Sundance Review: ‘Sasquatch Sunset’
Jesse Eisenberg And Riley Keough Lead The Zellner Brothers' Strangely Heartwarming Bigfoot Comedy

By
Travis Hopson
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Sasquatch Sunset

Part of the fabric that comprises the Sundance Film Festival, the Zellner Brothers, David and Nathan, have taken audiences on multiple journeys into the weird and surreal. One of my all-time favorites here was 2014’s Kumiko the Treasure Hunter, this oddball road trip journey about an introverted Japanese woman in search of the stolen loot in the Coen Brothers classic, Fargo. The Zellners returned a years later with the Western dark comedy, Damsel. But their most whimsical cinematic experience has arrived this year with Sasquatch Sunset, an expansion of the siblings’ earlier fascination with Bigfoot culture, captured in their short film Sasquatch Birth Journal 2.

The Zellners…I’ve always said they make movies that the two of them would love, and if you happen to be riding the same strange sort of vibe that they are then you’ll forever be a fan. I guess I’m on the same wavelength because their movies always strike a chord. Sasquatch Sunset does as well. Beginning after the infamous grainy photo of a supposed bigfoot captured in 1967, the one that launched a thousand conspiracy theories, the story actually follows four such creatures. Two of them are played by Jesse Eisenberg and Riley Keough, the biggest names in this movie by far. But if you didn’t already know that, you’d never know it was them buried under all of that fur.

You quickly become gripped by this bizarre, mystical little world the sasquatch exist in. Eisenberg and Keogh’s characters appear to be a couple, or at least they don’t mind bangin’ one another in the woods, disrupting the poor woodland animals trying to eat their breakfasts. In the midst of this hairy fornication, they attract the attention of two more sasquatches, a lunk-head played by Nathan Zellner, and another that appears to be his son or companion, played by Christophe Zajac-Denek.

The movie follows these four as they wander through the woods, eating anything and everything under the sun: fruit, foliage, poison mushrooms. There’s a constant danger looming every time they shove something into their mouths, or encounter a new predator animal. In fact, there’s threat behind just about every interaction, even among themselves. The sasquatch communicate through grunts, by flinging poop, and simple hand gestures. When the alpha male wants sex, he bangs his fists together and makes wild noises. His mating call is hilariously ineffective, like some sort of stone age incel unable to talk to women.

There isn’t much plot to speak of, but there’s still a lot more going on in Sasquatch Sunset than it appears. Over time, this group of mysterious beasts becomes something close to family, and we feel their urgency as they fight to protect one another from life or death predicaments, which happen at the turn of nearly every season. We feel their heartbreak when one of their number is lost, we feel their confusion as contemporary man begins to encroach on the natural world. If there’s a lingering dread in the film it’s as the sasquatches venture further into the realm of man. The discovery of a boom box finds the sasquatch encountering human music for the first time and let’s just say if you aren’t a fan of the New Age soundtrack then you’ll enjoy the beasts’ explosive reaction. By the end of Sasquatch Sunset you might find yourself enjoying a lot about the life of these mythical creatures, and maybe even understanding why they choose to keep to themselves.

Sasquatch Sunset will open in theaters on April 12th courtesy of Bleecker Street.

Sundance Review: ‘Thelma’
June Squibb And Richard Roundtree Are A Perfect Action Duo In Josh Margolin's Delightful First Feature

By
Cortland Jacoby
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As an “old lady action-movie,” Thelma is everything you want it to be.

Directed and written by first-timer Josh Margolin and inspired by his own grandmother, the film follows 90-something Thelma Post (June Squibb) as she lives a mostly independent life in her small Los Angeles home. Her beloved grandson, Daniel (Fred Hechinger), comes over often to help her with technology and watch Tom Cruise films, but for the most part, she is functioning just fine.

When an internet scammer (Malcolm McDowell) calls impersonating a lawyer and saying her grandson was responsible for a car accident, she listens to them and mails $10,000 to a Van Nuys P.O. box. While her family is relieved that she is okay, Thelma just can’t let it go. With the threat of possibly moving into an assisted living home by her overbearing daughter (Parker Posey) and opinionated son-in-law (Clark Gregg), she is determined to get her money back.

Her embarrassment leads her on a journey across Los Angeles, ditching her grandson for Ben (Richard Roundtree), the husband of a deceased friend who she knows has a scooter. He joins her begrudgingly, but they soon hop on the mobility device in search of revenge, despite being chased by Thelma’s family.

In all of her years in show business, June Squibb has never had a starring role. She’s stolen many films with supporting parts like Blow the Man Down, Nebraska, Palm Springs, and Summer ‘03. She brings that scene-stealing quality she’s spent years perfecting to Thelma. Her comedic timing and delivery have never been sharper. She has chemistry with every single person she comes into contact with. She may not have been given this opportunity before but Squibb does not waste a second of it.

Her performance is only elevated by Mangolin’s script. Fiercely funny, touchingly sweet, and outright intense at times, you would never know this was his first feature film. His ability to amplify the dangers of getting older makes everyday low-stakes tasks feel like the most thrilling feats in the world. Rolling over on a bed or walking up steps feels like running across a moving train or jumping off a building.

Nick Chuba’s score is perfectly placed in these moments, adding a comedic intensity that could be likened to Ocean’s Eleven. Combined with Margolin’s direction and editing, Thelma is –without a doubt– an action film, complete with the visual motifs you’ve come to expect from the genre. Squibb finally gets her moment to walk away from an explosion.

It would be wrong not to mention the late and great Richard Roundtree, who died in Oct. 2023. What a film and part to end on. Charming and still sexy, his Ben gives Thelma the wake-up call she needs to accept the reality of the situation. He blends with Squibb so beautifully and proves that he still has some of Shaft in him.

Every time Fred Hechinger appears onscreen with Squibb, you can tell he just adores her. Playing the directionless but well-meaning grandson with overbearing parents might feel slightly similar to his role on The White Lotus, but that is quickly forgotten when it becomes clear how devoted he is to this lady onscreen and off.

Over the last couple of years, filmmakers have explored the inner lives of elderly people wrestling with aging and giving up their autonomy. Last year’s Jules, Moving On (also starring Roundtree and McDowell), 80 for Brady, and the Book Club series come to mind. However, these comedies seem to work best when paired with another genre. With Thelma, the heist movie gets a June Sqiubb makeover and it’s never looked better.

Sundance Review: ‘Love Me’
Kristen Stewart And Steven Yeun's A.I. Romance Is An Ambitious, Failed Experiment

By
Travis Hopson
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Love Me

Sundance is often a place of experimentation, and that’s one of the great things about it. The quite experimental sci-fi romance Love Me was one of the most intriguing titles at the festival because the premise is so out there: a buoy and a satellite fall in love. Okay, how’s that work? And why does the promo image feature beautiful, and very human, stars Kristen Stewart and Steven Yeun? The answer is the problem. First-time filmmakers Sam & Andy Zuchero take a home run swing with an ambitious post-apocalyptic romance that never reaches the emotional heights or originality the filmmakers believe they have achieved.

Let’s get the praise out of the way first because there’s some good stuff to say about Love Me. Technically, this is a marvel of production for an indie film, utilizing multiple mediums including motion capture, animation, and live-action, and it all looks studio quality. Even the score is sweeping and romantic, whisking the audience across eons and into a rollercoaster romantic relationship. Sam & Andy suggested that movies like this will be the way of the future, and maybe that’s true on a visual front, but storytelling still matters and that’s where this film gets a failing grade.

In a clever sequence that reminds of Pixar’s Wall-E, we see the creation of our galaxy and that of Earth itself. Rapidly sprinting across millions of years, we see the Big Bang, the arrival of humans and the world today, then another flash, humanity is wiped out, then an Ice Age. It all happens in seconds and it’s pretty funny. Then, the sun returns. An ice thaw reveals a digital smart buoy (voiced by Stewart) that is eager to find something to communicate with. Looking into the sky, it sees a satellite (Yeun) tasked as a storage space for all of humanity’s collective knowledge. The satellite’s main charge is to inform any lifeform it encounters about Earth and what happened to humanity.

Desperate to not be alone anymore, the buoy reaches out to the satellite and their initial conversations through broken digital dialect is one of the movie’s cutest aspects, a rom-com of broken ones and zeroes. But the buoy misrepresents itself in order to trick the satellite, using the social media videos of vapid influencer Deja (also Stewart) to create an entirely new persona. The buoy is now Me, and the satellite slowly begins to accept its role as I am, a digital version of Deja’s real boyfriend Liam (Yeun). Drawn into a virtual world that replicates the couple’s apartment, they begin sharing a “life” together, crafting Blue Apron recipes for an audience that doesn’t exist, planning “Date Nights” that don’t actually lead to anyplace. Over the course of thousands of quesadilla nights, ice cream desserts, and episodes of Friends, they begin to act out the contours of a real human relationship. And as humans, we know that those happy moments aren’t forever. Eventually, he begins to bristle at the tight constraints of their union, while Me is unsure, knowing herself to be a fraud who is only playing at being human. If I am evolves, he’ll learn that Me is really just a buoy floating out in the water all by itself, with little to offer. Eventually, things get so awful that a split has to occur, giving both sides time to discover who they truly are without the other. We’ve all been there, right?

There are aspects of Love Me that feel shockingly real and true, and others that are like a thought experiment gone awry. Its commentary about our social media age and the corrosive effect it has on our sense of self is scattershot at best, and also feels strangely out of date? But the film also goes off on wildly uninteresting tangents, like when I am discovers how to create water (a lot of this stuff is never explained; shit just happens) and goes on a taste-testing binge. Enraged breakdowns allow both Stewart and Yeun to scream a lot, cry a lot, and dance a lot, but they don’t add anything substantive or say anything truly original. A big problem with the film is that, despite its unique premise, the romantic conflict has been done before and done better elsewhere. Strip out the sci-fi elements, the buoy and the satellite stuff, and what you have is one person whose lack of self worth leads to controlling behavior, and another who struggles to break free from it. Ultimately, the filmmakers have put a lot of the burden of blame on Me, which makes her grand epiphany hollow and unearned.

There are some interesting avenues that could’ve been explored to greater depth, such as humanity’s lasting legacy and impact. Me figures out who she wants to be by exploring Youtube videos, searching through Google, and more. What she finds is a wildly complex humanity that does everything for show, to get Likes and Follows. In a funny little exchange, the buoy and satellite try to impress one another with memes, in order to secure the only Like they could ever achieve from the other. When the satellite, saddened that the buoy didn’t offer a Like to his silly meme of a dog with a Cheetos bag on its head, it says “You didn’t like it, so you don’t like me.”

Love Me offers another challenge for Stewart and Yeun, two actors who have made taking on challenging roles a common thing. Both show vulnerable sides to themselves here, and occasionally have moments that burn raw with passion drawn from a personal place. Ultimately, they aren’t the film’s problem. It feels like a great idea for a short that people might’ve actually loved, but grew out of control into a curious experimental failure.

Review: ‘Cult Killer’
Alice Eve Has to Team Up With A Serial Killer To Right A Wrong

By
Khalil Johnson
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A second chance at life has been granted to Cassie (Alice Eve), a recovering alcoholic. She has spent her whole adult life staring down a bottle while battling the demons of years of sexual abuse, having endured a tremendous deal of trauma as a youngster. She meets Mikhail (Antonio Banderas) one evening, who stands up for her against a group of “alpha males” who want to take advantage of her because she stole their drinks. To help her get clean, he therefore takes her under his wing as a sponsor and trains her in his area of expertise: private investigations. She is perceptive and picks up his techniques fast, but Mikhail is killed while looking into a fresh case.

In the following one-and-a-half hours of Cult Killer, we follow Cassie as she looks into the death of her mentor and the dark path she must follow to discover what he was looking into, why he was killed, and how she can help clear his name from the mess he was looking into. And what he was looking at was DARK, as in, the darkest SVU episode ever! As she tracks out Mikhail’s killer, she must also look into what exactly he was looking into when he was slain, as well as clear his name of any unethical information she comes across.

Following the standard investigative procedures, Cult Killer initially appears to be a mystery. However, once Cassie encounters Jamie (Shelley Hennig), Mikhail’s killer, Cult Killer’s story swiftly turns into a thriller. Rather than murdering one another, they begin to form a shaky alliance to carry out the inquiry into “why” Jamie is picking on the wealthy in their neighborhood. Their relationship is fascinating since it begins with Cassie seeking revenge on Jamie, but it turns to a partnership/sisterhood as Cassie realizes Jamie is just as damaged by sexual abuse as she is. Though there are brief flashbacks that allude to Cassie’s abuse, Cult Killer does not depict the heinous actions, and fortunately, we are spared the details of what these wealthy douchebags got up to after we discover what they were up to. If they had, the film would have been difficult to watch.

As stated, Mikhail dies relatively early in Cult Killer, you don’t put someone with great range like Antonio Banderas in a movie for a fifteen-minute cameo. As we see Cassie in her final form when it comes to investigating and fighting, flashbacks sprinkled throughout the film give Banderas some time to shine as a gentle father figure. One interesting aspect of the flashbacks is that each flashback informs the scene that is happening in real-time, whether it’s Mikhail teaching Cassie to knife fight, or how to case a room for clues.

As Cult Killer rushes to the finish line in the third act, we are treated to more exposition dumps than a different storytelling device. The golden rule is always “show, don’t tell,” and telling towards the climax of the film took some of the steam out of it. Of course, the end is mostly satisfying (it does get a little melodramatic in the last five minutes), but the film starts to dip into the formulaic in the last few minutes for the dramatic finale, even bordering on the incredulous. Also, the film is mistitled. The bad guys really aren’t a “cult,” more just a group of sadistic sociopaths.

That said, Cult Killer is a fun time. Having some restraint in not displaying the film’s disturbing sexual content is a good choice as well as it spares us of some craziness. It has a good amount of grit, and Banderas is great as always. The film lives and dies with the performances of Shelley Hennig and Alice Eve and their dynamic. Going from a cat-and-mouse chase dynamic to a sisterhood of trauma works for the most part as both actresses deliver fine performances. Overall, Cult Killer is a fun time as it tries to tackle a serious issue as well as deliver a few good action scenes.

Cult Killer is currently available in theaters.

Cult Killer

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‘Empire Of The Summer Moon’: Taylor Sheridan To Direct Epic Film About Comanche War Leader Quanah And The Tribe’s Fall

By

Travis Hopson

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January 19, 2024

Already you can find some people out there saying that Taylor Sheridan is looking to bank on the success of Killers of the Flower Moon, but the Wind River director and Yellowstone creator has always made Native American stories central to this projects. And so it makes perfect sense that he’ll be adapting Empire of the Summer Moon, about Comanche war leader Quanah Parker.

Sheridan’s Bosque Ranch won a bidding war for the rights to S.C. Gwynne’s 2010 novel that centers on the 40-year struggle between the Comanche people and white settlers for territory. That same year, Scott Cooper was circling an adaptation of the book, but that never panned out.

Sheridan will produce, write, and direct the film which will center on Quanah Parker, whose mother was kidnapped by the Comanche when she was nine, her abduction inspiring such films as John Ford’s The Searchers. In Quanah’s case, when she was finally discovered, she was already married with a child and refused to leave the tribe, having no recollection of her former life.

Outside of his vast Yellowstone empire, Sheridan most recently directed Angelina Jolie in 2021’s Those Who Wish Me Dead.

Gwynne loves having Sheridan aboard, saying “I can’t think of anyone better qualified to bring “Empire of the Summer Moon” to the screen than Taylor Sheridan,” the writer said in a press statement. “He has a deep and nuanced understanding of both the myth and reality of the Old West. I am thrilled that he is undertaking this project.” [Deadline]

Sundance Review: ‘Freaky Tales’
Battle Rappin', Nazi Killin', Kung Fu Revenge Fantasy Is Destined To Be A Bay Area Classic

By
Travis Hopson
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Freaky Tales

When I told some of my friends that I was seeing a movie here at Sundance titled Freaky Tales, they all had the same comeback question, “What, is it a Too Short biopic?” That’s fair. The West coast rapper dropped a classic in 1987 with his album, Born to Mack, featuring the titular track. And…well, they weren’t entirely wrong here, because Too Short is an exec-producer and even has a small role in this wild anthology revenge fantasy from the duo of Anna Boden and Ryan Fleck, set in the Bay Area of…you guessed it, 1987. It’s a film drawn from Fleck’s memories of growing up in Oakland, the places he cherished, and the people who inspired him. It’s the kind of crowd-pleasing effort that Sundance is often so good at kicking off the festival with, and it left the crowd roaring with applause when the credits rolled.

Boden and Fleck are what I like to call “Sundance royalty”, ever since their feature-length breakout here in 2006 with Half Nelson. They’ve brought other high-profile films here, including Sugar, and most recently Mississippi Grind. Outside of this, they directed the big budget MCU film Captain Marvel. But Freaky Tales is closer to what I think their strength is; enjoyable underdog stories with an edge. The more retro, the better. And in this case, they go all-out nostalgia with references to The Warriors, Game of Death, and the punk rock and West Coast rap sounds of the ’80s.

A collection of four stories loosely connected by events and a mysterious, possibly extraterrestrial green energy, Freaky Tales begins with a punks vs. Nazis showdown starring Avatar: The Way of Water‘s Jack Champion and Ji-Young Yoo. With The Lost Boys showing at the nearby movie theater and driving some funny conversation, a truck load of Nazis heckles those just leaving. It isn’t long before those same skinheads are on the attack, bullying those at a punk rock club that caters to gays, blacks, and everyone under the spectrum. Sick of being pushed around, they decide to arm up and fight back using whatever weapons at their disposal. Boden and Fleck have fun with the visual: when Tina (Yoo) smashes a Nazi in the neck with a bladed armband, comic book-style lettering splashes across the screen just as much as red blood goes squirting everywhere.

A chapter that could’ve used some punching up plotwise involves a battle rap between Bay Area rappers Barbie (Dominique Thorne) and Entice (singer Normani in her acting debut), collectively known as Danger Zone, based on the real-life duo who were key to Too Short’s track “Don’t Fight the Feeling.” The ladies, servers at an ice cream parlor, are confronted by a sleazeball cop (Ben Mendelsohn) with a grotesque use of double-entendre but are soon approached by an associate of Too Short who invites them to show where they can freestyle battle against the rapper. The ensuing showdown, in which Danger Zone endures Too Short’s big-booty attacks and slaps him around with verbal jabs of their own, is pure fire but needed more to set up such a hot finale.

They could’ve spared some of the time afforded to the third chapter, a crime tale led by Pedro Pascal as a small-time enforcer, Clint, who is about to bust up his last dude for late payment. He’s due to be a father and is ready to settle down with his lady, but of course, fate comes bursting in with violent intentions. However, the real showstopper happens before that with a terrific cameo from a beloved figure who talks Clint’s ear off with a quiz show’s worth of cinematic knowledge.

Action junkies will go nuts for the final story, though, in which Jay Ellis plays a Bay Area basketball legend, who goes absolutely batshit nuts on a bunch of Nazis who did him wrong. Boden and Fleck go hog wild on the movie references here, from Kill Bill to Enter the Dragon to Game of Death to Blade. This pure vengeful fantasy pushes Freaky Tales to the next level, and even features one of the final roles by the late Angus Cloud. While the film leaves audiences on an electric high with every triumph by the little guys, Freaky Tales is destined to be an instant West Coast classic.

Lionsgate will release Freaky Tales later this year.

Sundance Review: ‘In A Violent Nature’
A Jason-Like Killer Takes The Spotlight In Chris Nash's Fresh, Ultra-Violent Spin On The Slasher Genre

By
Travis Hopson
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Has there ever been a Sundance movie as unflinchingly brutal as Chris Nash’s In a Violent Nature? Not that I can remember, and there have been bloody horrors to cross into Sundance’s Midnight section. But none have the gnarly massacres put on display in Nash’s twist on the slasher genre, seen through the focused eye of a Jason-like killer with a grudge. The chilling change of perspective and ambient noise surrounding the killer as he stalks his prey makes for a unique horror experience with which to kick off the festival.

The film begins with one of those scenes we would typically see in flashback. A group of people uncover a locket in a collapsed fire tower in the woods. Stupidly, one of them snags it, awakening the rotting corpse buried underneath for years. Fueled by vengeance, the hulking figure proceeds to hunt down anyone involved with the token’s disappearance, and anybody else who gets in his way.

Nash, who both directed and wrote In a Violent Nature, focuses in on horror tropes that we know to look for, but does it in a way we’ve never seen. For instance, the killer, named Johnny, lumbers through the woods at a steady rhythm. His prey can run, hop on vehicles, whatever, but the film keeps its gaze on Johnny and his determined hunt. Any errant noise will send him pinballing into a different direction, his mind fully centered on the kill. When we ask ourselves how these slashers can always catch up to their victims, Nash sort of gives us an answer. Even though these sequences can test the viewer’s patience, they are nevertheless compelling because we’ve never been afforded the chance to see them before.

The usual group of eventual victims make their presence felt, but this movie isn’t about them. You’ve got the local park ranger with a history connected to Johnny’s past tragedy; a survivalist with disregard for authority, and of course, horny, irresponsible youths on vacation. As they sit around the fire telling scary stories about Johnny, you can feel his eyes piercing them from a distance. In the grand scheme of this movie, they’re just meat to be chopped up.

This deliberate, observational approach to the slasher genre is reminiscent of the work of Terence Malick, especially with Nash’s use of natural surroundings and sound to evoke images both beautiful and terrifying. But it adds something more to the viciousness of the slaughter, and let me tell you, Nash is a seriously twisted dude for some of the stuff he comes up with. Some are shockingly nasty and quick. Others, like one excruciatingly calculated murder involving a paralyzed victim and a logsplitter, will haunt your dreams. But it’s nothing compared to one death that is so twisted it boggles the mind, and had people in our screening groaning at the level of depravity.

It’s when In a Violent Nature strays from Johnny’s viewpoint that it goes off track. The final act features a “Final Girl” showdown with an unsatisfying conclusion, a change in perspective, and a shockingly dull road sequence that takes you right out of the film. It’s unfortunate because the film builds so beautifully to a face-off seen from the killer’s point of view. What does a Jason-like slasher see when he’s nearing the end of his body count? What does he do when it’s over? I wanted to see Nash’s vision for these answers so badly by the time In a Violent Nature came to a close, and it’s to his credit that it had gripped me that much. But to not deliver, and sell your initial premise short in the end, is a letdown that I hope gets fixed somewhere down the line. While I’m unsure that casual horror fans will appreciate the pace, die-hards are going to love this fresh spin on the Friday the 13th genre from a director with a clear passion for it.

IFC and Shudder will release In a Violent Nature later this year.

The Killer Doll Genre Takes a Classic Twist As Public Domain Allows for the Upcoming ‘Pinocchio: Unstrung’

By

John Nolan

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January 18, 2024

Whew, public domain has been all the rage the last year or so. Earlier this year a milestone moment happened when Mickey Mouse, or more specifically Steamboat Willy hit the public domain. This wasn’t the first we heard of beloved characters becoming free for all to use in any way they’d like, nope, that honor belongs to Jagged Edge Productions and their disturbingly odd Winnie the Pooh: Blood and Honey which saw everyone’s favorite pooh-bear go on a homicidal rampage.

While ‘Blood and Honey‘ was not well received by critics (or most audiences) it lit enough of a spark to start what’s being called the “Public Domain Horror Universe’. Jagged Edge (not to be confused with the awesome late-90s/early 00’s R&B group) not only has a sequel to Winnie the Pooh: Blood and Honey but also has Bambi: The Reckoning (a title worthy of Mel Brooks), Peter Pan’s Neverland Nightmare and, as we learned today, Pinocchio Unstrung.

The news was released via BloodyDisgusting.com with a promise from the filmmakers that even more “Unannounced characters from the universe will be revealed in sketch drawings in the closing credits of Pooh 2”. While I wish these were handled with a little more polish, I absolutely love what these guys are doing. If you think about it, it’s a real full-turn moment where we get back to the original fairy tale stories of The Brothers Grimm, which we all know were not full of sunshine and rainbows. Honestly, the more I think about it the more I can’t believe that it took this long for someone to do a horror take on Pinocchio…I mean, killer dolls have been a thing forever and if you take one look at the sketch Jagged Edge released to show their take on the marionette that just wanted to be a “real boy” you’ll see that the results are terrifying.

Review: ‘Lift’
Kevin Hart Tries to Get His “Oceans Eleven” And “Air Force One” On At the Same Time

By
Khalil Johnson
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Say what you want about Kevin Hart (Katt Williams sure is lately), but the comedian/actor lately has been trying to branch out from his “funny, loud, and short sidekick” role he’s been pigeonholed into for most of his career. Taking risks for such films as The Upside, Fatherhood, and the criminally underrated True Story (also done by Netflix), has proved that he’s more than capable of stepping out of his comfort zone when it comes to certain roles. Unfortunately, his latest heist/action thriller Lift doesn’t measure up.

Cyrus (Kevin Hart) is the leader of a group of art thieves who at the beginning of the film showcase each of their talents when they rob (of all things) an NFT from a Banksy-styled artist called N8 (Jacob Batalon). He’s got Denton (Vincent D’Onofrio) the “master of disguise,” Camila (Úrsula Corberó) the pilot, Magnus (Billy Magnussen) the safecracker, Luke (Viveik Kalra) the techie/engineer, and Mi-Sun (Kim Yoon-ji) the hacker make up his team. We are treated to an action scene through a chase sequence through Venice early in the film as they have caught the attention of Interpol agent Abby (Gugu Mbatha-Raw) which showcases once again that director F. Gary Gray knows how to film an action sequence.

Abby manages to catch up with Cyrus and we learn that it’s personal as both of them had a brief “entanglement” while they were both undercover. However, instead of arresting Cyrus, Abby reluctantly has to recruit him to help save the world from a terrorist financier Jorgenson (Jean Reno). Cyrus’ team has to rob Jorgenson of 50 million dollars worth of gold that he’s transporting via air with tight security of muscle-bound henchmen with weapons. If Lift is starting to sound like a Fast and Furious movie, I agree with you. But you just have to roll with the silliness of the pot. If you can suspend your disbelief, you’re in for a treat.

Some of the movie is heist planning like most of these types of films, but surprisingly, Lift has the “heist” take place towards the end of the second act of the film. It then turns into an action film complete with plane fights, shootouts, and secret undetectable by radar planes during the heist and the tone of the film shifts from Oceans Eleven to The Town as everything ramps up to eleven.

While the plot and its craziness is silly in Lift, the execution is impressive. Once again, F. Gary Gray can shoot some action in addition to comedy. As stated before, Hart is playing against type. In Lift, he’s suave, methodical, and great at fighting “straight man” in the film. He might have cracked one joke throughout the entire film. He’s actually able to sell some of the fight scenes thanks to some interesting choreography and stunt work in the film as he’s fighting off terrorists much larger than he is. As good as the execution of Lift is, unfortunately, it’s boggled down by its silly premise. While larger-than-life stunts and craziness work in other franchises, it felt hollow in this film. The finale in the third act while fun and crazy, is very predictable, especially the final moments of the film.

That said, Lift is a fine way to burn through an hour and 45 minutes for some fun, crazy action this weekend. The action set pieces, a “mature” Hart, and a fine supporting cast are worth having a little fun with this weekend.

Lift is currently available on Netflix.

Lift

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‘Problemista’ Trailer: A24 Will Release Julio Torres’ Surreal Immigrant Comedy This March

By

Travis Hopson

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January 18, 2024

Julio Torres and Tilda Swinton in PROBLEMISTA

A24, a studio that has built a reputation for releasing indie projects from filmmakers with unique voices, may have found the next big thing with Julio Torres’ Problemista. The surreal immigrant story stars Torres who is also the writer and director, playing a young man hoping to make it big in America as a toy designer.

After debuting at SXSW last year, the film was going to open in the summer in what could’ve been a brilliant bit of counter-programming. However, the SAG-AFTRA strike put the kibosh on that plan, and A24 smartly moved Problemista to this March.

Torres has found a lot of support for the film, with Tilda Swinton co-starring as a misfit artist who takes his character under her wing. Also, Emma Stone and Dave McCrary are counted among the film’s producers. The cast Torres has put together includes RZA, Isabella Rossellini, Larry Owens, Catalina Saavedra, and Greta Lee.

Here’s the synopsis: Alejandro is an aspiring toy designer from El Salvador, struggling to bring his unusual ideas to life in New York City. As time on his work visa runs out, a job assisting an erratic art-world outcast becomes his only hope to stay in the country and realize his dream. From writer/director Julio Torres comes a surreal adventure through the equally treacherous worlds of New York City and the U.S. Immigration system.

Problemista will open in limited release on March 1st, followed by a nationwide rollout on March 22nd.