film reviews, interviews, features | BRWC

Author: Matt Conway

  • Werewolves Within: Review

    Werewolves Within: Review

    Werewolves Within Synopsis: A snowstorm traps town residents together inside the local inn, where newly arrived forest ranger Finn (Sam Richardson) and postal worker Cecily (Milana Vayntrub) must try to keep the peace and uncover the truth behind a mysterious creature that has begun terrorizing the community.

    Studios have desperately tried (and failed at) adopting marquee video game brands to the big screen. Often, these overworked adaptations forget what makes their source material inherently engaging. Simplifying a 30+ hour interactive experience into a sleight two-hour cinematic almost always leaves audiences with a bizarre mishmash of ideas. Aside from a few semi-successful examples (Mortal Kombat and Monster Hunter shine as campy popcorn entertainment), a majority of adaptations have only worked to anger gamers and casual viewers alike.

    Game Publisher Ubisoft is wisely stepping into low-key storytelling with their adaptation of Werewolves Within, a 2016 VR game framed from the image of social deduction games in the Mafia genre (Among Us is a recent example). Indie director Josh Ruben and comedian/screenwriter Mishna Wolff astutely represent the game’s consuming intrigue in a loving homage to whodunits of yesteryear.

    Werewolves Within embraces a genre hybrid form that feels wholly cohesive. Ruben’s direction skillfully leans into old-school horror aesthetics by morphing his low-budget assets into an earnestly makeshift presentation. From the foggy atmospheric framing to spirited uses of practical effects, each stylistic quirk helps to elevate the material’s lingering intrigue. While Ruben’s direction keeps a straight face, Wolff’s eccentric comedic bite adds a layer of self-referential humor to the familiar set-up. Her screenplay has a clever way of toying with the audience’s expectations, setting up traditionalist formula only to subvert with tongue-in-cheek twists. Our protagonist Finn serves as an adept example of this dynamic, with Wolff hinting at the character’s need to “man up” before ultimately embracing his lack of toxic cruelty.

    The film’s dynamic energy works in large part due to a well-calibrated ensemble cast. It’s a joy to see Sam Richardson shinning in a starring role. As Finn, the actor’s good-natured charm and deft comedic touch provide a sturdy center for the rambunctious supporting players to work around (Richardson’s low-key quips are some of the film’s sharpest gags). Each member of the character actor ensemble helps to elevate their boilerplate roles, with Milana Vayntrub’s quippy post officer and Michaela Watkins’ nagging neighbor stealing the show through their sheer force of nature.

    Very little of Werewolves Within’s lean runtime causes disinterest, but there is some room for possible refinement. Wolff’s screenplay batts around some intriguing thematic conceits, occasionally taking a look into our lingering distrust as a populous and our innate selfishness. The ideas integrate smoothly with the whodunnit presentation, yet none of Wolff’s social or societal implications render with much weight. Everything feels a bit too busy for its own good, as the tight 90-minute runtime zips along without defining a more substantive center.

    For what it attempts, Werewolves Within provides a howling good time from its spirited design. It’s exciting to watch Ruben and Wolff develop into playful new voices in the horror genre. The two define the game’s semi-obscure brand into a wildly enjoyable remix of genre inspirations.

    Werewolves Within opens in select theaters on June 25th before its VOD debut on July 2nd.

  • 12 Mighty Orphans: Review

    12 Mighty Orphans: Review

    12 Mighty Orphans Synopsis: During the Great Depression, Rusty Russell gives up a privileged position to coach football at an orphanage in Fort Worth, Texas. Whipping his young players into shape, they soon become an inspiration to their city, state, and an entire nation.

    12 Mighty Orphans lumbers in as the latest football drama to attempt a stirring blend of crowdpleasing entertainment from an impactful true story. While the film’s heart is consistently in the right place, director Ty Roberts only works to create a thankless concoction of generic sports movie contrivances. Every bit of rah-rah theatrics feels woefully false, leaving audiences with a hollow shell of what the premise could have achieved under better circumstances.

    The concept certainly has vitality. Centered during The Great Depression’s crumbling economy, the orphan’s journey from disenfranchised youths to united ballplayers is pertinent both in its personal and social implications. However, 12 Mighty Orphans oddly overlooks its titular football stars.

    Aside from Hardy Brown, who isn’t imbued with many nuances despite his future as an NFL player, the other elven orphans merge as an empty amalgam of boisterous teenagers. It never feels like these characters have a presence in their own narrative, with Kevin Meyer and Lane Garrison’s screenplay utilizing the figures as mere props for emotional sympathy.

    Instead, a majority of the focus is dedicated to coach/father-figure Rusty Russell. Luke Wilson does an adequate job as the well-meaning figurehead, but even his character merely serves as an earnest everyman. The material just doesn’t dig deep enough with any of its conceits. Whether it’s half-baked characters or ham-fisted integration of the time period, the script’s lack of specificity defines the film in the simplest of lights. Every saccharine swing for emotion falters from clumsy heavy-handedness, with 12 Mighty Orphans never escaping the stench of after-school special melodrama.

    Ty Roberts’ stagnate direction is similarly milquetoast. Attempts at an old-school veneer lack genuine artistry, cycling through melodramatic devices in attempts to clumsily crowdplease. Roberts consistently prevents viewers from engaging with the material, whether it’s in the form of over-the-top score choices or a generally hokey tonality (Wayne Knight’s abusive boss role would make mustache-twirling villains blush). Even the football scenes lack proper dynamism. Roberts sleepily frames the supposed high-steaks sequences without much thought for the sport’s explosive sensibility.

    It’s too earnest to entirely dismiss, but 12 Mighty Orphans doesn’t possess enough craft or nuance to honor its inspiring true story.

    12 Mighty Orphans is now playing in theaters nationwide.

  • Luca: The BRWC Review

    Luca: The BRWC Review

    Luca Synopsis: In a beautiful seaside town on the Italian Riviera, Luca (Jacob Tremblay) and Alberto (Jack Dylan Grazer) experience an unforgettable summer filled with gelato, pasta, and endless scooter rides. But all the fun is threatened by a deeply-held secret: they are sea monsters from another world just below the water’s surface.

    Pixar’s illustrious brand still stands as the gold standard of North American animation. After experiencing a transitional rough patch (Cars 2, Brave, and Good Dinosaur were a far cry from their usual standards), a fresh focus on diverse storytelling helped create several new imaginative staples. Coco and Soul possessed unwavering heart and deft thematic touch, transporting a young adult like me back to the glory days of Pixar’s storied heyday.

    The studio’s latest work, Luca, embraces a new avenue of minimalistic storytelling. I can see where some will critique the film’s simplistic pleasures, but director Enrico Casarosa imbues just the right touch in his wistful and warmly nostalgic narrative. Luca represents some of the studio’s best work in recent memory, intelligently stripping away narrative artifice for a far more soulful experience.

    Most modern animated efforts suffer from their far-too regimented narrative playbook, utilizing the same thankless mechanics that even younger audiences have likely grown tired of. While Jesse Andrews and Mike Jones’ screenplay implement some of these tropes, a majority of the runtime is spent frolicking through the Italian countryside with our young protagonists. The breezy, carefree pace allows Casarosa and company to reflect on the whimsical joys of childhood summers, a time where each day feels endless in its creative possibilities (even the short runtime feels like a perfect reflection of summer’s winding days).

    Luca never builds to grandiose moments, but that’s kind of the point. It’s the type of low-key storytelling that still aptly reflects on a meaningful chapter in all of our lives, while Pixar still flexes its chops when it comes to generating emotionally authentic frames. A lack of showiness allows these warm feelings to ruminate in a meaningful tale of friendship and its inclusive ability to connect (there are LGBTQ undertones to the character’s closeted existence). The talented voice actors also imbue heart and spirit into their earnest roles, as the central trio of Jacob Tremblay, Jack Dylan Grazer, and Emma Berman bring their roles to life with youthful vitality.

    Superb animation is almost a given with modern animation, but Luca’s impeccable details don’t make the achievement any less impressive. Whether it’s the crisp sparkles from the bright blue seas or the rustic cracks in each Italian countryside building, Casarosa and his team create a photo-realistic lens spiced up with animation’s creative powers. My only significant issue with Luca comes in terms of its generic base. Jones and Andrews rely too much on generic contrivances to set up the base of their narrative, making the first 15-25 minutes a slog as the film discovers its pace.

    Once Luca gets going, the film creates impeccable splendor for the eyes and heart. The refreshingly low-steaks storytelling creates a self-assured deviation from standard practices, drawing upon genuine sentiments without overworking its central ideals.

    Luca is now available on Disney+.

  • The Hitman’s Wife’s Bodyguard: The BRWC Review

    The Hitman’s Wife’s Bodyguard: The BRWC Review

    The Hitman’s Wife’s Bodyguard Synopsis: Still unlicensed and under scrutiny, Bryce (Ryan Reynolds) is forced into action by Darius’s (Samuel L. Jackson) even more volatile wife Sonia (Salma Hayek). Soon, all three are in over their heads when a madman’s (Antonio Banderas ) sinister plot threatens to leave Europe in chaos.

    Showcasing a refreshing hard-R action-comedy blend, The Hitman’s Bodyguard mopped up financially during the doldrums of summer 2017. It was the kind of old-school hit that we rarely see these days, relying completely upon appealing actors (Ryan Reynolds, Samuel L. Jackson, and Salma Hayek) and a high-concept premise to sell audiences. Few were enthralled by the film’s bizarre tonal mixture (scored a 43% on Rotten Tomatoes), but the money spoke enough to turn this throwback one-off into a potential franchise.

    Nearly four years later, the same team (including director Patrick Hughes and screenwriter Tom O’Conner) returns in the convolutedly titled The Hitman’s Wife’s Bodyguard (the double apostrophe is a daunting eye-soar). Sequels typically traject down the pathway of noticeable self-improvement or mindless copying of their counterpart. With a new lean towards comedic improvisation and low-steaks entertainment, The Hitman’s Wife’s Bodyguard offers the breezy summer fun desperately missing from its predecessor.

    The Hitman’s Bodyguard felt stuck in an identity crisis between the film’s vulgar comedic bite and the painfully generic action mechanics that ultimately took center stage. In comparison, this sequel feels noticeably looser and more assured. Chopping off the original’s excess melodrama does wonders for the material, with O’Conner’s frenetic screenplay trajecting down a lean-and-mean pathway of shameless entertainment. Even Patrick Hughes’ direction, which suffered from blaise framing and laughably shoddy effects work, receives a much-needed face-lift with a plethora of playful new setpieces.

    The star-studded cast also lets their hair down. Adding more Salma Hayek is always a winning idea, with the personable actress employing a volcanic storm of energy in every frame. She has a blast playing into Sonia’s reckless vulgar streak while still grounding the character in a semblance of humanity. Ryan Reynolds and Samuel L. Jackson skillfully lean into their movie-star charisma as the titular odd couple, playing to their distinct personas with a level of sly self-awareness. The trio develops a makeshift family dynamic that feels entirely genuine, propelling the rather thankless narrative forward through their sheer force of nature.

    Even the noticeable improvements still can’t mask the franchise’s lingering disposability. O’Conner’s screenplay operates a bit too comfortably amidst action mechanics, lacking the type of observational edge to create a more complete and self-reflective experience (both of these films try to mock action conventions but rarely indulge in that concept). The narrative is as been-there-done-that as it gets, while several foul-mouthed gags coast more on their overt raunchiness rather than being clever. Both films in this series are the kind of slight romps destined to be forgotten mere days after viewing.

    While the film dissipates quickly with viewers, The Hitman’s Wife’s Bodyguard achieves exactly what it sets to. It’s the crass and weightless summer entertainment that matinee showings are made for, improving upon its dreary predecessor while leaving the door open for an intriguing third entry.

    The Hitman’s Wife’s Bodyguard opens in theaters on June 16th.

  • The House Next Door (Meet The Blacks 2): The BRWC Review

    The House Next Door (Meet The Blacks 2): The BRWC Review

    The House Next Door: Meet the Blacks 2 Synopsis: When best-selling author Carl Black (Mike Epps) moves his family back to his childhood home, he must team up with oddball neighbors to do battle with a pimp (Katt Williams), who may or may not be an actual vampire.

    The laugh-out-loud joys of theatrical comedies are a dying breed, as more studios opt for the easy-going appeals of streaming services (even stars like Kevin Hart and Melissa McCarthy debut on streaming now). Thankfully, versatile writer/director Deon Taylor looks to revive the storied tradition with The House Next Door: Meet the Blacks 2. His long-awaited sequel to the 2016 cult hit (the follow-up was originally scheduled for an October 2019 release) switches up the Purge spoof formula for a playful revamp of campy 70’s horror.

    For the most part, this change-of-pace is a welcomed one. While The House Next Door lacks the original’s articulate social implications (“The Purge” concept confronted the judgemental spotlight following black Americans), Taylor’s spirited sequel generates an uproarious crowd-pleasing experience chock full of zany gags and lampooning laughs.

    Taylor and co-screenwriter Corey Harrell intelligently rely upon their talented ensemble cast. Mike Epps and Lil Duval continue to draw big laughs as antagonistic cousins, with Epps sharp, free-flowing improvisation cleverly skewering horror situations and Duval’s light-hearted buffoonery. With the addition of Katt Willaims as the villainess vampire pimp Dr. Mamuwalde, the film conjures new layers of comedic intrigue. Willaims’ self-assured presence and famed comedic bite create a fitting clash to Epps’ high-energy delivery, keeping audiences on their toes as the two endure a humorous battle of wills and minds. A loaded ensemble of personable talents (Danny Trejo, Michael Blackson, Andrew Bachelor, and “The Boss” Rick Ross) also add their distinct comedic sparkle to the fun-loving romp.

    The House Next Door feels far more assured than its predecessor. By leaning into the low-rent appeals of old-school horror vehicles like Fright Night and Blacula, Taylor creates a loving hommage to aesthetics of yesteryear. Foggy nighttime visuals and ingenious practical effects work to establish a makeshift sensibility oozing with sincerity and thoughtful craftsmanship. Not only is it a joy to see this campy veneer revitalized, but Taylor also infuses the playful sensibility with his distinctly modern comedic lens. The old-school vs. new wave dynamic sharpens both perspectives as the screenplay explores ample opportunities for clever lampooning and zeitgeist insights.

    https://www.youtube.com/watch?v=1O86V9_9Lb8

    Still, The House Next Door endures its fair share of unevenness. For every couple of gags that work, the script presents a few dated barbs desperately in need of modern revitalization. I will always credit writers for taking big swings with their comedic material, but the film’s wide net of topics isn’t always skewered with the same sharp perspective. As a fan of Taylor’s diverse body of work (few can shift genres with such ease), I also can’t help missing the substantive throughlines integrated into his films. Taylor often doesn’t get credit for making populist entertainment with a social edge, yet that element feels noticeably absent in this horror sequel.

    Issues aside, The House Next Door: Meet the Blacks 2 delivers on its signature brand of crass comedic setpieces. I am always happy to see Taylor’s indie spirit presented on the big screen, and I would be delighted to see a potential third entry in the franchise.

    The House Next Door: Meet the Blacks 2 is now playing in theaters nationwide.