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Reviews for June 16th, 2023

Asteroid City

Directed by Wes Anderson




      Augie (Jason Schwartzman), recently widowed, brings his four children to the desert town of Asteroid City, Arizona, for an awards ceremony for his teenage son, Woodrow (Jake Ryan), and other young scientists. Midge Campbell (Scarlett Johansson), an actress, arrives with her daughter, Dinah (Grace Edwards). Soon enough, a UFO arrives in town. Schubert Green (Adrien Brody) directs the play "Asteroid City" while Conrad Earp (Edward Norton) serves as the playwright.

      The screenplay by writer/director Wes Anderson and co-writer Roman Coppola suffers from an unfocused, wafer-thin plot with a few mildly amusing jokes, but not nearly enough comedy, satire or emotional depth to keep you entertained on any level. There are too many characters---more than the ones listed above, such as Augie's father-in-law, Stanley (Tom Hanks), Hank (Matt Dillon), a car mechanic, a motel manager (Steve Carell) who remains nameless, Dr. Hickenlooper (Tilda Swinton), an astrologist, among others which Anderson and Coppola cram into the film. They separate the film into chapters, or groups of chapters. Each scene feels like a vignette with interconnected characters most of whom are underdeveloped or have no backstory at all. They're just there to deliver Anderson's trademark dry sense of humor. That humor is present here, but it often feels muted. The comedic beats don't land for the most part, so there's nothing left to cling onto beyond the failed comedic attempts. The scenes involving the "Asteroid City" play are dull, distracting and unnecessary. Also, there's an annoying narrator (Bryan Cranston) for the movie. If you manage to stay until the end credits finish rolling, you'll hear someone whispering "Wake up!" which is a very appropriate remark because there's a good chance that Asteroid City will put you to sleep.

      Asteroid City certainly has a large ensemble cast, but only Scarlett Johansson gets the chance to shine. She's not only charismatic, but also has the film's few mildly heartfelt scenes. The entire cast exudes charisma, to be fair. However, charisma alone isn't enough of a glue to hold a film together. Of course, the cinematography is terrific along with the set design, costume design and use of black-and-white cinematography during the scenes with the play. The recent film Unidentified Objects, another offbeat sci-fi comedy/satire, has more wit, originality, surprises and poignancy than Asteroid City despite having a much lower budget and less experienced filmmaker. Director Wes Anderson merely treads water here while playing it safe without taking any risks. At a running time of 1 hour and 44 minutes, Asteroid City is a picturesque, but meandering, unfunny and anemic bore that's ultimately less than the sum of its parts. It's a cure for insomnia.
  

Number of times I checked my watch: 4
Released by Focus Features.
Opens in select theaters before expanding nationwide on June 23rd, 2023.

The Blackening

Directed by Tim Story




      A group of college friends, Lisa (Antoinette Robertston), Dewayne (Dwayne Pekins), Nnamdi (Sinqua Walls), Allison (Grace Byers), Shanika (X Mayo), King (Melvin Gregg) and Clifton (Jermaine Fowler), arrive at an isolated cabin to celebrate Juneteenth. Little do they know that their hosts, Shawn (Jay Pharoah) and Morgan (Yvonne Orji) died there while playing The Blackening, a mysterious board game that they'll also end playing.

      The screenplay by co-writers Dewayne Perkins and Tracy Oliver spoofs the horror genre like Scary Movie does, but it only manages to be sporadically funny. The plot structure is similar to Scream while the titular board game is similar to Saw. There's a prologue that introduces the masked killer and the board game before the group of friends arrive at the cottage. The rules of the game are simple: each player has to answer a question related to blackness correctly or else they will die. They're asked serious questions like, "What are the 5 black actors who were on the show Friends?" Is that question supposed to be funny because it's not. If anything, it's sad and revealing about how there were too few black actors on the show. The Blackening doesn't seem very interested in exploring its themes of racism or lack of integration with any depth or wit for that matter. Of course, there's a white park ranger (Diedrich Bader) who may or may not be the killer. Unfortunately, The Blackening runs out of steam early on and doesn't regain any of its momentum at any point afterward. It also isn't bold or zany enough nor does it push the envelope, so it becomes increasingly dull. The attempts to generate laughs with dark humor fall flat more often than not. At least screenwriter Tracy Oliver doesn't have a character peeing on a crowd like in the painfully unfunny and lowbrow Girls Trip which she also co-wrote. The third act has a twist, but by then it's too little, too late. The twist, which won't be revealed here, is more silly and preposterous than funny or surprising. If you can imagine Tyler Perry's Boo! A Madea Halloween without Madea to invigorate the film, you'll get an idea of what it's like to watch The Blackening.

      Unfortunately, no one in the cast except for Diedrich Bader manages to rise above the stale, witless screenplay. They don't have enough comedic chops and some of their performances are either evry bland or so over-the-top that they're just annoying, i.e. Jermaine Fowler. A better example of a horror spoof that's more audacious, outrageously funny and delightful is the recent Summoning Sylvia which also has a musical scene and other surprises while also trying to be a little provocative and campy. The Blackening also suffers from poor lighting and camera work, choppy editing ,and a very rushed third act with an ending that's very abrupt. At a running time of 1 hour and 36 minutes, which feels more like 2 hours, The Blackening is sporadically funny, but mostly repetitive, choppily edited and dull without being zany, hilarious, campy or bold enough. It’s like Boo! A Madea Halloween without Madea to invigorate it.

  

Number of times I checked my watch: 4
Released by Lionsgate.
Opens nationwide.

Cadejo Blanco

Directed by Justin Lerner




     

  

Number of times I checked my watch: 2
Released by Film Movement.
Opens at IFC Center.

Elemental

Directed by Peter Sohn




      Ember (voice of Leah Lewis) lives in Element City with her mother, Cinder (Shila Ommi), and father, Bernie (Ronnie Del Carmen). They moved to Element City, where fire, air and water residents co-exist, from Fireland when Ember was little and own a family shop that Ember takes over when she's older. Wade (Mamoudou Athie), a city inspector who's a water guy, ends up at the shop one day and gives Ember a ticket for multiple violations when he discovers pipe leaks. Ember has a few days to fix the leaks otherwise the shop will be shut down for good. Meanwhile, she develops a romance with him despite that her parents forbid her to have a relationship with water because fire and water don't mix.

      The screenplay by John Hoberg, Kat Likkel and Brenda Hsueh doesn't score points for originality or surprises, but it does have a tender story that doesn't pander too often to younger audiences. If you compare Elemental to Inside Out you'll be disappointed because it's not as witty, exhilarating or profound. There's not much that's funny except for some sight gags that get repeated too often and go on for too long, i.e. when Wade swallows something hot that makes him boil or when he and his family play a crying game to try not to cry when told a sad story, but they end up crying anyway. Of course, that game becomes an important detail in the third act, so it's there as a plot device, too. The film avoids taking any risks or taking its "world building" far enough. Even A Bug's Life has better "world building" with more attention to small details that make it worth watching over and over. There are no supporting characters who are memorable or provide much-needed comic relief. Moreover, the ending feels rushed and a bit corny. That said, Elemental wears its heart on its sleeve and leaves you feeling uplifted with a positive message about integration and following your feet to the beat of your heart.

      Elemental's greatest strength is its CGI animation which looks bright, colorful and dazzling. The character designs are also terrific. Some of it even looks photorealistic, so clearly a lot of attention and money was spent on the animation that provides plenty of eye candy. The pace moves quickly--to be fair, too quickly at times, especially during the last ten minutes. The ending feels slightly abrupt. Fortunately, director Peter Sohn keeps the running time to 90 minutes before the end credits start rolling, so the film doesn't overstay its welcome. And, surprisingly, there's no scene after the end credits. Elemental is ultimately a mildly engaging and uninspired, but uplifting, tender and sweet diversion.
  

Number of times I checked my watch: 2
Released by Walt Disney Pictures.
Opens nationwide.

The Flash

Directed by Andrés Muschietti




      Barry Allen (Ezra Miller), a.k.a. The Flash, uses his superpowers to travel back in time to save the life of his mother, Nora (Maribel Verdú), despite Bruce Wayne (Ben Affleck) warning him against it.

      Anyone who describes The Flash's plot beyond the short synopsis above would be doing audiences and the film a disservice because it would spoil the plot's many twists and surprises. Screenwriter Christina Hodson does a great job of introducing Barry Allen/The Flash to the audience with an exciting action scene while also introducing the tongue-in-cheek, offbeat humor that's reminiscent of the humor in Deadpool. Without revealing any spoilers, it's safe to say that The Flash becomes increasingly zany and even trippy at times, much like Spider-Man: Across the Spider-Verse. The attempts at adding poignancy fall flat, though, because the scenes between Barry and his mom feel cheesy and contrived while Barry's emotional pain feels maudlin. That leads to some clunky scenes that change the film's tone from light to a little darker and sadder, but those moments are far and few between. Overall, there's just the right balance of action, comedy and, of course, "Easter Eggs." What superhero movie doesn't have Easter Eggs these days? The Flash owes a lot to Back to the Future, but at least it cites its source in amusing ways that won't be spoiled here. General Zod (Michael Shannon), isn't very interesting as a villain, although he's quite menacing like a villain should be. The last 30 minutes or so rely too heavily on cameos to surprise the audience and make them laugh which is around the time that The Flash starts to lose its oomph. Nonetheless, it still remains wildly entertaining.

      Ezra Miller has a lot of fun as Barry Allen which turns out to be a role that's a lot more complex than you can imagine. He's a charismatic lead with great comedic timing while also doing his best to not make the maudlin scenes cringe-inducing. In terms of production values, The Flash is truly impressive. The action scenes are thrilling and there are some dazzling CGI effects that are visually stunning to behold. Also, the soundtrack and sound mix are also exceptional. This isn't a Christopher Nolan film, so the music doesn't drown out any of the dialogue. To be fair, the running time that clocks past the 2-hour mark does feel overlong, but not too much. The pace moved briskly enough so that there's rarely a dull moment. At 2 hours and 24 minutes, The Flash is visually stunning and exhilarating despite an uneven tone. It's one of the most wildly entertaining, surprising and funny superhero movies since Deadpool.
  

Number of times I checked my watch: 2
Released by Focus Features.
Opens nationwide.

Maggie Moore(s)

Directed by John Slattery




      Jordan Sanders (Jon Hamm), a police chief, investigates the murders of two women who happen to share the same name in a small town The investigation leads him to one of the women's husbands, Jay Moore (Micah Stock), and to a neighbor, Rita Grace (Tina Fey), who witnessed Maggie and her husband fighting.

      Based on the premise alone, Maggie Moore(s) sounds like it could be a funny and zany dark comedy with shades of the Coen brothers' or Martin McDonagh's humor. The screenplay by Paul Bernbaum blends dark comedy, suspense and romance with mixed results. What could go wrong? Unfortunately, the dialogue lacks wit and the comedic beats rarely land. Bernbaum plays it too safe without pushing the envelope in any direction as though he were afraid to be unconventional or subvert the audience's expectations. Jordan has a partner (Nick Mohammed) who tags along with him, but they're not given any banter. The dialogue ranges from clunky to just plain dull.Hell or High Water is a better example of a crime thriller that has just the right balance of humor, heart and suspense with engaging banter to boot. Bernbaum tries to humanize Jordan by making him a lonely, broken-hearted guy who has yet to find the love of his life. In a contrived and cheesy subplot, he finds romance with Rita who invited him over for dinner after he questions her about the murder. The fact that he agrees to the dinner shows that he's not a very professional police chief or investigator. What if Rita were the killer? Maggie Moore(s) doesn't even toy around that possibility. She seems decent, charming and innocent, but it could all be a ruse which would explain why she flirts with him. You also barely get to know either of the two Maggie Moores before they die, so they're just there to move the plot forward which is dehumanizing. The murder mystery becomes less and less interesting as it unfolds. It's never boring per se, but doesn't amount to anything that's palpably exciting, surprising or thrilling.

      Jon Hamm gives a charismatic performance. He barely rises above the bland screenplay, though. Tina Fey, despite her comedic talents, isn't given much to do in terms of comedy here which is disappointing. She has a few mildly amusing lines, but her comedic skills here remain wasted. She deserves better. There's nothing exceptional about the cinematography, editing, music or anything else to enliven the film with style. Fortunately, director John Slattery doesn't rely on violence, gore or excessive profanity to entertain the audience. This isn't a Quentin Tarantino film, after all. At a running time of 1 hour and 39 minutes, Maggie Moore(s) is a harmless and mildly engaging dark comedy, but often witless, toothless and tonally uneven.
  

Number of times I checked my watch: 2
Released by Screen Media.
Opens at Quad Cinema.

Midday Black Midnight Blue

Directed by Daniel Talbott & Samantha Soule




      Ian (Chris Stack) lives in a cabin by a lake and mourns the death of his lover, Liv (Samantha Soule), who died decades earlier. He turns to drinking while recalling his happy and painful memories with Liv. Beth (Merritt Wever), one of Liv's sisters, happens to work as a local bartender and tries to help Ian to process his grief.

      The screenplay by co-writers/director Daniel Talbott and Samantha Souleis bravely looks at the topic of grief head-on and unflinchingly which makes for a heartbreaking emotional journey. Midday Black Midnight Blue doesn't have easy answers nor does it present the story in a way that's easy-to-follow. The plot feels elliptical as it unfolds in a non-linear structure, jumping back and forth in time with a lot of flashbacks. Talbott and Soule don't quite trust the audience's imagination, but they do trust their emotions and intelligence. They also take a major risk by confusing the audience frequently because it's hard to figure out what's going on and what went on between Ian and Liv right away. Exposition is kept to a minimum and some key information, i.e how Liv died, remains unclear until the last 30 minutes. There's nothing wrong with being confused. Ian himself is confused, too, so perhaps the filmmakers want the audience to feel like they're in his shoes trying to process a lot all at once and try to make sense out of it. However, to be fair, the plot feels unnecessarily convoluted which leads to a monotonous and exhausting experience that doesn't become any less frustrating even in the third act. It also causes the characters to remain at a cold distance from the audience.

      What helps to keep Midday Black Midnight Blue afloat are its convincingly moving and raw performances, especially by Chris Stack, Samantha Soule and Merritt Weaver. They all manage to find the emotional truths of their role and to ground the film in authenticity. The cinematography together with the landscape not only provide some cinematic visual style, but also some poetry. Even the title Midday Black Midnight Blue, which does get a brief explanation, is poetic. The filmmakers trust the audience's patience which is refreshing, but they trust it a little too much at times because the film takes too long to answer basic questions about Ian and Liv. At a brief running time of 1 hour and 28 minutes, Midday Black Midnight Blue is poetic, well-acted, beautifully shot and genuinely heartfelt, but concurrently tedious, frustrating and exhausting. It would make for an interesting double feature with Antonioni's L'Avventura.
  

Number of times I checked my watch: 2
Released by Good Deed Entertainment.
Opens on VOD.

Nobody's Hero

Directed by Alain Guiraudie




      Médéric (Jean-Charles Clichet) falls for Isadora (Noémie Lvovsky), a sex worker with a husband, Gerard (Renaud Rutten). Meanwhile, a terrorist attack occurs in the city. Médéric invites Selim (Ilies Kadri), a homeless Muslim, to stay at his apartment before he begins to suspect that he might be one of the terrorists.

      Nobody's Hero begins with an awkwardly meeting between Médéric and Isadora when he sees her walking the streets in the daytime and tells her that he doesn't believe in paying for sex. He somehow intrigues her and, before you know it, they meet up at a motel where she's a regular at. Before you know it, he's infatuated with her. Of course, she's in an unhappy marriage and agrees to see him again before terrorist attacks derail their plans to continue seeing each other frequently. How does her husband feel about his wife being a prostitute, though? Is he her pimp? The subplot involving Selim, the Muslim man who Médéric kindly allows to sleep at his apartment feels like it belongs in another movie. He sees Selim and his friends praying and, all of a sudden, Médéric comes to the conclusion that he's an extremist/terrorist. This isn't a suspense thriller like Arlington Road, though, so why add more tension when there's already enough tension in the love triangle between Médéric, Isadora and her husband. Unfortunately, the relationship between Médéric and Isadora isn't very interesting or believable. What does she see in him? What does he even see in her besides that she's lonely like he is? He doesn't seem emotionally mature if he thinks that it's a healthy relationship that will end well for everyone. Part romance, part thriller, part dry comedy, the screenplay by Alain Guiraudie suffers from an uneven tone and an unfocused, meandering plot that's not quite bold enough. The recent film Unidentified Objects also deals with an unlikely bond between a female sex worker and a lonely man while blending different genres, but it's more poignant, tender, bold and surprising.

      What helps to keep Nobody's Hero afloat is its charismatic performances by Noémie Lvovsky and Jean-Charles Clichet. Lvovsky brings warmth to her role like she does in Scarlet and many other films, too. It's too bad that the screenplay doesn't allow for much chemistry between Médéric and Isadora nor does it give Lvovsky and Clichet much of an emotional range for their performance, although they do have a briefly explicit sex scene together. Fortunately, they both manage to rise above the screenplay, though, and to invigorate the film. At a running time of 1 hour and 40 minutes, Nobody's Hero is a mildly engaging, but mostly shallow, uneven and unfocused blend of romance, comedy and thriller that bites off more than it could chew.

  

Number of times I checked my watch: 2
Released by Strand Releasing.
Opens at IFC Center.