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charliejrogers · 4 years

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Yes, God, Yes

Full disclosure: I not only attended a Catholic high school, but I specifically attended a Kairos retreat, the exact retreat which the characters from 2020’s Yes, God, Yes attend. In the film, they call it “Kirkos,” but everything about “Kirkos” is the same as my (and seemingly every) Kairos. So let me clear up a few things for those of you who saw this film and thought, “This shit at this movie retreat can’t be what they do in real life.” Yes, Kairos leaders really do collect your phone and watch upon arrival to the retreat center since you are now on “God’s time ”(kairos comes from the Greek word καιρός which literally means “God’s time”). Yes, you are forced into small groups with your other classmates and feel this weird pressure to have a sad life story to share. Yes, small group leaders start to play music while they tell their own story AND pass out the lyrics as if these song lyrics are real deep poetry. One of my retreat leaders, for example, handed out sheets of the lyrics to Florence + The Machine’s “Shake it Off.” Now, I LIKE Florence + The Machine, but even still the lyrics to that song are nothing special. And, most of all, yes, those who come back from Kairos do tend to act a little cultish. At our school it was referred to as having a “Kai high,” a feeling in time when everyone just wants to be friends yet those people only exclusively hang out with one another.

In defense of Kairos retreats, at their very best, they offer adolescents at a critical time in their development the opportunity to reflect on their lives thus far, evaluate if they are living out the values their parents and community have instilled in them, and give them a safe space to work through conflicts, apologize, and try to be better people. At their worst, it’s a self-congratulatory experience where people act morally superior to others without really doing anything substantial… or even worse it’s a period of time where adolescents might unearth and talk about really hard topics like suicide, depression, etc. for the first time… and yet are given no real guidance on how to handle those emotions outside of this four day experience!

All this said, this is not a review of Kairos retreat. It is, indeed, a film review. I just wanted to make clear my biases etc. before talking about it since the retreat does more than provide the setting for the majority of Yes, God, Yes: the retreat’s four-day thematic structure doubles as the film’s plot structure. Just as in real life, our protagonist does a lot of questioning about her life and her faith during her first day, does some “crying” during the second as people, “accepting/trusting” the third, and then “living out” the lessons she learned on the fourth day and beyond! The difference is that in real life, teens are supposed to do these things in regard to their faith... or protagonist across those four days has a genuine sexual awakening.

In fact it’s exactly the desire to suppress her sexuality that prompts our protagonist to go on the retreat in the first place. Because our protagonist, Alice (played by Stranger Things’ Natalia Dyer), has just discovered something about herself that is hard to put out of her mind: she likes sex! Or, more specifically, likes masturbating. Alice is, from what we can tell in the prologue, a pretty by-the-books Catholic teen. She follows the rules, goes to Church with her Dad every Sunday, and os pretty sexually naïve… sheltered as we used to describe kids. Someone starts a rumor that Alice “tossed” a boy’s “salad” at a party and the rumor spreads like wildfire. Even the teachers know about it, and she loses her status as a gift bearer for the school’s weekly Mass. Of course, Alice doesn’t even know what “tossing salad” means (nor truthfully did I… but the movie seems to anticipate this by providing a definition to the audience at the very beginning of the film.)

All Alice knows is that she likes arm hair… like LIKES arm hair, something she discovers when she’s on an AOL chat room and someone sends her porn. That’s right, this is a film set in the early ‘00s, so if you hold any nostalgia for that time, get ready to have your fill from the era’s cheesy pop ballads to giant brick phones, to the fact that America (while starting to be so) wasn’t so health conscious that’s it not crazy to believe a teenage girl would just come home from school and snack on frosting and a giant bowl of Cheetoh’s Puffs. The nostalgia is not quite as in your face as in Captain Marvel, but it’s certainly more of a focus than it was in Lady Bird.

Yeah, you knew the comparison was coming. Let’s just be clear, this is by no means trying to be the next Lady Bird. This movie knows it’s pretty frivolous to begin with. Still, it’s hard to avoid comparison with the last big movie about a Catholic girl coming of age in the early 2000s. What I learned in watching this movie compared to Lady Bird or even Boyhood is that merely recreating aspects of my former life does not a good movie make. While I loved the fact that part of watching Lady Bird was getting to see someone shine a light on how ridiculous high school theater could be, that was never the point of the movie. Here, meanwhile, a significant purpose of the film is to highlight the fact that, yes, Kairos retreats are weird and the Church sucks. While I found myself nodding my head in agreement with what I was seeing on screen… it wasn’t exactly enjoyment as much as thinking, “yup, this is what a Kairos retreat is.” Furthermore, I feel like there are aspects of Kairos that would be great for skewering and I love the parts they absolutely nail: the cultish nature of the retreat and the pressure to frame your life in a sad way… but they ultimately take a route of criticism that is too easy and frankly is not a focus of most Kairos retreats… the focus on shaming one’s sexuality and the innate hypocrisy that behavior inevitably reveals.

If there’s a villain in this film, it’s probably the retreat leader and school priest Fr. Murphy (Timothy Simons), who gives in to rumors of Alice’s sexual impropriety as much as any schoolyard bully. No one in this whole film, from Fr. Murphy, to the head of Alice’s bunkhouse, to her small group leader, to even her best friend, takes Alice’s spiritual journey seriously, as they all assume Alice is not taking the retreat seriously as she seems to be avoiding talking about her recent, rumorous activity. Of course, there’s a bit of #MeToo hypocrisy here in that the male with whom Alice is said to have been engaged with enjoys none of the backlash that she has been dealing with. And to that degree it’s a satisfying movie in that Alice gets to dish out a little #MeToo revenge.

Still, even with all things conspiring against her, Alice retains her good spirit throughout the film… as well as her determination to further explore her sexuality. On the one hand, it’s a little unrealistic the risks she takes in trying to learn more about her body, but on the other hand teenagers and young adults are friggin’ weird when it comes to figuring out themselves. Ultimately she is emboldened in this take once she finds out that all those people who are out to get her to confess her “sins” are sinners in much the same way.

Probably the best scene comes at the end of Alice’s third day of the retreat when she runs away from the retreat center and walks into a lesbian bar where she hears the story of someone who used to be Catholic and is now not. More important than anything she could learn at the retreat, this Iowa girl learns that some normal people… just don’t have a religion. For some people this world, its pleasures, its pains, is more than enough. Alice doesn’t become a full-blown hedonist after this, but she is opened up to realize there’s more to life than Catholic guilt.

Perhaps to make this good message ring out, the film as a whole, despite some absurdist elements, feels like it’s meant to be a somewhat accurate reflection of reality. I wish the writer/director, Karen Maine had tried for a slightly more absurdist approach or taken out the absurdity altogether. She already makes the Catholic high school authority more caricature than character, and the plot at timesis almost silly. Therefore, the tone of the movie just sorta feels off throughout. Just about the only thing keeping this movie grounded is a great performance by Dyer who portrays a genuine sexual awakening very faithfully, capturing the mix of confusion, guilt, and excitement all at once. Even when Alice does something downright stupid, Dyer’s performance engenders our trust from the start, and we are always on her side. I wish I could have liked this movie more as it really does accurately portray some aspects of a Kairos retreat and is about as close as I think I’ll get to having it portrayed in a major film, but ultimately by not treating the Church authority with the same amount of nuance paid to Dyer’s Alice and her sexual awakening, the film ends up being an enjoyable, if one-noted, experience. Come to make fun of Catholics, stay for Dyer’s performance.

**7/8 (Two and seven-eighths out of four stars)

#yes god yes #natalia dyer #karen maine #yesgodyes

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weekendwarriorblog · 4 years

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The Weekend Warrior Home and Drive-In Edition July 24, 2020: THE RENTAL, MOST WANTED, YES GOD YES, AMULET, RETALIATION and more

Are we all having fun yet? Does the fun ever truly begin when you’re in the middle of a pandemic, and no one can seem to figure out how to get out of it? While I love New York’s Governor Cuomo and the amazing job he did getting us through the worst of it, he just doesn’t seem to know how to get movie theaters reopened, nor does he seem to care. I mean, they’ve had four months now to figure this out and New York City is already in Phase 4 (which was supposed to be the last phase of the reopening). It’s a real shame, because this has been a ridiculously hot summer and with none of the “cooling centers” from past summers being possible, it is brutal out there. Fortunately, there are a few decent movies this week to watch at home and some in the drive-ins that are popping up all over the country.

I gotta say that I’m particularly bummed that my favorite local theater, the Metrograph, won’t be opening any time soon, but starting Friday, they’ll be starting “Metrograph Live Screenings,” which will consist of the type of amazing programming the theater has gained a reputation for since opening four years ago. They are offering new “digital memberships” at $5 a month or $50 annually (about half the price of a normal membership) so that you can watch any of the movies being offered at home. The program begins on Friday with Claire Denis’ 2004 film, L’Intrus, which Metrograph Pictures picked up for release. That’s followed on Monday with St. Claire Bourne’s doc, Paul Robeson: Here I Stand. You can see the full list of screening times and dates (many with filmmaker introductions) on the Official Site, and this will be a good time for those who can’t get downtown to the coolest area in New York City to check out the Metrograph programming until they reopen. (Apparently, they’re working on a drive-in to open sometime in August. Wish I had a car.)

If nothing else, it’s safe to say that IFC is killing it this summer. The indie distributor stepped right up to the pandemic and said, “Hey, we’ll play in those drive-in theaters that have mostly been ignored and didn’t play our films for decades!” It has led to at least two big hits in the past few months.

This week, IFC releases the horror/thriller THE RENTAL (IFC Films), the directorial debut by Dave Franco. In it, brothers Charlie (Dan Stevens) and Josh (Jeremy Allen White) decide to take a weekend away with their significant others, Charlie’s wife Michelle (Allison Brie) and Josh’s girlfriend Mina (Sheila Vand), who also happens to be Charlie’s creative work partner. They have found a remote house to rent, but they’re immediately suspicious of the caretaker (Toby Huss), who they think may be spying on them. He’s also racist towards Mina’s Arab lineage.

The premise seems fairly simple and actually quite high concept, and there have been quite a few thrillers that played with the premise of a creepy landlord/caretaker, including last year’s The Intruder, directed by Deon Taylor, and a lesser known thriller called The Resident, starring Hillary Swank and Jeffrey Dean Morgan. Part of what makes The Rental different is that Franco co-wrote it with Joe Swanberg, so you know it’s going to be more of a character-based thriller than some kind of gorefest. Sure enough, this deals with the competitive nature between the brothers and the jealousy that arises when you have such a close working relationship with your brother’s girlfriend. It’s what happens between these two couples over the course of this vacation that makes you even more interested in their behavior after things start happening to them, but there’s a pretty major twist that happens just when you think you know where things may be going.

That’s all I really should say about the plot to avoid spoilers. Although the third act veers into the darker horror tropes we may have seen before, that’s also when it starts to get quite insane. Franco clearly shows he has the eye for the type of suspense and timing necessary for an effective thriller, and his cast, including wife Alison Brie, really deliver on all aspects of his script to deliver shocking moments that will keep you invested.

In some ways, The Rental might be the most obviously accessible movie of the weekend, and since it will be playing in drive-ins (and maybe a few still-open theaters?), it probably is worth seeing that way i.e. with others, although it will also be available via digital download, of course.

Another “Featured Flick” this week -- and I’m guessing this is one you won’t be reading about anywhere else -- is Daniel Roby’s MOST WANTED (Saban FIlms), a real-life crime-thriller starring Josh Hartnett as Globe and Mail journalist, Victor Malarek, who discovered that a French-Canadian junkie named Daniel Léger (Antoine-Olivier Pilon) had been sentenced to 100 years in a Thailand prison for drug trafficking in 1989. As Daniel attempts to survive the violent conditions of the Thai jail, Victor tries to uncover the crooked practices by the Canadian federal police to get Daniel imprisoned for their own means.

This is one of two Saban Films releases that really surprised me, maybe because I’ve gotten so used to them releasing so much action and genre schlock meant mainly for VOD, usually starring fairly big-name action stars from the past, usually not doing their best work. Most Wanted is a far more serious crime-drama that tells an absolutely amazing story from North America’s famed war on drugs from the ‘80s. First, we meet Antoine-Olivier Pilon’s Daniel, a lowlife junkie who is trying to find a place to live and a job, something he finds when he gets into business with Jim Gaffigan’s Glenn Picker, a complete low-life in every sense of the word. It’s funny, because when Gaffigan’s character is introduced, you’re immediately reminded of the famous “Sister Christian” in PT Anderson’s Boogie Nights, and as we watch Picker completely humiliate and then betray Daniel, you realize that we might be seeing one of Gaffigan’s best performances to date.

What keeps Most Wanted interesting is that it tells the story on a number of concurrent storylines, ignoring the fact that one of the threads might be taking place years before the other. Through this method, we see how Daniel begins working with Glenn, while also seeing Victor’s investigation, as well as the sting operation being perpetrated by the Canadian feds, as represented by the always great Stephen McHattie. (McHattie’s appearance is also a telltale sign that this is indeed a Canadian production, as is the role played by author and filmmaker Don McKellar.) I’ve always feltHarnett was a really underrated actor especially as he got into his 30s and started doing more mature roles, and while his reporter character may not always be the central focus of the story, his attempt to get his editor to respect his work is something far too familiar to far too many writers. One also can’t sleep on the fantastic performance by Antoine-Olivier Pilon, who really holds the film together by starting out as a scumbag almost as bad as Picker but through his troubles to survive in Thai jail, we start to become really invested in his story. (The only character who doesn’t get nearly as fulfilling a story arc is Amanda Crew as Victor’s wife Anna who gives birth just as he gets involved in this major story.)

I wasn’t at all familiar with Daniel Roby’s previous work but the way he broke this story down in a way that keeps it interesting, regardless of which story you’re following, makes Most Wanted as good or better than similar films by far more experienced and respected filmmakers. (For some reason, it made me think of both The Departed and Black Mass, both movies about Whitey Bulger, although Daniel’s story is obviously very different.)

Okay, let’s get into a trio of religious-tinged offerings…

Natalia Dyer from Stranger Things stars in YES, GOD, YES (Vertical Entertainment), the semi-autobiographical directorial debut by Obvious Child co-writer Karen Maine (expanded from an earlier short), which will open via virtual cinemas this Friday as well as at a few drive-ins, and then it will be available via VOD and digital download on Tuesday, July 28. The coming-of-age comedy debuted at last year’s SXSW Film Festival and won a Special Jury Prize for its ensemble cast. Dyer plays sixteen-year-old Alice, a good Midwestern Catholic teenager, who has a sexual awakening after a racy AOL chat. Wracked by guilt, Alice attends a religious retreat camp where the cute football player (Wolfgang Novogratz) catches her eye, but she constantly feels pressure to quell her masturbatory urges.

I’m not sure I really knew what to expect from Ms. Maine’s feature film debut as a director. I certainly didn’t expect to enjoy this movie as much as I did, nor did I think I would relate to Dyer’s character as much as I did -- I’ve never been a teen girl, nor have I ever been Catholic, and by the early ‘00s, I was probably closer to the age that Maine is now versus being a teenager discovering her sexuality. In fact, I probably was expecting something closer to the Mandy Moore comedy Saved!, which was definitely more about religion than one character’s sexual journey.

Either way, I went into Yes, God, Yes already realizing what a huge fan I am of coming-of-age stories, and while there were certainly that seemed familiar to other films, such as Alice’s inadvertent AIM with an online pervert early in the film. Even so, Maine did enough with the character of Alice to keep it feeling original with the humor being subdued while definitely more on the R-rated side of things. On top of that, Dyer was quite brilliant in the role, just a real break-through in a similar way as Kaitlyn Dever in Book Smart last year. (Granted, I’m so behind on Stranger Things, I don’t think I’ve even gotten to Dyer’s season.) The only other familiar face is Timothy Simons from Veep as the super-judgmental (and kinda pervy) priest who Alice has to turn to when confessing her sins. (A big part of the story involves a rumor started about Alice and a sex act she committed on a fellow student that keeps coming up.)

Yes, God, Yes proves to be quite a striking dramedy that I hope more people will check out. I worry that because this may have been covered out of last year’s SXSW, it might not get the new and updated attention it deserves. Certainly, I was pleasantly surprised with what Maine and Dyer did with a genre that still has a lot to tell us about growing up and discovering oneself. (You can find out where you can rent the movie digitally over on the Official Site.)

Another horror movie that premiered at this year’s Sundance is AMULET (Magnet), the directorial debut by British actor Romola Garai, who also wrote the screenplay. It stars Romanian actor Alec Secareanu as Tomaz, a former soldier who is offered a place to stay in a dilapidated house in London with a young woman named Magda (Carla Juri from Blade Runner 2049) and her ill and dying mother. As Tomaz starts to fall for Magda, he discovers there are sinister forces afoot in the house with Magda’s mother upstairs being at their core.

I was kind of interested in this one, not just because it being Garai’s first feature as a filmmaker but also just because Sundance has such a strong pedigree for midnight movies, probably culminating in the premiere of Ari Aster’s Hereditary there a few years back. It feels like ever since then, there are many movies trying to follow in that movie’s footsteps, and while this was a very different movie from the recent Relic, it had its own set of issues.

The main issue with Amulet is that it deliberately sets itself up with a confusing narrative where we see Tomaz in the present day and in the past concurrently, so it’s very likely you won’t know what you’re watching for a good 20 minutes or so. Once Tomaz gets to the house, escorted there by a nun played by Imelda Staunton (Vera Drake), the movie settles down into a grueling pace as the main two characters get to know each other and Tomaz explores the incongruities of the decaying house.

Honestly, I’m already pretty burnt out on the religious horror movies between The Lodge and the still-unreleased Saint Maud, and the first inclination we get of any of the true horror to come is when Tomaz discovers some sort of mutated bat-like creature in the toilet, and things get even more disturbing from there. Although I won’t go into too many details about what happens, the movie suffers from some of the same issues as Relic where it’s often too dark to tell exactly what is happening. As it goes along, things just get weirder and weirder right up until a “what the fuck” moment that could have come from the mind of David Lynch.

I don’t want to completely disregard Garai’s fine work as a filmmaker since she’s made a mostly compelling and original horror movie – I have a feeling some might love this -- but the grueling pace and confusing narrative turns don’t really do justice to what might have been a chilling offering otherwise.

Going by the title and the fact it’s being released by Saban Films, I presumed that Ludwig and Paul Shammasian’s RETALIATION (Saban Films/Lionsgate) was gonna be a violent and gritty crime revenge thriller, but nothing could be further from the truth. Adapted by Geoff Thompson from his 2008 short film “Romans 12:20,” it stars Orlando Bloom as Malcolm, a troubled ex-con doing demolition work while fighting against his demons when he spots someone in the pub from his past that caused a severe childhood trauma.

This is another movie that I really didn’t know what to expect, even as it began and we followed Bloom’s character over the course of a day, clearly a very troubled man who has been dealing with many personal demons. Make no mistake that this is a tough movie, and it’s not necessarily a violent genre movie, as much as it deals with some heavy HEAVY emotions in a very raw way.

Honestly, I could see Geoff Thompson’s screenplay easily being performed on stage, but the way the Shammasian Brothers have allowed Malcolm’s story to slowly build as we learn more and more about his past makes the film so compelling, but they also let their actors really shine with some of the stunning monologues with which they’re blessed. While this is clearly a fantastic and possibly career-best performance by Bloom, there are also good performances by Janet Montgomery, as the woman who loves Malcolm but just can’t handle his mood changes. Also good is Charlie Creed-Miles, as the young priest who tries to help Malcolm.

I can easily see this film not being for everybody, because some of the things the film deals with, including pedophile priests and the effects their actions have on the poor, young souls who put their faith in them, they’re just not things people necessarily may want to deal with. Make no mistake that Retaliation is an intense character drama that has a few pacing issues but ultimately hits the viewer right in the gut.

A movie I had been looking forward to quite some time is the Marie Currie biopic, RADIOACTIVE (Amazon Prime), directed by Marjane Satrapi (Persepolis) and starring the wondrous Rosamund Pike as the famed scientist who helped discover radiation. Based on Lauren Redniss’ book, this is the type of Working Title biopic that would normally premiere in the Fall at the Toronto Film Festival, and sure enough, this one did. The fact it wasn’t released last year makes one think maybe this didn’t fare as well as potential awards fodder as the filmmakers hoped. It’s also the type of movie that works too hard to cater to the feminist resurgence from recent years, which ultimately ends up being its undoing.

The problem with telling Marie Currie’s story is that there’s so much to tell and Redniss’ book as adapted by Jack Thorne just tries to fit too much into every moment as years pass in mere minutes. There’s so much of Marie’s life that just isn’t very interesting, but trying to include all of it just takes away from the scenes that do anything significant. Maybe it’s no surprise that Thorne also wrote The Aeronauts, Amazon’s 2019 ballooning biopic that failed to soar despite having Eddie Redmayne and Felicity Jones as its leads.

I’m a similarly huge Rosamund Pike fan, so I was looking forward to her shining in this role, but she does very little to make Marie Currie someone you might want to follow, as she’s so headstrong and stubborn. This is the most apparent when she meets Pierre Currie, as played by Sam Riley, and maybe you don’t blame her for being cynical, having had much of her work either discredited or stolen by men in the past. Shockingly, Pike’s performance seems all over the place, sometimes quite moving but other times being overly emotive. Almost 90 minutes into the movie, Anya Taylor-Joy turns up as Curie’s grown daughter, and it’s one of the film’s biggest infraction, wasting such great talent in such a nothing role.

While Radioactive could have been a decent vehicle for Ms. Satrapi to flex her muscles as a filmmaker, the movie spends so much time having Currie fighting against the male-dominated science field that it loses sight of why she was such an important figure in the first place. Radioactive just comes across as a generally bland and unimaginative by-the-books biopic.

Also on Digital and On Demand this Friday is Chris Foggin’s FISHERMAN’S FRIENDS (Samuel Goldwyn Films), another quaint British comedy based on a true story, much like the recent Military Wives. Rather than being about a group of singing women, this one is about a group of singing men! What a twist!

Daniel Mays plays Danny, a music biz exec from London who travels to the seaside town of Port Isaac, Cornwall with some of his record company coworkers. Once there, they discover a local group of singing local fisherman, known as “Fisherman’s Friends,” who Danny wants to sign to a label. He also wants to get closer to Tuppence Middleton’s single mother Alwyn, who, no surprise, is also the only pleasant-looking younger woman in the town.

Fisherman’s Friends isn’t bad, but if you’ve seen a lot of British movies from the last few decades, then you’ve already seen this movie, particularly the “fish out of water” humor of a guy from the big city trying to relate to the down-to-earth ways of folk in a fishing village. It’s the type of really forced humor that is perfectly pleasant but not particularly groundbreaking in this day and age with so many filmmakers trying to do cutting-edge work.

Instead, this goes for a very typical and cutesie formula where everything works out with very little real conflict even when it throws in a needless subplot about the local pub falling on hard times and selling to a rich man who has little regard for the ways o the town. On top of that, and even if this wasn’t based on a true story, it’s very hard to believe anyone in the music industry or who buys records would be that interested in this group to make them worth signing a million-pound record deal. (Apparently, this really happened!)

I think it’s adorable that filmmakers are trying to turn character actor Daniel Mays (who you’ve seen in everything!) into a romantic lead, especially when you have James Purefoy right there! Instead, 56-year-old Purefoy is instead cast as Middleton’s father, while she’s put into a situation where she’s the love interest for a man that’s 23 years her elder. This kind of thing rarely bothers me as it does many younger female critics, but their romance is just ridiculous and unnecessary if not for the formula. As much as I enjoyed seeing Dave Johns from I, Daniel Blake as one of the singing fishermen, there really isn’t much for him to do in this.

If you like sea shanties and you are a woman over 60 (or have a mother that age) then Fisherman’s Friends is a cute butnever particularly hilarious British comedy that tries to be The Full Monty. But it never really tries to be anything more or less than the formula created by that movie 23 years ago, so it’s quickly forgotten after its saccharine finale.

Unfortunately, I just wasn’t able to get THE ROOM (Shudder/RLJE Films), the live action directing debut from Christin Volckman (Renaissance), but it’s now available on VOD, Digital HD, DVD AND Blu-Ray! It stars Olga Kurylenko and Kevin Janssens as a couple who leave the city to move into a an old house where they discover a secret hidden room that has the power to materialize anything they want, but this is a horror film, so what might seem like a fairy tale is likely to get dark. (I actually think I saw the trailer for this on Shudder, so I’ll probably check it out, and if it’s worth doing so, I’ll mention it in next week’s column.)

Yet another horror movie hitting On Demand this Friday is Pamela Moriarty’s A DEADLY LEGEND (Gravitas Ventures) that stars Corbin Bensen as a real estate developer who buys an old summer camp to build new homes unaware of the dark history of supernatural worship and human sacrifice. I’m gonna take the fifth on this one, which also stars Judd Hirsch and Lori Petty.

Available via Virtual Cinema through New York’s Film Forum and L.A.’s Laemmle is Gero von Boehm’s documentary, Helmut Newton: The Bad and the Beautiful (Kino Lorber), about the photographer who had a nearly five-decade career before dying in a car crash in 2006.

From Colombia to various Virtual Cinemas is Catalina Arroyave’s debut, Days of the Whale (Outsider Pictures) set in the city of Medellin, where it follows two young graffiti artists, Cristina and Simon, who tag places around where they live but coming from very different backgrounds, but they eventually bond while part of a revolutionary art collective.

Danny Pudi from Community and Emily C. Chang from The Vampire Diaries star in Sam Friedlander’s comedy Babysplitters (Gravitas Ventures) as one of two couples who have mixed emotions about having kids, so they decided to share one baby between them. Okay, then.

Netflix will also debut the rom-com sequel, The Kissing Booth 2, once again starring Joey King as Ellie, who is trying to juggle her long-distance romance with Jacob Erlodi’s Noah and her close friendship with Joel Courtney’s Lee. I haven’t seen the first movie. Probably won’t watch this one.

Next week, more movies in a variety of theatrical and non-theatrical release!

If you’ve read this week’s column and have bothered to read this far down, feel free to drop me some thoughts at Edward dot Douglas at Gmail dot Com, or tweet me on Twitter. I love hearing from my “readers,” whomever they may be.’

#Movies #Reviews #TheRental #Retaliation #Radioactive #YEsGodYes #VOD #Streaming #MostWanted #Amulet #TheWeekendWarrior

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