Author: Josiah Teal

Kennedy (Odessa A’zion) is drifting through college life in the midst of a sweltering Chicago Summer. She has no major aspirations, no real friends, and worst of all, no working air conditioning. When Kennedy comes up with the brilliant plan to sneak into local pools, her gang of Summer term seniors set out to live life to the fullest, trespassing be damned.  

Set across a sprawling college campus and a luxury mansion, Sam Hayes’s film about life, loss, and college takes audiences on a wild ride from pool to pool.

Hopping from pool to pool is just the surface of Kenney’s journey on the brink of expulsion. Along the way, she connects with former jock Reed (Mason Gooding), former friend Delaney (Ariel Winter), quirky newcomer Shane (Francesca Noel), and future doctor Blake (Tyler Alvarez). At the same time, Kennedy and her newfound friends trespass in bliss, an air conditioning repair person, or “air conditioner”, Mikey (Michael Vilamis) tries to save his job despite the massive heat wave. Everything dovetails into Kennedy’s moment of doubt and catharsis, crafting a quirky and meaningful coming-of-age story.

Pools has tons of charm. Sam Haye’s blends 80s teen comedy antics with 90s angst and post-Y2K sensibility to make a compelling narrative about life and change. The film captures all the euphoria of being young and reckless while maintaining grounded characters and emotional consistency. It’s what draws audiences in with humor, but builds towards Kennedy’s arc in every scene. Hayes marries the sweet with sincerity, all wrapped in wild college montages.  

Performances are strong from top to bottom. A’zion conveys every moment of silliness, whimsy, and sadness needed for Kennedy to transcend the script to the screen. Kennedy proclaims, “This is the last night of the f***ed up phase of my life,” and A’zion echoes that sentiment in each creative choice. Gooding is as charismatic as ever, coming off slasher successes in the Scream franchise and horror romcom Heart Eyes. While some characters are less developed, each performer finds their groove playing into the character archetypes set forth by the likes of John Hughes and Cameron Crowe.

The first and second half of Pools is very different. One focuses on Kennedy trying to move forward, and the other on Kennedy’s journey towards the future. The party atmosphere of the opening and initial pool hopping is stellar. Hayes and the cast perfectly portray the paradox of the invincibility and vulnerability of youth. But as for Kennedy, the party is not forever. Hayes and A’Zion take Kennedy towards her future with quirky empathy and more grace than expected. Kennedy’s climactic realization may seem rushed, but it does nothing to detract from the overall picture of life among the pools.

Sam Haye’s Pools is a film you can root for. It has its flaws, but its triumphs revel in the classic coming-of-age moments we all experience. Pools has a little Freaks & Geeks, a little Breakfast Club, a little Booksmart, and a lot of modern indie flair, all brought together for one massive moment of freedom. Beyond the college experience, seeking A/C, or trying to keep a job, Pools gives its characters and audiences a taste of unbridled joy while the world is crashing down. It’s a story for film fans, indie die-hards, and most of all those hoping like Kennedy to move out of the “f***ed up phase of their life”. 

Calling Ebony & Ivory an absurdist comedy would be a massive understatement. Calling it pure nonsense would also be an enormous understatement. Written and directed by Jim Hosking, Ebony & Ivory is a fictional, satirical retelling of the meeting between Paul McCartney & Stevie Wonder to create a legendary song. After sailing to England in a small rowboat, Stevie Wonder (Gil Gex) finds himself in a “Scottish Cottage” and in the company of Paul McCartney (Sky Elobar). What follows is avant-garde, experimental, and just plain weird as the two musicians ponder life’s dumbest questions.

The actual foundation and pure bones of the story in Ebony & Ivory are simple. Paul and Stevie meet up, but rather than create music, they smoke weed, discuss vegetarian options, argue about pronunciation, and drink hot chocolate. Very little connects the fictional Stevie and Paul to their real-life counterparts beyond the fact that Paul is English and Stevie is blind. Ebony & Ivory is more than satirical, as it sets up a series of bits that blend into each other like a fever dream.

Gex and Elobar alone make up most of the screen time. Their performances fit the vibe of the film, fusing elements of absurdism, surrealism, and stone comedies into Ebony & Ivory‘s already diverse array of flavors and takes on comedy. The opening and premise suggest a film akin to Weird: The Al Yankovic Story, but instead opts to abandon traditional storytelling and joke structure altogether. Many jokes more than overstay their welcome, with the “punchlines” often being repeated upwards of six or seven times per scene. Based on the depictions and overall narrative, Jim Hosking may be either the biggest fan of Stevie & Paul in the world or their most vocal critic. However, by the end of the film, it’s quite possible Hosking has no idea who either Paul McCartney or Stevie Wonder is beyond basic appearance.

The phrase “so bad, it’s good” is often used in film circles and can be a legitimate path to cult status and stardom, although it’s rarely intentional. Plan 9 From Outer Space went from a complete joke to a beloved cult classic, earning itself the title “worst film ever made,” but it led to a bio-pic on Ed Wood and played at the Turner Classic Movies film festival in 2021. The Room receives similar treatment, spawning an Oscar-nominated film about its making, and drawing in droves of fans screaming “You’re tearing me a part, Lisa” at midnight showings across the world. Moments of Ebony & Ivory verge into so-bad-it’s-good territory. Yet, the majority of the movie is so over-the-top, nonsensical, and bizarre without context that calling it so bad, it’s good seems like Stockholm Syndrome.

There might be a chance at a cult classic in Ebony & Ivory. Guessing which films become a Birdemic or which films fade like Ouji Shark is never easy to tell. Ebony & Ivoy is unique to the bitter end. Those involved in the creation definitely had a vision and wanted to make something beyond absurdism. However, the constant repetition of punchlines, the lack of a cohesive identity for the characters, and aggressive psychedelic sequences make Ebony & Ivory a rough watch. Someday Ebony & Ivory could share the same space as Samurai Cop or The Velocipastor, yet it lacks the charm and stakes that let so many cult classics earn their cult status. As for how history will remember this wild take on Wonder & McCartney, only time and audiences will tell. 

Navigating the summer between 8th grade and high school is, to say the least, a challenge. High school alone is an identity crisis, but being thrust into the world of high school is the makings of any coming-of-age film. Co-writer and director Catherine Argyrople makes her debut feature with Growing Pains, showcasing a love letter to the world of indie teenage exploration. Zoe (Molly Morneweck) and Nat (Deanna Tarraza) are two teens in New England, attempting that fateful step into high school, as Growing Pains chronicles their highs, their lows, and, most of all, their “growing pains.”

Zoe and Nat are entering baggage than most. In addition to trying to figure out who they are, navigating social circles, and dealing with drifting friendships, the two already face immense pressure from their past. Zoe is a childhood cancer survivor, living with the literal and mental scars of cancer. While Zoe attempts to cope with her body image, she seeks solace in trying out for rowing crew, entering a culture of classmates. Nat works endless shifts at her family’s restaurant and receives news that her Grandmother is in ill health; all while attempting to accept her own sexuality and yearning for a sense of freedom. The summer is far from easy for the two girls as they interweave family, stress, trauma, and mental health, all while trying to make it to Freshman year. 

The outline of Growing Pains is ripe for a coming-of-age film. All the story structure and plot points are on brand for a cathartic teen story of self-discovery. All the themes and struggles featured throughout the film are very real and essential topics concerning teens across generations. Yet, Growing Pains rarely feels natural. Many characters lean into tropes and caricatures of teenagers rather than portraying complex individuals attempting to carry the weight of the world. The dialogue is often surface-level, and the few attempts at slang make the film feel dated rather than grounded in reality.

Subplots within Growing Pains have promise. Nat & Lexie’s (Maia Isabel Frias) relationship is sweet, and their concert experience is a highlight of the movie. Growing Pains captures all the right milestones for a gripping teen drama, but it often misses the euphoria of youth. The concert scene with Nat & Lexie showcases the ultimate highs of being young and finding love, and the film does well in bringing this subplot to an organic climax. Heavy themes of sexuality, body dysmorphia, and family acceptance are all handled with care throughout the film, but with little nuance. Often, these discussions are through on-the-nose dialogue or jarring tonal shifts.

A version of Growing Pains really works. The bones of the story are all there. They are familiar, yet it’s what brings audiences back to classic coming-of-age stories like Ferris Bueller’s Day Off or Pretty in Pink. Or even what makes modern coming-of-age stories like Lady Bird or Booksmart so engaging with not just their audience but across generations. Still, in its current state, Growing Pains needs more cohesive character beats and more subtlety to build its story beyond the strong foundations. Everything in Growing Pains should feel relatable, but the way the characters grow rarely makes it so.

Catherine Argyrople, as a writer and director, shows promise. Growing Pains has many struggles, but it’s clear Argyrople and her cast, crew, and co-writer have a deep love for filmmaking. Argyrople has a raw style that could translate strangely to teen horror. All the heavy themes of teen drama, but with a final girl and a few campy kills, could elevate her skills and make her an indie director to follow. Growing Pains, as it stands, has a lot of love poured into it. However, the lack of characterization and forced dialogue make the film difficult to champion, regardless of how much indie films need a champion. 

Demon Slayer: Infinity Castle – Review

Continuing the saga of the highly successful anime, Demon Slayer: Infinity Castle sparks the beginning of the epic Shonen’s final chapters. Set to be the first film in a trilogy, Infinity Castle sets the stage for the showdown between the Hashira and the demons they’ve sworn to slay. Once again, Tonjiro and friends must band together to stop Muzan and save the world. However, this time it’s more action-packed, more emotional, and more definitive. Infinity Castle marks the beginning of the end for an entire era of anime. But, like any great anime, even the beginning of finality packs a colossal punch.

Unlike Demon Slayer: Mugen Train, Infinity Castle cannot stand on its own. While knowledge of Season 1 enhances the experience of Mugen Train, it’s not completely vital. Mugen Train quickly catches viewers up on what has happened previously, and the film could even serve as an introduction to the series. Infinity Castle, without context, is an incredible feat of filmmaking and animation, but without prior knowledge, the bigger story beats could lose someone new to the series. However, given the context of the series,  Infinity Castle is “event cinema.” Every battle, every arc, every scene has been building to the showdown in Infinity Castle. On the surface, it’s Tonjiro and Hashira confronting the hordes of demons within Muzan’s sprawling mansion. But beyond the surface, Infinity Castle is the promise of narrative closure and cathartic climax to one of the best anime of a generation.

Showdowns in Infinity Castle are episodes and arcs in the making. Shobu vs. Doma is oozing with gorgeous animation. Zenitsu vs. Kaigaku further gives emotional weight to the characters. And Tonjro & Giyu vs. Akaza doubles down on the breathtaking fight animation paired with emotional nuance and complex characters. Fight sequences are as climactic as the monumental battles between Rengoku & Akaza or Tengen & Daki from the series, but now on an even larger scale. Each battle showcases a mix of flashbacks and kinetic action, building the tension before each final blow.

Yet, even with its incredible animation, Infinity Castle shines most in its character moments. Even to non-Japanese speakers, the voice cast conveys every longing monologue or moment of triumph. Akira Ishida is a standout as Akaza, lending an otherwise sinister character layers of humanity. Natsuki Hanae is always excellent as the young Tonjiro, bringing the brave spirit of the character to life through every line. Character beats in Infinity Castle are well-paced, adding to the Avengers-esque team-up fans have been eagerly awaiting.

Beyond a massive team-up and cinematic experience, Infinity Castle is a celebration of fandom. It’s a showcase of how far anime has come as a medium. Akaza’s flashback feels like an Oscar-worthy short film thrown into the context of a legendary battle. Fight sequences are more than just samurai swords and blood-demon arts; they are warring philosophies. Infinity Castle continues the age-old story of good & evil, but adds so much character growth, crisis of faith, and closure that is almost biblical for the anime aficionado.

Infinity Castle is a masterpiece of animation. With the added gravitas of the television series, Infinity Castle promises the climactic end to Tonjiro’s journey in the Demon Slayer Corps. Vocal performances are superb, fight sequences are flashy as ever, the score and LiSa soundtrack are beautiful, and the character arcs are poignant and powerful. But most of all, Infinity Castle cements Demon Slayer as a cornerstone in a new generation of anime. A new generation is building upon the previous “Big Three” (Naruto, Bleach, and One Piece) and continuing to tell masterful stories of friendship, bravery, adventure, and the endless battle between good and evil. Infinity Castle will dazzle with its artful fight scenes and sprawling cinematography, but like Kpop Demon Hunters, it soars most through its rich characters. And like Kpop Demon Hunters, Infinity Castle will likely find itself vying for an Oscar.

Ghost Trail: Review

Set at the heart of the Syrian Refugee Crisis, Ghost Trail, or Les Fantomes, builds a political thriller with political commentary that extends beyond the typical genre tropes of corruption. The film follows “Amir” (Adam Bessa) as he looks for his lost friend from his homeland of Syria. However, as the film progresses, “Amir” is revealed to be more than a man seeking his friend; instead, Amir is a covert agent hunting down war criminals. Writer and director Jonathan Millet takes a global issue to the street level, making Ghost Trail a personal and engaging analysis of the Refugee Crisis.

Set at the heart of the Syrian Refugee Crisis, Ghost Trail, or Les Fantomes, builds a political thriller with political commentary that extends beyond the typical genre tropes of corruption. The film follows “Amir” (Adam Bessa) as he looks for his lost friend from his homeland of Syria. However, as the film progresses, “Amir” is revealed to be more than a man seeking his friend; instead, Amir is a covert agent hunting down war criminals. Writer and director Jonathan Millet takes a global issue to the street level, making Ghost Trail a personal and engaging analysis of the Refugee Crisis.

Originally introduced as “Amir”, Ghost Trail quickly reintroduces him as his actual name, “Hamid”, a man taking odd jobs throughout Europe in search of information and his lost “friend.” Millet sets up Hamid’s network of agents, communicating over video game chats as they hunt down the men who tortured and killed their loved ones during the war. From the setup of the organization to Hamid’s resourcefulness, Ghost Trail carries the brains of a spy film but the heart of a politically conscious drama.

Even without the frenetic car chases or fight sequences, Ghost Trail has some Bourne Identity influences. Yet more than The Bourne Identity itself, Millet takes influence from Bourne writer Tony Gilroy. Millet packs the script with tension as Hamid moves closer to his target. Beyond mere tension, Ghost Trail shines most in its timing, allowing each new layer of plot or character beat to make a maximum impact on Hamid’s journey. Adam Bessa’s performance as Hamid brings nuance to the overall narrative, bringing a face to the larger political message.

Bessa’s performance is most noteworthy in Ghost Trail. While the cast is solid from top to bottom, Ghost Trail is Hamid’s journey toward catharsis. Bessa brings subtlety and control to the character, making Hamid’s quest for revenge even more personal and poignant. Along with Bessa’s performance, Millet’s choices to reveal information to the audience in the stadium with Hamid make the story even more street-level. Crafting a street-level story of such a global issue, Millet makes every beat or twist feel earned within this slow-burning character piece.

Ghost Trail is a slow-burn. While the film has the tone of a cerebral spy film, it lacks the precise but sparing action sequences that make Blade Runner or Andor fan favorites. Even without the realm of sci-fi, the perfect mix of action and espionage could make Ghost Trail a must-see political thriller. Nevertheless, Ghost Trail stands as a gripping, true-to-life character drama. Political commentary permeates the subtext and seamlessly blends into character motivations. Bessa is excellent as Hamid, providing the film with a firm foundation to create and resolve tension. But, most of all, Ghost Trail is an up-close look at the Syrian refugee crisis and those most impacted by it. Beyond being a solid festival watch for indie fans, Ghost Trail has the unique ability to make global issues personal, bringing an audience to the POV of those at the heart of the crisis.