Cindy Prascik's Reviews of Immediate Family and Brats

My dear reader(s), recently I had the opportunity to catch up with a pair of documentaries about subjects that are dear to me: Immediate Family (2022) and Brats (2024).

First on my agenda, Immediate Family, which follows the lives and careers of musicians who, individually and together, have contributed to some of the most iconic songs and albums of all time.

Danny Kortchmar. Leland Sklar. Waddy Wachtel. Russ Kunkel. If you don't know those names, how about Stevie Nicks? Don Henley? Phil Collins? Carole King? James Taylor? This first four are instrumental (see what I did there?) in legendary recordings by the last five...and so many more. Immediate Family takes viewers into the studio for the creation of some truly iconic music, and to the stage for storied live performances. Legends sing the praises of these session men, and...the session men are not shy about a bit of back patting themselves. The interviews are entertaining, and every piece of music is a delightful trip down memory lane. The film's best moments allow viewers to listen in as Kortchmar, Sklar, Wachtel, and Kunkel play riffs that evolve into songs that still pop up on the radio daily. If you were invited to sit on the porch to hear the best music industry stories of all time, told by the people who lived them, it'd feel a lot like Immediate Family.

Immediate Family runs 102 minutes and is unrated. (They're musicians, so expect some coarse language and adult themes.)

Immediate Family offers a fascinating peek behind the curtain at the creation of the most popular and influential music of our time. Of a possible nine Weasleys, Immediate Family gets eight. (And if you haven't worn out at least a couple copies of Tapestry, I don't think we can be friends.)

Immediate Family is now streaming on Hulu.

Fangirl points: I got to hear Waddy Wachtel mention my hometown. He was making fun of it, but I can't bear a grudge!

Next on the docket, Brats.

Brats looks back at the (in)famous Brat Pack of the 1980s, and examines how the nickname amd its connotations have impacted the actors' lives and careers.

Brats plays like a therapy session where the viewer has been invited to listen in. Andrew McCarthy has written and directed a sometimes uncomfortable look at how he and his fellow Brat-Packers have carried the baggage of the name and image, personally and professionally. While a couple members of the inner circle declined to be interviewed for this project (Molly Ringwald and Judd Nelson), most who were at least Brat Pack adjacent agreed to participate. McCarthy has been reasonably successful as an actor, director, and writer, but his tone is of someone very deeply wronged and looking for answers. Emilio Estevez, subject of the article that coined the Brat Pack moniker, is visbly uncomfortable with the topic and, at times, almost hostile in his responses. Rob Lowe and Demi Moore, who have crafted arguably the most successful post-Brat Pack acting careers, are cheerful and mostly unbothered by the history. (I guess regular work and plenty of money will do that for a person.) Moore and Ally Sheedy, who also seems content with where life has led her, often seem to be trying to convince McCarthy that it all really wasn't so bad. It's fascinating to watch, especially for people who grew up with the Brat Pack movies.

Brats clocks in at a quick 92 minutes and is unrated.

Brats is a fond, if sometimes uncomfortable, catch-up with people who feel like old friends. Of a possible nine Weasleys, Brats gets seven.

Brats is now streaming on Hulu.

Until next time...

 

MOVIE REVIEW: AFRAID

 

Curtis and his family are selected to test a revolutionary new device, a digital assistant called AIA, that takes smart homes to the next level. As AIA begins to learn everyone's behavior and anticipate their needs, it soon makes sure nothing and no one gets in the family's way.

Director: Chris Weitz

Cast: John Cho, Katherine Waterston, Havana Rose Liu, Lukita Maxwell, David Dastmalchian, Keith Carradine, Lukita Maxwell, Wyatt Lindner Isaac Bae

Release Date: August 30, 2024

Genre: Horror, Mystery, Sci-Fi, Thriller

Rated PG-13 for sexual material, some strong violence, some strong language, and thematic material.

Runtime: 1h 25m

Review:

AfrAId has a capable director and solid cast but it’s so incredibly generic, predictable and silly that you might wonder if this movie about AI was actually written by AI.  Chris Weitz's film has a breezy pace that takes very little time establishing the premise and characters before moving to the main plot.  The pacing benefits the film since it moves at such a breakneck speed you barely have time to register how increasingly silly the whole thing is.  Every hot topic headline story seems to be integrated into the plot from the dangers of AI, deep fake porn and swatting.  There's plenty of room for discussion on all these topics but here they are all treated in the most ham-fisted, generic manner that the dialogue becomes unintentionally funny as the film goes on.  The cast is earnest enough to keep the whole thing from going entirely off the rails.  John Cho and Katherine Waterston play straight from start to finish and you have to appreciate their dedication because they clearly think they are in a much better movie.  Cho is steady and believably leery of the whole set up while Waterson does her best with the underappreciated wife/mother role.  They both display some real talent to keep these thinly written characters even mildly interesting.  Their characters’ kids don't fare quiet as well with Lukita Maxwell, Wyatt Lindner and Isaac Bae doing what they can with equally underwritten roles.  David Dastmalchian and Keith Carradine have small supporting roles which honestly could have been played by anyone as the film never utilizes their talents at all.  Making matters worse is the fact that AfrAId is supposed to be a horror film but there's very little to be found throughout with the unintentionally comedy serving as the most memorable part of the whole thing.

D+

MOVIE REVIEW: FITTING IN

 

A teen girl is diagnosed with a reproductive condition that upends her plans to have a sex life, propelling her to explore unusual methods. Her relationships are challenged with everyone in her life, but most importantly, herself.

Director: Molly McGlynn

Cast: Maddie Ziegler, D'Pharaoh Woon-A-Tai, Djouliet Amara, Emily Hampshire

Release Date: August 9, 2024

Genre: Comedy, Drama

Rated R for sexual content, language throughout, drug use and drinking – all involving teens.

Runtime: 1h 46m

Review:

Writer/Director Molly McGlynn's semi-autobiographical, coming of age dramady, Fitting In, possess an undeniable authenticity due in large part to a stellar turn from its star Maddie Ziegler.  McGlynn directs her film with a steady, confident hand which gives the story a naturalistic feel in its pacing and dialogue for the better part of the film's runtime.  Her connection to the subject matter comes through as the central character's struggles to feel normal carries an emotional resonance which can only come from lived in experiences.  The story starts familiar enough before it moves into more serious territory and we follow Lindy traversing a very personal journey while dealing with the standard assortment of teenage drama.  Maggie Ziegler is tasked with the challenging role that requires an ability to balance the outward normalcy while being internally troubled by a genetic situation that was entirely out of her control.  Ziegler delivers an impressive turn where she balances both sides of the coin, especially in the private moments where her character insecurities and vulnerability is on full display.  She's tasked with carrying the lion's share of the film's weight and does so with impressive ease.  Emily Hampshire plays her mother who is also dealing with a series of emotional and psychical issues like her daughter and there's a realistic messiness to their relationship which rings true.  D'Pharaoh Woon-A-Tai, Djouliet Amara and Ki Griffin round out the supporting case with each getting their moments throughout the film but ultimately its Ziegler's show.  A few pacing and story issues do pop up particularly in the final act but that doesn't keep Fitting In from leaving a noticeable impression.  

B

MOVIE REVIEW: CUCKOO

 

Seventeen-year-old Gretchen reluctantly leaves America to live with her father at a resort in the German Alps. Plagued by strange noises and bloody visions, she soon discovers a shocking secret that concerns her own family.

Director: Tilman Singer

Cast: Hunter Schafer, Jan Bluthardt, Marton Csokas, Jessica Henwick, Dan Stevens

Release Date: August 9, 2024

Genre: Horror, Mystery, Thriller

Rated R for violence, bloody images, language and brief teen drug use.

Runtime: 1h 43m

Review:

Tilman Singer's Cuckoo is unabashedly bonkers, almost to a nonsensical degree, but strong turns from Hunter Schafer and Dan Stevens keeps the crazy train on track for large stretches of time.  Writer/Director Tilman Singer has an ability to craft a series of unsettling and disorientating sequences something he does with impressive aplomb throughout.  There's also a darkly, wry sense of humor at play throughout the film's narrative which keeps the whole thing from getting overly oppressively overbearing.  There's a tangible sense that Singer is having a good time twisting the screws on the audience even as the story details continue to make less and less sense.  It’s a fun, intriguing approach which might ultimately prove to be a frustrating experience since the story leaves a boatload of unanswered questions by the time the film ends.  Thankfully, the film is blessed with two strong turns from Hunter Schafer and Dan Stevens who do their best to carry the film over its narrative shortcomings.  Schafer is perfectly suited to play the disaffected teen who immediately senses something is off about the whole situation.  It’s a role that mostly asks her to react to the increasingly dangerous predicament especially as she's beaten and bloodied as the film goes on. There are a few moments, particularly in the final act, that give Schafer an opportunity to give the character more emotional depth and a sense of the underlying trauma that she's been carrying.  Dan Stevens continues his recent string of strong character work with his sly turn as the mysterious doctor running the establishment.  It’s the kind of role that fits his talents perfectly as he gives his character a mischievous charm that's engaging but unnerving at the same time.  Schafer and Stevens are equally entertaining onscreen even after the story runs off the rails.   It only exemplifies the fact that Cuckoo could have been something truly special had it spent more time on a more coherent story with stronger internal logic to deliver a more satisfying experience overall.

B-

MOVIE REVIEW: BLINK TWICE

When tech billionaire Slater King meets cocktail waitress Frida at his fundraising gala, he invites her to join him and his friends for a dream vacation on his private island. Wild nights soon blend into sun-soaked days, but when strange things start to happen, Frida must uncover the truth if she hopes to make it out alive.

Director: Zoë Kravitz

Cast: Naomi Ackie, Channing Tatum, Christian Slater, Simon Rex, Adria Arjona, Haley Joel Osment, Kyle MacLachlan, Geena Davis, Alia Shawkat

Release Date: August 23, 2024

Genre: Mystery, Thriller

Rated R for strong violent content, sexual assault, drug use and language throughout, and some sexual references.

Runtime: 1h 42m

Review:

Zoë Kravitz's directorial debut, Blink Twice, displays some talent behind the camera, especially with its devilishly well-crafted first half before stumbling into an overly didactic and predictable back half that ditches any semblance of subtly.  Kravitz does strong work in those early sequences with well constructed shots and a wonderful use of sound to create a creeping sense of dread.  Its visually impactful enough to leave a noticeable impression especially as events become more fractured and discombobulating.  Its an impressive high wire act but once the story starts to falter the effect wears off quickly as the oh so obvious reveals come to head.  There is, at least, some dark humor in the film's back half as the revelations causes logic to fly out of the window and the characters scramble for survival.  Naomi Ackie is engaging enough for the majority of the film even if her character plays basic tropes we've seen multiple times before.  The film would have been better served if it had spent more screen time with Ackie and Alia Shawkat's characters to give the characters more depth and their plight more impactful. Channing Tatum delivers a strong turn as the charming tech billionaire.  Tatum is understated which keeps his character from falling into some of the tech bro pitfalls which makes it easy to understand why Ackie's Frida is so enraptured.  Unfortunately, much like Frida, there's very little depth to him leaving him as more of a type than a fully realized character.  The supporting cast is populated with familiar faces but aren't given much to work with outside of most basic stereotypes across the board.  Adria Arjona injects a bit of energy in the finale which makes you wish she'd been given more prominence early on.  It all makes Blink Twice feel like a missed opportunity especially on a thematic level since it could have been a more interesting and meaningful version of this story there. 

C+

MOVIE REVIEW: ALIEN: ROMULUS

 

Space colonizers come face to face with the most terrifying life-form in the universe while scavenging the deep ends of a derelict space station.

Director: Fede Álvarez

Cast: Cailee Spaeny, David Jonsson, Archie Renaux, Isabela Merced, Spike Fearn, Aileen Wu

Release Date: August 16, 2024

Genre: Horror, Sci-Fi, Thriller

Rated R for bloody violent content and language.

Runtime: 1h 59m

Review:

Fede Álvarez's Alien: Romulus is a bloody love letter to the first two films in the long running series, bringing back the retro futuristic aesthetic, a bevy of Easter eggs and delivering some truly thrilling sequences.  Álvarez's love of the series is readily apparent from the opening sequence with the look and feel immediately echoing Ridley Scott's original with its grimy, lived in version of space travel that was missing from the last two prequels.  It plays like cinematic comfort food for long time fans who have been waiting for something like this since the late 80's as every subsequent sequel has veered further away from the feel of those original films.  Everything has a palpable sense of reality with CGI used sparingly throughout which is a welcome change of pace.  It’s an impressive bit of alchemy which leaves you wondering why other directors hadn't leaned into more in the past.  The story is straight forward even if does leave you asking a ton of questions if you think about it too much.  Logic isn't the biggest concern as it's mostly interested in placing the characters, some far more brain dead than others, into specific situations for the mayhem to begin.  It’s all easier to digest since the cast is totally onboard from the opening scene.  Cailee Spaeny does well in the lead in an understated turn that does well to avoid direct comparison to Sigourney Weaver's Ripley.  Her central relationship with David Jonsson's synthetic Andy is an interesting slant on the usual survivor trope that runs across these films.  Jonsson and Spaeny have a strong chemistry together which gives their characters some emotional weight to their relationship, something sorely missing from the supporting characters who are little more than meat for the grinder.  It’s a testament to Álvarez that it’s not a huge drawback since the construction of the big sequences are so well done that you don’t really care that the majority of characters are one note or make some truly stupid decisions.  Alien: Romulus works best when its creativity is on full display such as a fraught trek through a face hugger infested hallway or an anti gravity Alien battle which brings a renewed sense of energy to the creatures and franchise.

B