The Long Dumb Road is a pretty straightforward premise. The film is a comedy where two dudes with very different personalities go on a road trip.The Long Dumb Road isn’t a complex story to get – but that helps it get to the point. The film gets right into its subject matter, and it’s what makes it a fun watch.
Tony Revolori (Spider-Man: Homecoming, Dope) plays Nat, a student going off to college. Car troubles interrupt his trip, and the only one who can help is Richard, played by Jason Mantzoukas (How Did This Get Made?, Big Mouth). From there, the duo sets off for Los Angeles, each hoping for a new life.
The story is more like a series of vignettes, a bunch of road trips that happen to involve the same two people.The Long Dumb Road starts with a fairly predictable story – Richard takes a detour to reconnect with a former lover. However, that storyline is over and done within the first half hour, wrapping up in a satisfying way. The next hour is similar – some fairly predictable beats, but without any fluff or filler. The road trip tropes are hit so efficiently that the film stays fresh.
From left: Jason Mantzoukas, Grace Gummer, Hannah Fidell, and Jason Mantzoukas
A huge part of what keeps The Long Dumb Road rolling is its stars. It’s great to see Mantzoukas get a starring role, after years of killing the comedy game. Mantzoukas lends his trademark high energy to Richard, but with a genuine human touch. The craziness of Richard is well-balanced by Revolori’s film kid Nat. Nat’s straight-man act, rooted in all too real artsy stereotypes, bounces off Richard so well. The acting duo slays with their instant chemistry.
While the to-the-point storytelling keeps momentum going, the film sometimes feels fragmented. Not every emotional beat gets explored to their full potential. While Nat recognizes he comes from privilege, he never really reckons with it. He just decides to not be privileged anymore – more to do with Ron Livingston’s Francois than his relationship with Richard. Likewise, Richard’s emotional development – dealing with his self-hatred and fast fall into relationships – gets dropped. It’s nice to see them get happy endings, but it’s not clear why they should get them.
That said,The Long Dumb Road‘s direction helps smooth over the bumpy story beats. Hannah Fidell (6 Years, Casual) does great work with the story, infusing it with a grounded feel. Fidell helps the talented stars keep the story’s pace, with no beats lasting too long. The quick pace also contains great bits along the road – like the continuously buggy car, and the drive-thru rant. Fidell’s direction keeps The Long Dumb Road short and sweet.
The Long Dumb Road is a fast-paced pleasure. Mantzoukas and Revolori anchor the film, and their journey flows effortlessly. While there’s always more to explore with any movie universe, The Long Dumb Road keeps you entertained all the way to L.A.
Team Khan is a new documentary about professional boxer Amir Khan. It follows Khan over a two year period as he and his team strive to get a fight with the best boxer on the planet, Floyd Mayweather.
Boxing is a very unique sport. Some people absolutely love to watch it and some people can’t stand it. However, even if you don’t like watching live boxing, movies about the sport often have a surprising allure. Films like the Rocky series draw large audiences, including some fans who don’t even like the sport. Team Khan shares some qualities with those movies.
This is perhaps one of the most exciting documentaries to come out this year because of the way in which the film is shot and edited. Actual footage of Khan’s fights is included in the movie, and this can be shocking and brutal at times (thankfully, the worst of it is often not shown).
For people who keep up with the sport regularly, this may not be that exciting, though, as hardcore fans probably would have seen the fights as they occurred. However, the film assumes the audience does not know the results, and benefits from it, as this creates a large deal of suspense.
The film also uses music very well. The songs that were chosen for the soundtrack fit the tone well. It’s mostly popular music, but it works. The main function of the music is to create hype and intensity in the lead-up to the fights, and it does so perfectly.
Luckily, the movie doesn’t focus too much on the training sequences because many movies that have come before have shown boxers training for their fights. Instead, the film focuses more on the business aspects leading up to the fight. Surprisingly, it is just as suspenseful to watch Khan and his team figuring out what to do to achieve their goal as them actually doing it.
However, the movie does struggle with creating adequate depth. Khan is developed to be likable over the course of the film, but it doesn’t really do that much to help the audience get to know him more as a person. In a few of the interviews, Khan is asked about his daughter, and these are the only true hints of depth in the movie. Otherwise, it is a mostly surface-level documentary. It would have been beneficial if Khan’s personal life had been explored more.
Overall, Team Khan is a very enjoyable, albeit somewhat shallow documentary. Even if you don’t particularly like boxing, this documentary is definitely worth a shotTeam Khan is in select theaters and on demand November 16.
Fighting with my Family stars Florence Pugh as an aspiring wrestler who, along with her equally ambitious brother, get a shot to audition for the WWE and results create a mix of action and comedy that includes a special guest — The Rock.The film is produced by the WWE with Stephen Merchant on as writer and director. Fighting with my Family slams down in theaters in February of 2019.
About Fighting with my Family
Official Description: A former wrestler and his family make a living performing at small venues around the country while his kids dream of joining World Wrestling Entertainment.
Stephen Merchant is a fantastic writer and director who created The Office before Steve Carrell was ever in it. On paper, the site of his name next to a film about wrestling is a little odd but then the trailer plays out, and it all makes perfect sense. Fighting with my Family has that beautifully timed humor that merchant is known for. Also, if trends hold, the film will have a heartfelt component that’ll balance out the comedy.
Florence Pugh as Raya Knight
Dwayne Johnson as Dwayne ‘The Rock’ Johnson
Lena Headey as Julia Knight
Vince Vaughn as Hutch
Stephen Merchant as Hugh
Nick Frost as Ricky Knight
Jack Lowden as Zak Knight
Kim Matula as Jeri-Lynn
Paul Wight as Big Show
Eli Jane as Wrestler
Wrestling is endlessly popular, as is The Rock, and Stephen Merchant is a fantastic writer and director. It stars a strong female lead, has slick looking production, Nick Frost as a loveable lunatic father, it’s based on a true story, and seems to have a lot of laughs. The WWE might have a cinematic offering that’s worthy of a championship belt. Also, The Rock all but guarantees the movie will make its budget back even if he’s not the principal star.
Did this trailer get you excited forFighting with my Family? Leave your comments below!
Gloria Bell stars Julianne Moore as a single woman in her 50s looking for love but the journey to find herself takes some wild twists and turns in this reimagining of the 2012 Chilean-American film Gloria.The film takes Moore’s Gloria to modern-day nightclubs where she meets the likes of John Turturro and Michael Cera in the upcoming comedy-drama. Gloria Bell heads to cinema screens in Spring of 2019.
https://www.youtube.com/watch?v=WFQOvmINvLA
About Gloria Bell
Official Description: A free-spirited woman in her 50s seeks out love at L.A. dance clubs.
Gloria Bell is based on Gloria, a 2012 film written and directed by Sebastián Lelio who returns for the reimagining. As Lelio puts it, “It’s going to be like jazz, you’ll feel the spirit of the original story, but it’ll be re-invigorated …” The original film received rave reviews, so much so that Moore and others came calling about this new version. Moore is only the tip of the casting iceberg that includes plenty of notable talent.
Gloria Bell features a cast that includes …
Julianne Moore as Gloria Bell
John Turturro as Arnold
Michael Cera as Peter
Brad Garrett as Dustin
Sean Astin as Jeremy
Caren Pistorius as Anne
Cassi Thomson as Virginia
Alanna Ubach as Veronica
Barbara Sukowa as Melinda
What’s not to like here? The cast is incredible, and the story looks fun. Julianne Moore is one of the best actresses of this generation (#ChangeMyMind) and from the looks of the trailer Gloria Bell will give her a playground of emotions to play with as the title character. If Rotten Tomatoes means anything to you, the film currently holds a 100% fresh rating (based on 14 reviews). All signs point to a quality film that looks like it’s getting a release date smack dab in blockbuster territory as a bit of counter-programming. Smart move or cinematic suicide? You decide!
Did this trailer get you excited for Gloria Bell? Leave your comments below!
Fantastic Beasts: The Crimes of Grindelwald is the sequel to 2016’s Fantastic Beasts and Where to Find Them, itself a spin-off of the popular Harry Potter franchise. The film follows Newt Scamander (Eddie Redmayne) and gang as they work together to thwart the diabolical wizard Grindelwald (Johnny Depp).
Unfortunately, this movie largely falls flat due to a combination of factors. The first Fantastic Beasts wasn’t great either, but it did show quite a bit of promise. Instead of fixing the mistakes of the first film, this entry instead doubles down on them, forsaking the magic of the Wizarding World in favor of convoluted set-ups hinting at a far better third installment.
The single biggest flaw of this movie is that it needed to have more of the eponymous creatures. Unlike the Harry Potter series, the Fantastic Beasts films are not direct adaptations of novels by J.K. Rowling. Instead, they are inspired by a fictional guidebook detailing the creatures of fantasy that live in the Wizarding World. The best parts of the first film, and this film, are those that involve the creatures. Sadly, this entry only has two or three major scenes in which the creatures are truly allowed to shine.
The story is also far too busy setting up for future installments to be strong on its own. There are hints of potential here and there, but there are also many moments that are quite frustrating. Much of the movie is reliant on expositional dialogue, which is often not well-written at that. The story also feels largely unresolved, as it simply sets up for more conflict to come.
Additionally, there are a few moments in the film that are simply laughable. There is a forced romantic storyline between Scamander and Tina Goldstein (Katherine Waterston), the latter of which would have been much better used as a strong female character than a love interest. Another major female character is introduced in Leta Lestrange (Zoë Kravitz) that feels thoroughly underdeveloped and wasted.
Somehow, the movie is two hours and fourteen minutes long, but it feels like almost nothing happens. There are a few action sequences, and these are diverting enough, but most of the film is comprised of people running around looking for other people. It gets boring and slow after a bit. The movie would have been much more interesting and enjoyable had there been a more coherent plot and more interactions with the beasts.
That being said, the film isn’t all bad. With the exception of the opening scene, which is a bit rough, the visuals look pretty solid. The CGI isn’t half bad, and the production design is interesting. Eddie Redmayne is likable as the protagonist, and Dan Fogler is charming as his comedic sidekick. Jude Law is a welcome addition into the series as fan favorite Albus Dumbledore. Johnny Depp is also solid in his significantly expanded role as the villainous Grindelwald.
Overall, Fantastic Beasts: The Crimes of Grindelwald is very much a step down for the series. Hardcore fans may get caught up in references, but otherwise, there isn’t much to make this any more than a cash grab and a reason to give Johnny Depp another big role.
Fantastic Beasts: The Crimes of Grindelwald opens in theaters November 16.
As the leaves fall from the trees, and the weather grows colder, for film fans it only means one thing; “Art-house Season.” Yes, the wonderful season where biopics roam like giant behemoths, the term “Based on a True Story” has commercial appeal, comedians in dramatic roles pop up more than a Starbucks, and there are enough all-star casts in said films to fill up a movie premiere. Yes, it’s honestly a wonderful time to be alive ladies and gentlemen, and the film I’m reviewing fits nicely into three of the four categories. This film is Can You Ever Forgive Me?
Can You Ever Forgive Me? is the dramatic debut of Melissa McCarthy. I have mixed feelings about Miss McCarthy; on the one hand, in short bursts, she is very funny, if you need any more proof see her work on SNL. On the other hand, her feature films have tended to be divisive or terrible; you can understand my hesitation. This being said; the number of comedic actors who have stretched their acting chops into dramatic roles and have had success with it, in the modern era, is reassuring. This list includes the likes of Bradley Cooper, Jonah Hill, and Steve Carell, to name three. So, I understand where she could be coming from looking at these three and thinking: “Let’s try that.” But enough about potential motivations; let’s get to the summary itself.
The core of the film, the relationship between Jack Hock and Lee Israel (Richard E. Grant and Melissa McCarthy)
The film is a “Based on a true story” film about Lee Israel, a struggling former writer, who’s been fired from her job, and now drinks in a gay bar in New York, where she meets Jack Hock (played by Richard E. Grant), a gay sometimes writer and they hit it off, over several drinks. What follows is a story involved her forging celebrity documents, a lesbian friendship, and other unique twists and turns. Personally, I think this film belongs in the same category as films like The Wolf of Wall Street, and American Hustle; a new sub-genre I call “True Crime comedies”, where it’s a crime film, and it has dramatic elements, yet the film has more of a comedic bent, based on the events which played out and Can You Ever Forgive Me? falls perfectly into said sub-genre.
Since I’ve already talked about the story, let’s talk about what makes the film works, namely the performances of McCarthy, Richard E. Grant, and a well-polished script. Usually, comedy-turned-dramatic roles show a side of said comedians, which makes any critic go: “This is wonderful, why haven’t we seen this earlier?” This question, not surprisingly was relevant while watching the film; McCarthy shows a human side to Lee Israel, which is entirely unexpected; the late Miss Israel was a horrible person; however, there’s an earnestness here; which is quite surprising, you believe McCarthy’s desperation, at the end of the film, you may still feel the way, about Lee Israel, but you’re downright impressed by McCarthy’s performance.
We see how Ms. Israel committed the fraud; often by typing the phony letters with typewriters contemporary to the time in which the dead celebrity lived.
The other part of this which clicked so well was Grant’s portrayal of Jack Hock; the cold blue-eyed gay cynic lush, whom Miss Israel becomes fast friends. Grant is performing his heart out in this role, portraying Rock as this rapscallion Harold Hill; the kind who would steal your heart and wallet, with a drink in one hand, and a pipe in the other. I’m probably reading this wrong, but again there is a joy of his performance, which made me like his character. I mentioned the joy of performance on Grant’s part, and this plays out whenever McCarthy and Grant are making prank phone calls and the scene where they torment a bookseller who was haughty to Israel earlier in the film. I was watching this scene, and thinking; “These are horrible people, and I’m laughing with them.” This either says a lot about me or the film itself, which expects us to sympathize (or at least relate) to these people, and the sad thing is, it works. I honestly don’t know whether to applaud the film for the nuance or criticize it to high heaven. The feeling I’m getting is praise because it’s set up earlier in the movie.
I feel a bit of the nuance was due to the film’s script. The screenplay is credited to two people: Jeff Whitty and Nicole Holofcener. Whitty won a Tony Award for Best Book in ’04 with Avenue Q, and Holofcener was one of the “Sundance Generation” in the 90s and has had critical success with Friends with Money in ’06, and Enough Said in 2013. It’s honestly not a surprise; the film turned out as well as it did; with this kind of talent. I’m not saying you can guarantee success with writing talent, but here, you probably could have.
McCarthy’s performance is a powerhouse one, and one which should net her Oscar consideration.
If there’s one thing you could potentially harp on, is the pacing, it felt a bit slow at times. You could cut around five-ten minutes out, and you’d probably have a better film, but this would be an insult, considering the film is legitimately good without the edit. This is the director’s (Marielle Heller) second film, so there is some room for improvement, still, if this is her second film, and she got great performances, honestly, she should have a unique career.
So, this leads to the big question: Is the film good? The answer is an unequivocal yes, without a doubt. Despite the film falling into three major clichés, right off the bat: (A comedian doing a dramatic role, A Based on a true-story film, and a true crime film), the film redeems itself with solid writing and great performances by both leads (McCarthy and Grant). If it’s playing in your area, I recommend you seek it out.
Bitter Root #1 is a comic about monsters. Not just those with ripping claws and snarling teeth (though that’s definitely a big part of it).
Rather, the book is about the monsters that lurk in every shadow, every day. It’s about how those monsters manifest themselves…and how people fight back to protect their own humanity.
Our protagonists, the Sangerye family, are in the business of hunting down monsters called Jinoo. Set against the contrasting backdrops of the Harlem Renaissance and Deep South Mississippi, the family struggle to keep their mission alive in this fresh and poignant allegory of race in America.
The Writing
It’s hard not to gush about the writing contained in these 24 pages. From a craft angle, Bitter Root #1 is a testament to the skill of writers David F. Walker and Chuck Brown. They hook the reader’s attention right from the opening panels, and manage to not only hold on, but draw you in deeper with each page turn.
There’s hardly any need for narration or framing devices throughout. Instead, we get a clear impression of each character’s personality and their relationships with one another through sharp, believable writing. Each member of the Sangerye family has a distinct, interesting persona and elicits genuine pathos. From Ma Etta’s anguish at those lost serving the family’s cause, to Blink’s frustration with the role she’s confined to, you feel for each character in a unique manner.
Even beyond the skillful storytelling, Bitter Root #1 is a brilliant commentary about race in the United States, both in-period and today. The book hammers home how society lays responsibility for dealing with the monster of racism at the feet of those who experience it, and the shape that specter can take in different environments. But as the authors discuss in their column at the back, there is also “hope in fighting this vicious monster.”
The Artwork
Measuring-up to the impeccable writing in Bitter Root #1 is a high-bar, but Sanford Greene’s artwork hit the mark. The linework is superbly stylish, with impeccable design. The book grounds the reader in the aesthetic of Renaissance-era Harlem, while also throwing-in tasteful splashes of steampunk.
Of course, I can’t neglect the colorwork by Greene and fellow artist Rico Renzi. Bitter Root #1 employs a gorgeous palette of vibrant reds, blues, and purples, allowing supernatural greens and yellows to pop out with an alien quality.
Panels are laid-out with expert precision, catching every beat and matching the action on the page, so the reader never feels lost. The lettering work stands out as well, with the font and weight of the lettering responding to the natural cadence and volume of each character’s speech without fail.
Final Thoughts
Bitter Root #1 is one of the most promising first issues I’ve seen this year. I expect great things from this series, so buy this comic NOW.
The Wonder Woman series always worries me, after the departure of Greg Rucka. His stories at the beginning of Rebirth set an incredibly high bar. Ever since them, creative teams have cycled out of the title, but none have quite hit that bar. Some stories were boring and slow while others were empty flashes of action. There were a few good stories in there, but the misses stack higher than the hits. Now we have a new team taking over post Witching Hour. G. Willow Wilson, famous for her work on Ms. Marvel, will be writing stories for the Amazon princess for the time being. Will she give us another hit?
**Some Spoilers Below**
Story:
On the island of Themyscaria, Ares and Grail stay trapped in their prison. The pair chat, with Grail pointing out how cruel it is. Ares, on the other hand, begins thinking of the position he has been in. He realizes that time is the only real victor of war and that he wants to change. He wishes to bring justice to the unjust and orders Grail to kill him. She does, which causes his spirit to be released into the world. Meanwhile, Wonder Woman begins to worry about Steve Trevor as he leaves the states. There is an incident with the militia in the small country of Durovnia which requires ARGUS’ attention.
This first issue was surprisingly very compelling with what it’s promising. We appear to be getting a story that will be full of action and character development. Every sequence is another hook that latches on and pulls the reader in. From the conversation between Grail and Ares to Wonder Woman fighting in Durovnia, there is plenty that will keep readers intrigued. My favorite part is the revelation of Ares. The God of War is often known as a villainous character, but if this opening implies anything, we’ll be getting an interesting change. The ending is also able to deliver a shocking surprise that grabs the reader.
That being said, the biggest problem with the issue is the pace. It drags on in places with mostly dialogue when there should be action. Sometimes the dialogue is interesting, but other times it’s just boring.
Art:
While I did enjoy the story, I cannot say the same for the art. There are bizarre illustrations of our characters that don’t feel correct, and it throws the issue off for me. The most obvious example, unfortunately, is Wonder Woman. The Amazon is supposed to be this larger than life figure with muscles that rival even Superman. In this comic, however, she looks puny. It appears if there is no muscle on her yet she can deal these heavy blows. Along with that, there are bizarre, almost childlike, faces on a few of the characters. Grail looks more like a teenager than a grown daughter of Darkseid.
Despite these flaws, there are a few interesting designs. The mythological creatures that are in Durovnia look cool and creepy. Ares new look when he’s in the world looks incredible as well. This isn’t enough to redeem the issue, but it gives me hope for the future.
Conclusion:
This issue is promising a lot. It promises a kick-ass story with Wonder Woman and Ares that will change their characters. The problem is that’s all we have right now. It’s an okay read with art I can’t get into. If this issue does anything, it gives the reader a reason to be excited for next time.
Paige, whose real name is Saraya Bevis, comes from a family rooted in professional wrestling. Born in Norwich, England to two professional wrestlers, she was taught technique and honed her skills at a very early age. She began wrestling professionally at the age of 13.
Fighting With My Family is a humorous look at the life and wrestling development of Paige and her older brother Zak. As wrestling fans already know, Paige was quickly brought into the WWE’s developmental training program while her brother is left behind. Her struggles of success and heartbreak come through in this two-minute trailer, which leaves the audience wanting to know more about the Bevis/Knight family.
The film is written and directed by award-winning British comedian Stephen Merchant, who based the film on a 2012 documentary about the Bevis family that aired on British public television station Channel 4. Merchant will appear in the movie, as well as former WWE Superstar Dwayne “The Rock” Johnson, who is an executive producer.
“Demons of the Punjab” is the first episode in Chris Chibnall era that Chibnall didn’t write. It is by far the best episode so far in the season. “Demons of the Punjab” tackles the sensitive subject of the Partition of India incredibly well.
During a visit to her family, Yaz’s grandmother gives her a broken watch. Her grandmother refuses to tell Yaz about the watch, which didn’t belong to her grandfather. Yaz convinces The Doctor to go and visit her grandmother’s past in Pakistan and ends up in the country as Partition is about to happen.
Mandip Gill as Yaz
“Demons of the Punjab” was written by Vinay Patel (Murdered by My Father, The Good Karma Hospital). He clearly has an interest or at least a knowledge of South Asian themes and this was why he got to write this story for Doctor Who.
“Demons of the Punjab” is similar to “Rosa” – both are historical episodes that aim to be educational and impactful. Friends of mine have stated that they were touched by the episode “Rosa.” “Demons of the Punjab” will almost certainly have a similar effect. I personally felt that the “Demons of the Punjab” was a better episode because it was a more personal story for the characters. It affected Yaz directly and the episode showed the impact of Partition on ordinary people.
Doctor Who Series 11, Episode 6 Picture Shows: Kisar (NATHALIE CUZNER), Almak (BARBARA FADDEN) CR: Ben Blackall/BBC
There is a lot of drama with the characters. The reveal in the episode is Yaz’s Muslim grandmother was planning on marrying a Hindu man. This was at a time where nationalistic and religious tensions were high and there were arguments within the families regarding what to do. Some suggest canceling the wedding because of the rising violence to some thinking the union was an abomination. The ending is tragic and all too real. The episode did address some historical facts but first and foremost it was a human story.
Like with any Doctor Who episode, there has to be a sci-fi element. In this episode, it was a pair of aliens known as the Thijarians. This point of the review has to go into SPOILERS.
The Thijarians are an ancient race of assassins, but these two turned their back on that life after the destruction of their homeworld. They state that they are watchers of events and be with people who die alone. It was a great twist it gave the title a double meaning. Whilst the Thijarians looked like demons, the real demons were the people. The twist regarding the aliens could have easily fitted in the Russell T. Davies or Steven Moffat eras.
“Demons of the Punjab” was also a beautiful looking episode. The Spanish province of Grandma doubled for Punjab, and it looked bright and colorful. One of the most important moments was when a group of Hindu nationalists were riding on horses with their weapons drawn. The episode was filmed in slow-motion, and looked like a high-end period drama. Segun Akinoka supplied his best music for the series so far – like the cinematography it was cinematic, using Eastern style choirs for the important moments.
The biggest criticism of the episode regards how it fits into the wider Doctor Who mythos. The Doctor has strict rules regarding re-writing history and companions going back to events that could directly affect them. In Series One The Doctor took Rose to see her deceasedfather and because she tries to save him Rose nearly erases the whole human race. Surely after that experience The Doctor would put her foot down and say no.
“Demons of the Punjab” is the type of historical episode Doctor Who should make more of – focus on a real events, keep sci-fi elements to a minimum and be a well-told story.
