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Light from Light (2019)
Artfully Pondering the Mystery of Life
Imagine a meditative film about "ghost hunting", coming from a place of introspection and honesty- this is "Light from Light". There's nary a false note or sensationalized anything here. Really gentle and moving and filled with human performances- Marin Ireland and Jim Gaffigan are fantastic as lived-in characters given dialogue that feels real, like conversations you might have in their situation. Both naturalistic and transcendental is hard to pull off; it's easy to be over-the-top. Much harder to convey something that's both magical and earthy, or the creation of a film that feels like the closest approximation to life possible. That's what "Light from Light" is, and it's rare and lovely.
So, if you're a fan of thoughtful, soulful indie films, then you've come to the right place. Reminiscent of the film "Columbus" by Kogonanda. If you know of that film or have seen it, then this feels like a kindred spirit. Highly recommended.
Standing Up, Falling Down (2019)
Good Writing and Chemistry Never Gets Old
A failed 30-something comedian commiserates with a regretful 60-something dermatologist. Hi-jinks and Friendship ensue: the comedic drama, old-fashioned style- tried and true themes of failure, regret, the search for redemption, finding it where you least expect it, etc. Pedestrian and cliche? Slight and minor? If you say so, but what if the movie's good? "Standing Up, Falling Down" knows what it is and stays within it's wheelhouse- you're drawn in without really expecting it because it feels human in that uniquely cinematic way. It's also buoyed by great chemistry between its leads. Ben Schwartz, mostly known for his more over-the-top comedic performances, plays it closer to the vest here, almost the straight man to Billy Crystal, who, while not really being a dramatic actor, pulls off his role with aplomb. It's nice to see a movie like this sneak in behind enemy lines- one that wears its heart on its sleeve without being maudlin or cynically pandering to some kind of denominator. It's a movie that's quietly profound- sure, kind of in a bumper sticker way, but you don't go to the movies to watch filmed philosophical treatises. I ended the film with a smile in my heart- that's gotta be worth something...
The Assistant (2019)
A Composed and Measured Topical Movie
"The Assistant" is compelling because it is not a scandalous rehash- it's a day-in-the-life-of. This is a carefully calibrated film with a tight script and great editing- image and sound. A strong, subtle performance by Julia Garner. Her face is riveting in that great actor way of conveying a lot without chewing the scenery. You might think this kind of stripped-down procedural style might be boring, but it's not here- the supporting characters aren't much but they convey exactly what they're supposed to- ciphers in the best theatrical sense. The only real criticism could be that things kind of fly by without explanation- granted, this is to convey a sense of her busyness and the tedium of it, but there are times when you're not quite sure what's what. Thankfully, though, the significant, thematic moments are not among these. It's a tightrope throughout and in lesser hands would be kind of a disaster. Here, it's interesting- Altman-like in that '70's style.
All in all, the kind of topical movie that's a breath of fresh air- not overwrought and from a pulpit. Still, an incisive portrayal, a kind of death-by-a-thousand-cuts depiction of a disturbing normality. Recommended for fans of thoughtful indie films- this is not a thriller or a plot-based narrative, so don't worry if you forget to buy popcorn before it starts.
Timmy Failure: Mistakes Were Made (2020)
A Gem of a Film for All Ages
"Timmy Failure" is a Disney film about a kid detective and his imaginary polar bear partner, but it's also just a whiz-bang quality movie that will knock your adult socks off! Ha. But seriously: it's routinely laugh out loud funny, not just the polar bear and his antics, but the surprisingly witty asides and gags that any comedic screenwriter would kill to pull off. Ideally this kind of movie would get a wide theatrical release, but the reality is it's a little too niche for that. Still, it's the kind of entertainment that's too good not to eventually find its audience. Highly recommended for kids and adults alike.
Horse Girl (2020)
Quirky Indie Movie meets Surreal Odyssey
"Horse Girl" is the story of a lonely, awkward woman who has recently experienced severe trauma and is struggling to deal with it without a suitable support structure. The dialogue here was not scripted out in advance; just a detailed outline from which the actors improvised their lines. There's a unusual feeling of authenticity because of it- not because it seems like a documentary (far from it!), but because in the midst of all the super-weirdness there are surprisingly human and relatable characters.
This is a quirky indie movie, but it's also an existential mediation; it's a bizarre out-there odyssey while also being a bedroom character study. How far you go with it will depend on your toleration for this kind of melting-pot of different genres. But if you're a fan of surreal films that grapple with the nature of reality and how we experience it, then, while you might not revere this as a masterwork, it's definitely worth your time.
Gretel & Hansel (2020)
Artful Atmospheric Horror with a Wide-Release Budget
If you love A24 horror movies like "The Witch" or "Midsommar", then you should dig this. This really feels like what a super-dark occult fairy tale would look like on screen. The focus is on Gretel as a young woman in a super-patriarchal world who both yearns for and rejects the power the witch is helping her own. The cinematography is not only beautiful but really accentuates this internal struggle. At the same time, the screenplay is coherent and not preachy- more show than tell. Sophia Lillis as Gretel is perfect here and really anchors these themes, and Alice Krige as the Witch is not just a one-note baddie. The direction reminds you sometimes of Lynch and Jodorowsky, but if you've seen Oz Perkins' previous two films, you will know what to expect- he's fantastic and unique in this day and age. A master of the slow-burn.
Recommended for the more discerning horror fan. I love Blumhouse movies too, but this ain't that. Not a slasher or a thriller or a jump-scare-a-minute type. You have been warned!
Underwater (2020)
Well-Directed Popcorn Horror with a Pulse
"Underwater" jumps in knowing exactly what it is and succeeds because it doesn't pander to any other expectation. This is a 90-minute aquatic horror pulse pounder buoyed by great direction and cinematography; I highly recommend the director's prior movie "The Signal" (2014)- the dude's got chops. This is the kind of movie that gets criticized for lack of character development and thin plotting, even though the lack of both is exactly the point. The script gets out of its own way and lets the characters just react. Kristen Stewart and co. are excellent and you root for them. Bonus points for the ending, which is surprisingly moving. Definitely recommended. If anything about aquatic horror interests you, you've come to the right film.
Murder Mystery (2019)
An Enjoyable Whodunnit Comedy
"Murder Mystery" is an enjoyable, funny lark: an Agatha Christie- style whodunnit mystery spoof that surprises for being a well-made film. There's action here along with the comedy. Surprisingly good production value with a nice size budget, and able direction- a car chase at the end wouldn't have been out of place in a Fast and Furious film. Several times I unexpectedly ha'd out loud- some nice one-liners and running gags that play to the strengths of the leads. Speaking of: Sandler and Aniston groove well together and give the film a consistent backbone: you like them together and want to keep watching. You will recognize the supporting characters, who play amiably against type, really selling the silly, over-the-top nature of the film in a way that doesn't feel forced. Overall, very engaging- a screwball comedy hitting the strike zone of exactly what it is.
Brightburn (2019)
Dark and Dangerous and the Critics Whiffed
"Brightburn" is an old-school pre-Guardians troma-ish style James Gunn horror movie (although he didn't direct this one). Think "Slither" and "Super" but pitch-darker and coal-eyed and slightly, mysteriously inaccessible. There's very much an indie feel here, and as such, a very efficient use of resources: excellent production value on a blumhouse level budget, smart and visceral direction that doesn't forsake the character interaction, timely use of extreme gore in the right places to maximize the supervillain threat-level, filmic and gloomy late 70's John Carpenter style cinemtography, and a solid screenplay that deftly toes the line between a super-slasher horror and pointed social commentary.
Recommended for horror fans who like good old-fashioned hard-R gore, but also someone who's more inclined to indie horror, but might take a flyer on a more mainstream offering. If you come into this one with an open mind, not expecting it to be anything in particular, I think you will come away pleasantly surprised by the level of craft on display.
The Dark (2018)
A Surprisingly Excellent Horror-Drama
I had no real expectations going into this, nor did I read a synopsis. It just seemed like the kind of horror movie I like, so I took a flyer on it. Let me just say: I'm really glad I did. It's really lovely to go into a movie and then watch it unfurl in front of you in unexpected, well-done ways, to build characters and bring them to fruition in a very touching manner, all while telling a dramatic-horror story that doesn't shirk from darkness and gore, when necessary. All this to say: an extremely well-done film. If you tend toward the indie side of things, then this is definitely for you. However, like I said, there is also plenty of traditional horror happenings, but they are all in service of the story (excellent!).
Let me start a new paragraph to sing the praises of two things: the direction/cinematography and the lead actress. The director also wrote the film, and the cinematographer is listed as co-director as well, and this shines through in some absolutely gorgeous frames where the camera is held still in some beautiful shots. As with all great direction, there are no wasted movements or shots here: the camera is moving when it needs to, and when it needs to be still, it is. But while all of this techinical work was excellent, the real star of the film is the lead actress, Nadia Alexander. She is absolutely remarkable, fleshing out the totality of a role that in the hands of a lesser actress would be one-note and usual. Her character arc is a marvel to behold, and I would be very surprised not to see her continue to blossom in larger profile roles as she gets older.
In summation: if you like indie dramatic-horror that prizes story/characters as much as scares/gore, then this movie is definitely for you. A Must See, in my humble opinion....