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REVIEW: The Wolf of Snow Hollow

Orion Classics
Rated: R
Run Time: 83 minutes
Director: Jim Cummings

One more thing that COVID-19 has done to to the industry: The Indie movies that would’ve never been given a chance as a wide release in theaters are now camouflaging in with the blockbusters. I thought I was about to watch a straightforward, sobering, drama/thriller… Boy, was The Wolf of Snow Hollow NOT that.

Immediately following a beautiful and unsettling opening credit sequence, the off-beat, erratic editing, acting and dialogue begins and never lets up. You might be tempted to call it bad acting, or low budget, but give it a few minutes; once you get used to the rhythm of this truly odd movie, you start to enjoy the imperfections. It really doesn’t seem like a mistake, but rather intentionally other worldly. It reminds me a lot of how the same elements are handled in It Follows (2014); just a bit off and unfamiliar. But I think it works! Where as those little details gave It Follows a hipster feel, The Wolf of Snow Hollow brings more of an ironic comedy to the mix. And I wouldn’t classify this as “so bad it’s good,” it’s more grounded than that, and much more self aware. Whatever the film is, it’s good enough to get you engaged if you allow it 15 minutes of your time before giving up (the movie is only 83 minutes total). 

This story portrays a moment in the life of an unstable, small town sheriff’s deputy along with the rest of his office, and what would happen if a murderer (or something else) started going on a homicidal rampage. What ensues is a series of incompetent decisions, mental breakdowns, and desperation to stop the carnage. It’s honestly so great. 

Once you get used to the insane editing, the non linear, almost hyperactive story telling becomes one of the film’s strong suits…even if it’s just that it’s unique. It shows just how scatterbrained an amateur cop from the boonies would be dealing with something this HUGE (tease).

From left to right: Riki Lindhome, Marshall Allman, Robert Forster, Neville Archambault and Jim Cummings in a scene of The Wolf of Snow Hollow | Orion Classics.

So many moments of otherwise bizarre behavior feel so relatable, to the point where you’re surprised how much you’re laughing. Honestly, guys, from one scene in particular I ended up laughing uncontrollably for like 5 minutes.

To wrap it up, the horror factor is unnervingly mysterious and creepy by itself. Along with that, there’s a clever, whacky twist followed by a satisfyingly tranquil ending.

Side note: veteran actor Robert Forster, who co-stars in The Wolf of Snow Hollow, passed away during the filming. His character and performance end up being a coincidentally nice goodbye and a highlight of the film. Jim Cummings is the writer, director and lead actor. Being that he decidedly pulled off such an unlikely accomplishment, I’m excited to see his one other film he has to date, Thunder Road (2018), where he helms all three jobs again.

I’ll stand by The Wolf of Snow Hollow as one of the best and likely most underrated dark comedies of the year.

Recommendation: Go See It!

REVIEW: Hubie Halloween

NETFLIX
Rated: PG-13
Run Time: 102 minutes
Director: Steven Brill

Anybody else just really loving this holiday season more than usual this year? I don’t know what it is, but I’m especially open to anything Halloween related just to get the spooky feels going. Haunted houses, late night movies in bed, decorating my classroom, scary stories around the fire–I’m doing it all this time around. Maybe that’s why I was actually willing to give Hubie Halloween a shot. My take on this film will end up being pretty simple, short and not so sweet. But I don’t feel like passing judgment without first honoring merit where merit is due. So, let me talk a little bit about the producer and lead actor.

Deep down, don’t we all love Adam Sandler? From The Wedding Singer (1998) to 50 First Dates (2004), he’s made some definite classics that will be in my movie collection forever. He has a respectable resume between SNL, his large filmography, and an underrated knack for drama like in Punch Drunk Love (2002), The Meyerowitz Stories (2017) and most recently, Uncut Gems (2019). It’s not very debatable, the guy has talent.

On top of his career, he just seems like a really good dude off the screen. I love the tear-jerking, heartwarmingly personal memorial he gave Chris Farley in Adam Sandler: 100% Fresh (2018). He performed a beautiful song with Miley Cyrus respecting the victims of the Las Vegas shooting a few years back. Even that funny video of him and Justin Bieber spotting each other on the streets; just a nice, down to earth human being.

Now I’ll add to the overwhelming consensus: he’s had a lot of duds. In many cases, his later movies have been almost entirely void of the sincerity, wit and utter watchability of his past films. I don’t think I need to name them, but basically any Happy Madison produced flick in the last 10 to 15 years should give you a general idea. This doesn’t mean that these movies don’t have a place in the world. Just as the gags have delved into potty-humor and the stories and characters have turned (even more) ridiculous, they may just be more so geared for preteens. So don’t call me a hater. And for the record, I love that he uses his films as a way to kind of vacation and spend time with his buddies. I’m also sure he works really hard; they usually pump out 2 or more movies a year.

Julie Bowen and Adam Sandler appear in a scene of Hubie Halloween | NETFLIX.

So… Hubie Halloween. I’ll say a couple things I loved. There were really fun references to older, far superior Adam Sandler movies. Moments of these are what got me first engaged in the film and what often got me through it. That element and just a few other subtle bits of dialogue had me genuinely laughing. Another thing, Sandler’s character is a sweet guy, and the moral of the story centers around that. Though many might be tired of the standard Bobby Boucher/Happy Madison/Sandy Wexler voice and mannerisms (and at first his voice did make me moan in exhaustion), it works fine enough to make the character overall likable.

BUT expect the bizarre, witless potty-humor. Expect other jokes that just simply fall flat. Expect less than award-worthy acting and a script and story that don’t help much either in bolstering this flick out of the slew of subpar Netflix Originals.

For many die hard fans of his content, or if some individuals are just that easily pleased by a movie, this may be a fun new addition for you. After all it’s Halloween genre. And in my opinion, that alone makes any movie more fun.

Aside from those select few mentioned, I’d advise the general audience to skip it for now. Keep an eye out on our content that has or will be released this month for some better suggestions of Halloween movie night options!

Recommendation: SKIP IT

31 Films for 31 Nights: Your Guide to the Spookiest and Scariest Films You Can Watch this October

Good evening foolish mortals! It is I, the grandmaster of ghouls Josh here to share with you 31 films that I personally will be watching this October. One horror film for every day of the month is my tradition and we will be going through old classics and modern terrors, a mix of mainstream and indie, and none of that fun family Halloween. This is pure screams and gore. So please, sit back, relax, and don’t look behind you….you might not like what’s there.

Oct. 1 – Midsommar: You might ask yourself, “What’s so scary about a fun festival that takes place in a constant daylight setting?” Ari Aster is ready to show you. Ambitious, disturbing, and excellently made, Midsommar is modern horror that must be seen.

Midsommar is available streaming on Amazon Prime Video.

Oct. 2 – The Wicker Man (1973): Keeping our theme of terrifying cults, The Wicker Man is ultimately a story of faith in God against the sinners, though the ending is not a victory.

The Wicker Man (1973) is available streaming on The Criterion Channel.

Oct. 3 – They Live: What I love about They Live is that it challenges modern media even in today’s current times. It’s a film about breaking the status quo and not falling for media deception. Very relevant for today.

They Live is available streaming on STARZ.

Oct. 4 – Se7en: “WHAT’S IN THE BOX?!” is one of my all time favorite lines in cinema and Se7en is one of my all time favorite detective films. What makes it so terrifying is how real the whole film feels, and a serial killer who is always one step ahead.

Se7en is available streaming on HBO Max.

Oct. 5 – The Conjuring: A movie that nails the “based on true events” theme that it is based on. James Wan excellently directs a fine period piece that is heavy on the scares.

The Conjuring is available to rent or purchase on most VOD services.

Oct. 6 – The Strangers: While not the strongest movie per se, what The Strangers does right is instill the fear in you that this could really happen to someone. Reckless violence is truly terrifying.

The Strangers is available streaming on SYFY.

Oct. 7 – Raw: This movie absolutely shocked me when I first saw it; a sweet girl who is a die-hard vegetarian finds out she has a penchant for the taste of flesh, while also discovering herself in college. What could go wrong?

Raw is available to rent or purchase on most VOD services.

Oct. 8 – Re-Animator: Based on the H.P. Lovecraft story, Re-Animator is loud, gory, and insane. A fun black comedy, yet also horrifying.

Re-Animator is available streaming in fuboTV and Showtime.

Oct. 9 – 28 Days Later: An excellent reimagining of the zombie genre. This movie will punch you in the face and never let up.

28 Days Later is available streaming on SYFY and sling.

Oct. 10 – The Babadook: Using the horror genre to explore how difficult motherhood can be sounds like a daunting task, but Jennifer Kent makes it look like a cakewalk. It balances tension and scares in a masterful way.

The Babadook is available to rent or purchase on most VOD services.

Oct. 11 – Don’t Look Now: A movie that strays away from a lot of the conventions of horror, but rather focuses on very human themes such as grief and the mental anguish one suffers. This movie changed the way I see horror and should not be missed.

Don’t Look Now is available streaming on Amazon Prime Video and The Criterion Channel.

Oct. 12 – The Descent: Claustrophobia mixed with creatures is always scary. This movie is nerve-wracking and intense, a payoff from its excellent direction and performances.

The Descent is available streaming on sling and tubi.

Oct. 13 – Bram Stoker’s Dracula (1992): My personal choice for a Dracula film. This movie is pure 90s, overblown, noisy, but ultimately gorgeous. The performances are excellent and what keeps me watching it every year.

Bram Stoker’s Dracula is available streaming on YuppTV and DirecTV.

Oct. 14 – Scream: Wes Craven not only helped create the horror genre but he also re-invented it. A very meta film that breaks all the rules. Scream may seem by the books now, but at the time this was a whole new ball game.

Scream is available to rent or purchase on most VOD services.

Oct. 15 – The Witch: A film that is an exercise in showing not telling. It’ll feed you little hints and details until it is too late. Thought provoking and masterfully made.

The Witch is available streaming on fuboTV and Showtime.

Oct. 16 – Bone Tomahawk: A genre mashup of western and horror is as appetizing as peanut butter and tuna. But Bone Tomahawk relishes in its disgustingness with disturbing visuals and intense gore. Not for the faint of heart.

Bone Tomahawk is available streaming on Amazon Prime Video.

Oct. 17 – Suspiria (1977): Italian director Dario Argento’s magnum opus, this is punk rock horror. One of the last films made in Technicolor the reds of the blood are intensely crimson, and the vibrant colors terrify the eyes.

Suspiria (1977) is available streaming on tubi.

Oct. 18 – Audition: If you have never seen this movie I highly suggest going in blind. If you have seen it then you know why. A total smoke and mirrors show that is also a pressure cooker that explodes in the nastiest way, Audition will leave you in total shock.

Audition is available streaming on SHUDDER and tubi.

Oct. 19 – Friday the 13th Part 2: I actually think that Part 2 is the best entry in the series, and is actually the film where Jason Voorhees is the primary villain. Gory, choppy, and brutal, what everyone loves on good ol Halloween.

Friday the 13th Part 2 is available streaming on sling.

Oct. 20 – A Dark Song: This little indie film is the very definition of a slow burn horror. Nothing but setup for what feels like an hour and you’re ready to give up. But if you stick through it you’ll witness a film that will chill you to the bone.

A Dark Song is available streaming on sling.

Oct. 21 – Lake Mungo: A ghost story in mockumentary form, Lake Mungo feels so real that you have no choice but to sympathize with the characters on screen. The power of this film is how tragic it is; it’s a feeling that stuck with me for weeks.

Laker Mungo is available streaming on Amazon Prime Video and tubi.

Oct. 22 – Martyrs (2008): This is probably the most controversial film on my list. A French shock film that pushes the absolute limits. I wish I could stick my brain in a dishwasher to take this film out of my memory.

Martyrs is available to rent or purchase on most VOD services.

Oct. 23 – The Blair Witch Project: This is seriously a once in a lifetime kind of film. While it feels tame by today’s standards, The Blair Witch Project has actually helped shaped the current landscape of film today. An absolute must see and horror classic.

The Blair Witch Project is available streaming on DirecTV and sling.

Oct. 24 – The Shining: My all time favorite Stephen King adaptation. Kubrick gives us a masterclass in storytelling, cinematography, and direction. With so much to learn and observe this is a film that requires multiple watches.

The Shining is available streaming on DirecTV and sling.

Oct. 25 – Psycho (1960): What can I say that hasn’t already been said about this film? A contribution to horror and proof that the genre itself is an art form.

Psycho is available streaming on peacock.

Oct. 26 – Candyman (1992): Taking place in a public housing project and featuring one of the most interesting horror movie villains around, Candyman isn’t your average slasher. It digs a little deeper to show a classist message that is still relevant.

Candyman (1992) is available streaming on DirecTV, fuboTV, and sling.

Oct. 27 – The Exorcist (1973): I’ve been frequently told by people that The Exorcist, “just isn’t scary anymore,” and I couldn’t disagree more. To this day and after several watches this movie still sends a chill up my spine. Its legacy is eternal.

The Exorcist (1973) is available streaming on DirecTV and sling.

Oct. 28 – The Thing: I love everything about this film, the paranoia, the terror, and the total feeling of freezing isolation. It also boasts some of the coolest special effects made practically. Its a real sucker punch of a film.

The Thing is available streaming on DirecTV and Showtime.

Oct. 29 – Get Out: One of the most important films of the 2010s and an insightful commentary on race relations, Get Out is a thriller where you don’t know whether you should be laughing or crying in fear, that’s what makes it scary.

Get Out is available to rent or purchase on most VOD services.

Oct. 30 – Alien: The very essence of Alien isn’t sci-fi but rather gothic horror. Carefully crafted by Ridley Scott, this movie is good not because of its complexity, but its lack of it. Being trapped in a giant tin can with that Alien will always be scary to me.

Alien is available streaming on DirecTV and HBO Max.

Oct. 31 – Halloween (1978): This is the movie I watch every single Halloween. I first saw it when I was a junior in high school and it affected me so much that I continue to watch it like some sort of sick ritual. Halloween is the horror genre distilled into a perfect formula.

Halloween (1978) is available streaming on The Roku Channel and on SHUDDER.

Well, there it is folks! This isn’t a list of what I think are the best horror movies, but rather a guide of movies that I think are fun to watch to get in the spooky mood during this festive month. There is a certain beauty in the Horror genre. Beneath all the blood and guts, the dirt and the grime, there is a certain catharsis that one feels after conquering a fear. It is a genre that is always innovating and always looking to evoke emotion. After all, what’s fun without a little fear? Happy Halloween!

REVIEW: Enola Holmes

NETFLIX
Rated: PG-13
Run Time: 123 minutes
Director: Harry Bradbeer

 Since Stranger Things, I have been eyeing Millie Bobby Brown’s career with great interest. I have yet to see Godzilla: King of Monsters, since I have not seen the Gareth Edwards’ 2014 Godzilla. (For those of you crying in outrage, it’s on my ever expanding watch-list. I’ll get to it eventually.) However, when I heard she would be playing the sister of Sherlock Holmes, who was to be played by Superman (Henry Cavill), I was intrigued. The trailer dropped and it grabbed my interest even further. I saw the movie the day it dropped, and I was really pleased.

What I Liked

Millie Bobby Brown

I have really enjoyed her performance in Stranger Things, and from what I’ve seen in the King of Monsters trailer, it seemed like she was becoming well known for playing stoic, solem characters (I could be wrong. Like I’ve said, I have yet to see the movie.) So, when I saw that she was playing a fourth wall breaking, wise cracking action character, I was nervous about whether she could pull it off or not. I needn’t fear though. I was actually blown away by how funny she was as Enola Holmes. The fourth wall breaks felt organic, like she was recounting the story to us, and it was nice having a fourth wall breaking character in red that was also family friendly. She also acted incredible well with her emotional scenes, and was really engaging to watch. I’m proud to see how far she’s come since Stranger Things.

Feminism!

When I saw what this movie was going to be about, I have to say I cringed just a little bit. Usually, when any movie tries to adapt a popular story and add modern takes to it, it usually comes off as heavy handed. Thankfully, Netflix handled it really well. Instead of the “strong women good, men bad” mentality that seems to pass for feminism in Hollywood, Enola Holmes actually emphasized that real feminism is meant for the equality of both men and women. Feminism is about both men and women expressing themselves without fear of suppression by those in power. They show Tewkesbury (the main male lead) having more feminine hobbies and forward thinking ideas, while those trying to kill him benefit from those in power and want to keep the status quo. I really appreciated that they did this, and refrained from making Enola into a “bad ass boss girl” and actually made her and Tewkesbury more well rounded. When we were first introduced to him, I groaned and thought, “Here we go. They made the male character into an incompetent buffoon that she has to protect,” but by the end of the film you can see that they are each other’s equal, and they both have to learn from each other. It’s a good message for both boys and girls watching this film.

Sherlock & Mycroft

Buckle your seatbelts my beautiful readers, because I am about to throw down an extremely unpopular opinion: I enjoyed Henry Cavill’s Sherlock Holmes far more than I enjoyed Benedict Cumberbatch’s. (You may now proceed to throw your computer/phone across the room in outrage.) Benedict’s Sherlock oozes superiority and condescension with glimpses of the humanity within. And there’s nothing wrong with that; Benedict played the character brilliantly. However, Henry’s Sherlock still was introverted and detached from people while still showing warmth and affection toward people. While Enola Holmes wasn’t as focused on Sherlock’s detective skills as the BBC Sherlock was, I still found myself more compelled by Henry’s version.

And holy cow–Mycroft. From what I remember from Sherlock, Mycroft was more high strung and concerned with society than Sherlock was, but boy oh boy does Sam Claflin bump that up to an 11 (pun totally intended) in this film. I absolutely loved watching and loathing his version of Mycroft. He was so oily and prissy. He was such a delight to watch.

The Action

I almost cried with joy when the first action scene started. For the first time in forever, someone understood that action is meant to be enjoyed and appreciated, not cut and edited into a million different cuts that makes you have a seizure when you watch it. I could actually sit back and appreciate the fight choreography and have fun watching it. The story has a lot of really cool, fun, and different action set pieces that the editing allows us to take in and enjoy.

From left to right: Henry Cavill, Millie Bobby Brown and Sam Claflin in Enola Holmes | NETFLIX.

Final Thoughts

Enola Holmes was a movie I’ve been waiting for–something with amazing actors, a good message, good editing and fight choreography, and an uplifting story to boot. The movie is fun, engaging, and a great stepping stone for Millie to show off more of her acting chops. It’s a great movie, and a movie I’ll gladly watch again and again.

Recommendation: STREAM IT

REVIEW: The Devil All the Time

NETFLIX
Rated: R
Run Time: 138 minutes
Director: Antonio Campos

The Devil All the Time is a psychological thriller that examines themes of evil, religion, and the abuse of power in rural small-town America. It is based on the novel of the same name by Donald Ray Pollock, who also serves as the film’s narrator. It stars Tom Holland, Bill Skarsgård, Riley Keough, Jason Clarke, Sebastian Stan, Haley Bennett, Eliza Scanlen, Mia Wasikowska and Robert Pattinson. The film was directed by Antonio Campos from a screenplay that he co-wrote with his brother, Paulo Campos.

The Story

The film shows how multiple generations are impacted by violence, and it analyzes how faith and evil actions mix as pious men do awful things. This really affects their congregation’s views on life and death. It also tells the story how one’s beliefs can be influenced and even determined by the beliefs of their parents. In this film, Willard Russell (Skarsgård) returns home from WW2 with PTSD, and becomes extremely religious which affects his nine year old son, Arvin (Michael Banks Repeta/Holland), in a multitude of ways. Without spoiling anything, his strong beliefs push Arvin to question the teachings of the Christian church from a very young age. This story may be the focus of the film but there are multiple other intertwining stories that make this film extremely captivating. The film has a 138 minute runtime and the story is extremely engaging from start to finish. Though a little sporadic, the music fit well in the film and allowed the viewer to step into the world in which it takes place. The direction and the cinematography helped a great deal in achieving the tone of the film. One really great decision by Campos was to make this movie on film. It adds a grain to the film that makes it feel grim and dark.

Tom Holland in a scene of The Devil All the Time | NETFLIX.

The Characters

Each actor played their respective role absolutely brilliantly. Holland provides a very mature performance that shows he can do more than web sling. The stand out was Pattinson that shows he’s becoming the new Willem Dafoe, an acting chameleon. His role is small but each second he is on screen is extremely impactful. While he was surrounded by great actors, he gave a particularly excellent and energetic performance. The film’s narration by the story’s creator helps to understand what is going on inside the characters’ minds and complements the story extremely well.

The Flaws

The film’s tone and the amount of characters can be a little overwhelming at times, but it adds a thoughtful complexity to the story. This world is dark and there are evil people living in it. Once religion is added in, it can get even more complicated.

Overall

The Devil All the Time is a southern tale about faith and fate.  It is dark, twisted, and bleak, yet absolutely fascinating. It can make its audience question themselves, their beliefs, and if this world is random, or if there is divine intervention. It is definitely worth watching, if for the performances alone. It may not get many rewatches, but that doesn’t take away from the brilliant story and acting.

Recommendation: STREAM IT

REVIEW: Antebellum

Lionsgate
Rated: R
Run Time: 106 minutes
Directors: Gerard Bush & Christopher Renz

While Gone with the Wind (1939) is well-acclaimed and beautifully shot, it has been criticized since its premiere for romanticizing the pre-Civil War South and glossing over the brutality experienced by countless Black Americans. The movie Antebellum (2020) acts as a rebuttal to its glamour and fond nostalgia by depicting a more historical and less polite existence for slaves on lavish plantations. The directors Gerard Bush and Christopher Renz even went so far as to obtain the actual lenses used to film Gone with the Wind, literally reframing the narrative on the antebellum era. Its theatrical debut was lost to the pandemic, so I bitterly paid $20 to watch it by myself on VOD.

The plot, reportedly originating from a nightmare that Gerard Bush once had, centers on a plantation owned by the Confederate army and their inhumane treatment of the slaves there. One of these is called Eden, though she is actually a 21st century writer named Veronica Henley. She is looked to as a leader by her fellow prisoners, though they aren’t allowed to speak to each other and their failed resistance and escape attempts are met with cruel consequences. The rest of the movie is spent unraveling the mystery of how Veronica came to be in this situation and what it will cost her to escape (I’ll note here that though some themes are similar, Antebellum is not based on or related to the novel, “Kindred” by Octavia E. Butler).

The opening scene escorts you through the premises the same way any traditional horror setting would be introduced; pairing idyllic scenes of children skipping through fields and beautiful architecture with the horrific suffering of the enslaved, all set to the same, unsettling score. As the identity of Veronica is explored, the lines between past and present are blurred in brilliant and provocative ways; as they say in the film, “The past is never dead. It’s not even past.” The choice to cast Janelle Monae as Veronica Henley was an important one; Antebellum has the privilege of being the first movie to land her a leading role, though her supporting work in Moonlight (2016), Hidden Figures (2017), and Harriet (2019) have sent her on a rapid rise to stardom. Monae’s commanding presence on screen anchors the movie in her struggle and her strength, but hers is the only character with whom I felt an emotional connection. I would have preferred more time devoted to her fight on the plantation than on her life as a writer, as it could have given more space for the development of her supporting cast, especially those played by Tongayi Chirisa and Kiersey Clemons.

Janelle Monáe in a scene of Antebellum | Lionsgate.

I was puzzled to find that Antebellum hasn’t been doing well with critics or general audiences; there’s plenty of praise-worthy material and effort, even if I have my quibbles on execution. If you’re looking for something that’s going to make you jump and douse yourself in popcorn, this isn’t it, but it will leave you with a sense of unease that’s hard to shake after it’s over. The scariest part is its relevance to the world of the viewer. While Antebellum isn’t strong enough to flagship a movement, I do think it’s sufficient to remind us that there’s still some reconstruction to do on behalf of those who are taken for granted.

Wait until the VOD rental price has gone down. It should drop from $20 to $7 in about a month or so.

Recommendation: STREAM IT

REVIEW: Wolfwalkers

Director, Tomm Moore Reminds Us to Listen to Children. #TIFF20

Apple TV+
Rated: NR
Run Time: 100 minutes
Directos: Tomm Moore & Ross Stewart

My Rating: 9.5/10

Anyone who follows my career as a film critic knows how much I adore the work of Irish animator, Tomm Moore. He is the man behind the Oscar nominated films Secret of the Kells (2009) and Song of the Sea (2014). Both are wonderful works of art, but Song of the Sea is a special favorite of mine as it helped me through a tough time in my life, and one that I saw soon after my cousin passed away in 2015. I actually got to interview Moore last year over on my youtube channel and so needless to say I was pretty pumped for his new film Wolfwalkers.

All that said, expectations can be a dual-edged sword and we can be setting ourselves up for disappointment. Fortunately, with Wolfwalkers that was not the case; Moore has created another stunning animated film full of heart, and quite possibly his most endearing and easy to relate with characters yet.

Wolfwalkers tells the story of Robyn (Honor Kneafsey), a young girl whose widowed father has a mission to get rid of all the wolves in the forest. One day she meets a boisterous girl named Mebh (Eva Whittaker) who is looking for her mother. Robyn learns that Mebh’s Mother is an enchanted creature called a wolfwalker who is both human and wolf. This starts our girls on a series of adventures as they must convince the townspeople to protect the forest and save the wolfwalkers.

If that sounds a little familiar there are definitely shades of Princess Mononoke (1997) within Wolfwalkers, but the characters of Robyn and Mebh are so different and the animation has such a different texture that it works. Plus, it’s a story we need to hear over and over again because we don’t seem to be listening very well! Where I felt especially gravitated to is Robyn and her attempts (mostly failed) to try and explain what is happening to her father. She pleads so hard for him to listen, but he rarely does. How often is that the case with each of us and the young children in our lives?

Mebh (Eva Whittaker) and Robyn (Honor Kneafsey) in a scene of Wolfwalkers | Apple TV+.

As I said, the animation is absolutely stunning in Wolfwalkers. I loved the hand drawn look to everything and the incredible attention to detail in the backgrounds and character designs. Just as in Song of the Sea captures the swirling nature of the sea in nearly every frame, so Wolfwalkers has a feeling of wind, torment, and fire in every inch of every frame. No part of the screen is left vacant or bare, and yet it’s not overwhelming visually, because the story and characters are so engaging. It just adds to the feeling that you are witnessing a special film, crafted with care (and let’s be real, a lot of animation is mass produced for laughs these days with the artistry forgotten).

But if you are concerned Wolfwalkers may be too intense for kids, don’t be. It has a positive energy, particularly with Mebh, kids will love, and the intense sections aren’t any worse than films like Beauty and the Beast, Pocahontas or Secret of the Kells. I’d say Song of the Sea is probably more morose and sad than Wolfwalkers, so if your children have seen that (and they should) they will be fine with this.

Mebh (Eva Whittaker) and Robyn (Honor Kneafsey) in a scene of Wolfwalkers | Apple TV+.

Moore has brought back the music team from his previous films with a beautiful score from Bruno Coulais and the band Kila. It helps draw you into the story, and combined with the animation, makes for an electrifying experience.

As a lover of animation, Wolfwalkers easily took the top spot for my favorite movie of 2020. It’s a glorious film the entire family will love. Currently it can be rented as part of the Toronto International Film Festival (#TIFF) for a rental fee. If you miss it there it will be coming to Apple TV+ this fall and to some theaters. Keep an eye out for it; Wolfwalkers is a wonderful animated film.

Recommendation: STREAM IT

REVIEW: I’m Thinking of Ending Things

NETFLIX
Rated: R
Run Time: 134 minutes
Director: Charlie Kaufman

So, I would place director, Charlie Kaufman in the same category as David Lynch. Both have never really made a customary film with things like a linear plot, even tone, clear purpose, and actual resolution. Both are some of the most talented screenplay writers of our time that employ groundbreaking creativity, and both have the same effect on actors: that is, the actors will do anything to be in their latest film. If I could just lump them together, I would say, “They both have gained success making really weird movies.”

Kaufman directed and/or wrote films like Being John Malkovich, Eternal Sunshine of the Spotless Mind (personal favorite), Anolmalisa, Adaptation., and Synecdoche, New York. All are extremely unique, are difficult (at least for me) to understand, and often involve elements dealing with human psychology and mortality. There’s also a recurring theme of puppets… In fact Anomalisa utilizes puppets for all of its characters, though it’s one of the most humanistic films I’ve ever seen. They all utilize music, poetry, literature, and just great original writing to really enrich themselves, and it’s all from the mind of Kaufman.

Though his latest release through Netflix, I’m Thinking of Ending Things, takes a turn for the more creepy, all of these elements (minus the puppets this time) can be found here. Whether some of those aforementioned quirks sound captivating enough to reel you in or make you shrug or sigh and cause you to overlook this film, I understand either way. This movie is not for everyone. I’m not even sure it’s for me.

In I’m Thinking of Ending Things, a woman and her new boyfriend take a trip to his parents’ rural, isolated farmhouse. What’s supposed to be a dinner with awkward pleasantries turns into a night that loses its grip on reality and exploits the woman’s dark thoughts on life and time. 

Jessie Buckley as Young Woman, Jesse Plemons as Jake in I’m Thinking Of Ending Things. Credit: Mary Cybulski | NETFLIX © 2020

Here’s some of things I love about it:

There’s this bizarre yet honest first person narration from the main character, played by Jessie Buckley, that truly feels like it’s out of a bestseller novel (the film is based off a book by the same name). This narration is interactive, constantly interrupted, and enhanced by a beautiful score.

The movie involves a lot of pastime with Buckley’s character and her boyfriend, played by Jesse Plemons, driving in a car on a snowy, lonely highway. Their discussions caused me to write down quotes that I thought were so insightful and relatable about little details in life. Unfortunately, most of those details are rather bleak, but like I said, the writing alone will keep you entertained for a good while. There’s some truly poetic monologues and dialogues. 

There’s an unsettling figurative backdrop that leaves you waiting for a jump scare, but it never comes because it’s not that type of movie. Rather, the plot clumsily bumps into disturbing details of morbid animals, distorted time, and erratic behavior. There’s even quirky moments of genuine, relatable comedy that somehow isn’t out of place. There’s even a beautiful contemporary dance out of nowhere that feels clever and right. The whole thing makes your eyes widen, and I appreciated how the movie got me to feel just as uncomfortable as the main character. 

Finally, to complement the great writing and direction, the acting is impeccable. Both Buckley and Plemons, as well as Toni Collette and David Thewlis, give great performances with a wide range of emotion and state of mind.

When it comes to what I didn’t necessarily enjoy, and what might make people stray away from watching is just how terribly vague and bizarre the movie is.

(From left to right) Jesse Plemons, Jessie Buckley, Toni Collette and David Thewlis in a scene of I’m Thinking of Ending Things | NETFLIX.

Most people like to have some sort of grasp of what is going on in the movie they’re watching. Maybe it’s just me, but this film will likely prove difficult to get a grasp. The whole time, you’re not sure whether there’s a supernatural haunting going on, there’s some sort of black hole that’s affecting time and space, one or more characters are losing their minds, or if you’re not even close and the whole movie is some sort of a metaphor. Trying to understand the movie just kind of leaves you in a blur. The secret may be to just not try too hard, and let the movie pass through you…or something. If you know the point of the movie, please comment below!

It ends up feeling like a bizarre dream you had the night before and you’re trying to recall later in the day; you’re left trying to remember vague scattered pieces. I have to admit, I have the same attitude in both scenarios: earnest effort to listen and see it through, but overall confusion. And there’s the same urge to move on and forget the story forevermore.

But, that doesn’t mean you shouldn’t watch it. If you’re a fan of Kaufman or you can appreciate a film for its qualities without requiring all the answers, give this a try. Otherwise, I think this may be irritating to a lot of viewers. Either way, I’ll leave the general invitation to give this a single watch.

Oh, and a warning: I’ve heard the word “horror” floating around to describe this film, but I would call it psychological suspense. DO NOT watch this with a group of friends expecting a unique horror film. Your friends will likely leave early and judge you for putting them through it.

Recommendation: STREAM IT

ACTOR SPOTLIGHT: John David Washington

Before the release of Malcolm X (1992), Denzel Washington was already a rising star and an Oscar winner. Under the direction of Spike Lee, he would receive widespread acclaim and yet another nomination for portraying the famed activist and minister. Yet the film marked the genesis of another, unexpected career. In one of the final scenes of the film, young Black students in a Harlem classroom come to their feet and declare with resolve and reflection, “I am Malcolm X!” Lee invited Denzel’s oldest son, John David, to play one of the kids, and his parents agreed. Lee saw it as an opportunity to enhance the young boy’s resume, but even he couldn’t have anticipated that John David Washington would be fated to have a career as great as the film he debuted in.

Washington is the son of not one but two famous parents; his mother Pauletta Pearson Washington is also an actress and Juliard-trained pianist that has worked on Broadway as well as in film.  Acting appealed to Washington from a young age; he recalls being enchanted by his mother’s music and his father performing Shakespeare in the park [1]. But he also wanted something for himself, far from the impressive shadows of his successful and talented parents. He found that independence in playing football. Washington soon established himself as a talented running back in high school, an All-American recruited by several FBS colleges. His choice to attend and play for Morehouse College was unexpected, but he held the record there for career rushing yards for seven years. Upon graduation, he suited up as an undrafted free agent for the St. Louis Rams, but never made it to the field. Instead, he spent some time playing in the United Football League and overseas. While training for an attempted return to the NFL, all his athletic efforts ended with a pop; he had torn his Achilles tendon, and with it went his football dreams.

Despite the inherent dejection, the injury gave him the push to pursue his acting ambitions. His mother took him to his very first audition, while he was still on heavy painkillers from surgery and in a boot [2]. The get-up probably made an impression because after multiple, grueling auditions he landed the part in HBO’s Ballers (2015-2019) alongside Dwayne Johnson. Considering his background, playing the role of a controversial football star seemed tailor-made and Washington excelled. He continued his work in Indie films, starring in Love Beats Rhymes (2017), Monsters and Men (2018), and All Rise (2018). While filming The Old Man and the Gun (2018), he got a text from Spike Lee. The director invited him to read a book about the first black police officer in Colorado Springs, who also managed to infiltrate the Klu Klux Klan. When he finished the compelling narrative and came back to report, Spike said, “See you this summer” [3]. Just like that, within 3 years of making a career change, Washington had the leading role in a historical drama that was nominated for Best Picture, for which his performance was universally praised.

John David Washington in a scene of Christopher Nolan’s Tenet | Warner Bros. Pictures.

As if that weren’t impressive enough, Washington’s next gig was the lead in a Christopher Nolan movie alongside Robert Pattinson, Elizabeth Debicki, and Kenneth Branaugh. The mind-bending spy-thriller Tenet (2020) is now playing everywhere that theaters are open. It proves that Washington has what it takes to be an action star, as his athleticism enabled him to perform many of his own stunts. I think it’s also worth adding a seemingly small detail about his performance in a Hollywood where most movies steer away from actresses that are taller than their male costars. Debicki, who is 6’3” without heels, walks tall and brings her acting A-game while Washington holds his own with the confidence necessary to be her costar. That presence, along with his killer fight scenes, is going to make him an international household name.

He’s still young in the business, but Washington isn’t taking anything for granted. And now that he’s proven how well he stands on his own two feet, injuries and all, perhaps we can see a collaboration within the brilliant Washington family. It’s plain to see he inherited talent, but the success he can claim for himself. What we’ve seen suggests there’s much more ahead for the second-generation actor; will he claim an Oscar, suit up as a superhero, or portray a historical icon? Whatever the endeavor, John David Washington won’t be filling anyone’s shoes; he’ll be taking to red carpets in a pair all on his own.

Citations:

  1. The Untold Story of John David Washington
  2. Mahershala Ali & John David Washington – Actors on Actors
  3. Conversations with John David Washington of BLACKKKLANSMAN

ROUNDTABLE REVIEW: Mulan

*Editor’s note: this is the second roundtable review we have done on Backseat Directors. This format has been a lot of fun for our writers, and you can expect to see this more in the future with bigger blockbuster type films. For a more comprehensive (spoiler-free) review of Mulan, check out The Formal Review’s Podcast episode 25 (season 3) and his thoughts of the movie.

Mulan is available VOD (video on demand) on Disney+ for $29.99. The movie will be available to all Disney+ subscribers to stream for free come Dec. 4, 2020.

Walt Disney Studios | Rated: PG-13 | Run Time: 115 minutes | Director: Niki Caro

Rachel Wagner: I’m not sure what I expected out of this new Mulan. I haven’t been a big fan of most of these Disney live-action remakes, but occasionally they will produce a winner. The trailers looked pretty good and I felt that it is a story that could warrant different interpretations. Unfortunately, what they came up with thoroughly underwhelmed me. The power of the original Mulan (1998) is an ordinary girl who makes sacrifices to save her father and learns to be a warrior. In this new version, Mulan has the power of “chi” and is destined to save China, which is far less interesting. I also thought the actress Liu Yifei was very wooden and flat in the role. I think this might have something to do with a language barrier, but whatever the reason it kept me from being engaged in the film. In the end, they went for a superhero, “chosen one” narrative, and that was a huge mistake; making for a film that nobody will remember in 2 years, let alone 22 like the original animated classic.

Recommendation: SKIP IT

CJ Marshall: An old basketball coach used to tell me that the road to hell is paved with good intentions. Disney’s live-action Mulan feels like a perfect example of this. Mulan (2020) is merely decent, and the external forces (politics, Disney classic remake, expectation) are hard to ignore, because they don’t allow this phoenix to fly. They’re trying to serve too many masters here, and in doing so, it lacks a focus and gravity that would have made it a better picture. A Wuxia remake of Disney’s Mulan should have been better than this…especially with Donnie Yen and Jet Li involved. If you are a Disney+ subscriber, just wait until the movie is available to stream for free in December.

Recommendation: SKIP IT

The Formal Review: As an Asian American, Mulan (2020) was a great experience, and frankly, it was the best thing that could come from a Disney remake of an animated movie. Unfortunately, the look of it won’t be appreciated because they won’t have a big enough screen to do so. The action and the colors and the costumes all looked great; though, historically inaccurate. Even though it’s trying to be diverse with its obvious attempt to be a wuxia film, it’s not exactly the genre it was trying to be. To tell an “authentic” story of a legendary Chinese warrior, Disney hired a white director, a white costume designer, four white screenwriters, a white composer, a white cinematographer, white film editor, and a white casting director. It was a good attempt, but a better one would be to have given a person of Asian descent the reins on at least one of those professions to help out. Having a female director is great, but there are plenty of Asian directors of all genders out there that could have directed this. The representation that it had on screen is important but so is the representation behind the camera as well. Even so, the score by Henry Gregson Williams is pretty amazing. Though controversial, the film had some really good acting by the many stars. It dared to be different while also feeling the same. It had a lot of good things that make it worth the watch. I recommend splitting the $30 rental price with some family or friends, and enjoy the movie together.

Recommendation: STREAM IT

Parker Johnson: In an ironic twist of fate, the parts where Mulan (2020) honors the original animated movie with its own twists were the parts that I most enjoyed throughout the movie. The relationship between Mulan and her father was expanded beautifully. I think the writers really understood that their relationship drove the whole story, and executed that part of the story perfectly. I thought the group of soldiers were portrayed wonderfully here, and I wish we got more time with them individually as opposed to just the love interest. The callbacks to the original musical numbers in both the score and dialogue was executed brilliantly. Sadly, every distinctly original element of this live action adaptation felt out of place or completely irrelevant to the story. The way chi is used in this story just felt like a lazy way to justify wire-fu to Americans not familiar with Asian/martial arts cinema, rather than having Mulan have natural talent in addition to her hard work and training. The witch detracts from Jason Scott Lee’s imposing performance as Bori Khan and his army, both in screen time and importance to the plot, and the idea of chi as traditional magic further muddles the idea of chi. Finally, the phoenix is literally only there for the most in-your-face symbolism since Game of Thrones. Mulan is one of the best live-action Disney Remakes alongside Cinderella (2015) and Aladdin (2019), but it still falls short of being great. I would advise those who want to see it to wait until December when it will be free to watch. Although somewhat enjoyable, $30 is just too much to pay.

Recommendation: SKIP IT

Our Writers

The Backseat Directors team of writers is a collection of some of the most passionate movie fans ever assembled. Dedicated to bringing you the latest in movie reviews, and compelling editorials.

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