film reviews, interviews, features | BRWC

Author: Matt Conway

  • Lightyear: The BRWC Review

    Lightyear: The BRWC Review

    Lightyear Synopsis: Legendary space ranger Buzz Lightyear (Chris Evans) embarks on an intergalactic adventure alongside ambitious recruits Izzy (Keke Palmer), Mo (Taika Waititi), Darby (Dale Soules), and his robot companion, Sox (Peter Sohn).

    Leaving his Toy Story days behind him, Buzz Lightyear takes center stage as a valiant galactic ranger in Pixar’s latest, Lightyear. It’s been a disappointing time for Pixar fans, as the vibrant appeals of Soul, Luca, and Turning Red never saw the light of day in theaters. In their place, Lightyear soars onto the big screen as the studio’s latest frontier in continuing well-established franchises. Unfortunately, Pixar’s sequel and spin-off legacy is a bit of a mixed bag. The titles range from inspired continuations (Incredibles 2 and Toy Story 2) to downright bizarre cash grabs (Cars 2 holds the mantle there). 

    I did possess some hope heading into Lightyear. Seeing the affably sincere toy in death-defying outer-space missions is a fruitful concept for big-screen exploration. Previously, the intro of Toy Story 2 and the underrated Buzz Lightyear Star Command TV series mined some fun from their serialized approaches to the character’s lore. 

    With Lightyear, Pixar struggles to take flight. The studio’s precise eye for affectionate narratives and ambitious thematic explorations feel noticeable absent. Instead, they chart a predictable odyssey into sci-fi adventure mechanics – an uncharacteristically voiceless endeavor that never reaches the character’s star-studded aspirations. 

    Even a flop for Pixar is better than most middling family entries. The studio discovers some sparks of creative juice along the way, enacting a few grand-scale setpieces by conveying Saturday morning cartoon’s playful energy on a big-budget scale. I also see some potential in Pixar’s exploration of the character. Viewing Buzz as a prisoner of his workaholic dedication and rigid machismo coding offers an emotionally relevant prism into the service mentality. 

    Stuck in a state of galactic hyperspeed, Lightyear never exhibits much interest in exploring that concept – or really any element of its universe. Jason Headley and writer/director Angus MacLane collaborate on a barebones and painfully weightless screenplay. Seldom attempts at world-building and a breakneck sense of pace briskly traverse viewers along without developing a reason for investment. The lack of textured plotting shines a glaring spotlight on the generic plotting mechanics on display here. Neither writer defines a reason for audiences to invest in Lightyear and its familiar central protagonist. 

    Aside from one or two brief scenes, Lightyear himself remains an earnest yet uninteresting soldier who rarely receives time to breathe onscreen. His insular struggles and relationships with a new generation of galactic recruits come to life in the most slapdash and standard-issue manner imaginable (a third-act twist brings the thematic ideals to an awkwardly literal place). Star Chris Evans also receives few opportunities to define the character as his own. Evans’ rigid “yes sir” cadence serves as Buzz’s only defining personality quirk, while the film’s forgettable supporting cast shrinks inside underwhelming sidekick roles. 

    Lightyear remains in a constant state of confusion about its vision. The film paints itself as the movie that inspired Toy Story protagonist Andy to purchase Buzz, but the film introduces shaky attempts at redrawing the character’s origins. Most new infusions often clash inside a screenplay that is never afraid to dredge in the spin-off trend of flat nostalgic callbacks. The lack of coherent identity creates a space adventure that gets lost amidst attempts at a new big-screen franchise.

    Following an underwhelming weekend at the box office, it doesn’t surprise me that Lightyear stagnated with viewers. Pixar’s competence is displayed throughout, although their work here remains without the distinctive strengths and emotional magic that make the studio a beloved staple. The end product is a handsomely crafted yet hollow mission to infinity and beyond for its titular galactic space ranger. 

    Lightyear is now playing in theaters. 

  • Spiderhead: The BRWC Review

    Spiderhead: The BRWC Review

    Spiderhead Synopsis: Two inmates (Miles Teller and Jurnee Smollett) form a connection while grappling with their pasts in a state-of-the-art penitentiary run by a brilliant visionary (Chris Hemsworth) who experiments on his subjects with mind-altering drugs.

    A reckless mogul tests a new breed of emotion-driving drugs on disgraced convicts in Spiderhead. As a Netflix production, Spiderhead marks another attempt at diversifying the streamer’s original movie library. The studio continues taking dice rolls at creating contemporary cinema for viewers to enjoy from the comfort of their homes. 

    Aside from their more auteur-driven fare, most of these attempts have ironically felt like bargain bin iterations of their big-screen predecessors. Between lackluster blockbusters (The Adam Project) and ill-conceited Oscar hopefuls (Don’t Look Up), Netflix’s recent output showcases a studio half-heartedly aping the patterns of their theatrical counterparts. 

    Spiderhead sadly fits right in that generic mold. Acting as the studio’s attempt at high-concept science fiction works like Ex Machina, Spiderhead lacks the artistry and thematic consciousness to say much of note with its intriguing premise. 

    I can’t say I am too surprised that Deadpool writers Rhett Reese and Paul Wernick struggle to unearth substantive textures from their dystopian premise. The two create an odd convergence of sensibilities. Part of Spiderhead wants to reckon with the ramifications of tech giants turning a disenfranchised populous into their guinea pigs. Other aspects just want to appease the basic conventions of a sci-fi thriller. 

    Spiderhead traverses through this divide without nailing either tonality. The script feels woefully paper-thin, reducing the premise’s relevant conceits into window dressing for its dystopian setting. There are certainly ideas to ruminate on here, but Wernick and Reese seem more interested in peddling forward a familiar piece of high-concept entertainment. 

    In its pulpy form, there are elements of Spiderhead that work. Chris Hemsworth makes for an equally menacing and transfixing presence as the eccentric billionaire running hapless prisoners through a gamut of demoralizing tests. While Hollywood remains deadest on Hemsworth as a conventional leading man, it’s often the performances that transform his charismatic energy into underlying wickedness that prove most effective (Bad Times at El Royale). 

    It’s a shame none of the film’s other facets are as creatively-formed or deranged as Hemsworth’s performance. Top Gun: Maverick director Joseph Kosinski excels at capturing grand scale and enthralling setpieces – two skills that don’t necessarily fit the close-quarters confines of his latest project. Kosinski ultimately creates a competent yet sterile visual aesthetic, a conventionally-formed sensibility that fails to unearth the palpable tensions resting under the surface of each uncomfortable moment. 

    The narrative is similarly beige. Outside of Hemsworth’s maniacal edge, there is nothing for viewers to remember. Miles Teller and Jurnee Smollett deliver competent performances, but both are straddled with roles that rest below their abilities. The plot also falters at igniting intrigue, articulating a basic three-act structure that rarely stretches from familiar formula. 

    Promise aside, Spiderhead ultimately descends into a been-there-done-that foray into science fiction mechanics. If Netflix wants to remain the top dog in the streaming wars, they must be willing to take more creative risks with its material. 

    Spiderhead is now playing on Netflix. 

  • Dual: The BRWC Review

    Dual: The BRWC Review

    Dual Synopsis: Upon receiving a terminal diagnosis, Sarah opts for a cloning procedure to ease her loss on her friends and family. When she makes a sudden and miraculous recovery, her attempts to decommission her clone fail, leading to a court-mandated duel to the death. Now, she has one year to train her mind and body for the fight of her life.

    If surviving a terminal diagnosis wasn’t enough, Sarah must now battle with a clone version set out to replace her in Dual. Dredging in the dark crevices of humanity through high-concept premises has become a specialty for writer/director Riley Stearns. The auteur’s first two features, Faults and the highly-underrated The Art of Self-Defense, reflect Stearns’ astute marriage of darkly comedic moments and piercing sentiments on our modern worldview. 

    With Dual, the writer/director’s trademark sensibilities don’t quite gel together. The film’s dystopian worldview presents intriguing societal quandaries, but Stearns struggles to explore ideas with his typical thematic bite. 

    Elements that felt emotionally detached yet purposeful in previous efforts feel somewhat disconnected here. Stearns crafts Dual in a similar dark comedy mold to Art of Self-Defense – an approach that leads to characters embracing the same emotionless, matter-of-fact delivery. With Dual, Stearns’ tonal delivery lands with stilted awkwardness. His dry sense of humor lacks its usual pointed perspective, with the writer/director forcing gags that feel overwritten in their deadpan design.

    The stylistic pastiche also transforms his characters into vacant ciphers of his thematic conceits. It does not help that the performances struggle to unearth substance from their emotionless delivery. Karen Gillan’s dual performances as Sarah and her clone feel grounded almost exclusively in awkward mannerisms. The insular depression and underlying dread that is apparent under the surface never feels emotionally charged, with Stearns and Gillan devising the Sarahs as flat vehicles of his thematic design. 

    Dual struggles most at conveying a throughout thesis. I can see where Stearns intends the matter-of-fact bleakness and lack of humanity as depictions of humans’ transactional relationships and inherent selfishness. However, the dynamics never prosper into more meaningful insights. Stearns lays his dreary ideas on far too thickly, often over-extenuating himself in communicating the overwhelming hopelessness at the center of his narrative. Where the blend of humor and pointed revelations felt well-tuned in Self-Defense, the tonal hybrid approach feels like a clumsy vehicle for Dual’s intriguing idealism. 

    I wouldn’t call Dual a lousy film; Stearns certainly crafts his vision with confidence and technical aplomb. That said, the pieces of Stearns’ auteur perspective struggle to convey his intriguing dystopian concept. It’s a surprising misstep, but I am still excited to see what the skilled writer/director dreams up next. 

    Dual is avalaible on VOD and AMC+ 

  • New Release Breakdown: Burgers, Nixon, And A Summer Getaway

    New Release Breakdown: Burgers, Nixon, And A Summer Getaway

    In this edition of New Release Breakdown, I catch up with some of the summer’s under-the-radar entries, including Cha Cha Real Smooth, Fire Island, 18 1/2, and The Bob’s Burgers Movie. Let’s get it rolling!

    Cha Cha Real Smooth

    Cha Cha Real Smooth Synopsis: A man who works as a bar mitzvah party host (Cooper Raiff) strikes up a unique friendship with a young woman (Dakotah Johnson) and her teenage daughter (Vanessa Burghardt).

    After breaking out on the indie scene with Sh*thouse, writer, director, and star Cooper Raiff returns to his coming-of-age lens with Cha Cha Real Smooth. I can see why his latest film received a glowing reception at its Sundance premiere. With both of his first two features, Raiff conveys the type of comforting, quirky material the festival is known for propelling (Coda, Juno, and Garden State). 

    At the same time, the Sundance coming-of-age formula has shown signs of aging. Several notorious features attempt sentimentality without grounding their insights in authenticity, often creating cheery yet uninspired detours into the coming-of-age milieu (The Only Living Boy in New York and Wish I Was Here). For me, at least, Cha Cha represents another cloying and milquetoast attempt at coming-of-age sentiments. 

    Raiff follows the typical narrative formula to a tee, introducing his manchild protagonist as a down-on-his-luck college graduate looking for a purpose in his life. Raiff and his assured supporting cast help prop up some of the material’s predictability, but the experience can’t help feeling like a cumbersome exercise in cliche territory. None of the film’s personal revelations, relationships, or comedic gags feel exclusive to Cha Cha’s narrative. Instead, the film runs the gamut of coming-of-age territory without imbuing unique nuances or ideas to the table. 

    Cha Cha Real Smooth is too affable to detest. That said, Raiff’s latest still can’t escape its oppressively familiar design. 

    Fire Island

    Fire Island Synopsis: A group of queer best friends gather in the Fire Island Pines for their annual week of love and laughter, but when a sudden change of events jeopardizes their summer in gay paradise, their bonds as a chosen family are pushed to the limit.

    While Hollywood is still playing catch up in terms of diversity, Fire Island represents a much-needed breath of fresh air. Molded from the classical conceits of Jane Austin’s Pride and Prejudice, Fire Island finds writer and star Joel Kim Booster conjuring a laugh-a-minute comedy from his authentic LGBTQ+ viewpoint. 

    Booster and Driveways director Andrew Ahn possesses skilled hands in reinventing the studio comedy formula in an artistic light. The duo intelligently delves into nuances of LGBTQ+ culture that aren’t articulated in cinematic outings, often analyzing how race, physique, and other facets create factions in the community. 

    Where most comedies are grounded in mawkish sentimentality, Fire Island handles its relationship and personal turmoils with a thoughtful touch. The film’s perspective always feels well-articulated and sincere in its heartfelt design. A charismatic cast, including Booster, Bowen Yang, Conrad Ricamore, and James Scully, also helps extenuate the script’s dual strengths through their lived-in camaraderie. 

    At the same time, Fire Island represents a joyous celebration of LGBTQ+ culture. Booster showcases deft touch in his comedic barbs, pulling clever cultural references and humorous pratfalls while rarely missing a beat. Ahn’s abilities help tremendously in evolving the studio comedy formula. His effervescent imagery and poised composition elicit the bright joys of a warm summer getaway with friends without ever overplaying his hand. 

    Fire Island elicits laughs from start to finish. My most extensive critique goes to Fox Searchlight for not allowing the film to see the light of day on the big screen. During a summer movie season crowded with blockbusters, this is the type of inspired counter-programming the theatrical market desperately needs. 

    Fire Island is now playing on Hulu. 

    18 1/2

    18 1/2 Synopsis: In 1974, a White House transcriber is thrust into the Watergate scandal when she obtains the only copy of the infamous 18 1/2-minute gap in Nixon’s tapes.

    Writer Daniel Moya and writer/director Dan Mirvish playfully descend into one of history’s forgotten chapters with 18 1/2. Part farce and part odyssey into historical fiction, Mirvish crafts a film that defines its own confident frequency. 

    Moya and Mirvish exhibit impressive poise as a craftsman. Fitted in the old-school sensibilities of 1960s political thrillers, 18 1/2 finds Mirvish precisely transforming low-budget assets into a thoughtful recreation of the era and its different sentiments. Much of the runtime maintains playful energy, often showcasing a cast of colorful characters who leave a distinct mark throughout the experience. 

    Still, Mirvish and Moya never forget their script’s political relevance. At its best, 18 1/2 utilizes its fictional canvas for an icey examination of underlying political corruption (Mirvish was inspired in the wake of Trump’s election). It’s a tricky tonal high-wire act to balance, but 18 1/2 successfully marries its conceits into a worthwhile experience. 

    18 1/2 is now playing in select theaters before a VOD release in July. 

    The Bob’s Burgers Movie

    The Bob’s Burgers Movie Synopsis: A ruptured water main creates an enormous sinkhole right in front of Bob’s Burgers, blocking the entrance indefinitely and ruining the Belchers’ plans for a successful summer. While Bob and Linda struggle to keep the business afloat, the kids try to solve a mystery that could save their family’s restaurant.

    Bob, Linda, Tina, Gene and Louise Blecher take their affably sophomoric hijinks to the big screen in The Bob’s Burgers Movie. I’ve only seen a few episodes of Fox’s long-running comedy series, but I always enjoyed the series’ dedication to goofy gags catered for all ages. Now taking center stage on the big screen, The Bob’s Burgers Movie thankfully continues the show’s goofy charms while appealing to a new audience of potential fans. 

    Writer/director Loren Bouchard (who co-directed with Bernard Derriman and co-wrote with Nora Smith) finds a strong balance between the series’ low-key appeals and an infusion of new content tailor-made for feature films. A few playful music numbers, an engaging yet fittingly goofy plotline, and a sharper animation style help sell the movie as more than an overextended television series episode. 

    Still, the series’ core appeals remain intact. H. John Benjamin, John Roberts, Kristen Schaal, Dan Mintz, and Eugene Mirman display a dynamic rapport as the oddball Belcher clan. So much of the amusement from Bob’s Burgers, both on TV and on the big screen, comes from their effortless riffing off one another as they stumble through awkward situations. Under all the pratfalls, the Belchers remain an infectious everyman family to follow (the ending gets surprisingly heartfelt in its tugs at the heartstrings). 

    For series diehards and newcomers alike, The Bob’s Burgers Movie serves up a satisfying big-screen adaptation. 

    The Bob’s Burgers Movie is now playing in theaters. 

  • Jurassic World Dominion: Another Review

    Jurassic World Dominion: Another Review

    Jurassic World Dominion Synopsis: Four years after the destruction of Isla Nublar, dinosaurs now live–and hunt–alongside humans worldwide. This fragile balance will reshape the future and determine, once and for all, whether human beings are to remain the apex predators on a planet they now share with history’s most fearsome creatures in a New Era.

    In a world where dinosaurs co-exist alongside humanity, dino experts Owen and Claire must reteam with a few familiar faces to save the world in Jurassic World Dominion. Dominion represents the third chapter of Universal’s reboot of the iconic Jurassic Park franchise. So far, the only aspect of these films that’s scarier than the flesh-eating dinosaurs is the studio’s oppressive embrace of mediocrity. 

    Jurassic World and Jurassic World Fallen Kingdom may have broken the bank financially, but neither film found a pulse from their brand of bland dinosaur carnage. World is about as formulaic as a blockbuster can get, repurposing the original Jurassic Park concept into a flat thrill ride from direct Colin Trevorrow. I respect A Monster’s Call director J.A. Bayona for infusing some horror aesthetics into Fallen Kingdom. However, there wasn’t much the director could do to save the film’s hilariously preposterous plotline. 

    With Dominion, Trevorrow returns to the director’s chair in a conclusion that unites the Jurassic World trilogy with its Jurassic Park origins. Trevorrow accomplishes an unlikely feat in his return. Despite helming a movie jam-packed with characters, settings, and action setpieces, Trevorrow’s Dominion is as lethargic as it gets for a big-budget tentpole. 

    Universal spent $165 million on a film that embodies the visual profile of a drab Honda commercial. Like with World, Trevorrow seems far too comfortable playing into a studio-mandated comfort zone. He and Cinematographer John Schwartzman craft a sterile visual look lacking in colorful vibrancy and dynamic movement. Standard conversations and tense action setpieces reflect the same blah aesthetics – a choice that is only made worse through the film’s inconsistent implementation of CGI effects (some of the setpieces look noticeably cheap). 

    Dominion generates very little excitement. Part of what made Steven Spielberg’s Jurassic Park so electric was its balance between thrills and genuine scares. While some dinosaurs reflected a sense of awe-inspiring majesty, other creatures were fittingly frighting as they tore limbs and threatened the park’s inhabitants. Dominion lacks any of that thrilling tension, often acting like an airless amusement park ride driven forward by its inherent artificiality. Desperate attempts to imbue some excitement with familiar music nods and visual throwbacks only reinforce the lack of ingenuity on display. I don’t know how a film about dinosaurs ravaging the entire globe can be so dull (the concept barely receives time for exploration). 

    It’s hard to blame Trevorrow entirely for a film – and franchise – failed by its studio. I understand Universal wants to create the most accessible product possible for fans and newcomers alike, but crafting the most middle-of-the-road vision imaginable isn’t the right avenue. None of these films take legitimate risks, propping up their movie star cast and high-concept premise in a soulless ploy for ticket sales. When all that matters is box office performance, it’s hard to hide lackluster effort on the screen. 

    Dominion might be the most shameless entry yet in its vying for audience interest. Like so many franchise films before it, the creative team dusts off the original Jurassic Park trio (Sam Neill, Laura Dern, and Jeff Goldblum) in an attempt at conjuring nostalgia. The trio’s skills as actors, particularly Goldblum’s charm as the neurotic Dr. Ian Malcolm, help infuse some much-needed life into the narrative. That said, none of the characters receive proper purpose. The likable stars are sidelined by a narrative that only wants them around for audiences to remember their former glory days. 

    Instead, Jurassic World’s story base remains the main focus. I’ve never really jived with what this new trilogy established in its universe. Chris Pratt and Bryce Dallas Howard are competent yet uninteresting in their roles as generic leads, while the unremarkable side characters fail to generate much of an impression. There’s nothing to latch onto emotionally for audiences as the screenplay regurgitates a heaping of familiar cliches. 

    Jurassic World Dominion maintains a general sense of competence, but that’s probably the best quality on display. This modern Jurassic franchise continues suffering under its flavorless and uninteresting design. When Universal eventually tries to revive the dinosaur brand, let’s hope they bring a little more creativity to the table. 

    Jurassic Park Dominion opens in theaters on June 10.