film reviews, interviews, features | BRWC

Author: Matt Conway

  • See How They Run: The BRWC Review

    See How They Run: The BRWC Review

    See How They Run Synopsis: In 1950s London, plans for a movie version of a smash-hit play abruptly halt after a pivotal crew member is murdered. When a world-weary inspector (Sam Rockwell) and an eager rookie constable (Saoirse Ronan) take on the case, they find themselves thrown into a puzzling whodunit. 

    A washed-up detective and his eager constable must solve a murder case involving the film adaptation of a famed Agatha Christie work in See How They Run. This latest ode to old-school whodunits continues a refreshing revival of the mystery genre. With the crowdpleasing success of Murder on the Orient Express, Only Murders in the Building, and Knives Out inspiring their own franchises, mystery narratives’ cunning intellect and evolving gamesmanship boast a newfound appeal with modern viewers. 

    Part old-school throwback, part modern reinterpretation, See How They Run uncorks the famed traditions of mystery films in some intriguing lights. I credit director Tom George and screenwriter Mark Chappell for taking a sincere risk with a film that reckons with mysteries and their inherent appeals. Unfortunately, their balance of wit and intrigue ultimately culminates in a so-so yarn for viewers to unravel. 

    My issues aside, I do think See How They Run will find a supportive audience from its evident affection for whodunits and their storied roots. George and cinematographer Jamie Ramsay encapsulate the throwback aesthetics of 50’s culture with a jazzy sense of style and panache. The recreation of the era never feels stiff as the duo imbues precise framing and vivid lighting choices in every shot. 

    The all-star ensemble also enriches their roles through their sheer personability. Sam Rockwell and Saoirse Ronan make for a dynamic comedic pair as the central detective duo, while eccentric performances from Adrian Brody, David Oyelowo, and Ruth Wilson meld right into the film’s tonal frequency. At its best, the film is a cheeky tribute to Christie’s work – an effort lined with its own sense of meta introspections about the genre’s time-honored appeals.  

    I wouldn’t go as far as to call See How They Run a subpar film – I would just argue that the promising pieces do not equal a satisfying whole. Mark Chappell’s adoration for the genre ultimately becomes a weakness as the film becomes too embedded in the allures of its genre forefathers. Christie fans will likely enjoy several winks to the audiences, but the nods don’t mean much for those not indoctrinated in her distinct oeuvre. It’s also not enough to make effective punchlines by simply pointing elements out as contrived – there needs to be more introspection to make these bits more than a self-satisfying homage. 

    Ultimately, See How They Run succumbs to its chase for cleverness. The film gets so caught up in attempts at self-awareness to the detriment of its narrative structure. Despite working with a talented cast, Chappell struggles to define his characters as anything more than familiar stereotypes. The central mystery is also much more predictable than viewers may expect, with a slew of red herrings and overly-cutesy twists still not offering genuine surprises. 

    I admire what See How They Run vies to achieve, but the final product never lives up to the creative team’s aspirations. 

    See How They Run opens in theaters nationwide on September 16. 

  • Barbarian: The BRWC Review

    Barbarian: The BRWC Review

    Barbarian Synopsis: A young woman (Georgina Campbell) discovers the rental home she booked is already occupied by a stranger (Bill Skarsgård). Against her better judgment, she decides to spend the night but soon discovers there’s a lot more to fear than just an unexpected house guest.

    An Airbnb mishap devolves into one unpredictably hectic situation inside a decaying Detroit neighborhood in Barbarian. Embracing the unexpected is a fitting calling card for Barbarian writer/director Zach Cregger. Cregger, one of the prominent voices behind the sketch comedy show The Whitest Kids U’Know, often pushed societal notions to their breaking point through his brand of crass sketches. 

    With Barbarian, Cregger returns to the feature-length field with a new embrace of horror aesthetics (Cregger previously co-wrote/co-directed Miss March with former comedic partner Trevor Moore). Thankfully, the writer/director doesn’t miss a beat in his bold genre transition. Barbarian conjures a nightmarish asylum jam-packed with imaginative horrors.

    Not to sound cliche, but the several warnings stressing viewers to avoid trailers and other marketing materials here are well-warranted. The element of surprise is one of Barbarian’s greatest strengths. Like a shifty showman, Cregger consistently pits viewers against their expectations and finds innovative avenues for confronting some of the genre’s played-out tropes. 

    The ever-evolving narrative helps extenuate the inherent unease as viewers gradually creep down a funhouse of dark corridors and unpredictable revelations. Although Cregger’s choices may seem dissident at first glance, the pieces eventually glue together in a well-constructed puzzle. I also give the cast significant praise for selling their enigmatic characters. Georgina Campbell and Bill Skarsgård enrich their roles with proper conviction, while Justin Long becomes a scene-stealer in a deranged twist on the actor’s likable movie star image. 

    As a director, Cregger imbues creative vitality into horror’s well-trudged roots. Perspective becomes an expressive tool for him and Cinematographer Zach Kuperstein to dig under viewers’ skin. The duo implements jagged POV shots and peering views down oppressively bleak hallways with technical aplomb, ensuring that every gutsy choice accents the tense experience rather than straining for a sense of style. These decisions allow Cregger to create a film that boasts a distinct sense of place despite a limiting $10 million production budget. 

    Barbarian rarely draws a dull moment, but the film’s thematic aspirations are where some blemishes begin to appear. I credit Cregger for taking some big conceptual swings with his screenplay. There are moments where Barbarian admirably reckons with cultures of gentrification/masculine abuse and the disenfranchised byproducts left in their wake. Unfortunately, the concepts end up serving more as pieces of narrative window dressing than a well-articulated marriage between story and message. Cregger’s lack of a nuanced thesis leads to the film’s waning moments drawing less impact than they could have. 

    I still found myself enthralled by Barbarian’s twisted sensibilities from start to finish. With his balance of craft and inventiveness, Cregger promises to be another exciting new voice in the horror sphere. 

    Barbarian is now playing in theaters. 

  • Confess, Fletch: The BRWC Review

    Confess, Fletch: The BRWC Review

    Confess, Fletch Synopsis: After becoming the prime suspect in multiple murders, Fletcher (John Hamm)strives to prove his innocence while simultaneously searching for his fiancé’s stolen art collection.

    The wise-cracking charms of Irwin Fletcher receive a modern paint job in Confess, Fletch. As a former journalist who bumbles his way through investigations, Fletch originated in 1974 and produced a period of prosperous pop culture success. The character’s smarmy charms became the subject of 12 novels by author Gregory Mcdonald and two 1980s films before eventually fading into obscurity. Studios discussed several reboots over the year, including projects with the likes of Kevin Smith and Bill Lawrence involved, but none of the revivals ever came to fruition. 

    Based on one of Mcdonald’s most beloved works, Confess, Fletch finds Man Men star Jon Hamm embodying the character’s distinctive brand of cheeky detective work. Hamm and Superbad writer/director Greg Mottola collaborate on a free-spirited romp that consistently pops in its comedic pursuits. 

    Despite his success on the small screen, Hamm is an actor who often seems underutilized by studio executives. The actor’s smoldering looks, effortless magnetism, and dramatic gravitas have always suited him for movie star roles despite being relegated to sturdy character actor parts. As Fletch, Hamm finally discovers the big-screen role tailor-made for his appeals as an actor. 

    Hamm takes the spotlight in nearly every frame of Confess, Fletch and steals the show throughout. He exudes a captivating presence and unbound confidence as Fletch savvily charms his way through quirky situations. It would have been easy for the character to feel like a bumbling buffon devoid of textures, but Hamm’s sly comedic bite and radiant personability consistently grounds Fletch as a compelling figure to rally behind. Co-stars Roy Wood Jr. and Ayden Mayeri also add their comedic touch as cops trailing Fletch’s footsteps. 

    Confess, Fletch similarly fits Mottola’s sensibilities like a glove. The writer/director exhibited an eye for timeless storytelling with coming-of-age darlings like Superbad and Adventureland. With Confess, Fletch, Motola showcases his understanding of the character’s old-school charms as someone who grew up idolizing the Fletch lore. His screenplay embodies a breezy storytelling approach fitting of Fletch’s aimless pursuits, often journeying from one bizarre comedic situation after another with winning results. The actual mystery itself of the film isn’t particularly fascinating, but Mottola ensures that the journey always remains more captivating than the final destination. 

    Mottola’s composed directorial touches also encompass the Fletch aesthetic. The director utilizes Composer David Arnold’s jazzy score and Sam Levy’s scenic cinematography as bright tools for expressing the character’s distinctive charms. Thankfully, none of the vibrant touches end up overwhelming the material’s sleight charms. I give Mottola ample credit for keeping the source material’s roots intact while finding clever ways to modernize his approach (several references to a post-COVID-19 world are executed with more thought than most COVID-based films). 

    Confess, Fletch ultimately comes together as an uproarious crowdpleaser with sincere affection for its source material. With rumors of a potential sequel already sprouting, I hope Hamm, Mottola, and their creative team get a chance to continue the Fletch legacy. 

    Confess, Fletch is opening in limited release and on VOD services on September 16. 

  • Medieval: The BRWC Review

    Medieval: The BRWC Review

    Medieval Synopsis: The story of fifteenth-century Czech icon and warlord Jan Zizka, who defeated armies of the Teutonic Order and the Holy Roman Empire.

    Warrior and military strategist Jan Žižka receives the biopic treatment in Medieval. Quietly hitting theaters after filming finished in 2018, Medieval boasts the distinct title of being the most expensive Czech film ever made (a $20 million production). The production team clearly held big aspirations for Medieval – going so far as to greenlight two video games that will coincide with the film post-release. 

    I’ve always had a penchant for historical epics, especially with the genre becoming increasingly infrequent in today’s marketplace. In trying to prop up Žižka’s fearless warrior image, Medieval stumbles mightly in its pursuits. Director Petr Jákl oversees a sincere yet dysfunctionally-assembled medieval flop that drearily plods along from start to finish. 

    For a project of such stature in Czech, Medieval shockingly embodies the pastiche of a low-rent, straight-to-DVD rip-off. Jákl and his production team often push their $20 million budget to its absolute apex, meshing earnestly-built sets with landscapes assembled from shotty CGI effects. The dichotomy creates a bewildering aesthetic – a visual style draped in murky imagery and oppressively washed-out color schemes. Jákl admirably attempts to mask the restrictions with flashy stylistic choices, including frenetic camera movements tailor-made for Žižka’s brand of grueling guerrilla warfare. Unfortunately, the gimmicky quirks can’t invigorate the lack of energy behind the camera. 

    Under the surface of Medieval’s technical snafus is an even more dilapidated screenplay. Jákl’s script gets bogged down in the histrionics of the Žižka legacy, throwing waves of stiffly-written exposition at audiences instead of defining much-needed character dimensions. The stuffy political dynamics here rival Star Wars The Phantom Menace in their lifeless dynamics, leaving it to the talents of Micahel Caine, Til Schweiger, and Matthew Goode to elevate wayward material. Not even the storied ensemble’s theatric campiness can provide a reason for viewers to stay awake. 

    As for Žižka, the character exists as nothing more than a brooding death machine. Star Ben Foster is one of the finest actors in the industry at eliciting insular textures from solemnly-spoken characters. With Medieval, Foster is left high and dry by a screenplay that seldom gifts him opportunities. There are moments where Foster’s sheer will draws life from the character’s tortured past, but most scenes leave Foster tirelessly sulking without proper motivation.

    I do credit Medieval for approaching its subject with gravity and great intentions. It’s just a shame the results rarely inspire a captivating biopic experience. 

    Medieval is now playing in theaters. 

  • Spider-Man No Way Home: Another Review

    Spider-Man No Way Home: Another Review

    Back in December, audiences became enchanted by the comic book appeals of Spider-Man: No Way Home. The multiverse-driven take on the beloved web-slinger ambitiously melded each live-action iteration of Spider-Man (and their respective foes) into one grandiose package. Most critics were impressed, while audiences unanimously swooned over the film’s attempts at multi-generational fan service. 

    Amidst waves of cheers, I sat through No Way Home in a perplexing state of disappointment. Everything about the film felt so soulless and manufactured during my initial watch, especially when comparing the final product to Sony Animation’s breathtaking animated/multi-verse offering, Spider-Man: Into the Spider-Verse. 

    I may not be a dedicated MCU fan, but I assumed that my history of growing up enjoying the high-flying superhero would at least inspire some goodwill from me. I am a sucker for Toby Maguire’s three Spider-Man entries, and I still think Andrew Garfield deserved more credit for the two Spider-Man movies he shepherded. Ultimately, I decided not even to review the film due to the busy holiday schedule and my disinterest in callously raining on everyone’s fun parade. 

    Thanks to a dearth of new releases, Sony is now re-releasing No Way Home in theaters with an additional 11 minutes of footage. The film still leaves me with mixed sentiments, but I am happy to report that my rewatch elicited a wave of newfound feelings toward No Way Home.

    Let’s get the “director’s cut” gimmick out of the way first. The new footage is an utterly thankless addition for audiences who’ve seen the film countless times in theaters. Most of the added scenes, which are almost exclusively set in the opening act, come across as bad bits that deserve to remain on the cutting room floor. The already-overlong 148-minute runtime does not benefit from unnecessary padding. Several other extended cuts bring interesting new elements to the table (Blade Runner and Almost Famous, to name a few); No Way Home does not benefit from the director’s cut trend. 

    As for the film itself, much of the charm from the prior MCU web-slinging efforts remains intact. Tom Holland continues embodying the nerdy charisma and vulnerable emotionality of Spider-Man like a glove. His puppy-dog eyes, affable personality, and emotional gravitas all help Holland extenuate Spider-Man’s dual struggles between being a hero and maintaining a personal life. Likewise, Zendeya’s satirical bend and insular talents help make MJ a rich character onscreen, while Jacob Batalon provides vibrant energy as Peter’s loyal best friend. The trio forms an unabashedly affectionate dynamic – a strong relationship that successfully reimagines Spider-Man’s lionized lore with a fresh perspective. 

    I took issue in my initial viewing of how the core trio often takes a backseat for the multi-verse story arc. I still think the screenplay could’ve achieved a more effective balancing act, but there are enough heart-tugging moments that explore the characters’ evolving relationship amidst new challenges. The ending is especially moving and should set up the inevitable Spider-Man 4 with some thoughtful textures. 

    The multi-verse approach of No Way Home highlights the distinct strengths and weaknesses of the MCU formula. When the hommage-centric moments connect, the film reincorporates Spider-Man’s 20-year cinematic history with a warm, open-hearted embrace to fans. 

    Scenes between Holland, Garfield, and Maguire elicit genuine reverence for their distinct takes on the role, often modulating between sly bits of humor and authentic reflections on Spider-Man’s persona at different stages of life. The return of several veteran stalwarts as supervillains, like Alfred Molina as Doc Oc and a wonderfully unhinged Willem Dafoe as the Green Goblin, also ignites interest. Screenwriters Erik Sommers and Chris McKenna deserve ample praise for rallying an extensive list of characters into a cohesive narrative experience. 

    Other moments of fan service feel like an unwarranted distraction. No Way Home strains itself in its constant utilization of nostalgia-gazing moments – often throwing haphazard jokes and needless retreads without questioning whether these moments benefit the narrative. I don’t mind some attempts at humor, but the general MCU comedic style is starting to become tiresome due to its lack of versatility. 

    I also wish director Jon Watts imbued more imagination into the film’s visual presentation. After witnessing Into the Spider-Verse’s creative and technical verve, I can’t help feeling that Watts’ competent yet predictable aesthetic choices are somewhat vanilla by comparison. The film lacks those moments of hero-centric iconography that make other cape features boldly stand tall against their peers. 

    Some elements of No Way Home still frustrate me to no end, but I am glad a rewatch helped me appreciate the film’s distinctive strengths. I plead to anyone on the fence about an initial viewing of a movie to give it a second chance – you never know what thoughts or feelings may change.