film reviews, interviews, features | BRWC

Author: Matt Conway

  • Don’t Breathe 2: The BRWC Review

    Don’t Breathe 2: The BRWC Review

    Don’t Breathe 2 Synopsis: The Blind Man has been hiding out for several years in an isolated cabin and has taken in and raised a young girl orphaned from a devastating house fire. Their quiet life is shattered when a group of criminals kidnaps the girl, forcing the Blind Man to leave his haven to save her.

    Sequels typically strike while the iron is hot for their successful brand, but others clunkily stagger towards their eventual release. Don’t Breathe 2 is a prisoner of this conundrum, following up its critically and commercially prosperous predecessor five years after the fact (2016 feels like a lifetime ago, I literally started and completed a Bachelor’s Degree in that time). 

    Featuring a new perspective and a first-time director (Don’t Breathe helmer Fede Alvarez switches to a producer/writer role), Don’t Breathe 2 attempts to further the original’s balance of thrills and nihilistic dread. The results are painfully misguided in nearly every facet. 

    Don’t Breathe received universal acclaim upon release, but Avalrez’s swift feature lost me within its gratuitous edge. The film threw shocking revelations at audiences without ever wrestling with the human ramifications, relying more on funhouse thrills to push along its inconsistent narrative. If Don’t Breathe was just all right, Don’t Breathe 2 feels like a tremendous step backward – and the film essentially makes that error from jump street. 

    The original’s vile antagonist Norman takes the protagonist seat as he manages a creepily protective relationship with his so-called daughter. Jane Levy’s performance in the original at least built a foundation of empathy with audiences, but Norman’s grotesque and underwritten backstory makes him a bland creep to follow. I credit Stephen Lang for imbuing Norman with physicality and presence. It just doesn’t mask the character’s flat sense of misery. The film’s introductory act introduces painfully inert melodrama between Norman and his daughter, never developing the naturalistic core that kept audiences invested in the original. 

    Once the carnage begins, it’s more of the same over-the-top violence. New helmer Rodo Sayagues admirably pulls from gritty home invasion thrillers of yesteryear, sinking his teeth into bloody kills and swift camera movements to display the claustrophobic struggle. While the execution is commendably visceral, the violence’s brooding brutality largely left me cold. Most horror setpieces rely on uncomfortably predatory dynamics to cause tension, cheaply throwing helpless characters in distress as mere pawns. Considering both films are severely self-serious, the lack of meaningful steaks drastically detracts from any investment. All the brutal combat is hilariously fictitious, turning Norman’s blinds state into superpowers that would make Daredevil blush. 

    As the narrative drifts down twisted detours, Don’t Breathe 2 justifies no reason to exist. The original felt like a sincere twist on the home invasion concept, turning the poverty-ridden bandits into earnest losers trying to survive against an unlikely source of evil. Alvarez and Sayagues’ screenplay take audiences to grotesque places that linger with a pungent mean-spiritedness. I expect some audiences to enjoy the film’s brand of unrelenting dreariness, but there isn’t enough gravity or creativity to justify the shock factor for me. 

    Don’t Breathe 2 left me bewildered with its dour brand of horror. Even fans of the original will recognize this poorly conceived effort as a downgrade from its predecessor.

    Don’t Breathe 2 is now playing in theaters nationwide.

  • Respect: The BRWC Review

    Respect: The BRWC Review

    Respect Synopsis: This biopic follows the rise of Aretha Franklin’s (Jennifer Hudson) career from a child singing in her father’s church choir to her international superstardom.

    Nothing says Oscar gold like biopics. Studios pump out an onslaught of posh semi-true stories in shameless attempts to garner acclaim from critics and award pundits. While some filmmakers push the subgenre to innovative places (Steve Jobs and Love and Mercy fully inhabit their subjects through their thoughtful forms and intimacy), a majority regurgitate the same by-the-books conventions without much artistry. 

    The latest biopic Respect places the spotlight on Aretha Franklin’s illustrious career. The soulful singer’s tumultuous journey should be ripe for poignant storytelling. Instead, studio heavy-handedness and disjointed storytelling leave audiences with a frustratingly inconsistent experience. 

    An Arethra Franklin biopic holds strong relevance to our trying times. Her evolving career radiates as a symbol of long-standing faith, female independence, and progressive civil rights ideas still to this day. Respect elicits its most effective frames when it leans into those conceits. I give screenwriters Callie Khouri and Tracey Scott Wilson credit for never shying away from Franklin’s hardships, creating painfully intimate scenes to show the personal obstacles Franklin overcame while becoming a transcendent presence in music. 

    While most biopics generate poignant performances, Jennifer Hudson truly embodies Franklin through her dramatic intimacy. The Oscar-winning actress imbues the singer’s range of experiences with raw emotional sincerity, never straying into the overworked theatrics that often defines performances of this elk. I would be remissed to ignore Hudson’s opulent singing abilities. Her beautiful range of vocals brings Franklin’s resonant tracks to life in ways few others could replicate. Co-stars Forrest Whitaker and Marlon Wayans also help in elevating their one-note roles. Both serve as damaging male figures to Franklin, ranging from an initially easy-going charm to abusive menace without feeling false in those drastic shifts. 

    Respect kept me semi-engaged throughout its lumbering 145-minute runtime, but the film never escapes the blandness of its trite formula. Like so many failed biopics before it, the bloated narrative sledgehammers Franklin’s rise to fame into a dissident series of marquee events. Few of these overdramatized landmarks register genuine impact, with the screenwriters relying too much upon the checklist deja vu devices to relay her journey. Whether it’s corny vignettes that dumb down Franklin’s songwriting process, oversimplistic speeches, or the overuse of busily crafted yet empty montages, Respect settles for the bare minimum far too often. 

    The overwhelming blandness is also apparent from a visual perspective. Director Liesl Tommy deserves praise for her sensitive handling of the film’s quaint moments, but she and Cinematographer Kramer Morgenthau’s blaise aesthetics create the equivalent of a Lifetime TV movie. The duo rarely indulges in inspired techniques, shooting Franklin’s sobering highs and lows with the same stagnant framing and drained energy. Just a little visual vibrancy could have gone a long way in masking the material’s factory-produced aroma. 

    The audience I saw Respect with ate up its crowdpleasing formula, cheering during the resounding music numbers while reacting with dismay to each stumble Franklin makes along the way. I am glad the film is resonating with audiences, but the lack of originality and authenticity derailed the experience from honoring Franklin’s storied legacy.

    Respect is now playing in theaters nationwide.

  • Beckett: The BRWC Review

    Beckett: The BRWC Review

    Beckett Synopsis: Following the death of his wife (Alicia Vikander) in Greece, Beckett (John David Washington), an American tourist, finds himself at the center of a dangerous political conspiracy – and on the run for his life.

    Opposed to the action genre’s nonstop carnage, Netflix’s latest international thriller Beckett maintains a meditative tonality. Luca Guadagnino’s long-time collaborator Ferdinando Cito Filomarino crafts his directorial debut in the image of old-school conspiracy thrillers. The results have some inconsistencies, but Filomarino’s well-tempered odyssey through a grief-stricken man’s chaotic chase for redemption elicits a compelling allure.  

    Filomarino’s debut wears a wave of influences. The director’s patient touch incorporates Guadagnino’s withdrawn atmosphere inside the intrigue of classic Hitchcockian thrillers like North by Northwest. The film’s cadence may feel like an imitation at times, but it’s an accomplished and sincere one at that. A quiet start allows audiences to sink into Beckett’s loving relationship with April, with their crackling chemistry finding a groove before the unspeakable strikes. 

    Before he confronts his demons, Beckett is unknowingly upended in a country-wide scandal bursting inside Greece’s volatile political system. Filomarino fittingly ratchets up the tension through a series of refreshingly grounded setpieces. Characters routinely trip over their environment, misfire shots, and breathlessly stumble through the director’s free-flowing sequences. Paired with steady framing from cinematographer Sayombhu Mukdeeprom, the toned-down setpieces pop with genuine gravity and naturalism. 

    As chaos ensues around him, Beckett comes to life through John David Washington’s career-best performance. The straightforward action movie premise would set expectations for a more traditional hero, but Beckett plays more like an unlikely everyman. Washington finds sobering emotionality between the frenetic chases, toiling with loss and regrets through his subdued touch. Beckett’s emotions simmer until intimate frames push his persona past action movie norms. 

    It’s a fantastic opportunity for Washington’s introspective skillset, with the actors sturdy and constantly affable hold keeping viewers locked in. Supporting players Vicky Krieps, Boyd Holbrook, and Alicia Vikander also elevate in their boilerplate roles. Vikander especially makes the most out of her seldom frames as April, creating a lived-in relationship that lingers with viewers. 

    Beckett consistently connects, but the narrative makes for a rocky ride at times. Screenwriters Kevin A. Rice and Filomarino spice up their familiar formula with timely depictions of political revolution. It’s an engaging backdrop, but one rarely imbued with the texture and clarity necessary to leave an impact. The inconsistent subtext impacts the third act the most, which masks the film’s emotional undertones for a flat web of conspiracy thriller contrivances. 

    I’m unsure if Beckett will please every action fan, but viewers with patience and preference for character-driven narratives are in for a welcomed surprise. 

    Beckett debuts on Netflix August 13th.

  • The Suicide Squad: The BRWC Review

    The Suicide Squad: The BRWC Review

    The Suicide Squad Synopsis: Supervillains Harley Quinn (Margot Robbie), Bloodsport (Idris Elba), Peacemaker (John Cena) and a collection of nutty cons at Belle Reve prison join the super-secret, super-shady Task Force X as they are dropped off at the remote, enemy-infused island of Corto Maltese.

    As a byproduct of studio meddling and bizarre edits, 2016’s Suicide Squad marked a new low for DC. The film’s edgy twist on superheroes ‘ typical nobility floundered despite the impressive talent involved. While Warner Brothers raked in profits, the film’s creative failure served as a necessary lesson in trusting their singular filmmakers (WB and DC made the same mistake a year later with Justice League). 

    DC’s woeful lows have helped spur a new era of creative freedom for the once stagnant brand. Entrusting skilled filmmakers like James Wan, David F. Sandberg, and Cathy Yan helped create some of the genre’s best entries of late (I don’t care what the box office says, Birds of Prey is an utter delight). That trend continues with Guardians of the Galaxy director James Gunn’s verbosely violent The Suicide Squad. Gunn’s grunge and fittingly vulgar vision reaches impressive heights in blockbuster entertainment. 

    Most know Gunn for the playful humor and jukebox tracks behind Guardians of the Galaxy. With The Suicide Squad, Gunn encompasses a similar sensibility, but this time it’s through the lens of the director’s Troma, B-movie roots. Gunn revels in the bloody carnage his antagonistic characters create, pushing the boundaries with a slew of gratuitous dismemberments and creatively crafted murders. It won’t be for everyone’s taste necessarily. However, fans of gnarly genre pictures like myself will adore seeing the genre’s twisted sensibility implemented into the grand scale of big-budget filmmaking. The edgy filmmaking also makes an ideal match for the character’s sinister undertones, with the film never sanitizing their inherent anti-hero qualities. 

    The Suicide Squad is a night and day improvement from its predecessor, particularly in terms of narrative. Instead of jampacking characters and ideas, Gunn’s screenplay finds remarkable clarity in its balance and development. The close-knit team all earn a chance to steal the show with their humorous personalities, while the narrative’s thematic undertones offer a welcomed change from the genre’s straightforward formula. Most of all, Gunn continues to display remarkable affection for his oddball characters. The infusion of intimate, character-driven moments works wonders in humanizing the team as more than a bunch of boisterous personalities. 

    Gunn’s assured material allows the skilled cast to take off. Idris Elba offers one of his best performances to date as the cocksure Bloodsport, possessing his usual dynamic swagger before chipping away at the character’s tough-guy facade. John Cena’s unwavering sincerity makes Peacemaker a compelling presence. His ability to switch between “the butt of the joke” stupidity and darkly unnerving tendencies keeps viewers on their toes. Margot Robbie steals the show again as the wonderfully manic Harley Quinn, while newcomers Daniela Melchior and David Dastmalchian shine as eccentric heroes.

    I had a blast throughout The Suicide Squad, but the film still possesses some notable inconsistencies. Gunn’s go-for-broke tendencies don’t always land, with some of his vulgar pratfalls and overbaked stylistic choices missing their intended spark. I also wish the writer/director did more to make his intriguing thematic angle work. The film’s ruminations on American Imperialism and the needless casualties left behind in its wake are too blunt to leave a lasting impact. 

    Every risk may not land, but Gunn’s endearing vision is still a feast to behold. The Suicide Squad serves as a boundary-pushing switch up from the superhero’s conformed image.

    The Suicide Squad is now playing in theaters and on HBO Max.

  • Naked Singularity: Review

    Naked Singularity: Review

    Naked Singularity Synopsis: Casi (John Boyega) is a promising young New York City public defender whose idealism is beginning to crack under the daily injustices of the very justice system he’s trying to make right. Doubting all he has worked for and seeing signs of the universe collapsing all around him, he is pulled into a dangerous, high-stakes drug heist by an unpredictable former client (Olivia Cooke) to beat the broken system at its own game.

    Based on lawyer-turned author Sergio De La Pava’s singular cult novel, Naked Singularity aims for high marks from an ambition standpoint. The long-awaited adaptation mixes critical insights on the corrupt justice system with a surrealist, crime-thriller edge. In the case of Chase Palmer’s directorial debut, Naked Singularity’s intriguing genre fusion turns into a bloated mess of genre confusion.

    I haven’t read De La Pava’s beloved text, but this adaption occasionally highlights the meaningful undertones that made his work beloved. Amidst all the chaotic turns, Naked Singularity aims its sights on the corporatized justice department. The cynical system callously funnels people in and out of prison sentences without much consideration, leaving both prisoners and ex-convicts stuck in a hopeless cycle of frustration. The film certainly lays the conceit on thick with boisterous stylistic cues and overwritten speeches. However, the energetic delivery does bring some much-needed vitriol to the age-old conversation. 

    A game cast also elevates the proceedings. John Boyega imbues conviction and dynamism into our down-on-his-luck protagonist Casi. Even as the narrative drives off the rails, Boyega provides a sturdy and deeply affable presence for audiences to follow behind. Olivia Cooke is served the most thankless role of the bunch as Lena – an ex-convict stuck acting as the film’s damsel in distress. Through the painful cliches and over-the-top accent, Cooke’s endless talent still finds a bright, humanistic angle to convey Lena’s toiling pains. Side players Bill Skarsgård, Ed Skrein, and a drugged-out Tim Blake Nelson also make for welcomed additions. The trio has a blast infusing over-the-top camp into their thinly-conceived roles.

    While too chaotic and shaggy to hate, Naked Singularity doesn’t do justice by its source material’s cerebral undertones. Palmer directs without a clear roadmap, incorporating a myriad of genre influences that never quite connect. The crime thriller portions offer edgy posturing without providing a driving hook, while any attempt at sincere drama stumble closer to TV-level melodrama. I give Palmer credit for attempting an unhinged visual style to match the character’s manic journey. It’s just doesn’t translate into a dynamic onscreen presence.

    Naked Singularity’s stumbles are similar to most failed adaptations. Palmer and co-writer Dave Matthews strip the material of any real bite, misguidedly streamlining a sprawling 700-word novel into a breathless 93-minute experience. It ends up not having much to say despite possessing a genuinely meaningful core. Instead of building a meaningful thesis, the film seemingly forgets its deeper purpose until it’s too little too late.

    An assured adaptation of Naked Singularity could provide a timely descent into America’s unfair playing field. Regrettably, Chase’s well-meaning effort never reaches the material’s apex. 

    Naked Singularity opens in select theaters on August 6th before premiering on VOD on August 13th.