film reviews, interviews, features | BRWC

Author: Matt Conway

  • Secret Headquarters: The BRWC Review

    Secret Headquarters: The BRWC Review

    Charles lives the life of a typically awkward teenager – hanging with friends, stumbling through embarrassing situations, and sharing a distant relationship with his absentee father, Jack. But, things aren’t quite as they seem when Charles and his lively friends discover a secret lair underneath Jack’s humble abode. It ends up being the home of the world’s greatest superhero, The Guard, a.k.a Jack – a fact that soon drives a wave of opportunistic foes to seize the unoccupied base in Secret Headquarters. 

    Superheroes soared to the top of the box office a long time ago, although the genre’s supremacy comes with some unfortunate misgivings. DC, Marvel, and non-IP hero ventures alike continue to lock their super-powered protagonists in the confines of bombastic blockbusters. While there are occasional risks, like Joker and Sleight, most hero features rarely receive the latitude to redefine themselves in exciting new contexts. 

    In the vein of campy cape efforts like We Can Be Heroes and Sky High, Paramount+’s latest streaming release, Secret Headquarters, at least earns points for having fun with itself. The buoyant, kid-friendly yarn centers on the perspective of Charlie and his friends as they turn super-powered gadgets into their personal playground. I can’t say the film extracts a particularly seminal experience, but the final product imbues enough winning energy into its breezy reinvention of familiar formula. 

    Don’t let the generic marketing materials fool you. While Headquarters wears the face of a by-the-numbers kid romp, the film defines its own playful voice. Screenwriters Josh Koenigsberg and Christopher Yost keep the energy light and breezy throughout, concocting a gamut of silly gags and pratfalls that play around with superheroes’ lionized status (a gag poking fun at the extreme heat of super suits is a highlight). 

    Directors Ariel Schulman and Henry Joost show equal dedication to the camp factor. Even when working with some wonky visual effects, the duo imbue a sense of exuberance into each spirited action clash. I would rather see a movie that puts in maximum effort to elevate its minimalist assets rather than coasting on the luxury of a big budget. 

    I also credit the creative team for cleverly eschewing the melodrama that most family films haphazardly embrace. The distant relationship between Charles and Jack receives just enough screentime to marinate some meaningful textures on screen. Including the superhero lens also brings a welcomed twist on heroes’ well-established mythos. The conceit of Charles struggling to balance world-saving responsibilities and his fatherly role brings some much-needed vulnerability – even if the execution can sink into generic territory. 

    Don’t get me wrong; Secret Headquarters is no masterpiece. The premise’s human undercurrent receives some attention in the first third before taking the backseat to noisy Home Alone shenanigans. I think the film extracts some fun from its mix of conventional elements, but the premise’s potential feels somewhat untapped. Stars Owen Wilson and The Adam Project’s Walker Scobell share lived-in chemistry as the father-son pair. Unfortunately, a bombastic third act reduces the impact their dynamic could possess. 

    Secret Headquarters still won me over in its Saturday morning cartoon approach to superhero films. Supercharged with zany energy and enough genuine goodwill, Headquarters should make for an excellent diversion for kids and a surprisingly pleasant watch for older viewers. 

    Secret Headquarters is now available on Paramount+. 

  • Emily The Criminal: The BRWC Review

    Emily The Criminal: The BRWC Review

    Emily the Criminal Synopsis: Down on her luck and saddled with debt, Emily (Aubrey Plaza) gets involved in a credit card scam that pulls her into the criminal underworld of Los Angeles, ultimately leading to deadly consequences.

    After sinking into debt, Emily stumbles upon a high-paying day gig that requires a slight bending of the law. The one-time payout eventually leads Emily down the rabbit hole of Los Angeles’ underground crime scene in Emily the Criminal. 

    At first glance, the buzzy Sundance 2022 title from writer/director John Patton Ford may seemingly derive from the cloth of ordinary true crime narratives. Thankfully, the final product ingeniously eschews those traditions at every turn. Ford and an incendiary lead performance from Aubrey Plaza elevate Emily the Criminal into an urgent meditation on our survival of the fittest economy. 

    Where many first-time feature directors stumble out the gate, Ford crafts Criminal with exacting precision. His screenplay’s economical storytelling approach doesn’t strain itself in providing a bloated backstory, instead relaying just enough vivid details to entrench viewers in Emily’s gloomy worldview. It’s refreshing to see a film that brazenly tackles Hollywoodized mechanics with an eye for authenticity – even if the truths relayed expose uncomfortable realities about the world around us. Emily’s odyssey through broken workforce standards offers searing indictments on capitalism’s callous practices and the similarly dog-eat-dogs crime syndicate operating in its shadow. 

    Ford’s direction shares a similar vision in its pursuit of gritty textures. Framed with claustrophobic intimacy and an infusion of jagged movements, Emily the Criminal finds its voice in relaying the undercurrent of desperation motivating Emily’s every misdeed. Each frantic chase and pulse-pounding encounter relays uncomfortably brutality from the type of thrills most films welcomingly commercialize. The raw, survivalist edge akin to features like Uncut Gems and Shiva Baby adds frenzied energy that unrelenting spirals as the narrative builds momentum. 

    I don’t know if Ford’s aspirations would connect so well without Plaza’s adept abilities. The typically sardonic actress trades out her signature quick-wit for one of her most grounded characters to date. As Emily, Plaza forms a transfixing presence as she transforms into a hard-edged veteran at her unsanitary day job. Still, a deep pool of empathy lies under the surface of Emily’s actions. Plaza impressively elicits expressive vulnerabilities that only heighten the angst of each volatile shouting match and violent clash Emily endures. 

    Ford’s debut eventually stumbles into some first-time filmmaker falterings – particularly in its finale that wraps up in an unsatisfyingly tidy bow. Fortunately, the few misgivings never overcompensate the noteworthy triumphs Ford and Plaza achieve here. Emily the Criminal is a mean-and-lean thrill ride enhanced by the relevant undercurrent of its bleak worldview. 

    Emily the Criminal is now playing in theaters. 

  • Summering: The BRWC Review

    Summering: The BRWC Review

    Faced with the challenges of growing up, grade school friends Daisy, Lola, Dina, and Mari find themselves frolicking through the final days of summer. However, their regular routine gets upended by the sudden discovery of a grown-up reality in Summering. 

    I’ve always loved nostalgic, rose-tinted coming-of-age stories that delve into the overlooked complexities of aging out of youth. When executed right, films like Lady Bird and Eighth Grade extract generational sentiments from their unique slice-of-life perspective. 

    Summering also marks the return of writer/director James Ponsoldt, who co-writers here with Benjamin Percy. Fans of early 2010 indies know Ponsoldt as the articulate voice behind underrated gems like Smashed, Spectacular Now, and End of the Tour. Since 2014, Ponsoldt has been relegated to TV director status after helming the disastrous tech thriller The Circle. 

    Unfortunately, Summering was subject to diminishing reviews and underwhelming reactions from Sundance 2022 audiences back in January. I think the final product here presents enough glimmers to rise above the harsh early buzz. Still, the occasional bursts of promise eventually compact into a sincere yet misguided coming of age exercise. 

    Nailing the right balance between authenticity and insight requires a particularly deft touch. For Ponsoldt and Percy, the duo never quite find that comfort zone on the page. While paying earnest tribute to 80s staples like Stand By Me, Summering utilizes familiar coming-of-age devices without the sharp perspective that makes the genre’s best entries work. Dialogue is especially a weakness of the script. Several lines strain themselves with maudlin melodrama as the film tries too hard to rouse meaningful sentiments.

    The characterization feels similarly stilted. Each childhood friend receives one or two personality traits to define their persona- a choice that morphs good intentions into hackneyed attempts at character development. The young cast, including Lia Barnett, Sanai Victoria, Madalen Mills, and Eden Grace Redfield, bring enough personality and professionalism to enrich these characters. It’s just a shame that none of the actors receive the opportunity to leave an indelible mark on viewers. 

    Even as it struggles to connect, Summering radiates undeniable spirit. Pondsoldt rediscovers his comfort zone behind the camera as a visceral storyteller. He and Cinematographer Greta Zozula draw the late-summer setting as a sun-kissed landscape bursting with whimsy and wistfulness around every corner. There are also a few instants where Summering elicits impactful ruminations on growing up and discovering humanity’s harshest realities. 

    A few standout frames eventually wash away as Summering gets lost in its ambitious worldview. I still think the final product shows an admirable effort for Ponsoldt and company as they reckon with aging without typically mawkish kid gloves. 

    Summering is now playing in theaters. 

    Photo Credit: Bleeker Street

  • Day Shift: The BRWC Review

    Day Shift: The BRWC Review

    Day Shift Synopsis: A hardworking dad (Jamie Foxx) out to provide for his daughter uses a tedious pool-cleaning job as a front for his real gig: hunting and killing vampires.

    A down-on-his-luck hitman and his evergreen partner stumble upon a dastardly plan for vampire domination in Day Shift. The Jamie Foxx-led actioner marks another attempt at blockbuster filmmaking for Netflix. So far, most would scoffingly label the streamer’s high-profile releases as lackluster “mockbusters.” Titles like The Gray Man and The Adam Project may feature luxurious movie stars and grandiose spectacle, but neither film draws an engaging experience from their haphazard fundamentals. 

    Day Shift attempts to define its distinct place in vampire lore as an inventive clash between blood-sucking creatures and our modern worldview. Unfortunately, the final product represents a charmless continuation of Netflix’s mockbuster trend. 

    A hard-R vampire crusade embedded in the lively allure of LA possesses an instant appeal. If only the film realized what to do with its strengths. Without a sharp vision, Day Shift boasts closer resemblance to cheesy police procedurals than an imaginative horror exercise. The adherence that screenwriters Shay Hatten and Tyler Tice possess to cliched narrative devices stall any interest in a film that’s constantly stuck on autopilot. There’s no personality on display here, which only compounds the film’s flimsy attempts at viable commentary (viewing the vampire antagonist as a gentrifying elitist is humorous yet rarely explored with much care). 

    The lack of personable material gives the actors no chance to shine. Like another ill-fated Netflix original, Project Power, Jaime Foxx receives little to do as the everyman protagonist Bud. The actor’s undeniable charisma enriches some of the film’s rudimentary moments, but it’s a letdown seeing Foxx mug his way through a role without captivating characteristics. Dave Franco is equally earnest yet forgettable as Bud’s by-the-book partner who bumbles through his first day of action. It also says something when not even Snoop Dogg toating a heavy machine gun can bring some light-hearted amusement. 

    Day Shift is as middling as it gets – except for one promising standout. Stunt coordinator-turned-director J.J. Perry brings kid-in-the-candy-store energy with his series of well-coordinated action numbers. From backbreaking kick-flips to smooth bullet-time gunplay, Perry utilizes every opportunity to redress familiar action movie moments into electrifying clashes. The vibrancy of the action is almost good enough to forgive the film’s tired use of pop confectionary songs and over-lit imagery. 

    Netflix users could do worse than Day Shift – it’s just unfortunate that the final product should be so much better. It’s an occasionally compelling yet largely mindless exercise destined to fade from viewers’ memories. 

    Day Shift is now available on Netflix. 

  • Bullet Train: The BRWC Review

    Bullet Train: The BRWC Review

    In his first job after a spiritual journey, the dopey snatch-and-grab contractor Ladybug receives a seemingly simple assignment – steal a briefcase on a speeding bullet train. Instead, Ladybug finds himself caught in a complex crime web featuring a rogue’s gallery of eccentric assassins in Bullet Train. 

    Boasting a star-studded ensemble and a high-wire premise, Bullet Train marks an intriguing step into the fast-and-furious mechanics of a Quentin Tarantino-esque romp for Atomic Blonde director David Leitch. The film is also an adaptation of a Kôtarô Isaka novel, a fact that has garnered pre-release controversy due to some questionable deviations from the source material. 

    The final product endures a train ride riddled with mixed qualities. It’s an unusual experience seeing a film that constantly modulates between exciting and exhausting its audience. Still, Bullet Train provides a breezy dose of summer movie entertainment throughout its turbulent inconsistencies. 

    Leitch and screenwriter Zak Olkewicz certainly go for broke here. Ladybug and his fortune-cookie philosophy, a pair of quick-witted British twins named Lemon and Tangerine, a father-son duo seeking revenge, a psychopathic teenager with a sinister agenda, and a murders row of assassins all inhabit the film’s busy train car setting with an assignment in mind. Amidst the constantly spinning plates, the duo extracts a comedic approach defined by life’s decisive dice rolls of fate and fortune. 

    Olkewicz’s characterization of colorfully cocksure killers breeds some humorous opportunities. The script’s comedic voice can sometimes try too hard to elicit laughter, but its brazen attitude and creative eccentricities help the film define an expressive personality. 

    Leitch’s presence behind the camera also makes its mark. The Atomic Blonde helmer possesses a keen eye for vibrant aesthetics. When Bullet Train fires on all cylinders, Leitch and Cinematographer Jonathan Sela paint the screen with dynamic colors and expressive framing choices that enrichen each close-quarters encounter. The bold visuals and light-hearted tone contrast nicely as Leitch crafts a film in the same vein of bullet-ridden romps like Smokin’ Aces and last year’s Copshop. 

    Bullet Train wouldn’t take off with the same momentum without its ensemble cast. Brad Pitt imbues ditsy SoCal energy into Ladybug and his humorously half-baked philosophies. After seeing Pitt in numerous Oscar staples, it’s a joy seeing the actor tap into his charisma as a contractor stumbling his way through his latest assignment. Scene-stealer Brian Tyree Henry and Aaron Taylor-Johnson make for a compelling pair as the bantering Lemon and Tangerine, while Bad Bunny, Joey King, and Hiroyuki Sanada all infuse gravitas into their supporting roles. 

    For all its strengths, Bullet Train gets snagged in several speed bumps. The inherent busyness of Olkewicz’s screenplay becomes a double-edged sword as the material underbakes some of its essential elements. Where the Isaka novel reckoned with destiny and the sins of our past, Bullet Train reduces those meaningful ideas into bits for comedic pratfalls. I also wouldn’t say all of Olkewicz’s comedic flourishes click. When the film tries too hard to be eccentric, it can be cumbersome to endure. 

    Leitch’s direction features similar highs and lows. The John Wick co-director remains dedicated to kinetic aesthetics, but his lackluster control of atmosphere and material continues to show signs of needed improvement. Bullet Train often feels like a film pushing forward without a clear track, with Leitch allowing his stylish and occasionally random choices to consume the project without consideration for the narrative’s objectives. 

    There is a film buried beneath Bullet Train that boasts more conceptual and filmmaking promise than the final product on display. Even with that fact, I still found myself charmed by Bullet Train and its high-energy delivery. The movie provides a bombastic dose of summer entertainment for adult audiences. 

    Bullet Train is now playing in theaters.