Review: ‘The Contractor’ (2022), starring Chris Pine

April 26, 2022

by Carla Hay

Chris Pine in “The Contractor” (Photo courtesy of Paramount Pictures)

“The Contractor” (2022)

Directed by Tarik Saleh

Culture Representation: Taking place in the United States and in Berlin, the action film “The Contractor” features a cast of predominantly white characters (with some African Americans) representing the working-class and middle-class.

Culture Clash: A former Green Beret takes a mercenary job as a private contractor, and he finds himself at going against orders and being hunted by his former colleagues. 

Culture Audience: “The Contractor” will appeal primarily to people who are fans of star Chris Pine and anyone who likes formulaic “shoot ’em up” movies.

Gillian Jacobs and Chris Pine in “The Contractor” (Photo courtesy of Paramount Pictures)

“The Contractor” is as generic and dull as its title, with an over-used action-movie plot of a bitter military veteran who goes rogue. Throw in some ‘daddy issues,’ sloppy editing and a drab Chris Pine—and that sums up this soulless film. It’s also got an awkward mix of trying to be gritty and sentimental, often in the wrong places.

Directed by Tarik Saleh and written by J.P. Davis, “The Contractor” (formerly titled “Violence of Action”) is being marketed as an action thriller, but any “action” or “thrills” are utterly predictable and don’t really come until the last half of the movie. The first half of the movie is a dreary slog showing what led to James Harper (played by Pine) going from being a Green Beret to joining a shady mercenary operation as a private contractor. James is living in the shadow of his father Mason, a high-ranking U.S. military officer who expected James from an early age to also go into the military.

In the beginning of “The Contractor,” James has been estranged from his father for years, for reasons that remain vague. However, flashbacks and conversations reveal that Mason (played by Dean Ashton) was an overly demanding and emotionally abusive father during James’ childhood. The movie starts off with James as a U.S. Army Special Forces Sergeant first class, also known as a Green Beret. James is also a war veteran, and he sustained injuries during his war duties. James is currently stationed in Fort Bragg, North Carolina.

Now seemingly recovered from his injuries, James is due to go before a board of military decision makers who will determine if he will be reinstated as a Green Beret. However, James has a secret: Because he’s desperate to be in the type of physical shape where he can be re-instated, James has been illegally taking human growth hormones through needle injections.

The U.S. Army finds out when James tests positive for these drugs. He is honorably discharged, but as punishment, he won’t be getting his military pension or insurance benefits. It comes at a very bad time, because James and his homemaker wife Brianne (played by Gillian Jacobs) are heavily in debt and getting dangerously close to going bankrupt. They’re so financially broke, they’re behind on their utility bills. When debt collectors call, James just ignores the phone calls.

In addition to having a financial strain on their marriage, James and Brianne have grown emotionally distant from each other. Brianne and James have a shy and introverted son named Jack (played by Sander Thomas), who is about 8 or 9 years old and the couple’s only child. Because James has spent a long time away from home, Jack is bashful around James, but James wants to be a loving and attentive father, so he makes an effort to get closer to his son, by doing things such as teaching Jack to swim in a public pool.

Not long after getting the bad news about his military discharge, James finds out that his father has died. This death seems to trigger some strange behavior in James, in obvious indications that he has unresolved issues with his father. For example, Brianne finds James doing repairs on their house’s roof in the middle of the night. When Brianne wants an explanation, James says defensively to her: “I’m not my father.”

And in cliché-ridden tripe such as “The Contractor,” that means you’re going to see some hazy-looking flashback scenes of James as child of about 10 or 11 years old (played by Toby Dixon) and James’ father Mason, who was a stereotypical stern and macho military type. As seen in flashbacks, Mason was the type of father who expected James to be tough from a very early age. He even forced a pre-teen Mason to get a tattoo at a tattoo parlor, even though it’s illegal for tattoo parlors to give tattoos to people under the age of 18.

At his father’s funeral, James reconnects with his former military best friend Mike (played by Ben Foster), who is happily married to a woman named Christine (played by Tyner Rushing), who likes and respects James too. Mike and Christine have two children: Mike Jr. (played by Nicolas Noblitt), who’s about 10 or 11 years old, and Kelly (played by Eva Ursescu), who’s about 12 or 13 years old. When James goes to Mike’s house for dinner, Brianne is not with him, which is another indication of the cracks in their marriage.

During this visit at Mike’s house, James confides in Mike about his financial problems. Mike tells James that if James is interested in private contractor work, Mike can easily help James get a contractor job that pays $350,000. It’s an offer that’s too tempting to refuse, and James desperately needs the money, so he says yes. This “private contractor” work is really mercenary-for-hire work, usually done by ex-military people, for secretive employers who want to keep these “black ops” jobs as confidential as possible.

Brianne isn’t too pleased about this decision, especially since James promised her that he would never do this type of work. James has already made up his mind though, and there’s nothing Brianne can do to stop him. James’ family life then gets mostly sidelined, as the rest of the movie is about his private contractor job.

James’ supervisor in this job is a rough and jaded character named Rusty (played by Kiefer Sutherland), who says that James will get $50,000 up front as payment, and the remaining $300,000 after the job is completed. To launder his money, Rusty owns a company that imports and exports coffee.

Rusty knows that James is taking this job because James was essentially ousted from the U.S. military. Rusty tells James: “I was you. That’s why we started our own tribe.” Rusty also warns James about the ruthless mercenaries he will encounter in the job. “The stink of those guys, they will rub off on you.”

It’s an assignment that will take James, Mike and some other people on this black-ops team to Berlin. The other members of the team include a cunning operative named Katia (played by Nina Hoss) and a muscle-bound brute named Kauffman (played by Florian Munteanu). Later, James meets a mysterious recluse named Virgil (played by Eddie Marsan), who might or might not be helpful to James.

In Berlin, this black-ops group has been tasked with hunting down a 42-year-old man named Salim Mohsin (played by Fares Fares), a retired professor of virology who used to work at Humboldt University in Berlin. Salim is doing privately funded research, and he’s suspected of being involved in bioterrorism, because he is developing a poisonous gas that could be used as a weapon of mass destruction.

Salim’s research is being funded by Farak Ojjeh, the founder of El Sawa, a charity with known links to Al Qaeda in Syria. Salim and his wife Sophie (played by Amira Casar) have a 9-year-old son named Olivier (played by Tudor Velio) and a 7-year-old son named Yanis (played by Aristou Meehan). And predictably, this family will be caught up in some way in whatever dirty dealings happen in the movie.

Things happen during this mission that don’t sit right with James, so he decides to not follow orders. It leads to James and Mike going on the run from their colleagues, with double-crossings and shootouts in the mix. The action scenes aren’t impressive. And too much of the action has clunky editing, thereby making some of the chase scenes look very phony.

It all just leads to a very formulaic conclusion, where the people who die and those who survive are too easy to predict. All of the cast members just seem to be going through the motions in the action scenes. The only attempt at some emotional depth is in the underdeveloped family scenes near the beginning of the film.

“The Contractor” has all the cinematic resonance of a mediocre video game. That might be enough to entertain some viewers watching a movie with talented cast members who deserve better material. Everyone else can skip “The Contractor,” because they won’t be missing out on anything meaningful.

Paramount Pictures released “The Contractor” in select U.S. cinemas, on digital and VOD on April 1, 2022. The movie is set for release on 4K Ultra HD, Blu-ray and DVD on June 7, 2022.

2022 Tribeca Film Festival: games lineup announced

April 26, 2022

“A Plague Tale Requiem”

The 2022 Tribeca Festival™ today unveiled its official Games selections, which celebrate the convergence of games, entertainment, and culture. This year’s lineup features nine titles that demonstrate phenomenal storytelling, art, and innovation through interactive experiences. Each selection will vie for the Tribeca Games Award, which honors an unreleased game for its excellence in art and storytelling through design, artistic mastery, and highly immersive worlds.

The games program features the world premieres of Immortality, an interactive trilogy in which players can explore the legend of Marissa Marcel, a film star who disappeared, through her work; OXENFREE II: Lost Signals, the mind-bending follow up to the critically acclaimed narrative adventure OXENFREE, from Night School Studio; and Cuphead – The Delicious Last Course, another helping of classic Cuphead action with new weapons, magical charms, and more.

“This year’s selections represent the incredible range of how games prove to be a powerful form of storytelling,” said Vice President of Tribeca Games and Immersive Casey Baltes. “We’re continuing to expand how audiences and players interact with games, not only as entertainment but as one of the most impactful cultural mediums.

In 2021, Tribeca Festival featured its first ever Official Selections for Games, including Ember Lab’s visually stunning Kena: Bridge of Spirits; Luis Antonio’s interactive thriller Twelve Minutes, starring James McAvoy, Daisy Ridley, and Willem Dafoe; and the inaugural Tribeca Games Award winner, NORCO, which was praised by critics upon its release in March 2022 for its brilliant, narrative-rich experience.

From June 11-19, the Tribeca Festival once again offers digital experiences for global audiences powered by Parsec. Those able to join the Festival in person this year will be the first to experience a playable Games Gallery featuring demos, art, and artifacts for this year’s selections, hosted at Tribeca Festival’s hub, Spring Studios (50 Varick Street).

Additionally, the Tribeca Games Spotlight, an online showcase of this year’s official selections, features never-before-seen footage and interviews from the creators of the official sections as part of the Summer Game Fest — a free, all-digital global celebration of video games streaming online. Games fans across the globe can tune in on June 10 at 3pm EDT via Tribeca’s website, major streaming platforms, and summergamefest.com.

The 2022 Tribeca Festival Games Official Selections are as follows:

American Arcadia, (Spain, Greece, Brazil) – World Premiere. Welcome to Arcadia! A 70s retro-futuristic metropolis where all of its citizens enjoy a life of luxury and comfort… unaware that they’re being broadcast live 24/7! Arcadia is not an ordinary city, but the most-watched reality show on the planet—where a drop in popularity ratings comes at the highest cost: death. Uncover the truth and escape with your life from a televised utopia in Out of the Blue’s brand new puzzle platformer game.
Developer: Out of the Blue Studios
Publisher: Raw Fury

As Dusk Falls, (United Kingdom) – World Premiere. As Dusk Falls is an original interactive drama from INTERIOR/NIGHT that explores the entangled lives of two families across thirty years in small-town Arizona. Starting with a robbery-gone-wrong, the choices you make will have a powerful impact on the characters’ lives in this story of betrayal, sacrifice, and resilience.
Developer: INTERIOR/NIGHT
Publisher: Xbox Game Studios

The Cub, (Serbia, United States, Poland) – World Premiere. Welcome to Earth after The Great Climate Catastrophe, where only the ultra-rich managed to evacuate to Mars. Decades have passed and those on Mars venture back to Earth to collect specimens like a safari hunt. As the Cub, a mutant orphan immune to the toxins that killed off most of humanity, players will be relentlessly hunted by a science expedition and must run to safety amongst the ruins of Earth. Featuring an original soundtrack program, Radio Nostalgia from Mars.
Developer: Demagog Studio
Publisher: Untold Tales

Cuphead – The Delicious Last Course, (Canada, United States) – World Premiere. Another helping of classic Cuphead action awaits you in Cuphead – The Delicious Last Course. Brothers Cuphead and Mugman are joined by the clever, adventurous Ms. Chalice for a rollicking adventure on a previously undiscovered Inkwell Isle. With the aid of new weapons, magical charms, and Ms. Chalice’s unique abilities, assist the jolly Chef Saltbaker and take on a new cast of fearsome, larger-than-life bosses in Cuphead’s final challenging quest.
Developer and Publisher: Studio MDHR

Immortality, (United States) – World Premiere. Marissa Marcel was a film star. She made three movies. But none of the movies were ever released. And then Marissa Marcel disappeared. After discovering rare footage from her three lost movies — Ambrosio (1968), Minsky (1970) and Two of Everything (1999) — award-winning Game Director Sam Barlow (Her Story, Telling Lies) has assembled an interactive trilogy in which players can explore the legend of Marissa Marcel through her work.
Developer and Publisher: Half Mermaid

OXENFREE II: Lost Signals, (United States) – World Premiere. OXENFREE II: Lost Signals is the mind-bending follow-up to the critically-acclaimed narrative adventure game OXENFREE from Night School Studio. In the small coastal town of Camena, unnaturally occurring electromagnetic waves are causing interference with electrical and radio equipment. Reluctantly, Riley Poverly returns to her hometown to investigate the mystery. What she finds is more than she bargained for.
Developer: Night School Studio
Publisher: Netflix

A Plague Tale: Requiem, (France) – World Premiere. This direct sequel to A Plague Tale: Innocence follows Amicia and her brother Hugo on a heartrending journey into a breathtaking, brutal medieval world twisted by supernatural forces as they discover the cost of saving loved ones in a desperate struggle for survival. Strike from the shadows or unleash hell, and overcome foes and challenges with a variety of weapons, tools, and unearthly powers. A Plague Tale: Requiem will be released in 2022 on consoles and PC.
Developer: Asobo Studio
Publisher: Focus Entertainment

Thirsty Suitors, (United States) – World Premiere. Jala is a young woman returning home for her sister’s wedding and confronting her past. With wildly varied gameplay, Jala will fight skate punks, random suitors, and ultimately, her exes, in the ultimate battle to heal old hurts and ignite new truths, bringing Jala closer to understanding what she wants from her future. Can she learn to love herself and heal the wounds of her past?
Developer: Outerloop Games
Publisher: Annapurna Interactive

Venba, (Canada) – World Premiere. Venba is a narrative cooking game centered around an Indian mom who immigrates to Canada with her family in the 1980s. Players will cook various dishes, restore lost recipes, engage in branching conversations, and explore a story about family, love, loss, and more.
Developer: Visai Games

In addition to Festival Laurels, the winner of the Tribeca Games Award will receive artwork by a comic illustrator and cover artist from AWA (Artists, Writers & Artisans).

As previously announced, the Tribeca Festival kicks off on June 8 with the world premiere of Halftime, a Netflix documentary by director and Tribeca alum Amanda Micheli that follows global superstar Jennifer Lopez, as she reflects on her milestones and evolution as an artist. Tribeca 2022 closes on June 18 with the world premiere of Loudmouth, a documentary written and directed by Josh Alexander that puts a disruptive spotlight on Reverend Al Sharpton, who has been at the center of the national conversation around race since the late 1980s.

Other Festival highlights include the mid-season premiere of the final season of AMC’s Better Call Saul with Bob Odenkirk, Rhea Seehorn, Giancarlo Esposito, and Jonathan Banks; the world premiere of Untrapped: The Story of Lil Baby, a feature documentary from director Karam Gill about Lil Baby’s transformational journey from local Atlanta hustler to one of hip-hop’s biggest stars and pop culture’s most important voices for change, followed by a special performance; and live world premiere and conversation with the cast and creators of USG Audio’s The End Up, a podcast series about a tilted near-future where terminal cancer patients who wish to end their suffering must attend a weeklong boot camp starring Himesh Patel, Marianne Jean-Baptiste, Merritt Wever, and John Reynolds. For the latest updates on programming for the 2022 Tribeca Festival, follow @Tribeca on TwitterInstagramFacebookYouTube, and LinkedIn or visit tribecafilm.com/festival and sign up for the official Tribeca newsletter.

About the Tribeca Festival
The Tribeca Festival brings artists and diverse audiences together to celebrate storytelling in all its forms, including film, TV, VR, gaming, music, and online work. With strong roots in independent film, Tribeca is a platform for creative expression and immersive entertainment. Tribeca champions emerging and established voices; discovers award-winning filmmakers and creators; curates innovative experiences; and introduces new technology and ideas through premieres, exhibitions, talks, and live performances.

The Festival was founded by Robert De Niro, Jane Rosenthal, and Craig Hatkoff in 2001 to spur the economic and cultural revitalization of lower Manhattan following the attacks on the World Trade Center. Tribeca will celebrate its 21st year from June 8–19, 2022.

In 2019, James Murdoch’s Lupa Systems, a private investment company with locations in New York and Mumbai, bought a majority stake in Tribeca Enterprises, bringing together Rosenthal, De Niro, and Murdoch to grow the enterprise.

About the 2022 Tribeca Festival Partners
The 2022 Tribeca Festival is supported by our partners: AT&T, Audible, Bayer’s One a Day, Bloomberg Philanthropies, CHANEL, City National Bank, Diageo, DoorDash, Indeed, Meta, NYC Mayor’s Office of Media and Entertainment, and Spring Studios New York.

Review: ‘You Are Not My Mother,’ starring Hazel Doupe, Carolyn Bracken, Ingrid Craigie and Paul Reid

April 25, 2022

by Carla Hay

Carolyn Bracken in “You Are Not My Mother” (Photo by Cait Fahey/Magnet Releasing)

“You Are Not My Mother”

Directed by Kate Dolan

Culture Representation: Taking place in North Dublin, the horror film “You Are Not My Mother” features a nearly all-white cast of characters (with a few black people) representing the working-class and middle-class.

Culture Clash: After a single mother mysteriously vanishes for a few days, she comes back to her home and seems to be a strange and different person, and her teenage daughter begins to wonder if this mother is possessed by something evil. 

Culture Audience: “You Are Not My Mother” will appeal primarily to people who are interested in predictable but effective horror movies about the supernatural.

Hazel Doupe and Ingrid Craigie in “You Are Not My Mother” (Photo by Cait Fahey/Magnet Releasing)

“You Are Not My Mother” has a mystery that’s very easy to solve, but this well-acted horror movie adeptly maintains suspense in a story influenced by Irish folklore. It’s a solid feature-film directorial debut from Kate Dolan, who also wrote “You Are Not My Mother.” The movie should satisfy people who like supernatural thrillers that can be frightful but don’t wallow in a lot of bloody gore. “You Are Not My Mother” had its world premiere at the 2021 Toronto International Film Festival.

In “You Are Not My Mother” (which takes place in North Dublin), teenager Char Delaney (played by Hazel Doupe) is an introverted loner who attends an all-girls Catholic school. Char is about 15 or 16 years old. Char lives with her single mother Angela Delaney (played by Carolyn Bracken), Angela’s brother Aaron (played by Paul Reid), and Char’s grandmother Rita (played by Ingrid Craigie), who is the mother of Angela and Aaron. Char’s biological father is not seen or mentioned in the move.

“You Are Not My Mother” opens with a scene in the woods, where a baby (played by Dante Woods) is being taken by Rita, who lights a circular fire around the baby. The baby then apparently burns to death. Why would Rita do such a horrible thing? By opening the movie with this scene, writer/director Dolan foreshadows too much of the movie too early. Within the first 10 minutes of the film, it’s obvious that Char’s family has secrets that will eventually be revealed.

Angela has had a long history of depression. In the beginning of the movie, her depression is so debilitating, she is frequently bedridden. One day, Char asks her grandmother Rita for money to take a bus back home from school. Rita says in response: “Why don’t you ask your mother? I’ll get her out of bed.”

Angela manages to get out of bed, and she gives Char a ride to school. However, Angela seems so distracted, Angela almost hits a horse on the road with her car. Meanwhile, Char says, “Mum, we need food in the house. Mum, what’s wrong with you?”

Angela, who seems exhausted and sad, replies: “I’m sorry. I don’t think I can do this anymore.” When Char comes home from school, her mother isn’t there. Later, Char finds her mother’s car abandoned in a field, with a bag of groceries left on the front passenger seat. Angela is nowhere in sight.

Angela’s concerned family eventually contacts the local police to report her missing. Aaron is very concerned that Angela could’ve been kidnapped. A policewoman named Officer Jenny (played Aoife Spratt) has come to the home to take the missing person report. Aaron gets impatient and angry when it’s suggested that, because of Angela’s history of depression, she might have left to go somewhere on her own for a while. Later, Char has a nightmare about finding her mother dead.

When Char’s mother goes missing, it’s just another stress in Char’s life. At school, she is bullied by a group of “mean girls,” led by a snooty brat named Suzanne O’Connell (played by Jordanne Jones), who has her own mother issues that are later revealed in the story. Two of the other girls in this “mean girls” clique are named Kelly (played by Katie White) and Amanda (played by Florence Adebambo), and they later participate with Suzanne in a very cruel prank on Char.

In one of the movie’s classroom scenes, Char is first seen having to interact with Suzanne, who reacts with annoyance when art teacher Ms. Devlin (played Jade Jordan) tells Suzanne to sit next to Char. When the teacher isn’t looking, Suzanne takes some gum out of her mouth and smears the gum on Char’s notes. Char is considered an outcast at this school because she comes from a working-class family who is considered a little strange.

Later in the art class, Char shows Ms. Devlin a drawing that Char made of shadows engulfed in flames. Char tells the teacher that she made the illustration from a dream that she had. It’s a very cliché and obvious clue in the movie.

Another clue is when after Angela goes missing, Rita gives Char a small ball of twigs and leaves, while saying, “I made this for you—for protection.” Why does Char need to be protected? Could it have anything to do with that apparent birthmark on her face?

At any rate, Angela eventually returns to the home after a few days, with no explanation of where she went and why. However, Char and the other family members notice that Angela is not the same person she was before Angela disappeared. This new Angela is more energetic and in better spirits. She even starts doing things like cheerfully making dinner. It’s close to Halloween, so the meal includes pumpkin.

But this new Angela now has a loss of appetite. And this mother, who was once so listless that she could barely get out of bed, is now enthusiastically talking about taking a mother-daughter trip with Char. It’s an idea that Aaron vehemently opposes.

“You Are Not My Mother” is much more of a psychological horror film than a movie that relies on a lot of action-packed jump scares. There are some moments that are meant to induce terror, but a lot of the horror is about what can’t be seen rather than the story being about a killer on the loose. This movie could’ve benefited from more character development, but “You Are Not My Mother” also doesn’t clutter the movie with a lot of unnecessary scenes.

All of the cast members give reasonably authentic performances, but the horror merits of “You Are Not My Mother” are mostly in Bracken’s eerie transformation as Angela. Without this unsettling performance, “You Are Not My Mother” would just be an average or laughable horror movie if mishandled by someone who was miscast in the Angela role. (Fun fact: Writer/director Dolan appears briefly in the movie in the role of a pharmacist.) “You Are Not My Mother” is not a going to be considered a classic horror movie, but it delivers plenty of intrigue for horror fans who are looking for a thriller that explores issues of generational trauma and family burdens.

Magnet Releasing released “You Are Not My Mother” in select U.S. cinemas, on digital and VOD on March 25, 2022.

Review: ‘Badhaai Do,’ starring Rajkummar Rao and Bhumi Pednekar

April 25, 2022

by Carla Hay

Rajkummar Rao and Bhumi Pednekar in “Badhaai Do” (Photo courtesy of Zee Studios)

“Badhaai Do”

Directed by Harshavardhan Kulkarni

Hindi with subtitles

Culture Representation: Taking place in an unnamed city in India, the comedy/drama film “Badhaai Do” features an all-Asian cast of characters representing the working-class and middle-class.

Culture Clash: A gay man and a lesbian, who are both in the closet about their sexualities, decide to get married to each other to throw off suspicion from their families, but complications ensue when they both meet real love partners. 

Culture Audience: “Badhaai Do” will appeal primarily to people who are interested in stories of how LGBTQ people live in India, where homophobia is encouraged and practiced by much of society.

Chum Darang, Bhumi Pednekar and Rajkummar Rao in “Badhaai Do” (Photo courtesy of Zee Studios)

“Badhaai Do” is a rare LGBTQ Bollywood film that achieves a balancing act of comedy and drama. It’s about the damage caused by homophobia and the courage it takes to live authentically. The main cast members’ charismatic performances make this movie a winner. It’s a story that’s both sobering and heartwarming.

Directed by Harshavardhan Kulkarnia, “Badhaai Do” (which translates to “Felicitations Due” in English) is a witty, often-sarcastic and engaging film that has a brisk pace that doesn’t make it seem like the movie is really two hours and 27 minutes long, even though it is. Kulkarnia co-wrote the “Badhaai Do” screenplay with Suman Adhikary and Akshat Ghildial. There are some parts of the movie that have a heightened tone of a screwball comedy, but the movie does not veer too far off from reality, except for the expected Bollywood musical interludes where the characters begin singing and dancing to their dialogue.

In “Badhaai Do” (which takes place in an unnamed city in India), a gay man and a lesbian get married to each other, because they’re hiding their true sexualities from almost everyone they know, including their families who have been pressuring them to have heterosexual marriages. The two people in this closeted couple are police officer Shardul Thakur (played by Rajkummar Rao) and physical education teacher Suman “Sumi” Singh (played by Bhumi Pednekar), who are both in their early 30s.

Shardul comes from a large family of women, including his unnamed widowed mother (played by Sheeba Chaddha), who are all pressuring him to get married to a woman. As expected, Shardul’s female relatives have also been playing matchmaker by trying to set him up with women whom they think could be a suitable wife for Shardul. He pretends that he’s interested, even though he knows that he’s not sexually attracted to women.

Sumi was once engaged to a man, who died six years ago in a tragic accident. She hasn’t had a serious boyfriend since then, but her conservative parents Prem Singh (played by Nitesh Pandey) and his wife Mrs. Singh (played by Loveleen Mishra) are expressing concerns to Sumi that she hasn’t moved on and found someone else to marry. Sumi and her brother Naman Singh (played by Vyom Yadav), who is 10 years younger than she is, still live with their parents. Naman has a bratty and sexist attitude about Sumi being an unmarried woman at her age, and he often makes snide comments to her about her marital status.

Even though Sumi can’t bring home any women she dates, Sumi still tries to find a love partner. She has been talking to someone on a lesbian dating app. But when she meets this possible love interest in person, she finds out that it’s really a young man, who tries to get Sumi to date him.

Sumi refuses to date him, so he starts harassing her and threatens to tell her family and friends that she’s a lesbian. Sumi is a feisty person who’s not afraid to stand up for herself, so she goes to the police to report this harassment. It’s how Sumi ends up meeting Shardul, who takes the report. It’s also how he finds out that Sumi is a lesbian. Shardul gets rid of the harasser by smacking him around—not bad enough where medical treatment is needed, but enough to scare away the harasser.

At work, Shardul is so fearful about revealing that he’s gay, he overcompensates by saying homophobic things. For example, early in the movie, Shardul and a police co-worker are in a local park when they catch two men who are about to be in a compromising sexual situation. Shardul and his colleague interrupt this tryst before things go further and tell the men to leave. Shardul makes a big show of expressing disgust with gay people, as if to say, “I’m not one of them!”

It just so happens that Sumi is nearby in the park at the same time. Shardul sees her sitting on a park bench by herself and strikes up a conversation with her. They end up talking about how their families are pressuring them to get married. And so, Shardul then confesses to Sumi that he’s gay and in the closet.

Shardul suggests to Sumi that they pretend to date each other and then get married, in order to “get our families off of our backs.” Shardul also says that he and Sumi can live like roommates. And because Shardul is a police officer, he tells Sumi that he can probably protect her better than most other people could.

Sumi is skeptical about this idea at first, but she eventually agrees. Shardul and Sumi’s short “courtship” soon turns to marriage. The movie’s wedding predictably has the most elaborate musical scenes in “Badhaai Do.”

But there are some big problems to living this lie of a phony marriage. Around the time that Sumi and Shardul concoct their fake romance, Sumi meets and begins dating Rimjhim Jongkey (played by Chum Darang), a confident woman who works as a hospital employee who processes lab samples. (The movie has some scatalogical comedy because Rimjhim deals with stool samples. Sumi meets Rimjihm because Sumi dropped of her own stool sample at the hospital.)

Sumi and Rimjhim have an instant mutual attraction, they begin dating, and they end up falling in love with each other. Rimjhim knows almost from the beginning that Sumi is pretending to be in a romance with Shardul. Rimjhim doesn’t really approve of this deception, but she goes along with it because she understands what’s at stake: Sumi’s family could disown Sumi if they found out that she’s a lesbian. (None of this spoiler information, because it’s in the movie’s trailer.)

Rimjhim lives openly as a lesbian/queer woman because she says that she doesn’t have any family members living in India. If she did, Rimjhim says that she would probably have to hide her true sexuality too. After Shardul and Sumi get married and move in together, Rimjhim spends so much time in their apartment, she essentially starts living there too.

If anyone notices that Rimjhim has spent the night at the apartment, Shardul tells people he knows that Rimjhim is Sumi’s cousin, while Sumi tells people she knows that Rimjhim is Shardul’s cousin. It’s a flimsy lie that’s bound to unravel if people who know Shardul and Sumi start talking to each other about Rimjhim.

As for Shardul’s real love life, his is more complicated than Sumi’s. When Shardul and Sumi met, he was already in a long-distance romance with a man who’s about 10 years younger: a graduate business student named Kabir (played by Deepak Aurora), who might not have the same feelings for Shardul that Shardul has for him. Kabir meets up with Shardul (at Shardul’s invitation) at the resort where Shardul and Sumi are having their “honeymoon.”

Soap-opera-styled drama ensues, as well as some hilarity when Shardul and Sumi desperately try to fool their family through staged photos that Shardul and Sumi are on a romantic vacation together. More backstory about Shardul’s love life is revealed which somewhat explains the patterns of mistakes he makes in his relationships. And then, things get more complicated when Shardul meets and has a mutual attraction to an attorney named Guru Narayan (played by Gulshan Devaiah), who is an obvious better match for Shardul than Kabir.

During this fake marriage, Shardul and Sumi sometimes clash with each other over certain issues. One of those issues is about parenting. Sumi says she has always wanted to be a mother, and she’s thinking about adopting a child. Shardul is adamant that he’s not ready to become a parent. Sumi accuses Shardul of being selfish and immature. Shardul accuses Sumi of being demanding and unreasonable.

They also bring some emotional baggage to the relationship. Although Sumi wasn’t romantically in love with her fiancé who died, she loved him as a friend. And so, Sumi is still dealing with grief over his death. Shardul has some unresolved issues with how his first big love affair ended and why it’s affected his fear to live openly as a gay man.

The movie’s plot has a few twists and turns, some of which are more expected than others. Rao and Pednekar give admirable performances that will make audiences root for Sumi and Shardul in the highs and lows of their unconventional relationship. (The realistic homophobia shown in the movie is heartbreaking, but it’s balanced out with moments of LGBTQ pride and self-confidence.) “Badhaai Do” shows in exemplary ways that no matter what people’s sexualities are, everyone deserves a chance to be happy, wherever they can find their personal joy that doesn’t hurt anyone else.

Zee Studios released “Badhaai Do” in select U.S. cinemas on February 11, 2022, the same date that the movie was released in several other countries, including India, Australia, Singapore, France and Ireland. “Badhaai Do” is also available on Netflix.

Review: ‘The Battle at Lake Changjin II,’ starring Jing Wu and Jackson Yee

April 24, 2022

by Carla Hay

Jing Wu, Zhu Yawen and Jackson Yee in “The Battle at Lake Changjin II” (Photo courtesy of CMC Pictures)

“The Battle at Lake Changjin II”

Directed by Chen Kaige, Tsui Hark and Dante Lam

Mandarin, Korean and English with subtitles

Culture Representation: Taking place in Korea, China, Japan and the United States, in December 1950, the action film “The Battle at Lake Changjin II” features a mostly Asian cast of characters (with some white people) representing military people and politicians involved in the Korean War.

Culture Clash: Two bickering brothers, who are in the China-based People’s Liberation Army, have various battles with each other and military enemies during the Korean War against the United States. 

Culture Audience: “The Battle at Lake Changjin II” will appeal primarily to people who are interested in violent war movies with amateurish dialogue and stereotypical characters that don’t have much that’s interesting to say.

Steven John Venn in “The Battle at Lake Changjin II” (Photo courtesy of CMC Pictures)

“The Battle at Lake Changjin II” should have the more accurate title of “The Battle at Lake Changjin: The Deleted Scenes.” That’s because this cash-grab war movie isn’t a true sequel but just a series of scenes that could’ve been in the first movie. And the first movie wasn’t even that great in the first place. And even though “The Battle at Lake Changjin” (which is nearly three hours long) and its sequel “The Battle at Lake Changjin II” (which has a total running time of about two-and-half-hours) are both over-indulgent messes, just because “The Battle at Lake Changjin II” has a shorter time length doesn’t make it better than its predecessor. “The Battle at Lake Changjin II” is worse.

“The Battle at Lake Changjin II” has a nearly identical storyline as its predecessor, because the movie has the same production team as 2021’s “The Battle at Lake Changjin.” Chen Kaige, Tsui Hark and Dante Lam directed both movies, while both screenplays were written by Lan Xiaolong and Huang Jianxin. In both movies, the Chinese military group People’s Liberation Army fights against the U.S. military during the Korean War’s Battle at the Chosin Reservoir.

The Army’s 7th Company is led by a courageous and respected commander Wu Qianli (played by Wu Jing), who has a 19-year-old brother named Wu Wanli (played by Jackson Yee) in the company. Wanli enlisted in the Army against Qianli’s wishes. Also returning from the original “Battle at Lake Changjin” movie are the 7th Company’s political instructor Mei Sheng (played by Zhu Yawen), fire platoon leader Yu Congrong (payed by Li Chen), artillery platoon leader Lei Suisheng (played by Hu Jun) and sniper Ping He (played by Elvis Han). Because this is a war movie, not everyone makes it out alive.

And once again, the chief villains of the story are U.S. Marines Major General Oliver P. Smith (played by John F. Cruz) and U.S. Army Commander Douglas MacArthur (played by James Filbird). “The Battle at Lake Changjin II” adds some more American leaders who weren’t in the “The Battle at Lake Changjin.” U.S. president Harry Truman (played by Ben Z Orenstein) appears briefly in a few scenes. Truman, who is depicted as someone who tried to reign in MacArthur, utters this line in one of the scenes: “MacArthur needs to be reminded that no man is bigger than this war.” Lieutenant Colonial Wilber Colbert (played by Steven John Venn) is a stereotype of a ruthless American military leader who thinks Americans are better than anyone else.

This inferior sequel does a few things differently with the characters in the movie, compared to “The Battle at Lake Changjin.” A wounded 7th Company battalion commander named Yang Wenjang (played by Geng Le) gets a little bit of a backstory. Wenjang has a flashback to his life before he was in the war, when he’s seen with his girlfriend. But that barely counts as character development, which is mostly non-existent in this movie.

“The Battle at Lake Changjin II” (also titled “Water Gate Bridge”) has even more over-the-top battle scenes than in “The Battle at Lake Changjin.” Some of the Chinese soldiers almost seem to have superhuman powers, based on the way they can do eye-popping leaps and kicks in the air, where they look like action stuntmen, not realistic soldiers. And sometimes, they’re literally on fire doing it, as there’s more than one sequence where soldiers who are burning up in flames still get things done.

Even though “The Battle at Lake Changjin” and “The Battle at Lake Changjin II” (which were both filmed during the same time period) are among the most expensively produced movies in China’s history, many of the visual effects look cheap and tacky, and the stunts often look sloppy. “The Battle at Lake Changjin II” is even more incoherent than its predecessor.

It isn’t until the last 15 minutes of this three-hour schlockfest that “The Battle at Lake Changjin II” tries to bring some grief-stricken humanity to the story, to show the realistic emotional traumas of war. But by then, it’s too little, too late. The last scene in the movie is overly sentimental and looks very forced, because the sappy tone is very off-balance from the rest of the callous violence film. This final scene looks like it belongs in a completely different movie but was dropped in “The Battle at Lake Changjin II” as a manipulative attempt to get viewers to cry.

The directors of “The Battle at Lake Changjin” movies have said that it’s possible that a six-hour directors’ cut could be released. Two to three hours of watching one of these films is more than enough time wasted. If you just want to turn your brain off and watch shootouts and explosions with mindless dialogue and forgettable characters, then “The Battle at Lake Changjin” movies are for you. If you care about watching more meaningful and authentic movies about real-life wars, your time is better spent on any number of higher-quality choices.

CMC Pictures released “The Battle at Lake Changjin II” in select U.S. cinemas on February 11, 2022. The movie was released in China on February 1, 2022.

Review: ‘The Battle at Lake Changjin,’ starring Jing Wu and Jackson Yee

April 24, 2022

by Carla Hay

Jackson Yee and Jing Wu in “The Battle at Lake Changjin” (Photo courtesy of CMC Pictures)

“The Battle at Lake Changjin”

Directed by Chen Kaige, Tsui Hark and Dante Lam

Mandarin, Korean and English with subtitles

Culture Representation: Taking place in Korea and briefly in China from June to December 1950, the action film “The Battle at Lake Changjin” features a mostly Asian cast of characters (with some white people) representing military people and politicians involved in the Korean War.

Culture Clash: Two bickering brothers, who are in the China-based People’s Liberation Army, have various battles with each other and military enemies during the Korean War against the United States. 

Culture Audience: “The Battle at Lake Changjin” will appeal primarily to people who are interested in violent war movies with amateurish dialogue and stereotypical characters that don’t have much that’s interesting to say.

James Filbird in “The Battle at Lake Changjin” (Photo courtesy of CMC Pictures)

“The Battle at Lake Changjin” is a very bloated war movie filled with simplistic dialogue, poorly written characters and tedious fight scenes. This repetitive depiction of a crucial battle in the Korean War does not earn its nearly three-hour running time. The film portrays China’s military group the People’s Liberation Army fighting against the U.S. military during the Korean War’s Battle of the Chosin Reservoir. Because it’s a scripted movie with some fictional characters, don’t expect it to be entirely accurate to real history.

If you only want to see war movies that have a certain agenda and care more about expensive-looking battle scenes than crafting a well-made war story, then “The Battle at Lake Changjin” might be for you. If you prefer to watch a war movie that places more importance on showing repetitive explosions and violent deaths than placing importance on audiences getting to know the main characters, then “The Battle at Lake Changjin” might be for you. For everyone else, it’s a mind-numbing slog that just looks like a video game with a big movie budget.

“The Battle at Lake Changjin” (directed by Chen Kaige, Tsui Hark and Dante Lam) is reportedly one of the most expensively made Chinese movies of all time, with a production budget of $200 million. Most of that money looks like it went into the bombastic battle scenes that pull out every visual-effects trick in the book to make the explosions, battlefield shootouts and killings look very over-the-top. Unfortunately, hardly any of the movie’s budget seems to have been invested in quality screenwriting or acting. The movie’s screenplay (written by Lan Xiaolong and Huang Jianxin) is simply abysmal, while the acting is mediocre at best.

“The Battle at Lake Changjin” attempts to have some meaningful family drama, by having the movie’s two central characters as brothers who often disagree with each other. Older brother Wu Qianli (played by Wu Jing) is commander of the People’s Liberation Army’s 7th Company, where is considered a a respected war hero. However, Qianli bears the burden and guilt over the war death of his older brother Wu Baili, who was killed in combat.

Qianli’s 19-year-old brother Wu Wanli (played by Jackson Yee) admires his older brother Qianli. However, the two brothers clash because Wanli wants to join the People’s Liberation Army, but Qianli doesn’t want that to happen, mainly out of fear that he doesn’t want to lose another family member in war combat. Wanli doesn’t see it that way, because he thinks that Qianli views him as inferior and not brave enough to fight in a war. Therefore, Wanli feels insulted.

Not surprisingly, Wanli ends up secretly joining the Army, much to Qianli’s disapproval. Qianli tells Wanli that he won’t get any special treatment, just because they are brothers. In fact, Qianli goes out of his way to not give Wanli any help or advice, even when other members of the Army bully and tease Wanli because they think Wanli will get nepotism perks. A lot of people in this army doubt that babyfaced Wanli has what it takes to be a tough soldier.

Wanli remains steadfast in his commitment to the Army. And slowsly but surely, he starts to gain respect from his Army peers and Wanli. These supporting characters in the 7th Company aren’t given enough depth in their personalities or development in their story arcs. They include political instructor Mei Sheng (played by Zhu Yawen), fire platoon leader Yu Congrong (payed by Li Chen), artillery platoon leader Lei Suisheng (played by Hu Jun) and sniper Ping He (played by Elvis Han).

Wanli’s first friend in the 7th Company is a fellow teen soldier named Zhang Xiaoshan (played by Shi Pengyuan) young soldier of the 7th Company who befriends Wanli. There’s also a sublot about how one of the People’s Liberation Army also includes Mao Anying (played by Huang Xuan), the eldest son of then-Chinese Communist Party leader Mao Zedong (played by Tang Guoqiang), also known as Chairman Mao, who allowed Anying to join the war with some reluctance. People who know Chinese history already know what Anying’s fate was.

Military officials in this movie are depicted as broad caricatures with hollow personalities that just recite forgettable lines. One of these side characters is Peng Dehuai (played by Zhou Xiaobin), People’s Volunteer Army commander and People’s Revolutionary Military vice chairman. The movie gives the worst jingoistic dialogue to American military officials such as U.S. Marines Major General Oliver P. Smith (played by John F. Cruz) and U.S. Army Commander Douglas MacArthur (played by James Filbird), who’s depicted as a robotic warmonger, who’s often wearing sunglasses and chomping on a pipe.

“The Battle at Lake Changjin” gives very amateurish re-enactments of what behind-the-scenes war strategies might have been. The filmmakers seem to think that throwing in a lot of explosions and gunfire, in addition to showing men constantly shouting at each other, are enough to make a compelling war movie. It’s not. “The Battle at Lake Changjin” is an onslaught of very staged and very loud scenes of destruction that turn into a mishmash of mayhem until its very predictable conclusion.

CMC Pictures released “The Battle at Lang Changjin” in select U.S. cinemas on November 19, 2021. The movie was released in China on September 30, 2021.

Review: ‘Petite Maman,’ starring Joséphine Sanz, Gabrielle Sanz, Nina Meurisse and Stéphane Varupenne

April 23, 2022

by Carla Hay

Joséphine Sanz and Gabrielle Sanz in “Petite Maman” (Photo courtesy of Lilies Films/Neon)

“Petite Maman”

Directed by Céline Sciamma

French with subtitles

Culture Representation: Taking place in an unnamed city in France, the dramatic film “Petite Maman” features an all-white cast of characters representing the working-class and middle-class.

Culture Clash: An 8-year-old girl meets another girl of the same age who is eerily similar to her.

Culture Audience: “Petite Maman” will appeal primarily to people are interested in unique movies about families and time travel.

Nina Meurisse and Joséphine Sanz in “Petite Maman” (Photo courtesy of Lilies Films/Neon)

The very memorable drama “Petite Maman” takes an insightful and endearing look at parent-child relationships and how personalities are formed in childhood. It also depicts the rhetorical question: “What would you do if you met one of your parents as a child but didn’t know it right away?” The results are fascinating, charming and often sentimental without being mawkish.

Written and directed by Céline Sciamma, “Petite Maman” clocks in at a brisk 72 minutes, which is really all the time needed for this engaging cinematic story to be told. “Petite Maman” (which takes place in an unnamed city in France) made the rounds at several top film festivals in 2021, including the Telluride Film Festival, Toronto International Film Festival and the New York Film Festival. Sciamma has made a name for herself as a filmmaker who does female-centric movies about authentic personal relationships. “Petite Maman” (which translates to “Little Mother” in English) is Sciamma’s first movie where the central female characters are pre-teen girls.

“Petite Maman” is a movie with a relatively small cast of characters (less than 10 people have speaking lines), because it’s a fairly simple story that’s rich in detailing the meaningful experiences of an 8-year-old girl who meets her mother when her mother was also 8 years old. There’s no elaborate science-fiction explanation for this time-traveling experience. Observant viewers will figure out the mystery fairly early on in the story, but it’s a delight to watch the unwitting girl discover what her mother was like at her own age.

In the beginning of “Petite Maman,” 8-year-old Nelly (played by Joséphine Sanz) is visiting a nursing home where her maternal grandmother, who was a widow, has passed away. Nelly asks her unnamed mother (played by Nina Meurisse) if she can keep a stick that used to be owned by Nelly’s grandmother. Nelly’s mother says yes.

Nelly then accompanies her parents to the house where Nelly’s grandmother used to live. It’s also the childhood home of Nelly’s mother. The house (which is located in a wooded area) is going to be sold, and most of it is already packed up, except for some essential furniture, most of it wrapped up in sheets. The kitchen is the only room in the house that looks like it hasn’t been packed up or wrapped yet in the process of the house getting a new owner.

Nelly’s mother and Nelly’s father (played by Stéphane Varupenne) have stopped by the house for some final moving arrangements. They decide to stay in the house for a few days. Nelly sleeps in the bedroom that her mother had a child. When Nelly’s mother tucks her in before Nelly goes to sleep, she mentions to Nelly that when she was a child, she didn’t like being in the room at night.

It’s soon revealed that although Nelly is a fairly obedient child, she’s more of a “daddy’s girl.” Nelly is more likely to get into disagreements with her mother, who has an unspoken air of sadness and regret about her. Nelly’s parents also don’t like to talk about their childhoods very much. Nelly’s father explains that the only thing they like to discuss about their childhoods is the Christmas presents that they received when they were kids.

But one thing that Nelly knows about her mother’s childhood is that her mother had a special hut that she built in the woods. This hut was her place where she could go when she wanted private time to herself. One of the first things that Nelly asks her mother about when they arrive at the house is: “Mom, where was your hut? Can you show me? I want to make one.”

Nelly’s mother seems too distracted with grief to grant this request. However, one day, Nelly is out walking in the woods when she sees a girl who looks exactly like her making a hut out of tree branches. The girl, whose name is Marion (played by Gabrielle Sanz, the identical twin of Joséphine Sanz), asks Nelly for help in building the hut. Nelly notices that Marion has the same name as Nelly’s mother.

It’s the beginning of a friendship where Nelly develops a deeper understanding of Marion and her childhood. Viewers find out that Marion grew up with a mother who was very overprotective. In her childhood, Marion had an operation to correct a problem that she might have inherited from her mother. Marion’s mother (played by Margot Abascal), who walks with a cane, is shown in a scene where she’s scolding Marion for playing outside because it’s against doctor’s orders.

“Petite Maman” has a plot twist revealed at the end of the movie that is emotionally poignant, especially for people who feel that this story of friendship within a family is relatable on some level. Sciamma’s telling of this story is at times whimsical but always genuinely observant of the nuances in how people relate to each other as children and as adults. The casting of identical twins Joséphine Sanz and Gabrielle Sanz (who are both very good in their respective roles as Nelly and Marion) is an inspired choice because it makes viewers pay more attention to how to tell these girls apart, in terms of their personalities.

“Petite Maman” also touches on the issue of what friendship can mean between a parent and a child. Parents of underage children often have to show or tell their kids, “I’m your parent, not your friend,” in order to set discipline boundaries. What “Petite Maman” does in a special and creative way is show that every parent’s inner child is never really lost but becomes part of who that person is as a parent and a possible friend.

Neon released “Petite Maman” in select U.S. cinemas on April 22, 2022, with an expansion to more U.S. cinemas on May 6, 2022. The movie was released in several European countries and in South Korea in 2021.

Review: ‘The Last Glaciers,’ starring Craig Leeson

April 23, 2022

by Carla Hay

Craig Leeson in “The Last Glaciers” (Photo courtesy of IMAX Entertainment)

“The Last Glaciers”

Directed by Craig Leeson

Culture Representation: Filmed in various parts of Europe, South America, Asia, and Antarctica, the documentary “The Last Glaciers” features a predominantly white group of people (with some Asians, Latinos and indigenous people) talking about how climate change is causing mountain glaciers to disappear and filmmaker Craig Leeson’s attempt to film many of these glaciers while they still exist.

Culture Clash: Leeson says he wants this movie to be a wake-up call for people to take more action to protect Earth’s environment.

Culture Audience: “The Last Glaciers” will appeal primarily to people who are concerned about environmental issues; however, except for some stunning aerial shots of ice-covered mountains, this documentary doesn’t do anything significant or new for the environmentalist movement.

A scene from “The Last Glaciers” (Photo courtesy of IMAX Entertainment)

“The Last Glaciers” comes across as a documentary vanity project for filmmaker Craig Leeson to have footage of him paragliding over famous glacial mountains instead of being an important call to action about climate change. Leeson directed this 40-minute film (which had a special screening at select IMAX theaters in the U.S. and Canada), and he spends a lot of time in the narration talking about himself. Although “The Last Glaciers” is being advertised and marketed as an informative documentary about climate change, it’s really just a glorified travelogue showing Leeson (one of the movie’s producers) being a privileged filmmaker who used this movie’s budget to film himself going on mountain adventures, with the help of more experienced mountain guides.

Leeson says in the documentary that he wanted to film mountain glaciers that are disappearing because of climate change. However, this type of footage doesn’t have any real visual impact until people see “before” and “after” pictures. Leeson was mainly concerned about filming the “before” images, with him paragliding around these mountains. Although the scenery is stunning, Leeson does not reveal anything about disappearing glaciers that the Oscar-winning 2006 documentary “An Inconvenient Truth” didn’t already reveal. “An Inconvenient Truth” had plenty of “before and after” images as proof.

Filmed over a four-year period, “The Last Glaciers” gives bare-basics information about how glaciers affect Earth’s ecosystem. Cities that reside at the foot of these mountains, as well as coastal cities, are particularly at risk for being climate-change disaster areas by the mid-21st century, according to scientist predictions. It’s necessary information included in this documentary. However, it’s included almost like a secondary afterthought because the main priority of the movie is for Leeson to show how he’s a rare documentarian who got access to film certain parts of the Himalayas, Mont Blanc, and the Andes—three of the mountain ranges featured in the movie.

Any environmental experts interviewed in “The Last Glaciers” are each given less than a minute of generic soundbites. The experts who appear very briefly in the movie include Gisella Orjeda, former president of the National Council for Science Technology and Innovation; Bruno Pozzi, director of the Europe Office of the United Nations Environment Programme; activist Greta Thunberg; Jérôme Chappellaz, director of the French Polar Institute; David Molden, director general of the International Centre for Integrated Mountain Development; Arctic Basecamp founder Gail Whiteman; and NASA cryosphere scientist John Sonntag. The documentary needed more input from experts and less self-indulgent “let’s talk about me” footage of Leeson.

The people who are shown accompanying Leeson on these mountain trips include expedition leader Dave Turner, United Nations mountain ambassador Malcolm Wood, cinematographer Cody Tuttle and “The Last Glaciers” executive producer William Pfeiffer. Leeson and his team also got some assistance from local mountain guides. Tuttle died in a paragliding accident in 2019. The end of “The Last Glaciers” has an “in memoriam” title card for him.

There’s some “drama” in the movie when Turner unexpectedly gets sidelined from injuries he sustained in an unrelated accident. Turner tells Leeson in a videoconference chat that Leeson has enough paragliding experience to continue without him, as Leeson grins with satisfaction. After he’s recovered, Turner shows up for a “surprise” visit that looks staged. And there’s the obligatory “life-threatening” paragliding scene that has no suspense whatsoever because it’s obvious from the narration that everyone in that paragliding scene made it out alive.

At the end of the IMAX movie screening on April 23, 2022, there was a live Q&A moderated by climate activist Caroline Gleich, with four panelists Leeson, climate scientist Clara Henry, climate advocate Molly Kawahata and ice core scientist Peter Neff. Questions were taken from audiences who watched the movie in the IMAX theaters, but the Q&A quickly got repetitive with similar questions being asked. The answers consisted of things that environmentalists have said many times before: Using fossil fuels (the main culprit in the environment’s deterioration) needs to be replaced with cleaner alternatives. The panelists also repeated that change needs to happen on a systemic level, but people can help as individuals by reducing their carbon footprint and working to get politicians elected who can do the most to help with climate problems.

People who’ve never seen a documentary with aerial mountain footage might be very impressed with “The Last Glaciers.” The cinematography really is the best thing about this movie. But anyone looking for a more substantive documentary about climate change and what to do about this problem will have to look elsewhere. “The Last Glaciers” amounts to nothing more than a filmmaker’s egocentric travel diary masquerading as an environmentalist documentary.

IMAX Entertainment released “The Last Glaciers” as a limited one-day-only theatrical event in select U.S. and Canadian cinemas on March 22 and April 23, 2022.

Review: ‘Gold’ (2022), starring Zac Efron

April 22, 2022

by Carla Hay

Zac Efron in “Gold” (Photo courtesy of Screen Media Films)

“Gold” (2022)

Directed by Anthony Hayes

Culture Representation: Taking place in an unnamed location, the dramatic film “Gold” features a nearly all-white cast characters (with a few Aborigines who make brief appearances) representing the working-class.

Culture Clash: Two men find a gold treasure in the desert, and one of the men leaves to find an excavator that can get the gold out of the ground, while the other man stays behind to guard the gold, and he encounters some dangerous situations. 

Culture Audience: “Gold” will appeal primarily to people who are fans of star Zac Efron and anyone who is interested in watching a well-acted survivalist story, despite not having much of a plot.

Anthony Hayes and Zac Efron in “Gold” (Photo courtesy of Screen Media Films)

Gritty and minimalist, “Gold” is a desert survival story with an ending that could’ve been better, but the movie’s lead performance by Zac Efron is compelling enough to maintain viewer interest. “Gold” is not the movie for you if you want all suspenseful movies to have a lot of dialogue. Most of “Gold” shows Efron’s unnamed character alone in the desert, with no talking in long stretches of the movie.

“Gold” isn’t a movie like Tom Hanks’ 2000 film “Cast Away,” where Hanks’ character was stranded on a deserted island and talked a lot to himself and a wilted volleyball that he called Wilson. “Gold” is as dirty and dusty as the landscape where Efron’s character is stuck for most of the movie with no transportation. He’s waiting for a new acquaintance (played by Anthony Hayes), who also has no name in the movie, who has driven them both there and has taken his car to get help.

Why do they need help? The two men have found a massive, boulder-sized chunk of gold in the desert, but it’s too heavy and embedded to dislodge from the ground with their bare hands. Tying it to car with a rope didn’t work either. They need serious excavation equipment. Hayes directed “Gold” from a screenplay that he co-wrote with Polly Smyth.

How did these two strangers end up meeting? The beginning of “Gold” shows Efron’s character (listed as Man One in the film’s credits) boarding a cargo train, because he’s on his way to an outpost to get a ride to a compound, where he hopes to get an unspecified job involving physical labor. This character is a loner who gives the impression that he’s down on his luck and needs this job, which he calls a “once in a lifetime opportunity.” Hayes’ character (who is called Man Two in the film’s credits) is tasked with giving Man One a ride to this compound in Man Two’s truck.

“Gold” was filmed on location in South Australia, although the movie never comes right out and says where the movie takes place. Hayes (who is Australian in real life) has an American accent in the movie, while Efron keeps his natural American accent. When Efron’s character is on the cargo train, he briefly encounters an Aborigine woman (played by Akuol Ngot) and her infant child (played by Thiik Biar), which is the only real clue that this movie was filmed Down Under.

The time period in which “Gold” takes place is also not explicitly stated, although the movie’s production notes say that “Gold” is supposed to take place in the “not too distant future.” There are big indications that it’s in a post-apocalyptic era, because there are mentions of a disaster that has caused factions of people in the land to fight each other for food, water and other resources. In this land, there are pay phones and mobile phones, but the mobile phones look like walkie talkies.

When Man One is stranded out in the desert, his only form of communication is a mobile phone, but the movie never explains how Man One can use the phone without any phone towers or WiFi service. That’s why “Gold” has a somewhat sci-fi otherworldly tone to it, although it’s implied that everything in the movie is happening somewhere on Earth. “Gold” was deliberately filmed to take place in an unspecified decade, although the mention of automobiles using gas still ties it to a period of time when most cars needed gas to operate.

Man One and Man Two have to travel through the desert to get to the compound. And the most predictable thing in a road trip movie happens in “Gold”: The travelers have car trouble. In this case, it’s a flat tire, which Man Two changes with a spare tire.

While staying overnight in the desert, the two men have a conversation around a campfire. Man One gives a little more information about himself. He says he’s from the west (whatever that means), while Man Two comments that “people are turning on each other.” The driver also says that there’s a “mass exodus down south” and that “pretty soon, hordes of people will be coming this way.”

Man One shows Man Two a flyer for the compound that lured Man One into starting a new life there. The flyer says, “In just four months, you’ll be a changed man. Work at the compound.” Man Two scoffs at the flyer and tells Man One that he will be a “target” at the compound because of his “puppy-dog eyes and right nature.”

But is this man who’s determined to change his life at the compound so gullible and innocent as the other man thinks he is? Man One says of any trouble he might find at the compound, “I can handle it.” Man Two says skeptically, “I’m sure you can.”

It isn’t long before the two men find the gold that completely changes the original intention of their trip. The gold is too heavy to take out of the ground. A decision is made that one of the men will go find an excavator with the equipment and transportation to be able to lift the gold. The other man will stay behind and guard the gold.

Both men debate over who should be the one to leave and who should stay. At first, Man Two insists that he should be the one to stay because he thinks he’s more experienced at handling the dangers of this desert. However, Man One stands firm in saying that he should be the one to stay because Man Two has the personal connections to get the excavator they need quicker than Man One, who doesn’t know anyone who can help them.

The rest of “Gold” shows what happens when Man One is left behind to guard the gold. There are the expected problems with wild animals, harsh desert weather and the very real possibility of dying of dehydration. Man One has a supply of water in the beginning, but it should come as no surprise when that water supply is compromised. And there’s always the underlying question: Who can really be trusted among the people who find out about this gold treasure?

Perhaps the biggest threat that Man One encounters is with any other human being whose intentions are not clear and could be a possible attacker. As shown in the trailer for “Gold,” this potential threat happens in the last third of the movie when a mysterious woman with an Irish accent (played by Susie Porter) shows up and starts asking Man One a lot of questions in a suspicious manner. It’s here where “Gold” becomes more of a tension-filled thriller.

“Gold” is a fairly simple story, but it shows impactfully how greed and survival can be intertwined and can affect each other in ways that aren’t always healthy. Efron, who gets the vast majority of screen time in “Gold,” gives an obviously physically challenging performance, but he also brings some depth to the psychological transformation his character undergoes during the course of the story. The pacing of “Gold” might be too slow for viewers who are expecting more of an action-adventure film instead of an introspective character study.

The movie invites viewers to think about how priorities can shift when it comes to the lengths that people will go to for “get rich quick” schemes. It shows that wealth can make people even more of a target of crime, danger and other bad intentions, and thereby fuel paranoia and mistrust. Although some viewers might not like the final minute in the last scene of “Gold,” it leaves viewers to ponder if what these characters do in the movie was really worth it in the end.

Screen Media Films released “Gold” in select U.S. cinemas on March 11, 2022. The movie is set for release on Blu-ray and DVD on June 14, 2022.

Review: ‘¿Y Cómo Es Él?,’ starring Omar Chaparro, Mauricio Ochmann and Zuria Vega

April 22, 2022

by Carla Hay

Omar Chaparro and Mauricio Ochmann in “¿Y Cómo Es Él?” (Photo courtesy of Pantelion Films)

“¿Y Cómo Es Él?”

Directed by Ariel Winograd

Spanish with subtitles

Culture Representation: Taking place in various Mexican cities, including Puerto Vallarta and Mexico City, the comedy film “¿Y Cómo Es Él?” features an all-Latino cast of characters representing the working-class, middle-class and criminal underground.

Culture Clash: An angry cuckold decides to get revenge on the taxi driver who is his wife’s lover, and the two men take an unexpected road trip together.

Culture Audience: “¿Y Cómo Es Él?” will appeal primarily to people who are interested in watching silly and unimaginative comedies about men who complain about relationships with women.

Mauricio Ochmann and Omar Chaparro in “¿Y Cómo Es Él?” (Photo courtesy of Pantelion Films)

Dreadfully boring and sloppily made, the cinematic dud “¿Y Cómo Es Él?” is as about as fun as getting a flat tire, which is one of many predictable things that happen in this road trip movie pretending to be a wacky comedy. “¿Y Cómo Es Él?” is based on the very flimsy idea that a man intent on getting revenge on his wife’s lover (who’s a taxi driver) will decide to take a road trip with him instead, while the taxi driver gets both of them into all sorts of trouble. That’s essentially the entire plot of this vapid garbage. The wife at the center of the love triangle shows up on screen occasionally, almost as an afterthought.

That’s because “¿Y Cómo Es Él?” is just a pathetic excuse to promote sexist beliefs that men who commit adultery by sleeping with married women are just giving in to their male sex drives, while married women who commit adultery are doing it to punish their husbands. One of the movie’s two main characters—a selfish and misogynistic cretin named Jero (played by Omar Chaparro)—literally uses it as an awful excuse for why he’s promiscuous and doesn’t care if the women he sleeps with are married or not.

Jero says in the movie that husbands cheat on their wives because they can, while women cheat on their husbands for revenge. In other words, this sexist fool thinks that husbands should be more offended if their wives cheat on them than wives should be offended if their husbands cheat on them. Women literally don’t have much to say in this very outdated and male-dominated movie, whose lead actress has less than 15 minutes of dialogue.

Directed by Ariel Winograd and written by Paul Fruchbom, “¿Y Cómo Es Él?” (which takes place in Mexico) is based on the 2007 South Korean movie “Driving With My Wife’s Lover,” which was a dark comedy and a far superior movie. “¿Y Cómo Es Él?” (which translates to “And How Is He?” in English) takes all the edge out of the original movie and turns it into watered-down junk that just re-uses the same tired formula of dozens of other forgettable movies about two opposite people who find themselves on a long trip together. Every possible road trip cliché is used in this film, with results that are irritating and unamusing.

In the beginning of “¿Y Cómo Es Él?,” cuckolded husband Tomás Segura (played by Mauricio Ochmann) is on a plane to Puerto Vallarta. He’s on this trip because he knows that his wife Marcia (played by Zuria Vega) and her lover Jero (short for Jeronimo) are in Puerto Vallarta for an adulterous rendezvous. Tomás also knows what Jero looks like because he stares jealously at a photo of Jero that Tomás has on his phone.

At this point in the story, Tomás thinks that Jero is a rich and successful businessman, based on the photos that Jero has of himself on social media. Meanwhile, Tomás is unemployed. Tomás has lied to Marcia by telling her that he’s taking this trip to go to Monterrey for a job interview.

On the plane, a woman sitting next to Tomás asks him if the photo he’s looking at is Tomás’ boyfriend. He says no. The woman doesn’t believe him and says that she’s open-minded about gay people. Just to get her to stop pestering him, Tomás blurts out that the photo is of the man who’s having sex with his wife. This scene is supposed to be funny, but it just comes across as awkwardly performed.

Upon arriving in Puerto Vallarta, Tomás secretly stalks Marcia and Jero at the resort where the two lovers have been staying. Tomás sees for himself that they are indeed acting like lovers in public. Tomás then furthers his mission to get revenge. Marcia works at a data company, so when the rendezvous is over, she goes back to where she and Tomás live, while Tomás stays behind in Puerto Vallarta and follows Jero.

That’s when Tomás finds out that Jero isn’t rich but works as a taxi driver. Throughout this mindless movie, Tomás keeps in touch by phone with a friend named Lucas (played by Mauricio Barrientos) to give updates to Lucas on what’s happening and to get advice. Lucas encourages Tomás to rough up Jero, and Lucas wants to hear all the details if it happens.

Tomás has fantasies of harming Jero in various ways. He follows Jero to a dumpy outdoor fast-food restaurant. Tomás has a taser that he looks like he’s going to use on Jero when he sneaks up behind Jero. There are plenty of other people nearby who could witness the assault that Tomás plans to inflict on Jero. But at the last moment, Tomás changes his mind and runs away.

Instead of tasing Jero, Tomás decides to do some damage to Jero’s taxi that’s parked outside the restaurant. Tomás takes a knife and cuts a deep, long scratch on the driver’s side of the car. And then, Tomás repeatedly stabs the left front tire while he’s standing up, but he’s such klutz that he accidentally stabs himself in the leg.

Tomás passes out from the pain, and then he wakes up to find himself in the back seat of Jero’s taxi while Jero is driving. Jero mistakenly thinks that Tomás was attacked by the person who damaged Jero’s taxi and that Tomás scared off this vandal. Tomás goes along with this wrong assumption. Tomás asks Jero if he can drive him to Mexico City, and Jero says yes.

Tomás still wants to get revenge on Jero, but the movie’s excuse for why Tomás has decided to go on this long road trip with Jero is because Tomás wants to get to know Jero, in order to find out what Marcia sees in Jero. And what do you know: In one of the movie’s very phony-looking scenes, while Jero and Tomás have their first conversation together, Marcia ends up talking to both of them on the phone at the same time without knowing it.

Not surprisingly, Tomás spends a lot of time in the movie desperately trying to hide his true identity from Jero. However, Jero notices how distressed Tomás looks on this trip, so Jero gets Tomás to admit that Tomás is upset because he found out that his wife is cheating on him. Jero, who thinks of himself as a desirable playboy, then brags to Tomás that he can seduce and have sex with practically any willing woman, and Jero doesn’t care if they’re married or not.

Not once does dimwitted Jero think that maybe a jealous husband might come after him for revenge. And one of those jealous husbands could be the same person who just admitted to Jero that he’s angry about his wife cheating on him. Instead, clueless Jero advises Tomás to beat up the lover of Tomás’ wife. This is what’s supposed to pass as comedy in this witless drivel of a movie.

Meanwhile, the filmmakers of “¿Y Cómo Es Él?” try to make the audience feel sympathy for lecherous Jero when he eventually tells Tomás that he’s divorced. Jero blames the collapse of the marriage on his ex-wife. According to Jero, when they were married, she cheated on him with Jero’s then-business partner, who owned a mattress company with Jero. It’s a lousy excuse for why Jero has no guilt or qualms about committing adultery by having sexual flings with married women. Jero is the last person who should be giving marriage advice, but there he is stinking up much of the movie by giving unsolicited and irresponsible marital counseling to Tomás.

This is one of the odious comments about marriage that Jero says to Tomás: “Women forgive adultery. Men don’t.” Jero also says that by the time a married woman commits adultery, her marriage is already dead. But according to Jero, a married man who commits adultery just sees it as a physical act that’s meaningless and separate from love. With this women-hating mindset, it’s no wonder that Jero can’t find true love with a woman.

Tomás isn’t much better than Jero when it comes to being a backwards-thinking dolt. During the course of the movie, Tomás wants to prove how macho he is by trying to inflict serious physical harm on people. In one scene, Tomás tries to poison Jero with antifreeze. In another scene, Tomás punches a doctor in the face when he’s taken to a hospital to treat his self-inflicted stab wound. These slapstick scenes aren’t funny, and they look utterly stupid.

When Tomás and Jero go to a brothel, because Jero says Tomás deserves to cheat on Tomás’ wife, Tomás is reluctant to commit adultery. But Tomás weirdly wants to impress Jero, so when he’s in the bedroom with the hired sex worker (played by Consuelo Duval), Tomás asks her to assault him into unconsciousness and do whatever she wants with him, so it will look like they’ve had sex. Tomás also gives her the option to do nothing, so they can just talk.

In an idiotic movie like “¿Y Cómo Es Él?,” you already know which option she’s going to take, because this movie is filled with ill-conceived scenarios where Tomás and Jero get banged-up, bloodied and bruised. (The prostitute ends up hitting Tomás on the head with one of her high-heeled shoes.) And why should Tomás care so much about what Jero thinks Tomás might be doing in a room with a sex worker? So much of “¿Y Cómo Es Él?” expects viewers to be as dumb as the movie’s characters.

Jero is a big talker who tells Tomás that he’s invested in several business, including a fleet of taxis. Tomás is too simple-minded to ask Jero why Jero is doing regular taxi driver duties if Jero is such a successful business owner. What Tomás finds out the hard way is that Jero owes money to a ruthless investor named Francisco “Frank” Estevez (also known as El Cuate), who has sent some of his goons to track down Jero and get the money back by any means necessary. You know what happens next: generic chase scenes and shootouts. All of the action scenes in “¿Y Cómo Es Él?” are terribly edited.

And where is Marcia during all these shenanigans? She’s seen mostly on the phone with Tomás, who keeps lying to her about where he is and what he’s doing. It all just leads to a very formulaic and unoriginal conclusion that’s easy to predict within the first 10 minutes of the movie or by watching the movie’s trailer. The acting in the film isn’t as bad as the screenplay and direction, but there’s no cast member in this movie who gives an admirable performance. Watching “¿Y Cómo Es Él?” is like eating junk food that leaves a bad taste in your mouth.

Pantelion Films released “¿Y Cómo Es Él?” in select U.S. cinemas on April 22, 2022. The movie was released in Mexico on April 7, 2022, and in Australia in 2020.

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