New Movie Reviews (05.30.23)

Reviews of new films such as Influencer, You Hurt My Feelings, Hypnotic... along with a couple of titles from this year's Chicago Critics Film Festival! Also, one is my favorite of 2023 so far

It’s not easy being a part-time film critic for Director’s Club with a full-time day job now but I am still making an effort to write about nearly every new title I seek out. Of course you can follow all my ratings on Letterboxd but here are some shorter reviews of some films I’ve seen including two titles from the recent Chicago Critics Film Fest.

Hypnotic (2023) (dir. Robert Rodriguez)

I don’t know if I’ve ever seen an actor look as disengaged as Affleck does in Robert Rodriguez’s Hypnotic, a movie whose title is sadly a case of false advertising. Bored Affleck stars as Danny Rourke, a detective for the Austin Police Department. He is struggling with his mental health due to the trauma of losing his daughter 4 years prior when she was abducted from a park. His daughter was under his care at the time, so he naturally feels guilt. This also led to the breakdown of his marriage, and he now throws himself into his work. 

During a bank robbery with his partner ‘Nicks’ (J.D Pardo), Danny feels things don’t sit quite right with what’s going down. He spots a mysterious man (William Fichtner) who seems to have more than coincidental involvement in the unfolding proceedings. When Danny discovers a picture of his daughter Minnie left at the scene of this bank robbery, he becomes convinced it is linked to her abduction. And so, begins a rapid descent into a world he never knew existed with wild pretzel twists at every turn. During his investigation, he meets fortuneteller Diane Cruz (Alice Braga) who explains to him what a ‘Hypnotic’ is. A hypnotic is a human with superior hypnotic capabilities (how many times can the title be used for exposition?). They are able to influence people they see with mind altering hypnosis by simply meeting or speaking to them.

What’s wild about sitting down to watch this is the fact that I kept hearing how awful it is which strangely compelled me to catch up with it, in order to see it myself. It’s a strange car wreck of ideas, some of which reminded me of Kurosawa’s Cure mixed with a little bit of The Adjustment Bureau as if done by an A.I version of Christopher Nolan. On some sort of surreal level, I was mostly just curious as to how far Rodriguez had fallen and the proof is in this truly lame, lifeless sci-fi action drama that mostly just left me without any emotional response to what was taking place. But for cinephiles, there is a strange appeal to the “put everything in a blender” approach to see what it ultimately ends up becoming. And on another level, for those unfamiliar with a lot of familiar sci-fi concepts, perhaps they will get something out of this. This cast, however, act like they have no investment at all and therefore, I can’t imagine anyone else will either.

You Hurt My Feelings (2023) (dir. Nicole Holofcener)

The complete opposite of the spectrum here since I was pretty much invested in every single moment in the latest from the reliable, consistent Nicole Holofcener, one of the best writer/directors working today. Even if her stories are similar, she manages to tell them with the right mix of pathos and humor that feels sincere and character-driven. There may be the occasional sitcom-level moment but it never takes away from the overall fact that she creates relatable human beings, even if they’re upper-class New Yorkers. 

Mark (Arian Moayed) is a struggling actor who has faced rejection and doesn't think he's good enough, and his wife Sarah (the always-great Michaela Watkins) is an interior decorator who can't seem to please her client. Sarah's sister, Beth (Julia Louis-Dreyfus), is attempting to write a book her publisher isn't interested in, and her husband Don (Tobias Menzies) is a therapist who's beginning to think he offers nothing of value to his patients (particularly married couple David Cross & Amber Tamblyn). Sadly, what does it mean when a spouse doesn’t care for what the other creates? How does one manage the tension and conflict that arises when honesty and criticism are coming from a sincere place? And on top of that, how does a little white lie fester into something bigger over time, leading to a lot of introspection and wise observations about human behavior.

While Louis-Dreyfus is perhaps our most deservedly famous comedic actor and continues to do remarkable work here, Michaela Watkins is arguably our most undeservedly underrated not to mention the above mentioned married couple who are hilarious as you’d expect them to be. The ensemble here seamlessly gliding into intelligent conversation is perfectly-timed clockwork - the kind that feels welcome. There’s such a delicacy and confidence behind Holofcener’s writing here that continues to be vulnerable and honest. It’s the perfect iteration of heart and humor that isn’t unlike the world of James L Brooks or (eek) early Woody Allen but she still has a singular voice that goes all the way back to her lovely debut Walking and Talking. 

You Hurt My Feelings serves as a surprisingly warm, candid look at what happens when we stand in each other’s way when really we’re the only ones who can fix the outcome for the better. It’s also about whether or not we should be asking our therapists for a refund. And is it worth saying something is good just so someone has that confirmation that they have merit? Watch what you say to the ones you love, might be the ultimate message but there’s a lot more to it thanks to an assured, humane voice like Holofcener who I hope will continue to make movies like these.

Theater Camp (2023) (dir. Molly Gordon, Nick Lieberman)

Once in a while, a comedy can come along that fires on all cylinders and can provide consistent laughs with someone that can tune in to its frequency. For me, the most recent example of that is Game Night - my idea of a pitch-perfect laugh-a-minute farce of sorts which succeeds entirely due to great writing and a “game” cast. Theater Camp is certainly an even more acquired taste and for the most part, I was more than happy with the laughs to groans ratio though there are definite moments that I didn’t seem to find as funny as everyone else did. Nevertheless, there are far more hits than misses. The Waiting for Guffman comparison for sure is apt but there is also ingenuity and originality amidst the guffaws. 

Located in upstate New York is AdirondACTS, a scrappy theater camp that brings together the most eager and enthusiastic young performers. But this summer’s camp experience gets off on the wrong foot when beloved founder Joan (an underused Amy Sedaris) falls into a coma. The camp is then put in the hands of her clueless but lovable YouTuber son Troy (Jimmy Tatro) who doesn’t know a thing about theater. Helping him run the place are counselors a theater kid could only dream of. There’s Amos (Ben Platt) and Rebecca-Diane (Molly Gordon), two best friends in charge of the drama and music programs who take their jobs very seriously. Ever since they met at a Juilliard audition, they’ve been unstoppable, and they task themselves with writing the main production each year. This year’s is about the founder’s life, called “Still, Joan,” which is still nowhere close to being written. 

Theater Camp is a finely-tuned ode to artistic anarchy, a whirling dervish of drama that somehow manages to sort itself out by the end. Yes the Guest influence is apparent but I also couldn’t help but think of Noises Off, another example of sharp comedic timing done at a rapid rhythm to where you almost have to catch your breath. There are moments throughout that truly made me laugh out loud in an embarrassing manner especially when Amos and Rebecca roll onto the stage to confront one of their key players. Molly Gordon stands out as one of the main reasons to seek this out - her improvising a closing number that she didn’t even start writing yet is priceless.

I wouldn’t say it’s on that level from beginning to end but its heart is in the right place when it comes to portraying what it’s like to put together a haphazard production where not everyone is on the same page. It might rely too much on the shaky-cam faux-documentary style in which cutaways to bewildered reactions serve as the reason to chuckle, but Theater Camp is still a joyous romp of manic energy that at times brings to mind the work of David Wain. And for those who know me, that’s a good thing.

Starring Jerry As Himself (2023) (dir. Law Chen)

Easily one of the biggest surprises of the year and a highlight at this year’s Chicago Critics Film Festival but that’s practically giving away what makes it so special. I have to make this a much shorter review for fear of spoiling something that occurs that genuinely took me aback, made me smile and helped to recontextualize everything that came before it. This is one of the rare times where I say, spoilers do matter so avoid them entirely. You want to experience this as a blank slate walking in, but I will briefly give the basic premise. 

Jerry Hsu is a Taiwanese-American man in his 70s, enjoying his retirement in Orlando and with three grown sons and a friendly ex-wife. One day he receives a phone call from China threatening to cut off his cell phone and warning him that he is in danger of being arrested and deported on money laundering charges.  After several desperate calls he is informed by Chinese law enforcement agents that he can avoid arrest if he aids them in the money laundering investigation. The first step is to transfer $25,000 to a bank account in California. And he must not mention this to anyone. Jerry is convinced he is helping solve a crime and saving his own bacon. For weeks he has many clandestine calls with the agents, who sound professional and knowledgeable yet also speak on a personal level with him, asking about his family, etc. He is fully engaged and committed and focused on being treated like an exemplary citizen that is out to do good, almost in an “undercover” manner.

And that’s about as much as I should reveal. What this documentary slowly transforms into is something remarkably sweet and incredibly sad and a lot of that comes with uncovering the truth of everything taking place. This movie is a bit of a miraculously magic trick that has yet to receive distribution, and I’m not sure why because anyone that sees it is likely to walk away amazed by the experience. For 70 minutes, I was hooked, invested and then ultimately, really moved and shocked in the best way possible. Not only does it have a lot to say about the ways we craft a narrative to deal with pain and loss, but how families can come together to help in creative ways together. Jerry’s story is also sadly universal and in a strange way, uplifting in a bittersweet manner. Law Chen’s film is stunning and I can’t wait for everyone to catch up with it.

Influencer (2023) (dir. Kurtis David Harder)

Much like Blumhouse and A24, it seems that films that go directly to Shudder have their own brand / style / archetype. So my expectations are usually pretty low which often helps to “elevate” my viewing experience when it comes to recent independent horror films. That being said, not a lot of them have stood out for me. Even Influencer, as solid and entertaining as it is, didn’t necessarily terrify me or give me goosebumps. I’d almost classify it as a thriller more than anything else, but for what it is, I was intrigued to see how it would all come together in the end and it did so in a satisfying way.

Influencer revolves around a popular social media influencer who is having second thoughts about her latest trek to Thailand, despite what she pitches to all her followers. It is lonely and, according to Madison (Emily Tennant), quite boring. Things are going to get a little bumpy as Madison is about to find a new purpose in life: survival. CW (Cassandra Naud), a fearless and enigmatic traveler, quickly befriends Madison and offers to take her to some of the most Instagram-worthy locations. Together, these polar opposites - one, a social media queen, and the other, completely without one - get a little authenticity going between them as they see the sights, visit the animals, and try as many snap-worthy meals as they possibly can. But Madison still misses her boyfriend, who bailed on the trip, and set her off in a sort of emotional tailspin, so CW ups the ante for the most entertainment and things go bad real quickly. Suddenly, Madison’s room is broken into and her passport is stolen, then - as she can go nowhere - she has to prolong her Thailand adventure for two weeks. Where it goes from there is best not to elaborate on overall since it does take quite the turn halfway through.

Influencer is a bit like a domestic 90s thriller take on a film like Ingrid Goes West. The character setup is enough to grab you simply because you know something’s amiss and not everything is as it appears to be. It’s actually an effective vacation from hell scenario with some social media commentary thrown in for good measure. In the end though, it’s more of a mild diversion - a bit slight to have any lasting effect. The actual climatic moments come out of nowhere and make little sense, but the final shot plays perfectly into the rest of Influencer. The payoff is at least strong here. The main drawback is the lack of development for any of the people involved but you at least care enough to see who ends up surviving this series of unfortunate events. Influencer is unlikely to inspire future filmmakers to tell this kind of story but it’s a story that at least has the simple pleasures of a novel that you can’t put down but also then immediately forget the second it’s over.

You Can Live Forever (2023) (dir. Sarah Watts, Mark Slutsky)

It’s going to be hard for another film to top this for me in 2023. I’m sure there will be plenty of other great films to come especially in the fall but this one, in terms of relatability, emotional response and just a portrayal of something I’ve been through, is bound to be higher on a list of favorites. Granted, I was never a woman who is just going off to college and having to deal with a religious upbringing when same sex attraction occurs. Nevertheless, the moment this movie started, I knew who these two main characters were. 

In You Can Live Forever, directors Mark Slutsky and Sarah Watts depict an intense attraction through the eyes of a lesbian teenager named Jaime (Anwen O'Driscoll), who is sent to live with her devout Jehovah's Witness relatives after the death of her father in the 1990s. (Yes her t-shirts and the needle drops definitely help connect me to this place and time). Her relationship with Marike (June Laporte), the daughter of a prominent Witness elder, drives the two to choose between their forbidden romance and the life the Witnesses want them to lead. There is immediate desire as the two girls lock eyes at Jamie’s first congregation meeting. Marike, despite her situation, is the bolder of the two and immediately purses Jamie with invitations to dinner at her family home complete with (at first) innocent sleepovers and long walks through the stunning countryside and a seashore that extends to the horizon. 

They circle each other both literally and figuratively until they finally kiss and then make out in furtive places like the back seat of a car and in a movie theater restroom stall. (Cue the same Breeders song/album that I also made out to with someone in the back of my 84’ Thunderbird). The longing, the lust, the feeling of connection is something I think most people can relate to regardless of gender or sexual preference. It’s the same reason why Portrait of a Lady on Fire struck such a chord with so many people. This feels like a companion piece to that film despite changing the era - these two women truly love each other but they also know it may not be possible to watch it ever come fully into fruition.

Jehovah’s Witnesses have long been a religious group shrouded in mystery and misunderstanding, with very few films daring to delve into the intricacies of their belief system. This film is brave in its depiction. Religious sectors of any kind are touchy to portray since our instinct might be to demonize them for their strict, restrictive stance on sexuality. But the filmmakers here choose not to do that, though obviously we are siding with the two leads here so they can end up together.

Bolstered by an inventive score by Canadian artist CFCF as well as confident direction that is never showy, I felt a closeness to these characters in a way that left me breathless. Everyone depicted here is dimensional and human - even the rather judgmental sister played by Deragh Campbell seems to have good intentions that are misplaced. Perhaps it’s just the wrong place at the wrong time for these two lovers or maybe there’s a glimmer of hope for this kind of love. These two leads are just sublime in every gesture, every word spoken, every hint of longing between them. Moments where they start connecting despite knowing they could get in trouble, left me breathless. The film doesn’t offer an easy out for anyone and the final moment is a thing of stunning compassion. Most movies have left my mind after they’re over whereas You Can Live Forever might live in both my memory and my heart forever. Yes it helps to relate to what’s happening, but this is also the best film of 2023 so far.