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Reviews for January 31st, 2025

 

        . At 1 hour and 36 minutes, Clone Cops, by writer/director Danny Dones and co-writer Phillip Cordell, is an unfunny, tedious and witless comedic misfire. It opens at Stuart Cinema via Freestyle Digital Media.

Number of times I checked my watch: 3





 

      Josh (Jack Quaid) takes his girlfriend, Iris (Sophie Thatcher), to a weekend getaway with his friends, Eli (Harvey Guillén), Kat (Megan Suri) and Patrick (Lukas Gage) at the large lakeside cabin belonging to Sergey (Rupert Friend), a very wealthy man, in  Companion. The less you know about Companion's plot beforehand, the better. Don't watch the trailer or read anything beyond a brief synopsis. The screenplay writer/director Drew Hancock is clever, witty and full of surprises. Sometimes a filmmaker has an interesting and innovative premise, but doesn't know what to do with it and the film runs out of steam and ideas. That's not the case here. Once the plot reveals its first twists within the first ten minutes, there are more twists that keep the plot feeling engaging while keeping the audience at the edge of the seats. Small details, like two words that Josh says to Iris in the car on the way to the cabin, become more significant later on. Kudos to Hancock for seeing and treating the characters as complex human beings and for not being afraid to explore the darker side of human nature.  

     Companion's greatest strength is that it deftly combines thriller, sci-fi, comedy, psychological horror and campiness without tonal unevenness or tonal whiplash. It also does an effective job of incorporating just enough exposition without confusing the audience. Hancock knows when and how to withhold key information from the audience and when to reveal it.  Sure, some suspension of disbelief would probably help to fully enjoy it, but that can be said about most films. Beyond that, Companion has a lot to say about topics like individuality, freedom and autonomy without becoming preachy. It's rare and refreshing to find a Hollywood blockbuster that actually has a heart, mind and soul. In other words, writer/director Drew Hancock finds just the right balance between Truth and Spectacle and manages to find plenty of Truths within all of the Spectacle.  The use of music is lively and well-chosen, especially the song during the end credits. Prepare for a roller coaster ride full of twists and turns. It also boasts a star-making performances by Sophie Thatcher who's somewhat reminiscent of Fairuza Balk from The Craft with a sprinkle of Aubrey Plaza. Jack Quaid, Harvey Guillén and Lukas Gage also get the chance to shine. Companion is ultimately a wildly entertaining, smart and wickedly funny crowd pleaser that's destined to become a cult classic. At 1 hour and 37 minutes, it opens nationwide via Warner Bros. Pictures.

Number of times I checked my watch: 1





 

        . At 1 hour and 29 minutes, Dog Man, written and directed by Peter Hastings, is a mildly engaging and harmless, but bland, forgettable and too infantile to entertain adults. It opens nationwide via Universal Pictures.

Number of times I checked my watch: 4





 

        . At 1 hour and 29 minutes, Like Father, Like Son, by writer/director Barry Jay, is vapid, anemic and undercooked. It opens in select theaters and on VOD via Lionsgate.

Number of times I checked my watch: 3





 

        . At 1 hour and 32 minutes, Love Me, co-directed and co-written by Sam and Andy Zuchero, is a shallow, underwhelming, toothless and contrived sci-fi romance that would be the inferior B-movie in a double feature with Wall-E. It opens nationwide via Bleecker Street.

Number of times I checked my watch: 2





 

        Chiara (Chiara Mastroianni), an actress, decides to start pretending to be her father, Marcello Mastroianni, despite the disapproval of her mother, Catherine (Catherine Deneuve) in Marcello Mio. The screenplay by writer/director Christophe Honoré has a provocative premise, but leaves a lot to be desired in its execution. Essentially, it's a character study of a woman who's going through a midlife crisis and grappling with her memories and relationship with her father as she tries to figure out how he has shaped her. Instead of going to therapy, she changes her looks and mannerisms to resemble him. If a film director, Nicole (Nicole Garcia), hadn't said something to her that gave her that idea, would she have done that to begin with? Who knows? She doesn't really have anyone to confide in other than her mother and no one really grasps what she's doing and why, although some people like Fabrice (Fabrice Luchini) try their best to understand her. There's an unnecessary, cheesy and distracting subplot involving Chiara and a suicidal young man, Colin (Hugh Skinner). What ensues is a film that's unconventional and whimsical, but also repetitive, meandering and tonally uneven while biting off more than it could chew. It runs out of ideas and goes around in circles around the hour mark. Moreover, the third act drags on and on with at least two false endings. Perhaps Marcello Mio would've worked better as a short or at least as a more profound and/or zany satire with tighter editing. At 2 hours, Marcello Mio opens at IFC Center via Strand Releasing.

Number of times I checked my watch: 3





 

         This Woman is a shallow and frustrating documentary/fiction hybrid about a young woman, Beibei (Hihi Lee), who contemplates her role as a mother, wife and woman in modern Chinese society. Writer/director Alan Zhang has Beibei talking to the camera every now any then as though she were being interviewed. Unfortunately, she talks a lot, but actually says very little even though she makes bold statements about how she doesn't really want to be a mother nor a wife.  She just felt societal pressures to be both. While her honesty is refreshing, she clearly has a lot of issues which remain unexplored regardless of whether or not those scenes are documentary or fiction. This Woman is just as bland and oversimplified as its title. Blurring the line between documentary and fiction here merely leads to frustration and confusion, so it's an unnecessary distraction. At 1 hour and 30 minutes, This Woman opens at Metrograph.

Number of times I checked my watch: 3





 

         Time Passages is an unflinching, poignant and intimate documentary portrait of director Kyle Henry's mother, Elaine, who has dementia. Henry combines archival footage, photographs, voicemail records, re-enactments and stop-motion animation to capture and to make sense of their relationship throughout the years, including the recent pandemic. His candidness, introspection and how he's able to show his vulnerability are ultimately rewarding becomes those virtues help the audience to become engaged on an emotional level and to relate to their relationship with their own mothers  That's a double-edged sword, though, because it concurrently makes the audience feel like a voyeur peering into the director's private life. Also, it's quite emotionally exhausting by the time the end credits roll. To be fair, some scenes, like two montages, go overboard in terms of visual style. There's enough substance within the film to make it cinematic, so why let the style get in the way of its substance? Hopefully Time Passages could inspire others to use an important tool to examine their life: introspection. As Plato's once wrote in Apology, "An unexamined life is not worth living." At 1 hour and 26 minutes, Time Passages opens at Cinema Village.

Number of times I checked my watch: 2





 

        . At 1 hour and 27 minutes, Valiant One, by writer/director Steve Barnett and co-writer Eric Tipton, is a tedious, poorly shot and dull war film. It opens nationwide via Briarcliff Entertainment.

Number of times I checked my watch: 4