Apostle (2018)

The discussion online concerning homage and rip-off poisons forums and Facebook comment threads alike. Was The Hunger Games really a ripoff of Battle Royale? An homage? Does it even matter? Various dystopian novels predicted that government-implemented hive-minds or emotional repression would be the downfall of society. I disagree. Read any Facebook comment thread under anything to do with film or art, and you’ll realize that dystopia is knocking on your front door .Too many people have a voice, and many of them are about as appetizing as the collective pool of fluid at the bottom of a garbage bag. Director Gareth Evans attempts to tackle a plethora of dark ideas, morality and repression in the Netflix original Apostle, and despite this, I think it will be overshadowed by many who are too busy comparing it to other properties (Wicker Man, Silent Hill, The Witch) than to see it for its own merit. Evans has already proved he had a knack for action set-pieces in his previous series of bone-crunching films ---The Raid series---and Apostle has the same craftsmanship, but it's harnessed in different, more experimental ways.

I won't divulge too much about the plot. I think the film is far more fun going in blindly---like most Netlix properties (TANGENT: Netflix often doesn't advertise many of its original properties, and they drop it often out of nowhere, and this inadvertently creates an excitement for movies similar to when I was still surprised by trailers before the age of the internet spoiled literally every detail of a film before you could see it. Remember when you used to see trailers or films and never even know they were going to be made. Netflix has blown new life into that feeling in the internet era, and that is quite a feat in its own right). But the basics are the following: Thomas Richardson (Dan Stevens) attempts to find a lost woman who has been kidnapped by a radical religious cult in 1905, and upon infiltrating the community he uncovers some bizarre happenings that defy explanation and real-world logic. The voyage scene to the island, in which this cult resides, opens like a Jack-in-the-Box of weirdness with a passive sacrifice of animals galore. But how long can this weirdness sustain itself, and does this cult have anything to say of value that makes this backward-thinking community? What is the appeal of such a place? When Thomas arrives to try and find out, many weird practices and suspicions swell like a boiling pot.

Many people I’ve talked to have cited that the first act of Apostle is a slog, which I couldn't disagree more with. To me, it is the most compelling portion, the cutting and direction in the film has an ample energy similar to The Raid films, and a pace that I found more thrilling than most films that take place in this historical period. I never really associated a film from 1905 to move like an action film---but this does. It has enough fresh and interesting surprises that it kept my interest to the end. I think the film would have worked better without such a clean and slick polish to it all, however. Adapting a more grainy, 60’s to 70’s sensibility would have bolstered the last act into something more exploitative and reminiscent of a grindhouse b-movie and better fit the tone. I was completely engaged more by the first two acts than the last act where a profound switch in tone takes place and becomes something entirely different. The last act is the weakest part for me---if I had one quibble---but it has enough interesting ideas and imagery, brutality, that it pulled me by my shirt collar .

An interesting experiment of a film that is entirely worth watching, destined for cult status, and being free to stream on Netflix isn't too bad either. (7.9/10)

5 SUMMER MOVIES TO HELP YOU COOL OFF

Lather on the sunblock, crank the a/c and soak up the rays of bedroom light-bulbs with these five summertime movies to help quell the sweltering summer heat. I decided to compile a list of summertime films that are more light-hearted (Dog Day Afternoon and Do the Right Thing had to stay behind) and three reasons why these films are worth a watch.

American Graffiti (1973)
Directed by George Lucas.
Written by George Lucas, Gloria Katz and Willard Huyck

Before heading off to college, high school graduates spend one final night of hijinks in a Southern California small town.

It’s a love letter to the 60’s. John’s (Paul Le Mat) ‘32 Deuce Coupé purrs beneath the night lights of a small town in the summer of ‘62, him awaiting the next sucker that challenges him to a race, cruising around for girls to take for rides as night flickers into dawn. American Graffiti is one of the ultimate summer movies and period pieces, telling the story of a group of teenagers one summer 1962 night in SoCal. It embodies the peak of car culture in America, where teenagers rumbled their Chevys at slow speeds down the streets with no destination and growly-voiced DJ Wolfman Jack taking requests and casting spells over the radio waves. It drips nostalgia, surrounding people in a simpler time that charms from beginning to end and, whether you are familiar with 60’s Americana or not, the film will make you fall in love for the first time or all over again.

The soundtrack is boss. Music is a constant in American Graffiti and serves as its own character. Arguably having some of the best series of songs in an American film and certified triple platinum upon its release, the soundtrack boasts 41 playful tunes and sizzles the screen with Fats Domino, Chuck Berry and The Crests howling catchy melodies as seconds tick and car engines boom. The music is irresistible and forces calm toes to wiggle and tap, often provoking the same kind of nostalgic flavor of grandparent’s spinning stories of the good ole’ days.
A charming cast. Young Richard Dreyfuss, Ron Howard and even Harrison Ford are among the players in the film and are extremely fun to watch. The actors give off bubbly performances that sweep you into their devil-may-care adventures, yet they can also seamlessly immerse themselves into subtle, understated emotions when the happy-go-lucky events take a turn into the painful reality of leaving friends and lovers behind in order to spark the next chapter of their lives.

Wet Hot American Summer (2001)
Written by Michael Showalter and David Wain. 

Directed by David Wain.

On the last day of camp in the summer of 1981, counselors address romances and unfinished business.

One of the best comedic ensemble casts. Debuting in 2001, Wet Hot American Summer wasn’t a big hit upon its initial release but quickly gained a cult following on home video due to its absurdist comedy. More interesting is the film has incredibly talented comedic actors at the top of their game before they were household names. Paul Rudd, Bradley Cooper, Amy Poehler and Elizabeth Banks to name a few that really nail the over-the-top acting and silliness–and is one of the first movies showcasing how naturally funny Paul Rudd is.

Absurdist gags at their best. It’s not a surprise that Wet Hot American Summer was not a big hit with audiences upon its release. The humor is very specific and appeals to a certain kind of audience. From a man dry-humping a refrigerator to a montage of the counselors going into town for groceries, escalating to them robbing an old lady and being strung out on heroin, then returning to camp cheering and smiling, the film cannonballs into the absurd, unapologetically and often. Once you embrace what it is, it’s a hilarious ride like nothing you’ve seen before.

It’s a great parody of 80’s summer camp films. The film can get away with bizarre gags because it’s a brilliant send-up of popular summer camp films of the 1980’s like Meatballs. Director David Wain has an excellent eye for cliché and takes that to extremes throughout like the entire cast being in their 30’s, but they play teenage camp counselors–a jab at Hollywood’s practice of casting people much older to play 16-year-olds. And as with most summer camp films, Camp Firewood seems to be a haven for the counselors to constantly ignore the kids– and pranks and bullying – with no consequence. There are points where counselors make out with each other while kids drown and scream for help behind them and then it’s just onto the next scene. This underlying darkness to many jokes make this one of my favorite comedies of all time.

Stand By Me (1986)
Directed by Rob Reiner.
Written by Raynold Gideon and Bruce A. Evans.

Four young friends set out on an adventure to find the body of a missing boy.
It has child characters that aren’t stupid. There aren’t many films that capture the experience of being a kid better than Stand By Me. The four main kids on a quest to see a dead body have different personalities, are relatable, and are not dumbed-down. There is an offensive practice in Hollywood films where children are portrayed as cardboard cutouts with no original thoughts or motivations, but this film builds living, meditative children who aren’t oblivious to the harsh reality that life prods at their noses. The kids have real human emotion and address themes such as death, child abuse and family dysfunction through smart, realistic dialogue bolstered by great performances.

Great child performances. It is hard to watch Stand By Me without the behind-the-scenes reality creeping in of River Phoenix’s tragic death of drug overdose at such a young age. The amazing performance he gives as Chris showcases the incredible talent he had for the craft and a true promise of a phenomenal career ahead had his life not been cut short. But it is not just River Phoenix that carries the film, Corey Feldman (Teddy), Wil Wheaton (Gordie) and Jerry O’Connel (Vern) inhabit their roles believably. When existential struggles surface, they react genuinely and evoke empathy because these are real kids dealing with real issues. Without the outstanding performances given by each child lead, the film would suffer and cross into something overly sentimental.

One of the definitive coming-of-age films. The boys in the film are at a crossroads in their life and despite the complexity/abrasiveness of their situation, they are still normal boys in an Oregon small town. The film is narrated by an adult Gordie Lachance (Richard Dreyfuss) writing his memoir, recounting the parable of childhood friends on an adventure to help emphasize that, despite the often gloomy subtext to the boy’s lives, nothing will ever feel as uncomplicated or innocent as your experiences with childhood friends because it predates the loss of innocence and the painful circumstances of adult life.

Adventureland (2009)
Written and Directed by Greg Mottola

A recent college graduate must abandon his plans for the future and take a summer job at a rinky-dink amusement park in the summer of 1987.

Every character feels real. People want to do the right thing, but they also make real-life mistakes, act selfish in their relationships and their personal lives, and learn from those actions. Where many other films try to overexploit emotional scenes or pigeonhole the morality of characters with dialogue over-explaining motivations, Director Greg Mottola respects his audience and shows raw emotion through subtle, surprising performances he draws from Jesse Eisenberg, Kristen Stewart and Ryan Reynolds. There is an authenticity to these characters that trickles across each frame.

One of the best soundtracks in recent memory. The film takes place in the summer of 1987, and instead of committing the tawdry choice of taking the most obvious, clichéd 80’s music and injecting it into the background, real music reflecting the era/culture of the time is used. Boasting a soundtrack of Lou Reed and the Velvet Underground, Husker Du and The Cure, the music is not only great to listen to but no song feels forced, and the music often carries scenes to a higher level, effectively bolstering mood and emotion without becoming a distraction. More interestingly, all of the unapologetically 80’s songs like “Rock Me Amadeus,” are used in an ironic fashion, the character’s often pointing out how tacky the “popular music” is—an almost meta-critique of clichéd period piece soundtracks.

It’s a relatable story. What makes this movie insanely re-watchable is the exploration of the uncertainty and issues young people experience. Where other films would tackle problems like alcoholism in a melodramatic light, they are portrayed through background shots, lines of dialogue and subtle performances. The film respects its audience by showing not telling. Alcoholism is addressed by a shot of Brendan’s (Jesse Eisenberg) father in the background blending a drink without the lid on or a bottle of vodka being found hidden underneath the seat of a car. A lesser film would derail these scenes explaining, but Adventureland doesn’t pause to point issues out, they just kind of exist, like in life, and this adds a depth to the film that rewards multiple viewings.

Dazed and Confused (1993)
Written and Directed by Richard Linklater.

Graduating and incoming high school students get into trouble on the last day of school in summer of 1976.

It knows what the 70’s were like. Despite being made in the 90’s, Director Richard Linklater’s depiction of the 1970’s is a true love letter to an era filled with kids hanging out in the back of an El Dorado’s truck bed while sipping beers and shooting the breeze. Each locale, hairstyle and song choice is pitch perfect and perfectly illustrates what it feels like graduating high school, and the friendships we potentially have to leave behind as we grow into adulthood.

Fun performances by stars before they were big. One of the more fun aspects of Dazed and Confused is seeing the cavalcade of celebrities on screen before they were household names and had Oscars sitting on their mantle. You get to see Ben Affleck as a paddle-swinging jock bully, Milla Jovovich as a free-spirited, groovy chick and most famously Matthew McConaughey as a loitering, ultra-creep that loves high school girls because “[he] get[s] older, they stay the same age. Yes they do.”

You don’t watch it, you live it. Linklater creates a film with an innate ability to capture real moments in an honest way with the simplicity of the narrative–high school kids hang out and get into trouble on the last day of school in May of 1976. These characters feel like people you know and share genuine experiences/dialogue, and pull you into their world instead of feeling like a spectator. You become a fly on the wall of a mellow summer night filled with friends, joints and an absence of smart phones or selfie sticks. It will make you feel like you’re living in the wrong era.

5 Must-See Independent Films

For this first list, I decided to narrow my choices to character studies exploring the darker, moody aspects of life and were made for a budget of less than 7 million dollars. Each film showcases the unique voices of indie directors and tell stories that captivate the human experience and resonate deeply.

Brick (2005)
Director: Rian Johnson

A highly stylized and gorgeous homage to 50’s noir films, Brick is unique from other less ambitious Indies and wickedly underrated. Considered the benchmark film for Joseph Gordon-Levitt as he broke into the more serious actor he is today, he plays Brendan, a teenager on the quest to investigate the sudden disappearance of his high school ex-girlfriend Emily (Emilie de Ravin); and a conspiracy of drugs and betrayal begin to unravel. Bursting with incredible cinematography evocative of Spaghetti Westerns, and essentially the modern lovechild of The Maltese Falcon with many references to be found, director Rian Johnson (Looper and upcoming Star Wars Episode VIII) truly employs every ingredient of his 500,000 dollar budget. It echoes a production value of a higher budgeted film with incredible orchestral music that tips its hat at the genre he is idolizing. But it is the compelling detective story that unfolds that truly sets it apart: the dialogue drips in machismo and the tone and overall peculiarity of the mystery strangles your attention. Levitt delivers an incredibly interesting performance of understated sadness and hunched-over stoicism as the lead (loosely based on Spike Siegel, the title character from Anime Cowboy Bebop). While Brick may alienate certain viewers unfamiliar with the noir genre, dismissing it for its on-the-nose dialogue and absence of realism misses the point entirely. A must-see for those who appreciate storytelling and pulpiness of a genre that has almost dimmed entirely into obscurity.

The Wrestler (2008)
Director: Darren Aronofsky

Many of us search for success in our lives. For those who have gained glory and lost it, what then gives our life meaning? Randy ‘The Ram’ Robinson (Mickey Rourke), washed-up wrestler, seeks to reclaim his lost splendor and restore his relationship with his daughter Stephanie (Evan Rachel Wood) to gain a sense of purpose in The Wrestler. However, the road to recovery is paved with repentance, regret and low-paying backyard wrestling gigs in front of crowds no more than thirty. What makes The Wrestler compelling, above all else, is its innate ability to capture a man at his most desperate without teetering into melodrama. Filmed in a way that almost makes it look like a documentary, it chronicles the uniquely human search for redemption through fame, fortune, and in Randy’s case, second chances at stardom. The story acts as an allegory for Mickey Rourke’s own personal life and career—being a professional boxer himself and falling from the limelight—adding an unexpected complexity to the narrative. Director Darren Aronofsky’s steady fingers draw deeply personal, yet subtle pain from Rourke, flooding the screen with genuine emotion and one of the best performances in over a decade. Marisa Tomei and Evan Rachel Wood also provide excellent supporting acts that highlight the tragic, unflinching character flaws of Randy the Ram’s psyche. You root for him despite his continuous narcissistic choices and vicious cycle he thrusts upon himself that leave him loveless and alone, and it ultimately culminates in a beautifully metaphorical ending about our incessant drive for recognition as human beings.

American Splendor (2003)
Directors: Shari Springer Berman, Robert Pulcini

Perhaps one of the most criminally overlooked films of the 2000’s, American Splendor surrounds the real-life story of file clerk by day and underground comic book creator by night: Harvey Pekar. Fictionally portrayed by Paul Giamatti (with real narration and interviews by Pekar himself cut between), the film captures the essence of a working class artist (Pekar) who wants comic books to illustrate the real life he experiences in Cleveland day-to-day, brushing elbows with heavy hitters in the underground comic industry like Robert Crumb along the way. What sets American Splendor apart from typical Hollywood biopics is the absence of gaudiness and grandiose set pieces often breathing within films of more well-known celebrities. There is a noticeable absence of Oscar-baiting, and it suits the story of Harvey Pekar quite brilliantly since he’s an artist, yet always an unapologetic, normal guy at heart. The film’s adherence to blunt realism in its storytelling—even having the film itself tiptoeing into the meta with real-life Pekar criticizing the film within itself—grounds the narrative and creates an authentic tone. This authenticity serves as a wonderful companion piece to Pekar’s autobiographical comics that focus on neo-realism rather than spandex-wearing supermen. The leap to make comics about ordinary life not only established Pekar as a visionary for the medium, but also attracted new voices and respect for comics as a non-fiction art form. Harvey is a man who doesn’t need nor want fame, strongly resisting the entertainment industry machine that sees him as the butt of a joke, and instead sticks to his roots despite offers to sell out. The film is in sync with his principles.


Blue Valentine (2010)
Director: Derek Cianfrance

Dean (Ryan Gosling) strums the strings of his ukulele to the pitter patter of Cindy’s (Michelle Williams) tap-dancing feet, singing “You Always Hurt the Ones You Love” by The Mills Brothers , frolicking among the hustle of New York City as they fall for each other. However, Blue Valentine is not a love story: it’s about the surrender of one’s heart to another and the emotional descent once we lose grasp of love. It is one of the most truthful, tragic depictions of a relationship crumbling and arguably features the best performance by Gosling to date, perfectly capturing a man who gives up his life for someone else and attempts to salvage the irreparable cracks within his relationship. The explicit realism carved into each frame, juxtaposing the couple falling in and out of love, and it’s deeply personal narrative smothers you with a constant sense of underlying dread, eventually leaving you to drown in uncertainty and hopelessness about the nature of love and marriage. The loss and desperation one feels clinging to unrequited love is perfectly illustrated through Gosling’s and Williams’ dialogue, painting heartbreak from both perspectives and the film rewards multiple viewings—often meaning something starkly different depending on the mindset you bring to it. Never for the faint of heart, always interesting, and an imperative viewing for those of us who embrace all facets of love, including the brooding darkness it may lead us to.


Reservoir Dogs (1992)
Director: Quentin Tarantino

A nonsensical title, a soundtrack dripping with 70’s coolness and quite possibly the strongest debut feature film of any American filmmaker, Reservoir Dogs single-handedly launched Quentin Tarantino’s visionary career and shook the branches of American independent filmmaking forever. Surrounding the aftermath of a botched diamond heist, robbers adorned in black suits and ties must sniff out who ratted them to the police, escaping to a hideout of an abandoned warehouse. The film works like a stage play in its structure, most of it taking place in one room with brief flashbacks to the past showing how they landed in such dire circumstances, allowing it to revel in its small budget and perfect screenplay possessing dialogue that is concise, realistic and darkly funny. Often imitated but never equaled (except maybe in Tarantino’s other films) the surviving thieves, nicknamed after colors to preserve their real-life identity, Mr. White, Mr. Pink and a severely wounded Mr. Orange question each other’s loyalty as the clock ticks and paranoia swells. Performances given by Harvey Keitel, newcomer-at-the-time Steve Buscemi and Tim Roth create a tension that billows, and the sadistic Mr. Blonde played by Michael Madsen is a psychopath so cool you can’t help but love him. Despite being Tarantino’s first feature film, every scene is threaded precisely and equal to a master filmmaker, yet he makes it look so effortless that it transcends belief. The film continues to influence and inspire. And, it must be said that the ear torture scene still makes me cringe. It never fails to profoundly entertain no matter how many times I watch it. A celebration of noir, grindhouse cinema, heist movies and pulp that points a finger in the face of pretension and earns its medal as one of America’s best films.

The One I Love (2014) - REVIEW

If you could be with the ideal version of your partner would you be happier? Is embracing them for their flaws part of the accepted insanity that is love? The One I Love aims to answer that by reinventing a familiar premise with excellent performances and a quirky, clever script fusing relatable human drama with science fiction.

When we first meet Ethan (Mark Duplass) and Sophie (Elizabeth Moss) they are in a rut, both describing a night to their marriage counselor during which they crept into a stranger’s backyard for a late-night swim, fearful to be caught, before jumping into the pool and realizing that the owner is not home, floating in the water on their anniversary with only a cinder of excitement; but this isn’t the first time this evening has happened—in fact it is a botched attempt at recreating their first date, to rekindle the fiery relationship they once had, now only at a simmer.

Their marriage counselor (Ted Danson) suggests that perhaps their problem is trying to relive their past happiness when they should be replenishing their passion through new memories and experiences instead. He recommends a weekend getaway at a countryside vacation home where his other patients have stayed and the magic of the area made the couples “fall in love again.” Willing to try anything, Ethan and Sophie agree to go. They arrive at a lush, private home with surrounding gardens, hillsides and a charming guest house where they indulge in food, wine and pot—all serving as a welcomed change to the tired, habitual aspects of their relationship.

Twenty minutes into the film, nothing about the plotline seems radically diverse. There are some quirky lines of dialogue and visible chemistry between the two leads, but no single element that sets it apart from most indies that start similarly—but it is precisely when you think The One I Love is going to confine itself to overdone formulas – until – it surprises you in unexpected ways. Quickly into it, things turn unexpectedly, and a seemingly normal indie dramedy begins drifting into a dimension not only of sight and sound but of mind. When Ethan and Sophie discover two people that look exactly like their significant other every time they enter the guest house alone, they are baffled because they are not Ethan and Sophie. The “mirror image” of their partners look like them, speak like them, but have minor tweaks to their personality that represent every positive quality they feel is lacking with the “real versions” of their partners, acting as sort of a Stepford wife and husband, tempting both the real Ethan and Sophie into falling in love with inauthentic copies for reasons yet to be explained.

Weren’t expecting that were you? Neither was I, and that occurs within the first twenty minutes of the 91-minute film. Divulging any more about what transpires afterward is too spoiler-ridden and would ruin the fun and mystery of the film; but the couple’s supernatural discovery tests their fading relationship in a series of unusual ways and raises many conflicts couples struggle with—albeit in a strange Rod Serling kind of way.

When watching the film, I couldn’t help but be reminded of Spike Jonze/Charlie Kaufmann collaborations with its profound yet not garish weirdness. Although there is a speedy emergence of science fiction elements, the film shines by remaining grounded as a story about a man and woman struggling with temptation, and thankfully, the paranormal aspect never acclimates to a point of lunacy or camp. Excellent cinematography (by Doug Emmett), a quaint musical score (by Danny Bensi and Saunder Jurriaans.) and wonderful, confident direction by rookie filmmaker Charlie McDowell only bolster the production value of the film. Both Duplass and Moss give excellent performances — each actor displaying their range with two different characters, impeccably walking the tightrope between surrealism and profoundly emotive drama.

The film has a keen sense of self-awareness and capitalizes on it, poking fun at cliches by bending them into unfamiliar shapes that is both humorous and inventive all together. The One I Love is a perfect addition to the genre fusion of recent years, not hindering itself with safe, expected choices or clumsy resolutions. A pleasant surprise.

Refuge (2014) REVIEW

Amy Behr (Krysten Ritter) becomes a mother out of unexpected circumstances. She tries to raise her two younger siblings who struggle with day-to-day life: her younger brother, Nat (Logan Huffman), writes to-do lists concerning mundane tasks, like attempting to converse with other people, after he has a brain tumor removed that mildly disables him . Amy’s teenage sister, Lucy (Madeleine Martin), has a hatred of high school and experiments with drugs and shoplifting as her grades slip. It is not until a handsome stranger living in his truck named Sam (Brian Geraghty) surfaces in their town does Amy’s familiar family structure become shaken. She instantly shares a connection with Sam and as they both begin to learn more about each other, Sam tries to become a father figure to Amy’s younger siblings, in the process trying to establish a sense of purpose after a personal tragedy was thrust upon him during a path of reflection and self-discovery that inevitably led him to Amy and her siblings.

Refuge is directed by Jessica Goldberg who also wrote the play the film is adapted from. Having never seen the play, I can’t confidently say that the play might be better than the film or perhaps it simply didn’t translate well to the silver screen—but the film adaptation meanders often. Characters seem incapable of knowing what they truly want or feel and because of this it often feels like a jumbled mess of extraneous scenes and dialogue.

The shame of it all is the film has an excellent cast and stellar performances. Logan Huffman who plays her disabled brother, authentically paints a portrait of a young man struggling to reconnect with other people and his subplot is often more interesting than the main focus of the story. Madeleine Martin also gives an understated performance as the party-going sister who battles against conformity. And while Krysten Ritter’s performance as Amy is often excellent, the sloppy script makes her jump unexpectedly into borderline lunacy, frequently and sporadically on screen—often being on the verge of a nervous breakdown and seemingly incapable of raising a family or even taking care of herself—and by the next scene she’ll seem painfully normal. Brian Geraghty as Sam gives the best performance and has a much more interesting character with clearer intentions throughout—but his decision to stick around feels forced and unrealistic, his tumultuous relationship with Amy and her siblings often flying off the rails at the drop of a hat.

Refuge is a jumbled mess of sporadic characterization that often makes the people we are supposed to care about feel unreliable, detracting from realism—something that is crucial in a subtle, small film like this to be effective. It is commonly blurred what the film is trying to say, if anything, and larger conflicts that arise as Amy and her younger siblings clash with accepting Sam as one of their own are quickly abandoned with jumpy cuts (and without real reason), repeatedly feeling like a random assortment of scenes and dialogue that don’ quite connect to each other. I was very surprised that a film based on a play would feel so cut-and-pasted and because of that, a narrative with abundant potential is buried underneath too many subplots in a very short 84-minute run-time.

Available to watch on all major streaming platforms.