Plenty to choose from this week in theaters and streaming. The big-ticket items are a little off-brand this week, but some real indie treasures wait for you. Here’s the skinny.
Uncharted
In theaters
by George Wolf
Just like most – if not all – video game adaptations, Uncharted suffers from being driven more by cheat codes than character. And then later when some people you don’t really care about take time for flippant quips while free-falling over the Banda Sea, the stakes are never going to feel consequential.
But if you set all that aside and give in to the brazen ridiculousness of the latest Indiana Jones knockoff, there’s some fun to be discovered.
Tom Holland steps into the adventurin’ boots of Nathan Drake, a wannabe explorer who’s tending bar in New York when he’s recruited by seasoned treasure hunter Victor Sullivan (Mark Wahlberg) for a big score.
Sure, Nathan knows all about the legend of the “biggest treasure never found.” Somewhere there’s about $5 billion in gold that was stashed away eons ago by Magellan himself, and you know what that means!
It means they’re gonna be short one barkeep come happy hour, because Nate’s going globetrotting.
Of course, Nate and Sully aren’t the only ones calling for this booty, and in no time they’re battling a familiar mercenary known as Braddock (Tati Gabrielle), the mysterious Chloe (Sophia Ali), and various goons sent by the villainous Santiago Moncada (Antonio Banderas).
Holland proves adept at parkour and trading mildly amusing barbs with Wahlberg, leaving director Ruben Fleischer (Zombieland) to keep his foot on the gas and let the green screen whizzes go to Funkytown.
Not all of that greenery carries ready-for-prime-time polish, but the film’s second half makes sure there’s so much of it in your face you’ll hardly have time to notice.
And if you’re game to keep the brain unplugged, stay put during the credits to notice some extra derring-do that maps out directions for the next Uncharted course.
Grade: B-
The Worst Person in the World
At Drexel Theatre and Gateway Film Center
by George Wolf
The older you get, four years can pass in what seems like a whirlwind weekend. But to a twentysomething like Julie (Renate Reinsve), that same slice of life can end up being monumental in shaping the course of her life.
For The Worst Person in the World (Verdens verste menneske), Norwegian writer/director Joachim Trier uses understated insight and a revelatory performance from Reinsve to effectively fuse coming-of-age sensibilities with romantic drama.
In that pivotal four-year time span, we see Julie move through multiple career choices and two long-term relationships. Despite a 15 year age gap with established comic book artist Aksel (Anders Danielsen Lie), Julie moves in with him while adamantly proclaiming she doesn’t want children.
As the relationship begins to grow stale, Julie’s head is turned by the younger, more impulsive Eivind (Herbert Nordrum), who is also in a committed relationship.
Choices will be made and harsh realities will be dealt, all in a poignant, surprisingly funny and quietly engrossing package that strikes a fine balance between finding romance and finding yourself.
Even when Julie is at her most selfish, naive or indecisive, Reinsve makes sure she’s always sympathetic and, above all, relatable. Her performance delivers a wonderfully layered reminder that most of us surely recognize this road Julie is traveling.
As one woman navigates what she wants in a career, in a relationship, and ultimately what she wants out of life, Trier and Reinsve craft small, indelible moments that bind together for a refreshingly honest look at how, as John Lennon once said, life happens when you’re busy making other plans.
Grade: A-
Dog
In theaters
by Hope Madden
Dog—the new Channing Tatum film about a former Army Ranger driving cross country with another former Army Ranger, this one an angry Belgian Malinois named Lulu—is not what you expect.
I wish that was a good thing.
Because what you expect is likely not that good to start with: hunky but irresponsible man learning love and responsibility from an anxious but lovable hound. And you do get that. The emotional trajectory of Dog is no more in question than whether the two bedraggled messes will make it on time to their final destination, the funeral of a fallen comrade.
But if you are expecting to laugh, even once, you are in for a surprise.
The film, co-directed by Tatum (his first effort behind the camera), makes a number of weak attempts at comedy. If you’ve seen the trailer, you’ve seen all of them. Not a single one lands, and each supposed joke is so lazy, so telegraphed and tired.
Dog is a road trip film, which is often an excuse to string together random comedy sketches. Sometimes this works (Vacation, The Mitchells vs. the Machines). Usually, it doesn’t. Certainly, Dog doesn’t take advantage of the opportunities for hilarity inherent in the cross-country trip.
But don’t dismiss Dog as simply a decidedly unfunny comedy. Tatum and co-director Reid Carolin, who co-wrote the script with Brett Rodriguez, use the gags as a sweetener on top of a very dark story about PTSD and living with the emotional and physical damage of war.
What lies just beneath the weakly attempted comedy is an incredibly dark film. Not a dark comedy—not by any stretch. Tatum and gang are not going for laughs at the expense of these two scarred veterans and their collective trauma.
Lulu is every embattled, broken veteran and we don’t want anything bad to happen to Lulu. Why, then, are we so careless with our broken and embattled veterans who are not also beautiful Belgian Malinois?
It’s a worthy message trapped in a sincere, tonally chaotic, humorless, lazily constructed mess of a movie. Dog has merit I did not expect going into it. I wish it was a better movie.
Grade: C-
Strawberry Mansion
At Gateway Film Center
by Hope Madden
Smart, whimsical and decidedly analog, Kentucker Audley and Albert Birney’s Strawberry Mansion turns dystopian dreamscape into retro children’s television.
Audley and Birney co-write, co-direct and co-star in this pop-surrealist romance. Audley plays James Preble, mild-mannered government employee. Preble is an auditor for the agency that taxes dreams.
Let’s say there’s a buffalo in your dream. A dream buffalo apparently runs about 5k, which costs around a nickel in taxes. Likewise, a hot air balloon, a flower, a nice view—all of it taxable. But somehow Arabella Isadora (Penny Fuller) managed never to turn in any dream taxes, compelling Prebel to pay her a visit in her titular abode.
Once there, Prebel must work his way through thousands of VHS tapes of Bella’s dreams (rather than the digital downloads that were made legal requirements years ago) to assess back taxes.
Strawberry Mansion tells a story of government overreach, corporate greed and capitalist dystopia. But it spins this yarn of a near-future surveillance state within a weird and charming, vivid dreamscape. It’s Philip K. Dick meets H.R. Pufnstuf. Nostalgia becomes the filmmakers’ escape.
The dream sequences are unpretentious, jubilant nonsense that develop a parallel plotline. Tyler Davis’ cinematography of saturated colors celebrates the childlike tactile quality of the set design and creature design, which are both handcrafted magnificence. Dan Deacon’s evocative score meshes with the directors’ vision to blur the lines between dream and reality, life with death.
There’s a toad waiter, rat sailors, and more buckets of Cap’n Kelly’s Fried Chicken than a person could reasonably consume. Strawberry Mansion’s cynicism butts up against a wholesome romantic nature in one of many ways that the filmmakers’ form perfectly matches their purpose.
Prebel treads in others’ dreams, a voyeur in a nonsense world where nothing makes logical sense, but everything feels weirdly accurate. The same experience waits for the film’s audience.
Grade: A-
The Long Walk
At Gateway Film Center
by George Wolf
Even before the opening credits, The Long Walk (Bor Mi Vanh Chark) is a fascinating film.
The near-future setting that mixes sci-fi, horror and mystery thriller themes is interesting enough. But after a two-year wait for release, it becomes the first Lao film to screen theatrically in the States, as well as the latest project from Mattie Do, Laos’ first and only female director and the only Laotian filmmaker to work in the horror and fantastic genres.
If Do felt any added pressure from all those firsts and onlys, it doesn’t show. She crafts Christopher Larsen’s script into an emotional, compelling and culturally rich tale of life and death and afterlife.
The Old Man (Yannawoutthi Chanthalungsy) sees ghosts. It started when he was The Boy (Por Silatsa) and first encountered The Girl (Noutnapha Soydara) dying on the side of the road.
The ghost of The Girl became a silent friend to The Boy, and now, some 50 years later, The Old Man finds that his spiritual guide can transport him back in time to when his mother was near death from illness.
Alongside The Old Man’s time-traveling quest to ease his mother’s pain, he’s contacted in the present by Lina (Vilouna Phetmany), a woman whose mother is missing and presumed dead. Lina has heard of The Old Man’s psychic abilities, and seeks his help in locating the body so her mother’s spirit can find peace.
Do is in no hurry here, and not interested in clearly marking when the time or narrative thread is shifting. But stick with it and look closely to find another layer revealed that connects past to present in this Loatian village, along with subtle nods to the poverty and governmental policies that are no friend to lengthy life spans.
Ultimately, The Long Walk is more atmospheric than scary, and more enigmatic than thrilling, with even Do and Larsen (who are married) disagreeing over interpretations during a recent Q&A. But give it your time and attention, and the film will reward you with multiple stories in one, inviting you to consider universal themes from intimate new perspectives.
Grade: A-
A Banquet
At Gateway Film Center
by Hope Madden
From its unsettling opening moments, Ruth Paxton’s A Banquet sets a tone that never eases. Holly’s (Sienna Guillory) life is certainly never the same.
The event that kicks off the film puts a generational horror in motion that flirts with the supernatural, bringing allegorical focus to the rippling effects of trauma in a family. As a caregiver, Holly likely blames herself for what happened, which makes it harder for her to focus properly on mothering her two teenage daughters, Isabelle (Ruby Stokes) and Betsey (Jessica Alexander).
At first blush, it seems Betsey has the worst of things. Having witnessed the trauma, she’s been particularly needy of her mother’s affection. Or is she hoping to prove to her mother that, indeed, Mom’s love is the cure she’d hoped it might be? Is Betsey trying to prove that to herself?
Or is there some larger force at play, as Betsey claims when she stops eating?
Justin Bull’s screenplay braids ideas associated with this theme of trauma, from anorexia to neglect to guilt and grief and isolation. Details unfold slowly, uncovering lived-in resentments and traumas that heighten tensions.
Paxon sets these ideas loose among an exquisite cast. A brittle Guillory carries the unforgiving emotional complexity scene to scene with appropriate weariness. Alexander brings an enigmatic quality to the role, while Stokes mixes heartbreak with anger to surprising effect.
The great Lindsay Duncan, whose grandmother character haunts the first act and delivers a bracing presence throughout the second, is magnificent.
Paxon’s camera ogles food, which is a trigger in the film, both a tool for caregiving and for Betsey’s rebellion. There’s so much to like about A Banquet — which is why it’s such a frustrating film to watch.
Paxon can’t decide where to take things. She’s filled the screen with exceptional performances, each character exploring fascinating, dark emotional corners. The filmmaker flirts early with body horror, diverts quickly to something more psychological, dips deeply into family drama and never lands on a tone.
This same lack of clarity or commitment begins with Bull’s script, which builds slowly to an energetic if fizzling climax. For all it has going for it, A Banquet answers none of the questions it asks and leaves you wanting.
Grade: B-
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