film reviews, interviews, features | BRWC

Author: Matt Conway

  • Sonic the Hedgehog 2: Another Review

    Sonic the Hedgehog 2: Another Review

    Sonic the Hedgehog 2 Synopsis: After settling in Green Hills, Sonic (Ben Schwartz) is eager to prove that he has what it takes to be a true hero. His test comes when Dr. Robotnik (Jim Carrey) returns with a new partner, Knuckles (Idris Elba), in search of a mystical emerald that has the power to destroy civilizations. Sonic teams up with his own sidekick, Tails, and they embark on a globe-trotting journey to find the emerald before it falls into the wrong hands.

    Sporting his tailor-made white sneakers and everpresent youthful buoyancy, Sonic the Hedgehog continues endearing himself to older and younger generations alike. As a cultural mainstay over the last 30 years, Sonic stands as one of the few video game characters to manifest into a system-selling presence, morphing his unique fantasy world into a brand synonymous with super-speed action. 

    The SEGA mascot also represents one of the few video game protagonists making a seamless transition into big-budget tentpoles. After decades of fumbling viable properties on screen, Hollywood finally zeroed in on the appeals of one of gaming’s marquee personas with Sonic’s 2020 debut. The film is admittedly weightless, but Sonic the Hedgehog intelligently leaned into the colorful energy and fast-paced plotting of its source material. 

    For better and for worse, Sonic the Hedgehog 2 offers more of the same experience. While the sequel confuses grander spectacle for a better experience, Director Jeff Fowler maintains the loose comedic energy that made the original a welcomed surprise. 

    Credit to Fowler and his creative team (returning screenwriters Pat Casey and Josh Miller) for continuing to showcase their deft understanding of the source material. Repurposing Sonic’s cocky exuberance into an affable, child-like figure represents the best qualities of his bold personality while drawing a genuine connection to his youthful core audience. 

    I also love the playful Saturday Morning Cartoon vibrancy both Sonic films possess. Sonic the Hedgehog 2 reflects self-awareness at every turn, never tricking itself into taking its melodramatic plot beats too seriously. It’s a silly-faced approach that Fowler continues to excel at representing. Energetic action set pieces and good-natured gags sprint toward viewers at a fast-and-furious pace – often moving at a frenetic speed fitting of the film’s titular hedgehog. 

    Sonic the Hedgehog 2 also enhances its core appeals with a few welcomed additions. Ben Schwartz and James Marsden continue their breezy and surprisingly affectionate chemistry as Sonic and his human paternal figure Tom – while Jim Carrey reignites his manic 90’s comedic energy again in his playful interpretation of Dr. Robotnik. 

    However, the inclusion of Colleen O’Shaughnessey’s bright presence as Tails and Idris Elba’s stone-cold edge as Knuckles often take the spotlight. Both voice actors skillfully adapt their characters’ core appeals, adding distinctive characterization and a welcomed comedic presence that fits right into the film series. 

    Similar to its predecessor, Sonic the Hedgehog 2 still fails to elevate past its general pleasantness. Fowler’s strengths in freewheeling comedy do not translate into the cookie-cutter action setpieces, which often reek of spotty CGI and a lack of visceral creativity. It’s a shame that both films rest far too comfortably in the standard family-film mold, rarely pushing the character and his universe past familiar cliches. 

    I also think this sequel is too busy for its own good. Clocking in at 122-minutes compared to the original’s airtight 99-minute experience, Sonic 2 presents one too many subplots at the expense of the original’s appeals (I wish Schwartz and Marsden shared more screentime, they are the heart of these films). 

    For fans of the Sonic brand, Sonic the Hedgehog 2 still delivers enough warmth and infectious energy to continue the series’ winning streak on the big screen. 

    Sonic the Hedgehog 2 is now playing in theaters.  

  • Ambulance: The BRWC Review

    Ambulance: The BRWC Review

    Ambulance Synopsis: Needing money to cover his wife’s medical bills, a decorated veteran (Yahya Abdul-Mateen II) teams up with his adoptive brother (Jake Gyllenhaal) to steal $32 million from a Los Angeles bank. However, when their getaway goes wrong, the desperate thieves hijack an ambulance that’s carrying a severely wounded cop and an EMT worker (Eiza González). Caught in a high-speed chase, the two siblings must figure out a way to outrun the law while keeping their hostages alive. Based on a 2005 international film. 

    Two estranged brothers on opposite sides of the law unite for one last heist. When their bank robbery goes upside down, the duo find themselves on the run inside an EMT’s ambulance in Michael Bay’s latest electric actioner Ambulance. It’s no surprise that Bay continues to rank as one of the industry’s most divisive figures – often bludgeoning audiences through his form of kinetic framing choices and juvenile quirks. 

    When the auteur is outside the confines of the soulless Transformers franchise, Bay’s visceral presentation style extracts unique energy and perspective out of familiar formula. Pain and Gain showcased Bay spinning a darkly-comedic foray into the perverted chase of the American Dream, while action staples The Rock and 13 Hours: The Secret Soldiers of Benghazi incorporate his bold techniques with technical aplomb. 

    As a breathless heist yarn, Ambulance perfectly suits Bay’s chaotic energy. It’s the type of experience only the volatile auteur could dream up, a full-throttle and explosive thrill ride that harkens back to blockbuster crime epics of yesteryear. 

    I think some critics of Bay see his bombastic mayhem and assume it’s a byproduct of overindulgence. With Ambulance, the auteur exemplifies the proper precision and visceral artistry needed to manifest chaos in a controlled sense onscreen. With an arsenal of first-responder vehicles and buckets of bullets by his side, Bay conjures an unhinged journey fitting to his relentless premise. 

    His usual cinematic staples, like freewheeling camerawork, bold lighting, and sweaty intimate framing choices, intensify each plot revelation with technical artistry. The addition of newly-minted drone cameras also radiates kid-in-the-candy-store energy for Bay, who uses the new tech to fly through each car chase and towering skyscrapers with newfound vitality. 

    On a narrative front, Ambulance presents more intrigue than most Bay endeavors. The craftsman’s eye for visceral storytelling works wonders in conveying the fraught yet loving relationship between brothers Will and Danny. Without much traditional exposition to work with, the film’s expressive flashbacks and deft editing choices draw a surprising amount of resonance out of its straightforward plotting.

    Screenwriter Chris Fedak also deserves recognition for infusing a slew of modern ruminations into the proceedings. Our main characters effectively wrestle with morality, the myth of the American Dream, and society’s growing economic disparity as they endure a series of backbreaking setbacks. I also appreciate the loud and explosive handling of each character beat, with the constant shouting and bickering reflecting the same energy as the noisy action setpieces.

    The minimalist plotting approach creates a potent canvas for the project’s A-list cast. Yahya Abdul-Mateen II is a verging movie star for a reason. As Will, Mateen II’s effortless bravado and dramatic gravitas elevate his straight-laced role as a veteran stuck in an unraveling situation. Acting as a cipher for Bay’s high-energy shtick, Jake Gyllenhaal chews the scenery like no other as our gleefully over-the-top antagonist Danny. Eliza Gonzalez also adds some much-needed agency and naturalism as the EMT deals with the hostage situation. 

    Make no mistake; Ambulance still features some common Bay mishaps. The auteur continues to utilize groan-inducing comedic gags at the worst possible moment, while the 136-minute runtime could use another pass in the editing bay. That said, it’s a blast to see Bay work within material that perfectly complements his skill set. Ambulance is a gloriously frenetic experience that deserves the big-screen treatment. 

    Ambulance is now playing in theaters. 

  • The Contractor: The BRWC Review

    The Contractor: The BRWC Review

    The Contractor Synopsis: Involuntarily discharged from the Army, James Harper (Chris Pine), a special forces sergeant, lands a contract with a private underground military force. When his very first assignment goes awry, the elite soldier finds himself hunted and on the run, caught in a dangerous conspiracy and fighting to stay alive long enough to get home and uncover the true motives of those who betrayed him.

    After dedicating his livelihood to the military, a beatdown special forces agent receives a sudden discharge from the one career he’s ever known. Left with a ruptured knee and none of his pension expenses, James suddenly finds himself in the murky underworld of gun-for-hire jobs in The Contractor. 

    If the premise reads like your average bargain bin actioner, that’s because The Contractor embodies the genre’s penchant for frenetic action scenes and straightforward plotting at nearly every turn. Fortunately for viewers, director Tarik Saleh infuses the time-honored formula with some much-needed agency. Saleh crafts an agreeable-enough man-on-the-run thriller – a sturdy, workmanlike offering that occasionally rises above its cliched action movie husk. 

    The Contractor operates at its best when digging into the trenches of its real-world subject matter. James’ descent into post-service emptiness reflects a far-too-commonplace reality for soldiers, a profession that strives for efficiency and disposability at the compromise of the underlying human costs. When Saleh and J.P. Davis get an opportunity to slow the pace, the duo articulates post-service struggles with empathy and genuine insights into their subjects. 

    It helps that the A-list cast manifests humanity into their well-worn archetypes. I can’t gush enough about Chris Pine and his versatile skillset, with the actor boasting instant movie-star gravity and emotional authenticity in every role he embodies. As James, Pine enriches his cold and calculated protagonist by intimately exploring the lingering traumas from his life-long existence in the military. The actor skillfully unfolds the character’s precise presence throughout as his simmering emotions lead to a startling revelation. Supporting players Ben Foster, Kiefer Sutherland, and Gillian Jacobs also work wonders in elevating their bare-bones roles. 

    Still, The Contractor can’t help feeling like two dissident films battling it out for the viewers’ attention. The timely ideals entrenched into the screenplay resonant on a human and societal level, but Saleh and Davis seem more interested in playing to the action genre’s disposable nature. Far too often, the duo implements didactic dialogue exchanges and schmaltzy melodrama in a way that undercuts the potency of James’ real-world struggles. 

    Analyzing the film on an action movie front, The Contractor is merely acceptable. I appreciate Saleh for his lack of showy stylistic tricks. His steady framing choices and lack of intrusive score allow viewers to soak up the tension of each small-scale encounter. However, the director and his team aren’t exactly reinventing the wheel here. Most of the shootouts feel derivative in their construction, while the lack of meaningful gore robs the setpieces of the inherent brutality The Contractor tries to convey. 

    It’s admittedly a mixed bag, but I give props to The Contractor for occasionally rising above its familiar construction. If viewers take away anything from this film, it’s sure to be an additional appreciation for Chris Pine’s distinct abilities. 

    The Contractor is now playing in theaters and on VOD. 

  • Windfall: The BRWC Review

    Windfall: The BRWC Review

    Windfall Synopsis: A man (Jason Segal) breaks into a tech billionaire’s empty vacation home, but things go sideways when the arrogant mogul (Jesse Plemmons) and his wife (Lilly Collins) arrive for a last-minute getaway.

    A seemingly straightforward robbery gets flipped upside down when the socialite homeowner returns home in writer/director Charlie McDowell’s latest, Windfall. I’ve enjoyed seeing the upstart auteur continue to evolve in his verging career. The One I Love showcased a sleight premise elevated through insightful meditations on relationships and a game starring cast (Mark Duplass and Elizabeth Moss). On the other hand, the science-fiction Sundance yarn, The Discovery, delivered a more imbalanced experience despite its grander reflections on the afterlife. 

    With Windfall, McDowell utilizes COVID-19 restrictions in a return to his low-key roots. The results land somewhere between the director’s first two productions. McDowell creates a refined and arresting one-room thriller that doesn’t quite land its intended thematic punch. 

    McDowell’s third outing showcases more of his precise skillset. Paired with Cinematographer Isiah Donté Lee, the two display poised framing choices to relay the posh interior and vast fields of the central setting. The duo’s visual choices create an uneasy atmosphere – an opulent environment where even the most refined luxuries can’t mask the characters’ underlying resentments. I also enjoy how McDowell trusts his material and performers to take center stage. He understands that the premise does not require flashy tricks to enhance the evolving intrigue, implementing a serene touch that never overworks the material.

    Windfall delivers a strong canvas for its central stars. Famed comedian Jason Segal articulates restrained dramatic work with compelling results, displaying a cold and calculated loner who remains enigmatic to his captives. Jesse Plemmons scenery-chewing creates a captivating presence as the loathsome tech billionaire, while Lilly Collins conjures lingering dismay as his disengaged wife. At their best, the trio volley volatile exchanges in a war of building frustration between the dissident parties. 

    Home invasion thrillers are a dime a dozen, so I credit Windfall for presenting a thoughtful deviation from the familiar formula. McDowell pits a disenfranchised loner against the stature of a smug billionaire, presenting a conflict reflective of society’s lingering discontentment between the working class and social elites. The writer/director slowly cooks his underlying social tensions before setting the stage for a tense finale. 

    Unfortunately, Windfall fails to shape into a meaningful endeavor. McDowell crafts intricate plotting throughout but boasts less understanding of constructing a well-rounded thesis. The third act becomes frustratingly didactic as characters begin to shout their mindsets before culminating in a predictable climax. I think McDowell presents good intentions, although the writer/director ultimately represents class warfare in its most rudimentary terms. 

    Unevenness aside, Windfall extracts enough intrigue from its well-oiled home invasion yarn. I am excited to see how McDowell continues to grow from here.

    Windfall is now available on Netflix. 

  • The Bubble: The BRWC Review

    The Bubble: The BRWC Review

    The Bubble Synopsis: The cast (Karen Gillan, Keegan- Michael Key, Iris Apatow, Leslie Mann, Pedro Pascal, and David Duchovny) and crew of a blockbuster action franchise attempt to shoot a sequel while quarantined at a posh hotel.

    A group of A-list actors finds themselves shacked up filming a disposable blockbuster during the pandemic in Judd Apatow’s satire, The Bubble. Apatow remains an integral voice in comedy, blazing pathways on the big (Knocked Up and The King of Staten Island) and small (Girls and Freaks and Geeks) screens alike through his brand of sincere comedies. 

    His winning track record inspires hope that Apatow could elevate one of cinema’s most tired trends – pandemic-based content. Let’s be honest, most of these films utilized the past two years of turmoil just to elicit a cheap reaction from audiences (the horrendous Songbird comes to mind). With The Bubble, Apatow sinks to shocking new lows in a laugh-free, cynically-assembled romp. 

    It’s a befuddling experience from start to finish as audiences witness one of Hollywood’s most celebrated auteurs ignore his trademark abilities. In the mold of star-studded spoofs like Tropic Thunder, The Bubble vyes hard for thoughtful reflections on modern Hollywood trends – a culture that finds celebrities reducing themselves in cynical, big-budget camp while trying to appease the masses through social media. 

    None of Apatow’s attempts at insights present much thought or genuine reflection. While punching down at trends even the most casual of movie fans could grasp onto, Apatow creates a scattershot depiction of Hollywood norms that fails in articulating a thoughtful thesis. His trademark eye for sentimentality is nonexistent, opting for a more calculated approach that robs the material of any humanity. The auteur is not saying anything particularly insightful here, leaving all of the responsibility on the jokes to conjure an engaging experience. 

    The Bubble is as aggressively unfunny as it gets. For a film compiled solely of vignette skits, Apatow finds himself missing the plate with each comedic fastball he throws. Every TikTok dance and crass pratfall feels like Apatow is scrapping the bottom of the barrel in terms of comedic material. The cast of charismatic stars also finds themselves stuck playing one-dimensional cliches of shallow Hollywood celebrities – a choice from Apatow that never takes advantage of the cast’s versatile skill set. Everyone seems to be mugging at the screen without knowing what to do with their flatly-conceived parts. 

    It hurts for me to say this, but The Bubble marks Judd Apatow’s worst feature film to date. I hope Apatow sticks to his strengths more when he eventually moves on from this wayward dud.  

    The Bubble is now available on Netflix.