“The following actually happened. My dad asked me to tell you it didn’t.” These are the first words that we see as James Morosini opens his autobiographical film. It’s one that he writes, directs, and has cast himself in the lead role, and as the story unfurls in ever-excruciating waves of cringe-inducing parental behavior, audiences will likely cling to this disclaimer in escalating disbelief about the veracity of these claims. As I squirmed through the hour and a half, I frequently found myself wondering about the therapeutic value of a thirty-year-old portraying himself at age seventeen to relive a terrible chapter in his own life. For his sake, I also hoped that the opening lines were themselves untrue.
Category: Reviews
SXSW 2022: 32 Sounds
It can be a cruel smack in the face or a gentle reminder not to take these wonderful bodies of ours for granted. 32 Sounds brings that into sharp focus tantalizing and teasing every aspect of the most wonderful of senses: hearing.
SXSW 2022: Linoleum
Lingering in his subconscious, he does his best to deal with a partner ready to check out completely, a job that’s going nowhere and kids that love him but may not like him all that much. That delicate balance is on the brink as a satellite crashes in the back yard of his suburban home throwing their world out of wack and giving them all some much needed perspective. Time starts to stretch and bend as the story takes an unexpected turn that crushes your heart and gives you hope all at the same time.
Gotham City is in Bad Decline in The Batman
With his take on Batman, Robert Pattinson is much darker in the role than we’ve previously seen. If you thought Christian Bale’s performance as Bruce Wayne/Batman was too silly in Christopher Nolan’s Dark Knight trilogy, I have just the movie for you. With the possible exception of Joaquin Phoenix’s Joker movie, this is the darkest Batman or Batman-adjacent movie I’ve seen.
Roundtable: Best of February 2022
If you’re not already caught up on “awards fare”, the first couple months of the new year can be a prestige buffet. But it can also feel like a dumping ground before the “real” spring season of “actually good” movies picks up. Although it can be a wasteland, surely there are some gems to be found? So as we bid farewell to Dumpuary … a SunBreak Survey: what’s the best thing you saw in the last month?
Foo Fighters Go to Hell (sort of) in Studio 666
In an era where artists like Lady Gaga and Justin Timberlake engineer their crossover film success with algebraic levels of calculation, there’s something almost endearing about a big rock band farting out a schlocky horror comedy as their first fictional feature. So the scrappy contrarian in me was rooting hard for Studio 666, the debut narrative showcase for arena-alternative rock band Foo Fighters.
Cyrano should be better, but the attempt is beautiful
Whether you’ve seen Edmond Rostand’s original Cyrano de Bergerac on the boards or not, it’s been told, retold again and again more ways than I’m sure Rostand would ever have imagined. Cyrano’s long-time friend and beloved Roxanne falls instantly in love with Christian, a new soldier in the army, in which Cyrano (Peter Dinklage) is highly regarded and ranked. Roxanne (Haley Bennett) asks her old friend if he will watch over Christian (Kelvin Harrison Jr.) and encourage him to romance her through letters.
An uneven return for Leatherface, Texas Chainsaw Massacre only cuts skin-deep
The film is deeply uninspiring and the attempts at something resembling commentary feel way out of their depth.
Uncharted is an adaptation of the beloved video game in name only
Joining a long run of unsuccessful video game adaptations, Uncharted proves there is a new low to be found when bringing a beloved series to the big screen.
Blacklight is really dumb, but Liam Neeson doesn’t need, or want, your pity
Liam Neeson is Travis Block, a special fixer for the FBI that serves at the pleasure of its director, Aidan Quinn. Block’s specialty is getting undercover agents out of tricky situations when their cover is blown. It involves kicking lots of villain ass without breaking much of a sweat. He’s like the Wolf from Pulp Fiction in the body of a middle manager. Most of the time, Neeson looks lost or confused or not really sure why he’s here. Same, my dude, same.