QFest Preview: ‘Tahara’ – A Resonant Teenage Tale

QFest Preview: ‘Tahara’ – A Resonant Teenage Tale

By Alex McPherson

Olivia Peace’s directorial debut, “Tahara,” provides an incisive look at identity, grief, and societal pressures.

Unfolding during a single day within a Jewish synagogue, the film centers on best friends Carrie Lowstein (Madeline Grey DeFreece) and Hannah Rosen (Rachel Sennott) as they attend the funeral services for their Hebrew school classmate, Samantha Goldstein, who was shunned by her community for her queerness. Carrie, a soft-spoken Black woman, quickly realizes the hypocrisy on display from her peers and instructors, especially during the “Teen Talk-back” session in which she and her classmates are forced to discuss faith in relation to Samantha’s death. They are enacting a performative ritual that contradicts how many of them treated Samantha while she was alive. 

Everyone besides Carrie is seemingly driven by selfish interests, especially Hannah — an impulsive, reckless individual. Hannah is solely focused on attracting the attention of pretty boy Tristan Leibowitz (Daniel Taveras), rather than on grieving the loss of her classmate. After she coerces Carrie into “practicing” her kissing skills, Carrie’s true feelings for her come to the forefront. Hannah is forced to confront her own insecurities, and Carrie must navigate the troubled waters of their friendship.

Although the topics broached don’t break the mold for the coming-of-age genre, “Tahara” makes a positive impression from its opening frames and remains compelling throughout. 

The film’s distinctive style is apparent from the get-go — utilizing a 1:1 aspect ratio that creates a confined atmosphere, enhanced through frequent long takes. Additionally, when the characters experience a euphoric moment, the picture widens to fill the entire screen. During the aforementioned kiss, for example, colors whirl from all directions while Carrie and Hannah become smooching claymation figures — briefly existing on a different plane of existence, only to return to the restrictive norm immediately after.

Indeed, the whole film revolves around Carrie and Hannah’s relationship, as their bond is put to the test. Carrie’s mild-mannered personality sharply contrasts with Hannah’s, but “Tahara” effectively conveys their years of friendship through dialogue that, while often sardonic, feels authentic. DeFreece gives a particularly noteworthy performance as an individual facing challenges from multiple angles who eventually recognizes the importance of asserting herself. 

While Carrie remains sympathetic, Hannah is practically unbearable. Her self-absorption makes her difficult to watch at times, and her stubborn resistance to change proves incredibly frustrating. Sennott’s masterful performance, though, renders Hannah more complicated than she initially seems — an individual deeply unsure of her future and grappling with the person she wants to become. Although the film’s condensed time-frame limits how much we can learn about Carrie and Hannah individually, “Tahara” does a commendable job at illustrating their tensions, rendering each deeply human. 

Overlooking a few exaggerated side characters, Peace’s film successfully peels back the layers of its subjects’ cynicism to reveal a tragic, at times heartbreaking situation with young adults weighed down by external expectations. Religion, mourning, regret, self discovery, social status, and toxic friendships are all explored to various extents in this microcosm of teenage uncertainty. 

Despite some jokes that fail to land and occasionally heavy-handed symbolism, “Tahara” remains engaging from beginning to end. I wish Peace’s film wasn’t limited to showing a single day in the life of these characters, however, as the conclusion remains frustratingly open-ended and fails to give one specific character the resolution they deserve. The film’s initially comedic bent gives way to straight-up drama by the end credits, not shying away from ambiguity and leaving the future unpredictable.

Multifaceted and surprisingly ambitious, “Tahara” is a coming-of-age film worth experiencing, as well as an impressive calling card for director Peace.

“Tahara” is a 2020 movie directed by Olivia Peace that runs 78 minutes. It is a narrative feature selected for Cinema St Louis’ annual QFest, which will take place virtually April 16-25. For ticket information and festival offerings, visit www.cinemastlouis.com/qfest. Alex’s rating: B+

“Zack Snyder’s Justice League” A Super-Sized Superhero Extravaganza

“Zack Snyder’s Justice League” A Super-Sized Superhero Extravaganza

By Alex McPherson

“Zack Snyder’s Justice League” is an entertaining, four-hour superhero epic that greatly improves on Joss Whedon’s 2017 version. After leaving the first production due to a family tragedy, director Snyder is finally able to give fans what they’ve been craving. 

Batman (Ben Affleck), Wonder Woman (Gal Gadot), Aquaman (Jason Momoa), The Flash (Ezra Miller), Cyborg (Ray Fisher), and another familiar face team up to take down a world-ending threat. This time, a horned monstrosity named Steppenwolf (Ciaran Hinds) seeks to eliminate humanity from Planet Earth via three powerful “Mother Boxes” and rebuild it under the leadership of Darkseid (Ray Porter), who wants to control the galaxy. Feeling partly responsible for the death of Superman (Henry Cavill) in “Batman V. Superman: Dawn of Justice,” Batman becomes a reluctant leader as he and Wonder Woman bring the squad together. Heroes both new and old undergo their own arcs, to varying degrees — involving the topics of grief, faith, hope, and unity in times of crisis.

Aiming to please those who willed it into existence, “Zack Snyder’s Justice League” is difficult to recommend to viewers who aren’t already fans of the DC Cinematic Universe. The film contains moments of emotional resonance and visual spectacle, but proves grueling by the final hour — reverting to predictable plotting and repetitive, CGI-reliant action sequences.

At least the central characters are given more opportunities to shine. From its opening frames, “Zack Snyder’s Justice League” establishes itself as a slower, mournful affair, with a 4:3 aspect ratio, dour chapter titles, muted color palette, and a clearer sense of organization. Snyder has crafted an unarguably more coherent storyline than before, maintaining a grittier tone than the original cut and giving scenes more time to breathe. Even though the storytelling itself is clunky, largely thanks to hit-or-miss dialogue and frequent exposition dumps, I appreciate Snyder’s ambition. 

The added depth to Cyborg (a.k.a Victor Stone) is particularly noteworthy. After Victor and his mother are killed in a car crash, his father, Silas Stone (Joe Morton) uses a Mother Box to resurrect Victor in a robotic body. Thanks to his new abilities, Victor becomes an all-powerful presence, able to tap into the world’s technological web with ease, and representing the League’s key to vanquishing Steppenwolf. Despite his powers, Cyborg is gripped with resentment towards his father and deeply uncertain of his own future. Fisher’s acting is endearing and empathetic, the most convincing in the entire film. His character  — practically deserving of its own standalone installment — remains the heart and soul of the whole endeavour. 

The Flash (a.k.a. Barry Allen) is also further fleshed out, but his journey lacks the nuance and complexity of Cyborg’s. He is much more confident in his speedy capabilities and doesn’t spout as many cringey quips as in the 2017 iteration. Batman, Aquaman, and Wonder Woman, on the other hand, aren’t given much new material to work with under Snyder’s guidance, but we’re given more context for their actions. This helps create a stronger sense of flow from scene to scene than before, and all the actors give decent performances.

In terms of antagonists, Steppenwolf’s goals are more clearly outlined. Exiled from his demonic homeworld, he’s trying to prove himself to his master, Darkseid. Even though we understand where he’s coming from, Steppenwolf is still difficult to empathize with. Revealing more about his history doesn’t automatically fix his blandness or render him memorable. He’s big, powerful, odd-looking, and ready to slice and dice his way to victory.

Speaking of violence, “Zack Snyder’s Justice League” is rated R, allowing Snyder to indulge in bloody carnage that feels far more visceral than other cinematic comic book offerings. As expected, however, Snyder deploys an over-abundance of slow motion to present every shot as a work of art to be gawked at. Yes, there’s instances of beauty in his eye-popping, effects-heavy compositions, but they lose their thrill as the hours pile up.

Combined with an unnecessary epilogue that’s purely fan service, “Zack Snyder’s Justice League” doesn’t quite justify its existence for casual moviegoers. Nevertheless, I wholeheartedly support Snyder’s efforts to realize his vision. That being said, four hours is a huge time commitment, especially when viewed in a single sitting, and his film doesn’t differentiate itself enough to truly stand out.

A self-serious, over-indulgent, yet admirable effort, “Zack Snyder’s Justice League” isn’t the masterpiece that some have touted it as, but it proves sporadically enjoyable. I just needed a long nap afterwards.

“Zack Snyder’s Justice League” is a 2021 release from Warner Brothers that is exclusively showing on HBOMax, as of March 18. It stars Ben Affleck, Gal Gadot, Jason Momoa, Henry Cavill, Ray Fisher and Ezra Miller as the six superheroes in the DC Justice League. is Rated R for violence and some language. It has a run time of 242 minutes. Alex’s Grade: B –

Nightmarish Sci-Fi ‘Come True’ Is Mysterious Slice of Horror

Nightmarish Sci-Fi ‘Come True’ Is Mysterious Slice of Horror

By Alex McPherson

Anthony Scott Burns’ new directorial effort, “Come True,” is a flawed yet eerily effective horror film that explores the nature of dreams.

Burns’ film centers around Sarah Dunne (Julia Sarah Stone), a sleep-deprived high school student drifting through her day-to-day life. She refuses to stay at her mother’s house, possibly due to an abusive past, and relies on her friend, Zoe (Tedra Rogers), as her main support system. She has recurring nightmares where she flows through a post-apocalyptic wasteland containing shadowy figures, cavernous interiors, and a never-ending stream of passageways — always ending near a humanoid, cloaked in darkness, with glowing eyes and an imposing physique. 

Lacking a secure place to slumber overnight, Sarah enrolls in a sleep study run by a group of scientists with suspicious morals. The team, led by Dr. Meyer (Christopher Heatherington), is able to observe participants’ dreams as they’re experiencing them, thanks to some 80s-inspired sci-fi technology. Soon enough, the study goes off the rails as strange events start occurring. What ensues is a mind-boggling ride where Sarah’s life is thrown into turmoil. 

Suffice it to say, “Come True” is out there. Viewers expecting clear-cut resolution will be disappointed. Indeed, Burns’ film sacrifices plot coherence for atmosphere and mood. This style, however, ultimately overshadows some thematic missteps later on.

Eschewing the jump-scare-heavy tendencies of mainstream horror, “Come True” relies primarily on creating a sense of uneasiness and danger looming on the horizon. Burns’ precise cinematography — full of slow zooms and long, drawn-out shots of mysteriously empty streets and glossy, claustrophobic interiors — encourages us to consider more malevolent operations behind the scenes.

The proceedings are also divided into chapters with Jungian-inspired titles, such as “The Persona” and “The Shadow,” inferring a grander picture beyond Sarah’s immediate situation. Combined with the aforementioned nightmarish sequences and a score overly reliant on the synthesizer — it’s practically as if we’re experiencing a dream along with Sarah. 

Regarding her character, Stone gives a noteworthy performance that renders Sarah captivating from beginning to end. Although “Come True” withholds information from us regarding her past experiences, Stone empathetically conveys her exhaustion, fear, and disorientation as she’s sent down a turbulent path that keeps both herself, as well as viewers, second-guessing what’s real and what isn’t.

Her character arc, as well as the plot’s larger themes, aren’t spelled out to viewers, which heightens unpredictability and encourages reflection once the end credits roll. This is a highly metaphorical, bizarre coming-of-age tale of subconscious thoughts rendered conscious experience, targeting universal fears that the screenplay assumes many of us share. “Come True” takes some work to decipher, but holds rewards for viewers up for the challenge. At least, I think so. There’s some elements of the story I haven’t wrapped my head around yet.

That’s not to say the film’s ambiguity works entirely in its favor. When a young, creepy scientist named Jeremy (Landon Liboiron) shows up, “Come True” expects viewers to care for him, and his uncomfortable relationship with Sarah, without developing his character in a satisfying fashion. Saddled with occasionally clunky dialogue, he remains far less interesting than Sarah herself.

Additionally, the film’s final moments are unintentionally humorous and feel overly blunt in comparison to the slow-burn pace adopted previously. More than anything else, viewers will likely be left feeling befuddled and maybe even cheated.

Despite unfortunate detours into perversion and muddled storytelling in its latter half, “Come True” provides memorable visuals and a multi-layered plot that earn a recommendation.

“Come True” is an unrated sci-fi horror film from IFC Midnight that was released March 12. Directed by Anthony Scott Burns, it stars Julia Sarah Stone, Christopher Heatherington and Landon Liboiron, it runs 1 hour, 45 minutes. Alex’s grade: B

Another Look: ‘Ghost’ (2020) an Understated Gem of a Crime Film

Another Look: ‘Ghost’ (2020) an Understated Gem of a Crime Film

By Alex McPherson

Shot entirely via iPhone, director Anthony Z. James’ “Ghost” is a thought-provoking exploration of fatherhood, redemption, violence, and how the past informs the present.

The film takes place during a single day and follows Tony Ward (Anthony Mark Streeter), an ex-con re-entering society after 10 years behind bars. Emerging into an unforgiving world that’s moved on without him, Tony attempts to mend fractured relationships, including with his son, Conor (Nathan Hamilton), and chart a new path forward for himself.

Conor is psychologically scarred by his father’s actions and the direction his own life took as a result, but still cares for him nevertheless. Both men are forced to confront whether they will be consumed by their demons or work to overcome them. When Tony’s old boss, Dominic (Russell Barnett), shows up, complications arise. Can Tony escape the world he left behind, or is history doomed to repeat itself?

Even though “Ghost” dips into familiar territory, James’ film is a refreshingly subdued affair, with a pair of intriguing central characters and a strong sense of place.

From the opening frames, it’s clear that Tony feels alienated in the working-class streets of London. Streeter’s nuanced performance expertly conveys Tony’s regret, grief, and determination to turn his life around. He’s prone to brashness, but remains sympathetic. Hamilton is similarly effective as Conor — a youthful individual full of potential, yet held back by his own impulsivity that likely stems from his troubled childhood. Their scenes together, combined with James’ restrained approach, are where the film absolutely shines.

Shooting via iPhone lends a gritty, tactile edge to the proceedings, giving the film a documentary-esque feel at times. “Ghost” is more focused on small-scale relationships than anything else, willing to take an unhurried pace to tell a story that feels grounded in plausibility. Overlooking some occasionally shoddy sound design and awkward camera placements, it’s difficult to imagine “Ghost” being presented any other way. 

The majority of the film unfolds in prolonged conversations that feel true to life, for the most part — complete with awkward pauses and cinematography that creates a voyeuristic, fly-on-the-wall quality throughout. During other moments, James presents shots reflective of characters’ mental states. Tony, Conor, and Dominic are often framed against borders, both literal and figurative, that illustrate their difficulties connecting with the world around them, as well the internal conflicts they individually face.

Despite the film’s success in these areas, however, “Ghost” resorts to predictable beats by its conclusion. While I appreciate how James ratchets up tension in confrontations later on, these scenes betray the naturalistic approach utilized previously — sending the film down a bloody path of genre convention that feels forced rather than organic.

Additionally, James crams too much plot into a short time frame. Coming in at only 85 minutes, I wish that he had given these characters more time to grow, rather than trying to condense their journeys into a single day.

 It’s also disappointing that the side characters surrounding Tony and Conor aren’t given much development. Conor’s ex-girlfriend, Kat (Severija Bielskyte), for example, is used primarily to demonstrate Conor’s misplaced anger, without being given an opportunity to leave much of an impression. Similarly, Tony’s ex-wife, Valerie (Emmy Happisburgh), only features prominently in a couple of scenes, and undergoes a rushed arc that defies believability. Heading into its suspenseful final act, Dominic also gets an exposition-dump-heavy subplot that’s too convoluted for its own good — albeit one that concludes in a darkly poetic fashion.

All in all, “Ghost” is worth recommending to viewers seeking a crime drama with a compelling relationship at its core. Although the final act lacks the finesse that came before, there’s much to enjoy in this promising debut.

“Ghost” is a 2020 film released last summer that is now available on Amazon Prime. Directed by Anthony Z. James and filmed entirely on an iPhone, the film runs 1 hour, 25 minutes. It starts Anthony Mark Streeter and Nathan Hamilton. Alex’s Rating: B

‘I Care a Lot’ Is Worth Caring About

‘I Care a Lot’ Is Worth Caring About

By Alex McPherson

Featuring an incredible lead performance from Rosamund Pike, “I Care A Lot” is a darkly comedic roller coaster ride from start to finish. 

Marla Grayson (Pike) bases her life around taking advantage of senior citizens through fraudulent guardianships. In an unforgiving world, she believes only the most cutthroat will succeed. Once she or her girlfriend, Fran (Eiza González), finds a well-off elder, Marla acquires court permission to install herself as their “legal guardian.” She then takes charge of their finances and imprisons them in a care facility where they’re cut off from the outside world — all the while draining the poor saps of their money and sense of self.   

Suffice it to say, Marla is a stone cold sociopath. She exerts a palpable influence on those around her and rarely loses control of any situation she’s in. When she targets Jennifer Peterson (Dianne Wiest), Marla garners the attention of Jennifer’s donut-loving son, Roman Lunyov (Peter Dinklage), who also happens to be a sadistic drug smuggler. Marla and Fran must reckon with the deadly consequences. 

With shades of “Sorry to Bother You” and “Uncut Gems” sprinkled throughout, director J Blakeson’s film makes up for its lack of substance with memorable characters and an unpredictable plot.

Indeed, there aren’t many sympathetic folks in this story of greed, opportunism, and the American Dream. Viewers looking for people to root for won’t find any here. On the other hand, much of the fun of “I Care A Lot” comes from watching them destroy each other in a bloody battle of wits. As the stakes escalate for Marla and Fran, the film only grows more entertaining — not holding up to much scrutiny, but clever enough to leave a lasting impression.

Marla is a cunning, calculating, and compulsive individual. She’s able to shift personas on a whim to match different situations, always aware of her manipulative power and unflinching in the face of threats to her personal safety. These threats are usually toothless, until now. Pike absolutely dominates the screen, capturing her character’s heartlessness in a way that dares viewers to question her strength. Marla will snatch any opportunity to increase her wealth, always planning two steps ahead of her competition. It’s undeniably satisfying watching her pull strings for her personal gain — her razor-sharp dialogue simultaneously humorous and disheartening. 

 A troubled past is alluded to, but Blakeson doesn’t give Marla an involved backstory. Rather, she is an enigma who nevertheless cares deeply for her lover, Fran. This bond, though underdeveloped, gives Marla a shred of humanity despite her vile behavior.

The film’s clean, glossy shot compositions early on reflect Marla’s mastery of an amoral system disguised by artificial warmth. Later on, however, we’re able to see Marla stripped of her safety and command of the proceedings. The film’s style changes accordingly, evocative of a graphic novel and the volatile figure at the heart of it.

Marla’s a compelling antihero, earning some hard-earned respect by the film’s conclusion, but always remaining emotionally distanced. The other characters aren’t nearly as interesting, but there’s still a few standouts. Dinklage gives a scene-stealing performance as Roman, an unstable crime boss who, in a neat twist, actually has more sympathetic motivations than Marla does. Wiest is also wonderful, keeping viewers on edge regarding who Jennifer actually is.

Propelled by an eerie, synth-heavy score by Marc Canham, “I Care A Lot” moves along at a swift pace, but falters a bit by its heavy-handed finale. Plot holes abound, and Blakeson misses an opportunity to explore Marla’s psychology in more depth. Similarly, the film doesn’t add anything particularly unique in terms of social commentary — spotlighting a real-world issue of corrupt conservatorships, but adding little else to the conversation, launching itself into the firmly unbelievable.

Regardless of its missed potential, “I Care A Lot” is still a dastardly enjoyable film that fans of pitch black comedy should lap up.

“I Care a Lot” is a dark comedy thriller written and directed by J Blakeson, starring Rosamund Pike, Peter Dinklage, Dianne Wiest and Eiza Gonzalez. It is Rated R for language throughout and some violence, and the run time is 1 hour, 58 minutes. Alex’s Rating: B+. Available on Netflix as of Feb. 19. 

Despite Flaws, ‘Crisis’ Is an Informative Multi-Faceted Look at America’s Drug Problem

Despite Flaws, ‘Crisis’ Is an Informative Multi-Faceted Look at America’s Drug Problem

By Alex McPherson
Writer-director Nicholas Jarecki’s third feature directorial effort, “Crisis,” provides an ambitious and gritty look at America’s opioid epidemic.

Jarecki’s film centers around three individuals experiencing the issue from wildly different angles. Dr. Tyrone Brower (Gary Oldman) is a biochemist and university professor testing a new “non-addictive” painkiller developed by Northlight, a large pharmaceutical company.

After running experiments on lab rats, Brower finds that the drug is, in fact, dangerously addictive. Unsurprisingly, both the company and Brower’s university aren’t too pleased with this conclusion. Northlight officials offer Brower’s university a large grant in exchange for falsifying the data — paving the way for its FDA approval. Brower becomes a whistleblower, and he must deal with the repercussions for both his personal and professional life.

Viewers also meet Jake Kelly (Armie Hammer, undergoing his own career in crisis), a law enforcement agent working undercover amidst Armenian and Canadian drug traffickers, the latter of whom is led by a burly sap named Mother (Guy Nadon). Kelly also cares for his unstable, drug-addicted sister, Emmie (Lily Rose-Depp). Pressured to make arrests by his newly hired supervisor, Garrett (Michelle Rodriguez), Kelly and his work partner, Stanley Foster (Jarecki), attempt to set up a sting operation by bringing the two rival groups together. Suffice it to say, complications arise, and the bodies start piling up.

But wait, there’s more! The film follows architect and former addict Claire Reimann (Evangeline Lilly), who seeks revenge after her teenage son, David (Billy Bryk), is suddenly found dead in broad daylight, after having died from an apparent drug overdose. Reimann soon uncovers a deeper, more sinister plot. She desperately seeks answers as her world crumbles around her.

Whew, and all that unfolds in a two-hour film?! Yes, dear reader, “Crisis” provides a lot to chew on, to say the least. Even though the film’s emotional impact is undermined by a jack-of-all-trades approach, these stories, inspired from true events, still hold a certain power. 

Indeed, I appreciate the topics covered — showing how ordinary people become enveloped in an epidemic pervaded by violence and the preying of those less fortunate. Even though the film’s condemnation of corporate greed and the ways addiction destroys lives isn’t anything particularly new, this is still essential information, packaged into an accessible (though at times bland) thriller/modern noir hybrid.

As the film alternates between these three characters, “Crisis” effectively puts a human face on the suffering inflicted by profiteers on the general population. Reimann stands out in particular. She’s wracked with grief and driven by a fierce, self-destructive determination. We really feel for her, and Lilly’s performance, uncompromising and vivid, stands out from the rest.

Brower’s plotline involves a lot of sitting and talking, but remains compelling throughout. Of course, the shadiness of some pharmaceutical companies has long been clear, and it’s impossible for a single man to stand up to them. It’s easy to see the trajectory of Brower’s story, but the film provides several moments of righteous indignation, where Oldman (always an endearing actor) raises his voice and argues for truth over lies.

That brings us to Kelly. Although Hammer’s portrayal is a bit muted at times, his underlying rage is apparent. It’s a shame, then, that “Crisis” doesn’t let us spend more time with him and his sister outside of his undercover operations. The scenarios he finds himself in feel similar to practically every other crime film I’ve seen. 

What results is a film painted with broad strokes rather than a more focused exploration of any particular character. These stories would have benefited from a television-style format, where specific episodes are devoted to specific characters. Bouncing back and forth between them, “Crisis” doesn’t leave much time for reflection. Add to that a Hollywoodized finale that breaks from reality and ties some characters’ arcs up into a neat bow, and we have a film that ultimately underwhelms.

Similarly, Jarecki’s filmmaking techniques are competent, but they lack flair or a distinctive style — clean and precise without remaining particularly memorable.

All this aside, “Crisis” is still highly watchable, and at times quite suspenseful. It’s a shame that recent revelations about Hammer will likely deter many viewers from watching it, as there’s much to enjoy, especially in regard to Reimann’s journey and Lilly’s heart-wrenching performance.

“Crisis” remains a solid recommendation, despite its overstuffed nature, and tackles subject matter that shouldn’t fade from public consciousness.

“Crisis” is a drama written and directed by Nicholas Jarecki, starring Gary Oldman, Evangeline Lilly, Armie Hammer, Lily-Rose Depp, BIlly Bryk and Greg Kinnear. Rated R for drug content, violence, and language throughout, the run time is 1 hour, 58 minutes. It will be released in theaters Feb. 26 and on video on demand March 5. Alex’s Rating: B

Studio Ghibli’s ‘Earwig and the Witch’ Casts a Generic Spell

Studio Ghibli’s ‘Earwig and the Witch’ Casts a Generic Spell

By Alex McPherson

Studio Ghibli’s latest project, “Earwig and the Witch,” is a bland film lacking depth and imagination.

The story, based on Diana Wynne Jones’ book, follows Earwig (Taylor Paige Henderson), a young girl living in an orphanage in the British countryside. As a baby, she was abandoned by her mother (Kacey Musgraves), a witch fleeing powerful forces seeking her demise. Earwig, quite a bubbly individual, is content living there with her pal, Custard (Logan Hannon), and has zero interest in moving away.

Her fortunes change when she’s adopted by an imposing, scraggly haired witch named Bella Yaga (Vanessa Marshall) and her spindly, short-tempered husband named Mandrake (Richard E. Grant). Earwig becomes Yaga’s servant — mopping floors and preparing ingredients for her potions. She soon befriends a talking cat named Thomas (Dan Stevens). “Coraline,” much? As the days pass by, Earwig is trapped within this toxic household, unless she can find a way out.

Before all else, dear readers, we must address the film’s controversial animation style. Eschewing the hand-drawn techniques typical of other Studio Ghibli films, “Earwig and the Witch” relies entirely on computer-generated imagery. As a result, environments are rendered with striking attention to detail, but characters’ facial expressions lack nuance, leaving them lifeless and difficult to latch onto. Similarly, characters bluntly explain what they’re feeling at any given moment, perhaps attempting to compensate for their doll-like appearances. 

Director Goro Miyasaki (the son of legendary director Hayao Miyasaki) should be commended for breaking from tradition, I suppose. Regardless of the animation, “Earwig and the Witch” still ends up being a rather stale affair.

Unfortunately, Earwig remains irritating from start to finish. She’s fearless and perpetually optimistic. Miyazaki effectively juxtaposes her initial freedom with the repressiveness of her new environment, but she fails to grow in any meaningful way over the course of the film. Ironically, the life lessons we’re force-fed later on don’t apply to Earwig herself.

As she investigates her surroundings, the pacing slows to a crawl. Indeed, “Earwig and the Witch” extends the dullest aspects of her predicament to fill the entire runtime, becoming repetitive and mind numbing leading up to its exposition-packed conclusion. Nothing much of importance happens, as Earwig and her feline companion (primarily relegated to comedy relief) wander around aimlessly without a clear objective. Shouldn’t they want to escape? There’s no driving force to this plot, and little preventing me from watching something else.

Everything changes in the last 15 minutes, however. We’re bombarded with backstory that’s far more compelling than anything Earwig’s involved in, a sad reminder of the film that could have been. Additionally, the visuals stay frustratingly limited until the finale — providing fleeting moments of spectacle that the film should have embraced more consistently. Familiar themes are broached, including music’s communal power, but little stands out, and the end credits sequence leaves more emotional impact than anything in the main plot. 

At least the voice cast does an acceptable job with what they’re given. Grant stands out in particular, conveying Mandrake’s grumbling, volatile demeanor in an intimidating fashion.

Small children might enjoy the film’s simplistic narrative and cutesy, occasionally spooky vibes, but everyone else should steer clear and (re)watch “Coraline” instead. It pains me to write this, as a Studio Ghibli fan, but “Earwig and the Witch” just feels pointless.

“Earwig and the Witch” is an animated fantasy adventure film directed by Goro Miyasaki. It is rated PG for some scary images and rude material and run time is 1 hour, 22 minutes. Alex’s Rating: C-

‘Rock Camp: The Movie’ Is Surface-Level Tribute

‘Rock Camp: The Movie’ Is Surface-Level Tribute

By Alex McPherson

“Rock Camp: The Movie,” directed by Douglas Blush and Renee Barron, remains charming in-the-moment, but disappoints upon further reflection.

The film centers around Rock and Roll Fantasy Camp, an annual event in Las Vegas where ordinary folks can jam out with famous musicians. “Camp counselors” include Paul Stanley, Roger Daltrey, and Nancy Wilson, among many others. Once paired with a counselor, campers practice tunes together until their miniature bands perform at the end of the week. 

The camp was created by David Fishoff, a former sports agent turned music promoter who helped create Ringo Starr’s All Starr Band. An eccentric, bubbly individual, Fishoff loved hanging out with rock legends, and he was inspired to let others share in that thrill. Thus, in 1997 Rock and Roll Fantasy Camp was born. After an, ahem, rocky start, it eventually became a cultural phenomenon, even acknowledged by “The Simpsons,” “Bones,” “Ellen,” and “Pawn Stars.”

Rock and Roll Fantasy Camp has delighted attendees year after year ever since. The spirit of collaboration and shared love of music is infectious. Sign up today, if you have several thousand bucks to spare! Indeed, “Rock Camp: The Movie” reminds me more of an advertisement than anything else — albeit an especially heartwarming one. 

At least Fishoff’s intentions are admirable. There’s joy to be found in watching fans live out their musical fantasies, and “Rock Camp: The Movie” is often touching in this regard. Viewers see a young musician with autism embracing his passion for guitar; an ISSM network specialist finally being recognized for his skills as a drummer; a guitarist experiencing the camp with his son who has brain damage; a realty trust controller learning how to sing professionally — everyone finding joy through participation in the camp. These stories are resonant, to varying degrees, targeting larger truths about art’s power to heal, inspire, and bring people together, even though the campers’ privilege shows.

When the focus shifts away from the campers themselves, “Rock Camp: The Movie” becomes considerably less compelling. Watching rockers such as Alice Cooper, Gene Simmons, and Tony Franklin describe the camp’s significance to them lacks impact. Sure, fans will likely get a kick out of seeing genre legends reflect on how the camp reinvigorated their lives. Coming from someone with little knowledge of who these people are, on the other hand, I found listening to them reminisce becomes somewhat repetitive by the film’s conclusion, and the life lessons they impart of pursuing one’s dreams aren’t especially remarkable.

Additionally, the documentary depicts the proceedings with rose-tinted glasses and only spotlights those with positive stories to tell. Having all these personalities interacting would inevitably result in some sort of conflict, right? Viewers are left with a relentlessly upbeat film that provides plenty of warmth and wholesomeness, but feels too sanitized for its own good. This is a once-in-a-lifetime opportunity for many of the attendees, and it’s a shame that “Rock Camp” doesn’t mine more emotion from the event itself, coming across as a bit self-serving.

Similarly, although the film’s editing doesn’t do much to distinguish itself, “Rock Camp: The Movie” unfolds at a breezy pace, capturing the idiosyncratic nature of many of its subjects, as well as campers’ excitement and nervous anticipation. 

Perhaps the film would have benefited from focusing on a single group of individuals from day one, allowing us to spend more time with them while providing a clearer throughline leading up to the final night of performances.

Above all else, however, Blush and Barron’s documentary feels like a beacon of sunshine through the darkness, and that alone warrants a recommendation. “Rock Camp: The Movie” is a shallow yet uplifting slice of entertainment that accomplishes what it sets out to do without reaching #1 in the charts.

‘Rock Camp: The Movie” is a documentary written and directed by Douglas Blush and Renee Barron. Run-time is 1 hour, 27 minutes, and it is not rated. Available Feb. 16 as a video on demand. Alex’s Rating: B

‘The World to Come’ is Romance in Dangerous Setting

‘The World to Come’ is Romance in Dangerous Setting

By Alex McPherson
The film unfolds during the late 1850s, somewhere along the East Coast of the US. In the midst of a harsh winter, Abigail (Katherine Waterston) lives on a farm with her emotionally distant husband, Dyer (Casey Affleck). They’re gradually drifting apart, trapped by circumstance and grieving the death of their young daughter. They depend on each other but avoid addressing the underlying problems in their relationship. Abigail, an intelligent, highly literate individual, finds some solace through writing in her diary, where she can freely express herself.

Abigail eventually falls for Tallie (Vanessa Kirby), an alluring woman moving in nearby. Tallie lives with her husband, Finney (Christopher Abbott), a cold-hearted farmer who insists that she remain his subordinate. As Abigail and Tallie’s friendship grows into something more, the two must persevere through extreme adversity within a world seemingly operating against them.

Although “The World to Come” provides few surprises, it does an admirable job at establishing Abigail and Tallie as three-dimensional individuals imprisoned by the norms that are forced upon them. The film’s patient, deliberate pacing also belies a searing anger at the ways they are treated by society at large.

“The World to Come” initially feels like a horror film, as viewers observe a bleak, snow-covered landscape matched by a fractured household. Narration from Abigail’s diary, which continues somewhat repetitively throughout the film, establishes her mourning for her previous life with her husband and child. This is combined with a clarinet-based score that ebbs and flows in keeping with her turbulent emotions and unpredictable environment.

Tallie, also enduring a troubled relationship, is more courageous in the face of others’ standards. Abigail and Tallie’s bond —  convincingly portrayed by Waterston and Kirby with meaningful glances and sharp enough dialogue —  offers them both an opportunity to chart a new path forward. Tallie provides Abigail a chance to symbolically fight back against what’s expected of her, putting her written thoughts into action. The moments they share, satisfying each other both sexually and intellectually, lend the proceedings a wistful tone, contrasted by moments of brutality in their surroundings. 

 Abigail and Tallie are enveloped in passion, even if their romance was doomed from the start. Like the place they inhabit — winter turning into spring, captured with painterly cinematography by André Chemetoff — their bond is fraught with danger, but also offers enticing possibilities for, if I may, their world to come.

The acting is exceptional across the board, with Waterston and Kirby giving standout performances. From the moment they lay eyes on each other, their chemistry is palpable. The dialogue they’re saddled with, on the other hand, is often lyrical but sometimes heavy-handed, eliciting eye rolls rather than swoons on several occasions.

Affleck gives a strong performance as Dyer, bringing him additional depth that earns him sympathy down the road. Abbott’s character, Finney, is portrayed in a bluntly toxic fashion —  his religiously charged dialogue hits viewers over the head and renders his character detestable, yet sadly recognizable.

The film’s conclusion leaves too much up in the air, however, and misses an opportunity to distinguish itself from other similar narratives. Like the future that Abigail envisions in her diary, though, the film ultimately encourages us to believe in one where justice is served, and where individuals have the freedom to chase their desires. Art has the power to convey deeply felt emotions and preserve them — Abigail’s diary becoming more than a simple journal, and the film itself open to interpretation. 

While I wish “The World to Come” had subverted genre expectations to a greater extent, the film remains worth watching for its performances, atmospheric cinematography, and overall poignant storyline.

“The World to Come” is a 2020 drama, directed by Mona Fastvold and starring Katherine Waterston, Vanessa Kirby, Casey Affleck and Christopher Abbott. Rated R for some sexuality/nudity, the run time is 1 hour, 38 minutes. The movie premiered at the 2021 Sundance Film Festival and will be in theatres on Feb. 12. Alex’s Rating: B+ 

‘Judas and the Black Messiah’ Is Intense, Heartbreaking Ode to Activism

‘Judas and the Black Messiah’ Is Intense, Heartbreaking Ode to Activism

By Alex McPherson
Director Shaka King’s new film, “Judas and the Black Messiah,” is a visceral exploration of resistance, sacrifice, betrayal, and legacy.

The film takes place in late 1960s Chicago, where tensions are high between the Illinois Black Panther party and law enforcement. Amid the aftermath of recent political assassinations, Panther Deputy Chairman Fred Hampton (Daniel Kaluuya) is growing increasingly influential. Hampton, only 21 years old, is a passionate leader who seeks to advance the self-determination of black people to rebel against injustice, calling for cultural revolution. He establishes programs providing food, education, and medical care to local communities. He also unites disparate groups across Chicago under shared fury at the powers that be, including an all-white group called the Young Patriots.

Despite all that Hampton does for the community, however, FBI director J. Edgar Hoover, monstrously played by Martin Sheen, sees Hampton’s growing impact as a threat and formulates a plot to eliminate him by any means necessary. FBI agent Roy Mitchell, played with surprising nuance by Jesse Plemons, recruits a youthful, petty criminal named William O’Neal (Lakeith Stanfield) to infiltrate the Black Panther Party and become an informant, in exchange for his freedom from jail time. As O’Neal starts ascending through the ranks — eventually becoming Hampton’s security chief — he starts to question what he’s doing and whose side he’s really on.

The following events are often enraging and sobering. Indeed, “Judas and the Black Messiah” is a deeply moving film, depicting its subjects with depth while spotlighting historical events that remain scarily relevant today.

Through focusing on a condensed period of time, King’s film isn’t a mere biopic of Hampton or O’Neal. Rather, viewers are thrown into a warzone twisted by prejudice and misinformation. This was a volatile period in Chicago’s history, as well as a formative time for several of the film’s subjects. As Hampton’s political prowess grows, so do the malevolent machinations operating behind the scenes. Through the film’s crisp cinematography, expressive score, and harrowing scenarios, we can practically taste the danger in the air. The suspense is palpable, both of cultural change and of violence looming on the horizon.

It’s a bold decision to frame the proceedings through O’Neal’s perspective. Though his actions are often reprehensible, “Judas and the Black Messiah” paints him in an empathetic fashion, where we can see his inner turmoil. Trapped in a precarious situation, both the manipulator and the manipulated, O’Neal is an intriguing enigma throughout the film. “Judas and the Black Messiah” contains several nail-biting scenes where O’Neal escapes by the skin of his teeth — slyly grinning to himself when the coast is clear, but also realizing the constant danger he’s in, and his own growing attachment to the Panther cause. 

Stanfield’s performance is downright incredible, capturing O’Neal’s selfishness and slippery nature, but also his discomfort and mental conflict as the film progresses. Although some viewers may take issue with his lack of clear-cut motivation, King and co-writer Will Berson refuse to simplify him for entertainment purposes. O’Neal is a flawed individual, who we may never truly understand. In the film, he comes across as a tragic figure, battling for a sense of self amid delusion, propaganda, and frontline interaction with the Panthers themselves.

This lends the proceedings an uncomfortable tone, as we simultaneously care about O’Neal, but also reel from the actions he takes to undermine the Panthers’ cause. Although I appreciate his complex portrayal, “Judas and the Black Messiah” misses an opportunity to elaborate on his attachment, or lack thereof, to the Panthers. The film rushes through his time spent in the Party early on, and the film’s emotional core could have been strengthened by showing more of his interactions with Hampton in particular. 

Hampton isn’t portrayed quite as three-dimensionally as O’Neal, but the film effectively establishes his skills as an orator and as someone who truly cares about the people he’s serving. Kaluyya gives a powerful, soaring performance, where Hampton’s bravery as a leader is on full display. His girlfriend, Deborah Johnson (Dominique Fishback), helps him mature over the course of the film, as he reckons with the weight of his responsibilities for his personal life and the legacy he leaves behind. 

We also get several quieter scenes of Hampton reflecting on his life, helping to ground his character in relatable, personable emotions beneath his in-your-face persona. He reckons with how he’s perceived by the FBI, along with the consequences his passionate rhetoric has on his followers. While I wish the film had provided more of these intimate moments, “Judas and the Black Messiah” showcases the tragedy of a groundbreaking life of activism cut short by forces emboldened by racism and lust for power.

Despite the film’s missed potential in exploring the relationship between Hampton and O’Neal, “Judas and the Black Messiah” remains a must-watch cinematic experience — spotlighting a heroic figure, while encouraging viewers to fight for a more equitable world for future generations.

“Judas and the Black Messiah” is a dramatic biopic directed and co-written by Shaka King, starring LaKeith Stanfield, Daniel Kaluuya, Dominique Fishback, Jesse Plemons, Lil Rel Howery, and Martin Sheen. It runs 2 hours 6 minutes. Alex’s Rating: A- Now playing in theaters and on HBOMax Feb. 12