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Broken Lens Reviews: 'Watchmen' Episodes 1-4

Comics, comics, comics. People love them, myself included, and few comics are as beloved as Alan Moore and Dave Gibbons' 'Watchmen'. Being a casual comic reader myself, I'll admit that I didn't actually read the thing until hype for the Zack Snyder film was in full swing; the visuals and tone of the trailers sparking my interest for the source material. It's not an easy read. It's gruesome, political, and wordy in its philosophical musings. I loved it and I loved the idea of messy superheroes. What would a superhero do in the real world? In a way, it's the opposite of franchise comic book movies. Most franchise super films make us feel transported into a world where men can fly. The original Watchmen made us feel as if superheroes were thrown into our world, a messy one that doesn't have the clear moral lines of say, Superman. Alan Moore has been vocal about his disdain for film and television adaptations of his work, and for good reason. The problem with HBO's Watchmen is that it doesn't need to exist. The original was so satisfying with its morally ambiguous ending, we really didn't need to see anymore. I always wanted to cosplay as Rorshach, now not so much. I love that the show tackles white supremacy and the Tulsa Massacre, I just wish one of my favorite comic characters' legacy wasnt reduced to fodder for the new Klan. It just doesn't make much sense to me and feels like a slap in the face to Alan Moore. It's beautifully shot, check out the 'American Hero Story' segment to see what I mean. It presents some new, interesting ideas. But reducing the events of Watchmen to a rural Oklahoma town seems to take away from the scope of the original. It's also clunky in its narrative, giving us segments of a now deranged and trapped Ozymandias that seems to have nothing to do with the rest of the plot. Its messages seem to be in your face rather than subtle. What's disappointing about the show is it's wasted potential. Watchmen has been reduced to such a small scale that it seems smothered. Without the original graphic novel, we wouldn't have Garth Ennis' gritty 'The Boys', but now, The Boys on Amazon has become the Watchmen we truly deserve, updated for today. If you want a dark, twisted, and modern take on superheroes gone bad, stick to The Boys. It asks the question "who watches the Watchmen?" better than HBO's attempt to cash in on a popular title.

#watchmen #hbo #comics #review #alan moore

Broken Lens Reviews: 'Jojo Rabbit'

Sometimes, children have imaginary friends. That's normal. Some kids' imaginary friend is Hitler? Not so normal. And that's the tone of Jojo Rabbit: a bit awkward. Desperately trying to be funny while dealing with morbid subject matter is never an easy task and can't always be done well. Here, director Taika Waititi succeeds in not only managing some laughs, but also tears. I didn't expect to affected the way I was by this film. I didn't expect to be wiping tears from my eyes and choking back a genuine sob. I just really didn't expect what happened to happen. And it was beautiful. Unfortunately, this film is a bit reminiscent of Wes Anderson, (a "Moonreich Kingdom", if you will) and doesn't succeed in being nearly as charming when it comes to cinematography or as witty with dialogue as Anderson's films. But where "Jojo" stands on its own, apart from imitation, it really succeeds. The cast was phenomenal all around, Scarlett Johansen and Sam Rockwell were standouts. The child actors were some of the best I've seen since Stranger Things. If you can take a joke and are willing to hear what the film is trying to say, you can enjoy the emotional roller coaster that is "Jojo Rabbit". I left the theater feeling like I had been a part of something deeply important.

#jojo rabbit #movie #review #taika waititi #film

Broken Lens Reviews: 'The Mandalorian'

Star Wars is more than just a film saga now, it's a universe. Since fans got out of the cinemas in the early 80's, there've been books, comics, cartoons, video games, and even a Christmas Special. There's been spirited debate about what is canon, which films are the best, and where Disney is taking the franchise as a whole. I'll be honest, I wasnt impressed with the plot of The Force Awakens and only mildly more impressed by The Last Jedi, which also suffered from some pretty major editing issues. Abrams and Johnson pull straight from the source, sometimes re-telling the same stories; yet their films don't feel like true Star Wars to me. And what is "true Star Wars" anyway? Well, it's different, depending who you ask. The Mandalorian takes bold new risks, while retaining the spirit and excitement of the original films. It shows us new ways of thinking about the Galaxy, not unlike the prequels, and uses new cinematic techniques and synthesizer music. In short, it's a triumph if the first episode is any indication of the future. One of the best things about the series is its place in the Star Wars timeline. The notion that the First Order rose to power after the Empire was defeated is addressed here, at least briefly, and I hope it's explored more. Abrams rendered the events of the Original Trilogy meaningless, and it seems that it's up to a show based on a gruff, antiheroic, bounty hunter to at least begin to right some of the wrongs. It's sleek, stylish, and emotionally resonant. I cheered aloud, and the genuine excitement and love for Star Wars I felt pouring onto the screen was a thrill. This is the direction Star Wars needs to continue in. I have spoken.

#star wars #the mandalorian #reviews #disney #television #movies

Reviewing the Film Prize: 'Supplements'

Taking risks. That's the theme of this film, plotwise and cinematically. Featuring some scenes that are almost completely CG, 'Supplements' takes a huge risk on a sci-fi venture that merges 'Hunger Games' with Asimovian themes. Kiirke, our lead protagonist, must set out on a journey to save her family. Her trek to the futuristic city of false hope feels sort of like Dorothy's journey to Oz, adapted for a modern time. The ending is heartbreaking and poignant. Contrasting scenes of abandoned countryside with the wealth and success of the city grounds us in realism while gently holding our hand and guiding us into the realm of imagination. Too bad there's no Prize award for best Special Effects. 'Supplements' was a technical accomplishment that surpassed any other effects work this year, and deserves to be appreciated for its unique merits. Sarah Phillips, no stranger to Film Prize, had a big dream and didn't compromise on seeing it achieved where others would've been scared to take on such a daunting project. This is a film I won't soon be forgetting.

Reviewing the Film Prize: 'Stiff Arm'

We all have our embarrassing ticks. Some of us blush easily, or squirt drinks out of our noses when we laugh. Some of us turn stiff from anxiety and can't be moved unless injected with a localised medicine. Or at least, that's the problem with the main character in 'Stiff Arm'. The worst part? It's his wedding day and he needs to get to the church on time, without being stiff as a board. Right off the bat, the cast shows off a chemistry that works well. As a testament to their comedic abilities, just try to soak in the plot of 'Stiff Arm' for a moment and imagine all the ways this could have flopped. It's a wacky idea. It's out there, man. But the cast pulls it off and takes us on a hilarious ride. For those who enjoy the 'Hangover' films and Seth Rogen movies, this is your answer, Shreveport. Hats off to 'Stiff Arm': it took a risk and hit its mark.

Reviewing the Film Prize: 'St. Esther Day'

Written by and starring Jennifer Carsillo and directed by Camille Schmoutz, 'St. Esther Day' is the story of a new housekeeper assigned to work for a bitter widow and her daughter in San Francisco. Its extremely ambitious to not only set the film in another place, but another century as well. I'd like to acknowledge the costume department and the set designers, they've done a marvelious job and deserve praise. I was truly drawn in to the place and time and felt genuine empathy for Carsillo's protagonist. Her struggles to cook food, iron clothes, celebrate her culture, and mentor the widow's soon-to-be-married daughter are relatable and the story is well told. The acting and cinematography are flawless. This period piece shines, and I hope to see more like it in the prize. If there were an award for best production design, it should have been awarded to the 'St. Esther Day' team. A lot of hard work and care was put into the making of this delightful short.

Reviewing the Film Prize: 'Shrevepoet'

Maybe I'm biased, Shreveport is my hometown after all, but you'd be hard pressed to find a more beautiful film in the prize this year. In 'Shrevepoet', written, directed, and produced by Abigail Kruger, we follow the poet on a journey through the Port as he spreads good vibes, helps others, and sees the beauty all around him. Almost instantly, something began welling inside me; powerful emotions coming up to the surface and an immense sense of pride for my city. It's hard to describe the feeling that 'Shrevepoet' conjures. Being a film with no dialogue and an absolutely haunting score by Nidarosdomens Jentekor, it certainly lacks in nothing when it comes to storytelling and feeling. After screening the film, I was reminded of a line from Bob Dylan's 'Tangled Up in Blue': "Then she opened up a book of poems And handed it to me Written by an Italian poet From the thirteenth century And everyone of them words rang true And glowed like burnin' coal Pourin' off of every page Like it was written in my soul From me to you".

Though the Shrevepoet is neither Italian or from the 13th century, and though his words are visions and not sculpted by language, I felt the same way about this film as Dylan's figure felt about Dante.

'Shrevepoet' is a crown jewel of the film prize and holds cinematic beauties that, as CS Lewis would say, "pierce like swords and burn like cold iron".

Reviewing the Film Prize: 'Same Time Next Week'

Ever feel like you're talking to a brick wall? Well, that feeling never stopped Kalah Roberts' character from being a chatty cathy. She's a struggling actress with a kid and can't seem to find her inner peace, so she sees a therapist on a recommendation. But was it the therapy or the sound of her own voice that eased her woes? 'Same Time Next Week' is quite the gag, and though the exposition is a little lengthy, the jokes pay off in the end. I can see this short as a clever commercial idea or a standout scene in a larger comedy film. The premise is simple, but executed well. This film was a crowd-pleasing comedy that chose to take risks. A skit show from this creative team would definitely be a hoot.

Reviewing the Film Prize: 'R.I.P.'

"Hell hath no fury like a woman scorned". This is a lesson not learned soon enough by the teammates of this films' main character. If only they'd let her play, she'd show them who's boss, and maybe start some new fashion trends along the way. Having some talent at the sport might help too, but that's not stopping Maggie Crosby's character from getting to the top...by whatever means necessary.

I like 'R.I.P.' The Fargo-esque tone, the bitter tennis rivalry, the sweet, southern belle who has a bit of a murderous streak...all the elements are there for a solid comedic romp. Unfortunately, R.I.P. isn't sure what it wants to be, mixing 'Charlie's Angels'-type character intros with Wes Anderson quirkiness. The dialogue could have been tighter, however there is some fantastic cinematography on display and it features a standout performance from Crosby, despite having few lines to work with. With a little more tonal focus, 'R.I.P.' could have been great. It no doubt presents great comedic ideas and shows off technical skill worthy of modern cineplexes.

Reviewing the Film Prize: 'Nowhere Arkansas'

Nowhere Arkansas is the tale of a displaced civil war vet and his dog, trying to survive in the wilderness. After seeing a wanted poster for a runaway, (flyaway?), eagle, he hunts it down with disastrous results. I can't say very much about the plot without spoiling the truly haunting effect this film has. It's lovely, disturbing, and gorgeous. Sam O'Dell gives a tragic and raw performance. And let's not forget that dog...he steals the show and breaks your heart. Not only is 'Nowhere Arkansas' good cinema, it carries a powerful message about nature and spirituality. Too bad the feeling it leaves you with is such a drag. That's not a complaint, it accomplishes what it sets out to do. Just don't expect to feel better about life after the credits roll. It's a somber wake up call, but one that needs to be heard.

Reviewing the Film Prize: 'Mr. Marvelous'

"Sometimes there's a man... I won't say a hero, 'cause, what's a hero? But sometimes, .... there's a man, well, he's the man for his time and place. He fits right in there." - The The Big Lebowski

Mr. Marvelous hasn't had the best luck lately. He's working as a mall santa, he's got a precarious relationship with his daughter , oh yeah, and he's lost his super powers. What can I say about Mr. Marvelous without resorting to downright flattery?

Not only was it my favorite film at the prize this year, films like this are the reason I go to the movies. Moviesauce has been producing great work for a while now, and this film displays their beautiful and professional cinematic capabilities while also giving us depth and ample story to think about once we leave the theater; no small task with such a short running time. Mitch Landry truly gives us a performance to remember, his calm strength and honest portrayal of an aging hero was groundbreaking and heartbreakingly relatable. I was surprised, I laughed, I cried, and I was treated to a visual feast of cinematography. The soundtrack featured wonderfully folkish tunes. If this film was released on blu-ray, I'd buy the special edition, the t-shirt, the soundtrack...and I'd be telling my friends about it. Indeed, I have been recommending it already. Upon seeing it, I immediately saw it as a top 5 contender, if not the winner. Bottom line: 'Mr. Marvelous' is marvelous.

Reviewing the Film Prize: 'Maven Voyage'

It isn't every day someone decides to start living in your backyard, proclaiming that she's on a mission to Mars. But it's not that outlandish considering, ya' know, it's the future. Rachel Emerson is fantastic as Commander Mave, charming and a bit wacky, her character is someone you just can't help but like. I love her story and her mission, but I wasn't completely clear on the relation John Fulton's character had to her sister, if any. I'm assuming he's a widower, but I had trouble piecing it all together. This is probably due to the fact that I had already seen more than half of the films by the time I saw this and had several plots rolling around in my head. There is some truly heartfelt emotion on display in this film, great acting from Emerson, and gorgeous cinematography.

Just one thing...did the Quindar tones need to be that loud? The beeps kind of killed my eardrums. Maybe that's why my head was jumbled.

'Maven Voyage' is a refreshing, female-led take on the 'Interstellar' and 'Martian' genre of near-future sci fi.

Reviewing the Film Prize: 'Leo & Grace'

A promise is a promise, even if it was made thirty years ago. When grace doesn't show up for Leo's birthday after making a promise to reunite years ago, he can't seem to shake the feeling that something's not right. And he's correct: Grace hasn't been okay for a while, and is living in an asylum. After trying to escspe to keep her promise to Leo, she's kept on close watch until Leo hatches a plan to rescue her. It goes well at first, until the law catches up with them. The ending will no doubt leave very few dry eyes. I loved the chemistry between the two leads, and noticed a great supporting performance by John Daniel as an asylum inmate. Leo and Grace has all the makings of what could be the next "Notebook" if expanded into feature length territory. Brilliantly acted and beautifully shot, the film deserves to be watched again and again and sheds an important light on racism in the south and mental health.

As a side note, do asylum nurses still wear outfits like the villain in "One Flew Over the Cuckoo's Nest", or is that just in the movies? Either way, Leo & Grace shines with cinematic luster and tackles tough issues exceptionally well.

Reviewing the Film Prize: 'Invitation'

John 20: 27 says: "Then saith he to Thomas, Reach hither thy finger, and behold my hands; and reach hither thy hand, and thrust it into my side: and be not faithless, but believing."

So what is the modern day Thomas to do when there's no hands to inspect, no wounds to examine? When the son of God's not literally staring you in the face, it's not so easy to 'just believe'. Worse yet, what if the modern day Thomas doesn't realize he's a doubter until midway through his pastoral career? And what should he do when someone comes to him seeking spiritual help and refuge? Run and hide, or just fake it? Or is there a third option? In Chad Hill's beautifully realized and irreverent 'Invitation', that third option is explored: be honest. The film drips with honesty and is made from the stuff of heartfelt late-night confessions and raw emotion. Adam Duncan is a revelation, his performance both uproarious and heartfelt. The acting from Duncan and Bill Meyer is wonderful, the cinematography by Alexander Jeffery is stunning, and features flawless editing by Brandon Bruno. 'Invitation' was everything I didn't know I wanted from the prize. It's funny, and powerful, authentic and relatable. It's a film that entertains as well as provokes thought. 'Invitation' is a winner in my book.

Maybe we could all use a little more doubt. We might just and up being more honest with ourselves and others.

Reviewing the Film Prize: 'Ghosted'

Ghosted is the story of a murderer who sees the ghosts of the women he’s killed. That’s a pretty fresh idea, and considering that it’s the only horror installment in the prize this year, it seems like fresh is what Blayne Weaver was going for. And it’s a whole lot of fun. Watching him watch people is kind of fascinating, his mannerisms are creepy and disturbing. Weaver is a revelation, a character we love and hate, someone we are endlessly amused and sickly entertained by. We don’t want to say goodbye to the character, but we also can’t wait for him to get his dues. I honestly didn’t see the twists coming and was on the edge of my seat. The crowd reaction was unmistakably positive. Out of the twenty films, NINE were comedies and NINE were dramas. Two were science-fiction, and one horror. Props to ‘Ghosted’ for being bold and unafraid to break the genre norm. I would love to see more horror in Film Prize and definitely more of Weaver and his creative team.

Reviewing the Film Prize: ‘Fast Forward Style’

There’s plenty of fish in the sea...or so the saying goes. If there’s any truth to that, Caroline, played by Tanya McMaster might be catching and releasing most of the fish. The charming and pretty widow Caroline is encouraged by her friend, played by Dr. Karen Pendleton, to join an online dating service called ‘fast forward style’. The fish are definitely biting, and it seems dopey paw paws, teetotaling pastors, highly trained stalkers, guys with mommy issues, and dudes whose false spirituality and vegan tendencies would put Portlandia to shame are on the menu. I’m just going to say it, Fast Forward Style was my favorite comedy at the Prize this year. It was professional, stylish, well acted, and all the jokes hit. I mean, really hit. The audience reaction was incredibly positive, especially during a hilariously memorable performance from Danny Zanelotti as ‘Spy Boy’. Tanya McMaster blows it out of the park, playing a strong yet vulnerable character, and extremely relatable. This has the makings of a feature film written all over it, and I can’t wait to see more from director Kari Kennon.

#lafilmprize #fast forward style #short film #review #broken lens

Reviewing the Film Prize: ‘A Diminished Art’

Sometimes, life doesn’t go how we planned. A train blocks us in traffic, it starts spontaneously raining during a cookout, or an elderly black man and white gay man happen to be father and son. In this film from Jeremy Enis, that’s exactly the kind of unexpected you can expect. When an elderly man, played by George Wilson, is left a widower, he must come face to face with his wife’s dying wish: for him and her son, played by Finch Nissen, to read her final letter to them together. A lot of time has passed since they’ve seen each other, and George’s character isn’t exactly pleased with his stepson’s life choices. It’s a story of loss and re connection, and Jeremy Enis tells it well, having written, directed, and shot the film himself. It’s a fantastic effort on his part and of the two leads, Wilson and Nissen. It’s quite an achievement for an indie project, and a respectable entry in the Prize.

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