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Review: ‘Miss Americana’ is a Vulnerable and Compelling Look Inside the Life of a Star

As acclaimed writer/director Paul Scharder once said, “About Taylor Swift, let there be no doubt… she is the light that gives meaning to each to all our lives, the godhead who makes existence possible and without whom we would wander forever in bleak unimaginable darkness.” While this quote is somewhat overstating things, it is true that Taylor Swift, whether one likes her or hates her, has an immense amount of staying power in 21st century pop culture. This has only become more true in the past few years, as she has made headlines again and again; not only for her music but also for voicing her stance against Marsha Blackburn in the 2018 Tennessee Senate race, her support of the Equality Act, and most recently, her battle for control over her masters. Regardless of one’s opinion of her, Swift appears to be here to stay.

Miss Americana, much like Swift’s music, aims to provide a look inside the private life of one of America’s most famous pop stars. This contrast between public image and private life is at the core of pop music, which is essentially personal experience made into universally relatable and easy to consume art. This tension is eloquently presented in 2018’s Vox Lux, but it is quite another thing to see in documentary filmmaking. To her credit, Lana Wilson does an excellent job capturing Swift’s vulnerability. She looks genuinely comfortable discussing deeply personal issues in front of the camera. Wilson further accentuates this vulnerability by contrasting loud moments of Swift’s performances on stage with the much quieter private interactions she has behind the scenes with friends and family. The audience learns that Taylor Swift, in front of as well as behind the camera, is funny, thoughtful, and reflective. Indeed, in Miss Americana Swift spends a great deal of time discussing her relationship with her need for validation and public approval. It’s nice to see Swift going from talking about how these bad habits have shaped her life and career to joking about them while filming a music video. She truly seems to have a more healthy grasp on public opinion and how it affects her than she used to. Another virtue of Miss Americana is the way it captures the real joy that Swift takes to her songwriting. In this modern age, the production of a song is so rarely something seen publicly, and the way it is portrayed in this documentary highlights how much work, energy, and love goes into the process.

One subject neither the documentary nor Swift shy away from is her political beliefs and her desire to express them. Miss Americana spends a large amount of time on Swift’s struggle to voice her political opinions and the fallout of that expression. In terms of politics, one could be tempted to call Swift’s attempts at activism “too little too late”, but Wilson goes out of her way to portray the reasons for Swift’s silence, or lack thereof, in a clear, understandable, and sympathetic light. In one scene, when discussing her stance against Marsha Blackburn, Swift talks about how she doesn’t feel right standing on stage wishing her audience a happy Pride Month if she won’t actually take a stand when LGBT+ rights are on the line. This was interesting to hear, as it is a critique of Swift that has often been heard from LGBT+ activists, as well as, anecdotally, other LGBT+ people in my own life. This comment ties into an overarching pattern of Swift showing a truly impressive level of self-awareness when it comes to her own faults and shortcomings, but also her strengths as an artist. At one point in Miss Americana, she comments on how every artist in the industry has a specialty, and she states with confidence that hers is her storytelling abilities. It’s this level of confidence and self-knowledge that is so fascinating to see from a celebrity, especially one that has spent so long in the public eye like Swift.

From a filmmaking perspective, Miss Americana isn’t anything really new or innovative. Wilson lets her subject speak for herself and take the spotlight over filmic technique, which really works for the type of personal story being told. That being said, the structure of the film is somewhat meandering, and its lack of order makes it hard to follow at times. There were some visually interesting sequences, especially the one that accompanies Swift’s reflection on her testimony during her sexual assault countersuit. Other than that, it was fairly standard in terms of the actual footage being presented. The one thing notably missing from the documentary is any discussion of the controversy surrounding Swift’s masters, but that could be explained by certain legal guidelines which are, quite frankly, above this writer’s pay grade. Overall, Wilson’s documentary feels open and genuine. While it may be lacking in directorial or editorial flare, that isn’t something that is really needed for such a deeply grounded story and portrayal. In fact, the use of such a style might actually distract from the story being told.

Miss Americana is an interesting and unique look at one of the biggest pop culture figures of the past decade. That being said, ones opinion on Swift will most likely factor into their enjoyment of the documentary. If you’re a fan of Taylor Swift, this is a can’t-miss treat. If you’re not, it’s still a humanizing and fascinating character study. It maybe isn’t as critical as it could have been, but that most likely wasn’t something the director was attempting to bring to the documentary. Overall, Miss Americana is a captivating documentary and a solid start to the filmic year.

4/5 STARS

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Review: ‘Gretel and Hansel’ is a Beautiful but Ultimately Hollow Mess

The tale of “Hansel and Gretel” is a tale as old as time, or at least as old as medieval times. Gretel and Hansel, directed by Oz Perkins, follows a similar, if much darker, story. Kicked out of their home and desperate for work, Gretel (Sophia Lillis) and her younger brother Hansel (Samuel Leakey) journey into the woods to look for employment. Lost and hungry, they are taken in by a mysterious old woman (Alice Krige), whose house is made of wood, not candy. As she takes care of them, we begin to realize that things are not exactly what they seem.

The central issue of Gretel and Hansel is that it is badly written. It sounds like it was written by an artificial intelligence who was locked in a room and forced to watch Robert Eggers’ The Witch on an endless loop, and was then forced to write a “Hansel and Gretel” adaptation. In short, none of the characters talk like real people. All the dialogue sounds stilted and inhuman, and not because of the somewhat old-timey style (again, see The Witch). Every line of dialogue is so loaded with turns of phrase and metaphor that it sounds utterly removed from anything a human being would say. You can practically hear the screenwriters congratulating themselves for writing cool sounding lines. Simply put, it just sounded unnatural and it robbed the characters of any humanity they might have had. That being said, let there be credit where due: Lillis does a great job with what she is given, delivering a compelling performance. One of the best scenes in the film by far is one in which Gretel comes to a important, plot altering realization. On a related note, that scene is also devoid of dialogue.

The issues with the script go far deeper than the poorly written dialogue. The third act features a twist which barely builds tension and changes absolutely nothing about the stakes or character dynamics featured in the climax of the film. Gretel and Hansel also features side characters with seemingly no purpose, explanation, or motivation other than to force the main characters from point A to point B. The worst offender is The Hunter (Charles Babalola). Perhaps he is part of some arcane “Hansel and Gretel” lore this writer is not familiar with, but nevertheless his inclusion felt akin to the worst and most out of place character cameos in the MCU.

As you’ve probably noticed, this film is called Gretel and Hansel, not “Hansel and Gretel”. True to its name, Gretel takes the spotlight in this story over her brother. This narrative choice does gesture in the direction of feminism, and the rest of the film vaguely shuffles in that direction as well. However, this film’s main antagonist, the witch, follows in a long line of empowered “feminist” villains, whose beliefs are undercut by their position in the narrative. It’s hard to figure out what point the film is making when the witch is waxing poetic about the power of the queen in chess and feminine intuition in one scene and then attempting child murder in the next.

The main thing that Gretel and Hansel has going for it is that it is truly gorgeous. I would like to hear the story of cinematographer Galo Olivares’ own trip into the woods, because he clearly made some demonic pact in order to create visuals this stunning. Additionally, the score was genuinely captivating. It was more electronic than one would expect from a “period” piece, but it really worked with the overall surreal and fantastical tone of the film. In short, Gretel and Hansel very much places style above substance. This is not in and of itself an inherently poor choice. “Style over substance” can work quite well, as long as the style serves the substance and is not just style for style’s sake. The style of Gretel and Hansel, gorgeous lighting and creepy costuming and genuinely excellent sets, is not incongruous with its substance, a dark folk horror adaptation of an already “Grimm” fairytale. However, that substance is so poor and badly done that the style, with nothing to support it, falls flat. The gorgeous cinematography of Gretel and Hansel is not style, but rather an illusion; a conjuring trick. It is a distraction from the fact that you are watching an incredibly badly written film.

One has to wonder what the filmmakers wanted to achieve by making this adaptation. What bearing does “Hansel and Gretel” have on the present day? Films don’t always need to connect to current social issues, but it certainly wouldn’t hurt. The film begins with a voiceover telling us a story with a clear moral. Gretel and Hansel has no morals, other something muddled about “embracing your inner self”, which is further watered down by the contradictory teachings of the witch and Gretel’s own desires. To put it vaguely, for spoilers sake, in the end, the witch gets exactly what she wants from Gretel, and we, the audience, are not given enough from the story to know whether or not this is a happy ending.

Gretel and Hansel is a badly written atmospheric horror heralding the end of so-called “dump month”. It is a feast for the eyes, not the mind. This isn’t always a bad thing, but visuals can only get a film so far when it has nothing else to offer its audience.

1/5 STARS

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Payton Bissel’s Top Ten Films of 2019

This year was a crazy ride for film. Huge crowd pleasers like Avengers: Endgame were released and cinema giants like Scorsese and Tarantino dropped passion projects (The Irishman and Once Upon a Time in Hollywood.) While I sadly missed some of my most anticipated movies of the year, being The Lighthouse and Parasite, circumstance did not bring me to see them in the year they were released. This list will be what I have seen this year, not what I believe to truly be the best films of 2019.

10. Shazam! (David Sanberg, 2019)

DC, after a long period of disappointment, took 2019 to show that they can produce something of quality given enough time. In the great sea of superhero movies, Shazam! cements itself for me as one of the higher quality fims in the genre. Superheos being at its core a genre for children and young adults, having a hero that is a child makes it more entertaining and connectable. It is far from high cinema, but it blew my low expectations out of the water.

You can read Aleks Jovcic’s full review of Shazam! here.

9. Dark Waters (Todd Haynes, 2019)

I was surprised at how invested I was in this tale of an insider attorney facing the system that he protects. The film has a lot of heart, and Ruffalo delivers a great performance of his character. Not much to discuss but I enjoyed it.

You can read Luccas Pryor’s full review of Dark Waters here.

8. Avengers: Endgame (Russo Brothers, 2019)

Wow, this was an event. I’m not exaggerating when I say that I have waited for this for a decade. I have been a Marvel fan since Iron Man and seeing it accumulate into this cultural phenomenon is something else. While I prefer Infinity War a bit more, this is still undeniably one of the biggest movie events since the original Star Wars trilogy. As a film, it is lacking. It is still corporate Marvel movie, but this is the peak of what corporate Marvel movie can be.

You can read Greg Arietta’s full review of Avengers: Endgame here and listen to UW Film Club’s podcast on Avengers: Endgame here.

7. Jojo Rabbit (Taika Waititi, 2019)

Taika Waititi is quickly rising to become one of my favorite people in the movie business. This film only cemented his place in my mind even more. He is a master of the New Zealand comedy I fell in love with when watching Flight of the Conchords. Jojo Rabbit is exactly the kind film I wanted from Waititi. He did not disappoint in the least. Great acting and an overall entertaining experience.

You can read Ajay Rawat’s full review of Jojo Rabbit here and listen to UW Film Club’s podcast on Jojo Rabbit here.

6. Once Upon a Time in Hollywood (Quentin Tarantino, 2019)

While it is my least favorite Tarantino movie to date, I cannot deny the beauty of this film. I don’t have the nostalgia from the time period or the emotional connection to the tragedy that occurred in that time, but I do understand how this is a perfect way to reminisce and emotionally heal. The craftsmanship behind the movie is amazing, and the acting is superb, especially Brad Pitt’s. While overshadowed by its comrades in Tarantino’s filmography, it is a strong film nevertheless.

You can read Jim Saunders’ full review of Once Upon a Time in Hollywood here and listen to UW Film Club’s podcast on Once Upon a Time in Hollywood here.

5. Invader Zim: Enter the Florpus (Jhonen Vasquez, 2019)

As a huge fan of the series as a kid, seeing this return to glory made me so happy. I could feel the film leaking with love and care for the series and it showed. I couldn’t see a movie/finale for the series being any better.

4. Waves (Trey Edwards Schults, 2019)

At first, I really didn’t think much of this film, but the more it sat with me the more I appreciated it. The film really is an epic told in the most personal way. It stays close to its characters and lets their emotional journeys play out in a deep and compelling way.

You can read Rohan Patel’s full review of Waves here.

3. Midsommar (Ari Aster, 2019)

The person I watched this movie with puked from the psychological torment. This film is an attack on the psyche and I absolutely adore it. A great horror film and an amazing film about relationships, with amazing set design and score it is an experience to say the least.

You can read Cynthia Li’s full review of Midsommar here and listen to UW Film Club’s podcast on Midsommar here.

2. The Irishman (Martin Scorsese, 2019)

This movie was three and a half hours well spent. As someone who has not been completely immersed in the gangster genre, it does not hit home that much for me, but I completely feel the impact of the story and everything that happens in the life of the Irishman. A solemn yet humorous experience that is a true slow burn but is worth every single second.

You can read Ryan Circelli’s full review of The Irishman here.

1. Joker (Todd Phillips, 2019)

I was blown away by this film. I never had faith in this project and I am still blown away by how much I love this movie. I see it as an amazing homage to Taxi Driver, while doing its absolute best with the Joker and Batman IP. It is the perfect blend. I see the passion in the project and the artistry explode from the scenes as the movie plays. I love it. I won’t say it is without flaws, but I am continuously disappointed how the magic is overlooked by audiences. I am exited to look back at this film in a few years and see if it gets any more appreciation, or if it pulls in any Oscars.

You can read Cynthia Li’s full review of Joker here and listen to UW Film Club’s podcast on Joker here.

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Ryan Circelli’s Top Ten Films of 2019

2019 has been one of the best years for film of the past decade. The year was full of incredible and interesting sophomore efforts from rising star directors, like Ari Aster’s Midsommar, Jordan Peele’s Us, Robert Eggers’s The Lighthouse and Greta Gerwig’s Little Women. Industry veterans, like Tarantino, Scorsese and Bong Joon Ho added to their already impressive resumes. Big blockbusters also had their time in the spotlight as Avengers: Endgame broke box office records with its historic release in April. There were so many magnificent films from the past year that it was almost impossible to pick just ten of the best. Additionally, it wouldn’t feel right if I didn’t mention some honorable mentions that deserve recognition as great films.

Avengers: Endgame was the culmination of 10 years of storytelling that was finally brought to a satisfying conclusion. I was mostly astounded and impressed at the feat of making a big budget series end in a way that was coherent and satisfying. Ad Astra was a thrilling sci-fi epic telling the story of an astronaut who tried so hard to be his father only to realize that he should become his own man separate from his father. Booksmart was a refreshing female friendship and coming of age film, from a first-time director that had me dying with laughter. Under the Silver Lake and I Lost My Body were both films that had strange narratives but worked well and kept me interested throughout the entire runtime. After much consideration, these and many other great films just couldn’t make it into my top ten. Now that I’ve mentioned so of the greats from this past year, Let’s move onto my top ten favorite films of 2019.

10. The Irishman (Martin Scorsese, 2019)

Martin Scorsese brings us into the world of gangsters once again, but instead of the glitz and glamour of Casino and Goodfellas, we are instead treated to a slow paced, grim look at the life of one mobster, Frank Sheehan. This self-reflexive look at the gangster genre that Scorsese helped breathe life back into shows that being a gangster commonly left you either dead or alone with no one left to care about you. Although it is a depressing message, it reigns true and Scorsese reminds the audience of this with intro text for each new character stating how they died. The film’s 3.5 hour runtime doesn’t waste a second showing you how the lives of people are affected by the gangster lifestyle. While the expensive de-aging technology can only shave off a few years off the actors’ faces, their performances were as energizing as their performances from years ago. The Irishman is a captivating addition to Scorsese’s filmography that would be the perfect end to a strong, successful career.

You can read my full review of The Irishman here.

9. The Lighthouse (Robert Eggers, 2019)

Upon leaving the theater after watching The Lighthouse, I felt like I was a bit disappointed because I had expected to see something like Eggers’ The Witch. However, after letting the film ruminate, I realized that the film was a lot better than I had originally thought. Robert Eggers has created another disturbing period piece, which can become nonsensical at times with the plot, but still keeps the viewer engaged in what’s happening on screen. The decision to shoot the film in black and white helps set the tone along with the ominous music and sounds coming from the lighthouse. The 4:3 aspect ration also helps focus on a very performance heavy film. Both Willem Dafoe and Robert Pattinson give some of the best performances of this past year. Robert Eggers is yet another up and coming director that I personally can’t wait to see what he has in store for the future.

You can read PJ Knapke’s full review of The Lighthouse here.

8. Little Women (Greta Gerwig, 2019)

Greta Gerwig’s adaptation of the classic novel is a joy to watch in the cinema. Little Women follows the March sisters as they live their lives together and make their own paths following their dreams and aspirations. The film is a wonderful period piece that is exquisitely designed and shot. From the beautiful costumes to the well-crafted sets, it is clear every bit of the film was created with passion for the film. Saoirse Ronan, Timothée Chalamet, and Emma Watson were all stunning in the film and Florence Pugh definitely deserves her Oscar nomination for her role in this film. Greta Gerwig has successfully made both a low budget and middle budget film and I’m excited to see more and what she could do with a blank check.

You can read Stephanie Chuang’s full review of Little Women here.

7. Waves (Trey Edwards Shults, 2019)

The night of the screening I went to for Waves, I showed up at the wrong theater and had to Uber across town and barely got to the theater before the start of the film. All I could think about after I sat down was, “I really hope this film was worth the $16.77 for the Uber I took to get here.” Two hours and 15 minutes later I was sitting in my seat, silent in awe of what I just watched, and all I could think was, it was so worth that Uber to watch this. Trey Edward Shults has created this intense family drama that feels so real. The film is full of beautiful shots, scenes that will bring you to tears, and quite possibly the most needle drop soundtrack that exists. The budget to license songs for this film must have been half of its budget and it was worth it. This is another film I can’t wait to revisit as soon as I can.

You can read Rohan Patel’s full review of Waves here.

6. Knives Out (Rian Johnson, 2019)

Rian Johnson, the master of the genre subversion, has done it once again with Knives Out. This modern who-done-it is one of the most fun theater going experiences I’ve had in a while. I was pleasantly surprised at how Rian Johnson was able to keep me guessing right up until the very end. The film is well written, well-paced and Johnson’s ensemble cast does an incredible job of making his world come alive right on the screen.

You can read Rohan Patel’s full review of Knives Out here.

5. Once Upon a Time in Hollywood (Quentin Tarantino, 2019)

Quintin Tarantino’s 9th film sends us back in time once again to bring us his happy ending fairytale from the Hollywood of the late 60s. It tells the story of fictional actor Rick Dalton and his best friend and stuntman Cliff Booth as they go about their everyday business, all while a looming threat from the Manson family lurks in the shadows. If I could name one of Tarantino’s films that is the most ‘Tarantino,’ it would be Once Upon a Time in Hollywood. It takes place in the film industry and focuses actors and stuntmen as they go about their days filming and living their life. It would almost be a fitting end to his career in film, but he has his heart set on one more film and no one is going to stop him. While it is on the longer side, I still had a good time enjoying the slower parts of the film. Leonardo DeCaprio, and Brad Pitt both give great performances in the film and I think Margot Robbie’s role as Sharon Tate isn’t talked about enough, given how good it was. Once Upon a Time in Hollywood is definitely a film that I will be gladly revisiting as soon as possible and one that everyone should take the time to see.

You can read Jim Saunders’ full review of Once Upon a Time in Hollywood here and listen to UW Film Club’s podcast on Once Upon a Time in Hollywood here.

4. Uncut Gems (Josh and Benny Safdie, 2019)

An excerpt from my review – “Before going to see this film, I revisited Josh and Benny Safdie’s previous directorial effort, Good Time, and it reminded me why I was so excited to see Uncut Gems. From that film alone, it’s easy to see all the potential for the Safdie brothers both as writers and directors. Uncut Gems is the embodiment of that potential; they have found a type of narrative that they can tell extraordinarily well and a style that perfectly coincides with that narrative.” The film follows Howard Ratner (Adam Sandler), a degenerate gambler/jeweler in the diamond district of downtown Manhattan. The film follows Howard throughout the city as he is making bets and taking huge risks that he hopes will eventually pay off. Once the plot starts going it’s non-stop until the very end of the film. Howard Ratner’s character was written specifically for Adam Sandler and it is clearly evident on screen. It’s hard to imagine anyone other than Sandler as the sleazy 2012 gem dealer. This film is one of the most intense rides of recent years and everyone who is the least bit curious should carve out the time to see it.

You can read my full review of Uncut Gems here.

3. 1917 (Sam Mendes, 2019)

1917 is the “one shot” WW1 film that I didn’t know I needed to exist. 1917 takes you down into the tranches of WW1 as you follow two soldiers on their race against time to warn another battalion of an ambush. While the single shot style may sound like a gimmick, it serves to enhance the story, so well in fact that by the time you’re halfway through the film, you’ve forgotten all about it. It makes you feel like you’re right behind the soldiers, following them on their perilous journey, and it keeps you close to the horrors of being a soldier in WW1. All of this gets paired with Roger Deakin’s beautiful cinematography to create one of the best war films ever to be put onto the big screen.

You can read Levi Bond’s full review of 1917 here.

2. Parasite (Bong Joon-Ho, 2019)

There’s a reason that Parasite is near the top or at least on everyone’s top ten films of 2019 list. Simply put, it’s just that damn good. For those who haven’t yet seen this film, I’m warning, no, telling you to skip the rest of this entry. The best way to experience this film is to go in knowing absolutely nothing about it. Bong Joon Ho has created what I am willing to call a modern masterpiece. He’s made a film that has broken down a barrier and gotten people who wouldn’t normally head down to their local theater to watch a foreign language film to do so. It tells a captivating story with a social message that is well constructed and coherent (unlike another 2019 release that will remain anonymous). Everything about the film from the set design and the way that scenes are shot make this almost a perfect film that should (fingers crossed) win Best Picture.

You can read Joe Lollo’s full review of Parasite here and listen to UW Film Club’s podcast on Parasite here.

1. Midsommar (Ari Aster, 2019)

A24 was able to capitalize off the success of Ari Aster’s first full length film, Hereditary, and market Midsommar as the next horror film from an up and coming director. While there are disturbing images and jump scares, Midsommar isn’t a horror film. Ari Aster himself described it as both a fairy tale and a breakup film and I think that it falls into both of these categories and more. Aster has created a film that is outside the bounds of genre but still manages to tell a story about someone who has lost everything and goes on a journey to discover something she’s always been missing, something I’ve never seen before. A24 released the director’s cut of the film and just by extending a couple scenes and adding one or two more, the film is made even better than the theatrical cut. Ari Aster knocks it out of the park with his sophomore effort and I can’t wait to see his next projects. Finally, the performances in this film are outstanding. One of the biggest snubs this Oscar season is that Florence Pugh didn’t get a nomination for her role in Midsommar.

You can read Cynthia Li’s full review of Midsommar here and listen to UW Film Club’s podcast on Midsommar here.

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Review: ‘The Gentlemen’ is Guy Ritchie’s Redemption

The month of January is best known for forgettable movies that have no purpose but besides being a filler for other future movies in the winter season. This year, that changed that with releases like Bad Boys for Life. As for Guy Ritchie’s The Gentlemen, it might prove to be Guy Ritchie’s redemption from his disastrous Aladdin remake. The Gentlemen stars Matthew McConaughey, Charlie Hunnam, Henry Golding, Colin Farrell, and Hugh Grant. The plot centers around an American (McConaughey) who becomes rich by building a marijuana empire in London. His attempt to sell it triggers chaos when a drug lord, a British gangster, and others clash in their attempts to collect his fortune.

Though everyone in this film had great performances, Colin Farrell and Hugh Grant go above and beyond. Hugh Grant’s performance as a private detective never misses a beat as he pulls a combination of comedy and story-telling during tense scenes. Even though Hugh Grant hasn’t appeared in a lot of recent films, this film is surely a reestablishing moment for him, from the way he delivers his lines to his interactions with almost every vital character on screen. Colin Farrell has one of the funniest and memorable characters in this film. His delivery of his reaction towards certain problems that his character encounters stands out, especially given how fast paced the film is.

Finally, a gangster-genre film that has something going. There haven’t been a lot of movies featuring the mixed genres of action, comedy, and crime all rolled into one (besides Guy Ritchies’ past films) in recent years. This film knows when to act serious and when to act funny. A balance is achieved when the film properly focuses on the comedy aspect and at other times when the film focuses on shocking plot twists. Gangsters films can be serious, but Guy Ritchie’s directing and writing know when scenes should and shouldn’t take itself too seriously. This results in by having small but amazing performances from an ensemble cast and quirky comedy in character dynamics.

Overall, Guy Ritchie has finally redeemed himself from last year’s Aladdin remake. The directing and writing were on par with his previous films, Lock, Stock, and Two Smoking Barrels, Snatch, and RocknRolla. The multiple genres featured in The Gentleman are surprisingly good and well-blended. The actors deliver performances so great it’s as if they were destined to play their respective roles. All in all, this is a film that’s both enjoyable and entertaining in many ways.

3/5 STARS

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Review: ‘Midnight Family” is an Ode to the Working Class Heroes of Mexico City

“There’s a reason for every line of work. If no one got sick, there would be no doctors. If no one died, there would be no morticians. If no one littered, there would be no garbage men. All these things create jobs. That’s the truth.” -Juan Ochoa

Luke Lorentzen’s Midnight Family showcases the fragmented healthcare administration in Mexico City. Lorentzen sets the tone for the documentary by revealing there are fewer than 45 emergency ambulances for Mexico City’s 9 million residents, which leaves the bulk of emergency vehicles in the hands of private operators. Midnight Family follows the lives of the Ochoa family, who by day seem like an average family, but by night run a private ambulance racing against time and other EMTs to save lives. Juan Ochoa is only seventeen, yet he leads the family business. Even little brother Josue helps set up the equipment while still being in elementary school. Their work is grueling, dangerous, and often results in little pay, but without people like the Ochoa family, Mexico City would degenerate into chaos.

The documentary offers plenty of social commentary, but does so without feeling like propaganda. Lorentzen does not shy away from revealing the corrupt law enforcement, who enforce bribes to keep from shutting down private ambulances. A great point of tension in the film is the chafing between what is lawful and what is right, which are not always on the same side. The film also touches sensitive issues like domestic violence and child neglect. Lorentzen is careful not to commodify such controversial topics, but rather demonstrate how embedded they are in society. The documentary also shows the irony in the private ambulance business. The Ochoa family makes a living off of the mortality of others. Although they aim to save their patients, if no one got hurt, they would have no line of work. This juxtaposition between mortality and survival is prevalent throughout the film, particularly in the mind of Juan, who seeks to rationalize their career as part of the natural balance of the world.

Juan has barely turned seventeen and is already leading the family business. His youth and his responsibility are two faces of a coin. In one shot he is reprimanding his kid brother for neglecting his homework, and in the next he meticulously styles his hair to perfection. Though it is never explicitly stated, Juan likely did not finish high school in order to take over the family business. Juan’s self-assurance easily distracts the audience from the fact that he is still very young. As impressive as it may be, the audience must wonder about the cost of growing up too fast.

In terms of cinematography, the film employs a variety of shots from tracking shots, hand held shots, and point of view shots to both submerse the audience as a character in the film and alienate the audience from the narrative. These two branches of involvement allow the audience to empathize with the Ochoa family and analyze their lifestyle as an outsider. The pacing also has a dual perspective: it alternates from slow, idyllic monotony to high speed turbulence in the face of a job or a run in with cops. The switch can be jarring, but holds a sense of realism in how life is generally unpredictable.

Midnight Family is piquant without trying too hard to be, instead, letting the stories of real people help the audience to understand the current situation in Mexico City. The film never really provides an answer to Mexico City’s problems, but allows the audience to see what daily living is like in a broken system, and how despite the brokenness, its residents have the tenacity to survive. Midnight Family is a beautifully solemn documentary that shows how it’s often the poor working class who are the unsung heroes of broken government administration.

5/5 STARS

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UW Film Club Podcast #65 – Top 10 Films of 2019: Part 1

For the next two weeks, we’re changing it up a bit and giving you guys a rundown of our favorite films of the last year! This week we’ll be covering our honorable mentions, as well as the bottom 5 from each of our top 10 lists. Are you ready to reminisce about your favorite cinema of the last year, while listening to us reminisce about our favorite cinema of the year? Then check out our 65th episode of the UW Film Club podcast now, and come back next week for even more! You won’t want to miss it.

On this week’s episode: Jim Saunders, Cynthia Li, Stephanie Chuang, Joel Garcia, Maddie McDougall, and Ryan Circelli

You can find us on Facebook at /UWFilmClub, and on Twitter and Instagram @FilmClubUW. Make sure to rate, comment, and subscribe to our podcast on Apple Podcasts, Soundcloud, Spotify, and Google Play, and tune in every Monday for a new episode of the UW Film Club Podcast!

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UW Film Club Podcast #64 – Joker

“I used to think my life was a tragedy, but now I realize, it’s a podcast where some college students talk about movies.”

Joker, one of the most controversial films of 2019, has now (for better or worse) unexpectedly garnered 11 Oscar nominations – the most for this awards season, and for any comic book film in history. And while podcast host Jim is mostly indifferent about the film, he sits down to talk to a few special guests who enjoyed it more than he did. In this episode, we talk about Joaquin Phoenix’s impassioned performance, the film’s lack of subtlety and depth in its message about *society* and treatment of the disenfranchised/mentally ill, as well as whether it holds up on its own amongst the DC mythos from whence it originated. You want to hear another joke? Well, you’ll get what you deserve on the 64th episode of the UW Film Club podcast! Tune in now!

On this episode: Jim Saunders, Leila Okorie, Diana Raykova and Ajay Rawat

You can find us on Facebook at /UWFilmClub, and on Twitter and Instagram @FilmClubUW. Make sure to rate, comment, and subscribe to our podcast on Apple Podcasts, Soundcloud, Spotify, and Google Play, and tune in every Monday for a new episode of the UW Film Club Podcast!

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Review: ‘Varda by Agnès’ is a Spontaneous, Joyful Goodbye

Per Agnès Varda, there are three stages to making a film. First, inspiration, because the idea must come from somewhere. Then, creation, because the idea must be brought to life. Finally, sharing, because you do not make movies to keep them to yourself. With these three tenets in mind, filmmaking is no longer a grand, complicated pursuit. Instead, it becomes simple and spontaneous. Accessible and lighthearted. Not so much an attempt at explaining the world but a celebration of what is possible in story. Understanding this is understanding Mme. Varda, whose films are filled to the brim with this energy. From an hour and a half in a French singer’s life, to a hundred-year-old man who represents cinema, to a triptych about potatoes, each one of Varda’s creations shouts “Come look! Look at this interesting thing!”

Varda by Agnès does so well to capture this joyful spirit. The film is composed of several different talks she gave (at opera halls, schools, and museums) that serve as a commentary on her art. It makes no attempt at a unifying theme or a moral lesson. Instead, it is simply an opportunity for the French icon to spend some time talking about the things she has made. It is written by Varda, directed by Varda, acted in by Varda, and edited by Varda. It is the story of Agnès Varda’s career as an artist as told by Agnès Varda, because who else would qualify for the task?

Additionally, it is a fun story to follow. Varda is extremely humorous and her love for art shines through clearly. None of her work is put on a pedestal. Instead, she giggles about convincing De Niro to float around on a pond for a day and celebrates colorful plastic floaties like a 9-year-old kid in a 90-year-old body. It’s not all about her cinema, and the latter half of the documentary, to do more with her exhibits and displays, is probably less engaging than the first (though that may just be the opinion of a single-medium aesthete). The film is certainly not comprehensive, nor does it claim to be entirely coherent. Varda talks and we listen, perhaps gaining a better sense of her genius, perhaps just happy to hear what she has to say. It’s certainly not a mournful eulogy. Varda wouldn’t have wanted that. Her passing last year only meant her energy would continue in another form. She lives on somewhere else now, directing angels in glorious feminist anthems. And her work lives on forever.

3.5/5 STARS

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Review: ‘Bad Boys For Life’ Surprises Among Dump Month Releases

The month of January in film is known for cheap and underwhelming releases. Last year, that was Glass and the previous year was Proud Mary. Oh, and should we even mention 2017’s The Bye-Bye Man? Basically, no matter what film it is, it’s a rare occurrence that a film to be well received. Despite these films being thrown in the start of a new year, each outcome seems to be fatigued and one-dimensional. However, Bad Boys for Life might prove to be an unexpected good January film.

Bad Boys for Life is directed by the duo of Adil El Arbi & Bilall Fallah and stars Will Smith and Martin Lawrenece reprising their roles as Mike Lowery and Marcus Burnett. Lowery and Burnett are back together to take down a drug cartel that wants Lowery dead. The script is well executed due to its blend of action and buddy-cop comedy, especially considering it is a franchise from the 1990’s returning to screen in the 2020’s. The return stars some new and old faces as well, each of which have great performances and vitality to the plot. The chemistry between Smith and Lawrence is hilarious; They clearly “still got it” with their laughable jokes and puns and haven’t missed a step as partners.

The most satisfying part of this film is its antagonists, played by Jacob Scipio and Kate del Castillo. Kate del Castillo, known for telenovelas and feature films such as La Reina del Sur and Ingobernables, tries her hardest to sell her character as this unstoppable force that the protagonists can’t defeat. The previous two Bad Boys films had featured some sort of drug cartel and the capture of an important character in relation to the protagonists only to find out that they get shot and end of movie. Here, this film executes the antagonist by having her be mysterious in the first and second act until there’s a certain flashback in relation with the antagonist and somebody else from her past.

However, this film has two minor issues that keeps it from being a great buddy-cop film: the transitions and the soundtrack. From time to time, small transitions revealing different parts of Miami feel like the film wanted to emphasize the atmosphere of Miami even though most of the movie is already in Miami. The transitions are unnecessary, especially in a film franchise such as Bad Boys, which doesn’t need transitions to keep the plot moving. As for the soundtrack, it’s just a mix of some new music that’s from generation Z and even then it was only used as background music for club scenes or transitions. This is in contrast to the first film, which provided some instrumental music that fit the tone of the film whereas here.

All I can say about this film is this- it’s a surprisingly good film that has a stellar cast, including a very strong antagonist, a well-executed plot, and laughable and interesting moments from Mike Lowery and Marcus Burnett. While this film is the third entry of a twenty-five year old franchise, Bad Boys for Life tops the first two films out of the dust.

3/5 STARS