comes from people working together to make something. All I know is I wouldn’t have fun picking on “The Hike,” and so I recommend it instead.

Secret Window (2004)

1 Jul

Smith’s Verdict: ***

Reviewed by Tanner Smith

“You stole my story.”

That is how Stephen King’s novella “Secret Window, Secret Garden” (part of his “Four Past Midnight” collection) begins, with a quote that directly accuses the protagonist, an author, of plagiarism. It’s that one simple quote: “You stole my story.” Right away, King has us–we’re hooked. And that’s why he’s one of the greatest writers, if not THE greatest.

The novella’s film adaptation, simply titled “Secret Window,” gets the audience on-edge when the accuser, John Shooter, is played with a terrifying presence, with a radiation of danger and malevolence as well as an off-putting Southern drawl and sh*t-eating grin, by John Turturro. From the moment he uses that line, “You stole my story,” I am immediately unnerved by this guy. No wonder author Mort Rainey (Johnny Depp) is freaked out by this hat-wearing stranger who shows up at his door and claims he “stole his story.”

Anyway, that is where the story gets going, with this reclusive author Mort Rainey, who’s already going through mental-health issues mostly caused by a divorce from his cheating wife (Maria Bello), and now he finds that this stranger shows up with a manuscript that seems very similar to a book he wrote. It’s not enough that Shooter pesters Mort, however. He turns out to be very dangerous, killing his dog and threatening to kill him and those around him if he doesn’t get recognition.

“Secret Window” is a strange film for me, because while there are many parts of it that I find very slow, and like a lot of people, I’m not so sure I completely buy into the ending, there are still several moments in it that captivate me, particularly the story involving these two writers who are pretty much at each other’s throats most of the time before one of them gets very aggressive. All of that is very intriguing, and I’m always interested when Shooter pops back up again.

But that becomes a problem for most people who see this movie–that aspect of the overall story goes in a direction that makes it a lot less interesting. I won’t give it away here, but…I don’t know, I agree with people’s complaints about it, and yet at the same time, it is still interesting to me (but not as interesting as it could’ve been).

What “Secret Window” truly is is a parable for what writer’s block can do to a person when they’re lacking influence/inspiration on top of feeling a lot of stress, and on that basis, it is an intriguing type of story that only King could come up with.

I still like to watch “Secret Window” again for the setup in particular. Depp is delightfully quirky on top of playing a complex character, the domestic-dispute stuff between him and Bello is interesting enough, and again, I loved the dynamic between Depp and Turturro and the things that come from that. And I will say this about the twists of the final half…the very last revelation is very chilling in just how WEIRD it was. I’ll never forget it, and I think it made the overall film close enough for me to say “Yeah…it is a solid film. I’ll watch it again later.” I think it’s Stephen King’s writing that made it work no matter how crazy things became as a result of the twists in the final act.

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.