Cindy Prascik's Review of The Go-Go's

Well, dear reader(s), with my local cinema forced to shut down again, this week I continued to throw myself on the mercy of home viewing, which, thankfully, cooperated with a promising new release, the music documentary "The Go-Go's."

I don't know that a documentary can actually be spoiled, but if you're not familiar with the Go-Go's story and you'd like to keep it that way until you've seen the film, kindly wait to read until after you've watched it. Without spoiling anything, I can unhesitatingly recommend the movie to fans and yet-to-be fans alike.

"The Go-Go's" follows the legendary girl group from its beginnings in the L.A. punk scene through its heyday in the 80s and beyond. While there's nothing especially compelling about the filmmaking, the songs and the band's achievements are remarkable.

A fact you probably know: In 1981, the Go-Go's debut album, Beauty and the Beat, reached number one on the Billboard 200 chart, where it spent the next six weeks, making the Go-Go's the first all-girl group to write its own songs and play its own instruments all the way to a number-one album. A fact you may not know: Nearly 40 years later, that feat has yet to be duplicated.

This film uses great old photos (many that appear to be from the band members' own collections), fantastic concert footage, and both archival and current interviews to recollect the Go-Go's extraordinary ride. Formed in Los Angeles, the girls started out as a punk outfit, and once served as the house band at the Whisky, where they connected with English ska legends Madness and the Specials. After opening for both bands on a UK tour, the Go-Go's returned home, changed bassists, and began honing their rough punk sound to power-pop stylings with a wider appeal. Minus the aforementioned chart-topping feat, their story reads much like hundreds of other groups: breakups and make-ups, management issues, and battles with substance-related demons. The film addresses personal matters only as much as they affect the band; aside from a few off-the-cuff mentions of youthful parental clashes and somewhat-less-youthful romantic entanglements, the ladies' personal lives are mostly left out of it. The movie follows the band right up to the present day, fresh off its own Broadway musical and staring down a new record and a(nother) reunion tour. In addition to the five longest-standing band members — Jane Wiedlin, Charlotte Caffey, Belinda Carlyle, Gina Schock, and Kathy Valentine — there are interviews with former band members, the band's original manager, and a handful of touring companions, among others. First-person testimony of the band's influence is sadly limited to Bikini Kill singer Kathleen Hanna. It is probably the film's greatest failing that it didn't go wider there, as I'm sure there are many women who started and joined bands because of the trail blazed by the Go-Go's. Ultimately, though, the movie succeeds on the strength of the band's songs, which sound as strong and fresh as they ever did.

"The Go-Go's" clocks in at 97 minutes and is unrated. For those who mind such things, there are a fair few F-bombs and plenty of drug references.

If the film "The Go-Go's" is a bit pedestrian, the music and accomplishments of the Go-Go's are anything but. Of a possible nine Weasleys, "The Go-Go's" gets eight.

"The Go-Go's" is now playing on Showtime, and is available to Showtime subscribers via their cable or dish service's VOD service, and on Showtime's streaming service Showtime Anytime.

Until next time...

MOVIE REVIEW: AMULET

Terror strikes when a former soldier takes a job to help a young woman and her housebound mother.

Director: Romola Garai

Cast: Dan Carla Juri, Imelda Staunton, Alec Secarean, Angeliki Papoulia

Release Date: July 24, 2020

Genres: Horror

Rated R for some strong violence, bloody images, a sexual assault, and brief language and nudity

Runtime: 1h 39min

Review:

Amulet, Romola Garai directorial debut, is a bit of a throwback to 70s style horror films like Rosemary’s Baby or Suspuria.  There is an incredibly slow build in this visually aggressive film which makes you think you are watching one type of film before it turns into something much different and far stranger than you think.  Garai displays some impressive talent behind the camera but people expecting shocks and bloody thrills may check out before the film reaches its crescendo.  The first two thirds of the film feels like a slow burn prestige drama which is fairly engaging because of two fairly strong performances from the leads.  Carla Juri & Alec Secarean both create fully formed characters with each leaving a lasting impression especially once the film’s bag of tricks is fully unleashed.  Imelda Staunton has a small role but her appearances do enough to leave you unsettled.  While the film does a lot right it’s not a perfect film with its snail’s pace being the most glaring issue.  Garai is definitely going for a more artful approach but at times she does boarder on self indulgent with shots or sequences which leaves the film feeling much longer than its actual runtime.  Still it’s hard not to be impressed with the film as a whole especially during its nutty finale. 

B

MOVIE REVIEW: THE RENTAL

Two couples on an oceanside getaway grow suspicious that the host of their seemingly perfect rental house may be spying on them. Before long, what should have been a celebratory weekend trip turns into something far more sinister.

Director: Dave Franco

Cast: Dan Stevens, Alison Brie, Sheila Vand, Jeremy Allen White, Toby Huss

Release Date: July 24, 2020

Genres: Horror, Thriller

Rated R for violence, language throughout, drug use and some sexuality

Runtime: 1h 29min

Review:

Dave Franco’s debut film is polished but inconsistent.  Franco does a good job of setting up the interpersonal dynamics which gives us a palatable sense of tension from the get go.  He lets it simmer until it comes to boil in the final act with gruesome results.  Unfortunately, most horror fans will see most twist coming a mile away and it’s ultimately a retread of countless home terror type films like The Strangers.  Still a strong cast led by the ever reliable Dan Stevens keeps the whole thing watchable.  He and his cast have great chemistry together which makes these characters feel like living breathing people and not just fodder for the meat grinder.  This gives the film an air of authenticity that makes it easier to overlook some of the story’s shortcomings.  Those horror fans looking for something super gruesome or supernatural will be left wanting because this film is solely focused on the terrible things people do which ultimately might be scarier than anything.

B-

MOVIE REVIEW: PALM SPRINGS

Stuck in a time loop, two wedding guests develop a budding romance while living the same day over and over again.

Director: Max Barbakow

Cast:  Andy Samberg, Cristin Milioti, Peter Gallagher, J. K. Simmons, Meredith Hagner, Camila Mendes, Tyler Hoechlin

Release Date: July 10, 2020

Genres:  Comedy, Fantasy, Mystery 

Rated R for sexual content, language throughout, drug use and some violence

Runtime: 1h 30min

Review:

Max Barbakow's debut film will feel instantly familiar to lots of people who've seen Groundhog Day, 50 First Dates or even the recent horror comedy Happy Death Day.  At times, the film feels like an amalgam of those film’s ideas, but the impressive thing is that Barbakow’s film does not come off terribly derivative even though it is.  His direction is breeze and easy to like especially once the general concept is laid out.  The story itself is very much in line with Andy Samburg’s type of humor, sophomoric but there is always an air of sweetness and general lack of cynicism.  People who enjoyed previous Lonely Island productions like Hot Rod, Popstar or even Brooklyn Nine-Nine will feel right at home here.  Samburg being paired with Cristin Milioti makes the film work far more than it would in lesser hands.  They both share solid screen chemistry which can make or break these kinds of movies.  Together they make for a likeable couple so much so that you will probably overlook the fact that there a strong rom-com vibe throughout the story.  The film could have made better use of J. K. Simmons because his storyline would have been fun to explore but he still makes the film pop when his character pops up.  Palm Springs is the kind of fun, breezy film that’s eager please and it does for the most even though it doesn’t bring a ton of new to the table.

B

MOVIE REVIEW: RELIC

A woman links her mother's increasingly volatile behavior to an evil presence at their family's decaying country home.

Director: Natalie Erika James

Cast: Emily Mortimer, Robyn Nevin, Bella Heathcote, Jeremy Stanford, Chris Bunton

Release Date: July 3, 2020

Genres: Drama, Horror

Rated R for some horror violence/disturbing images, and language

Runtime: 1h 29min

Review:

Natalie Erika James debut film is an impressively crafted horror film that works smartly as an allegory for real life issues.  Her film heavy on atmosphere and light on cheap jump scares which works in the film’s favor.  Its Spartan use of jump scares makes the few that pop up all the more effective.  This story itself runs thru some standard haunted house/ghost story tropes but here you can feel a lot more weight in their actual meaning.  The cast is all understated but effective throughout with the trio of actresses displaying some impressive chemistry together.  Emily Mortimer, Robyn Nevin & Bella Heathcote all bring an air of authenticity and emotions to the entire proceedings.  Each interaction is believably heavy with subtext with very little said outright but there are lingering wounds that are heavily implied.  As is the case with most of these types of films the build up is better than the climax with the finale leaving multiple story threads left unresolved.  Regardless, it’s hard not to appreciate the high level of craftsmanship and talent on display throughout. 

B

Cindy Prascik's Review of The Old Guard

With local cinemas still struggling to get by on a diet of classics and films whose theatrical releases were interrupted by Covid_19, this week I again threw myself on the mercy of streaming services. I really wanted to watch the Tom Hanks movie, but I don't have Apple+ and I *do* have Netflix, so...the Old Guard it was.

Spoiler level here will be moderate, likely nothing a trailer wouldn’t have revealed if you saw one, which I did not.

A team of immortal mercenaries struggles to keep its existence secret while unexpectedly finding another of their kind.

I have to admit, dear reader(s), that the Old Guard couldn't quite hold my attention for its duration, though, in fairness, little does these days. The world as it stands is difficult to keep at bay, and it's tough to avoid distractions and interruptions outside the cinema. That aside, the movie does try a bit too hard at times, and some of the dialogue is awkwardly written or awkwardly delivered, or maybe both. It probably could have used at least a small trim as well.

Despite those few small quibbles, the Old Guard gets it mostly right. Characters who have lived for hundreds of years have volumes of backstory, and the movie provides enough, but never bogs down with explaining itself. Its action is well spaced and well paced, and the fight choreography is really good. Characters and those portraying them, faces familiar and not, are engaging; there isn't one of the principals I didn't want to learn more about. Charlize Theron is fantastic, as always, in the lead, and the supporting cast is pitch perfect, too. The Old Guard is beautifully diverse, but never for the sake of it. Everything feels organic; the movie doesn't beat its audience over the head to make a point. The story winds to a nice finish, but definitely leaves plenty of room for prequels or sequels if the demand is there.

The Old Guard clocks in at 125 minutes, and is rated R for "sequences of graphic violence and language."

The Old Guard is a smart, solid action flick that wouldn't have felt out of place in a normal summer of blockbuster superhero fare.

Of a possible nine Weasleys, the Old Guard gets seven and a half. Until next time...