Charlie Kaufman is stuck in his head and he can’t get out. Throughout his filmography, from his screenwriting debut Being John Malkovich to his recent directorial effort Anomalisa, he has specialized in characters with a fierce sense of interiority and has captured solipsistic conflict in a wholly unique way. Kaufman’s latest work, I’m Thinking of Ending Things, is his first adaptation since 2002’s Adaptation but the cerebral writer-director applies his own unmistakable voice to the Iain Reid novel upon which his film is based. Even for a filmmaker who doesn’t exactly traffic in light fare, Kaufman has put together what is perhaps his most challenging movie yet and while it may not be his most rewarding, it offers another tantalizing glimpse into the mind of a true original.

We open on a snowy winter afternoon as Jake (Jesse Plemons) picks up his girlfriend (Jessie Buckley) in his car so that they can travel to the modest farmhouse where he grew up. The two have only been dating several weeks and yet, Jake feels confident enough in the relationship to bring his new partner to see his mom and dad (Toni Collette and David Thewlis, respectively) for the first time. However, we learn through voiceover that Jake’s girlfriend isn’t nearly as enthusiastic about the budding “romance”, a sentiment expressed in the film’s opening line that also serves as its title. When the couple arrives at their destination, all seems to be well at first but peculiarities begin to stack up as the night moves on.

About half of I’m Thinking of Ending Things plays like a remake of Meet The Parents if it were directed by David Lynch, filled with absurdist humor and tricky editing that intentionally jars the audience’s sense of time and space. The other half, mainly consisting of the couple’s car-confined conversations during a snowstorm, is even more philosophical and verbose by comparison. But what unites these two halves is Kaufman’s pervasive sense of existential anxiety paired with a mordantly funny perspective on human nature. His illuminating screenplay, which extensively references works of great thinkers like Pauline Kael and William Wordsworth, is filled with dialogue by characters desperate to make sense of their thoughts and to find their place in a perpetually confounding world.

If this all sounds like a heavy meal, that’s because it is. Stretches of the movie make Kaufman’s Synecdoche, New York, his morose meditation on mortality and failure, seem like a crowd-pleaser by comparison. But where that film ultimately comes together in a relatively satisfying resolution, I’m Thinking of Ending Things seems to spiral even further into obscurity as it reaches its beguiling conclusion. Paradoxically, Kaufman’s least accessible film is being released on Netflix, where hundreds of millions of viewers will have the opportunity to stream it as many times as it takes to properly decode the knotty narrative. On a platform with a seemingly infinite amount of content, will audiences be willing to give multiple viewings to such a heady outing?

My gut tells me that many won’t and there will undoubtedly be those who are frustrated enough with the experience to not even make it through one full viewing, which is understandable. As Kaufman gets further from Eternal Sunshine of the Spotless Mind, his best-regarded and most well-known film, he has gotten even more uncompromising and even obstinate in his artistic vision. I wish this time around, he had chased the sublime balance of heart and head that he mastered with Sunshine but even Kaufman’s headier pursuits trump the plethora of braindead content streaming these days. Deliriously surreal and all-consuming, I’m Thinking of Ending Things is a brazen inquisition of the human condition from one of the best in the business.

Score – 3.5/5

More new movies this weekend:
Opening in theaters is Tenet, the highly-anticipated Christopher Nolan thriller starring John David Washington and Robert Pattinson about a spy who utilizes time manipulation to prevent World War III.
Available to rent on Disney+ is Mulan, a live-action remake of the 1998 animated film starring Liu Yifei and Donnie Yen about a young Chinese maiden who disguises herself as a male warrior in order to save her father.
Available to rent on demand is Feels Good Man, a documentary about the creator of the comic character Pepe the Frog who struggles to reclaim control of his creation after it’s re-purposed by political activists online.

Reprinted by permission of Whatzup

Making its debut at the Sundance Film Festival earlier this year, the enthralling and massively entertaining documentary Boys State hits streaming this weekend and announces itself as one of the year’s best movies. Chronicling the 2018 edition of the American Legion leadership program that gives the film its name, directors Jesse Moss and Amanda McBaine showcase the hundreds of Texan teenagers who gathered to construct a fictitious representative government from scratch. Over the course of a week, the spirited youngsters divide up into two parties of Nationalists and Federalists and elect officials in positions ranging from party chair to governor.

Though they capture input from many of the participants, Moss and McBaine focus on a handful of teens who seem to show the most promise from the outset. There’s Federalist party chair Ben Feinstein, a quick-witted, conservative-minded double amputee who quickly learns the lay of the land and boosts fellow Federalist Eddy Conti to gubernatorial candidacy. Comparatively, Nationalist Steven Garza is more reserved but no less inspiring as a sincere progressive inspired by the likes of Beto O’Rourke and Bernie Sanders. Other Nationalists who rally behind Garza for governor are the eloquent and charismatic party chair René Otero and square-jawed rabble rouser Robert Macdougal.

What’s most fascinating about Boys State is how thoroughly it lays out the beauties and shortcomings of the American democratic process within the context of the current political climate. Though it’s explained early on that the Nationalists and Federalists needn’t adhere to any “guidelines” set by the existing Republican or Democratic parties, it doesn’t take long for the two groups to resemble their real-life counterparts. The testosterone-driven electorates are only slightly exaggerated cyphers for the actual crowds of rally-goers who express their approval or dismay in no uncertain terms. The process of watching the candidates feed off of their energy and change their political strategy accordingly is fascinating to behold.

Lest I make the movie sound like something only a polysci major would enjoy, it’s crucial to note that Boys State is a fun watch even if you favor the personalities over the politics. There is plenty of humor and tension as these strangers come together, try to figure each other out and build something meaningful in such a short amount of time. “I think he’s a fantastic politician,” Otero says of rival Feinstein. “But I don’t think a ‘fantastic politician’ is a compliment either,” he adds after a beat. As the film moved breathlessly to the climactic election night, I could not have been more captivated while waiting to hear the results, even knowing that they didn’t have any actual consequence on the real-life political landscape.

McBaine and Moss, the latter of whom headed up the terrific 2014 doc The Overnighters, weave together all of these public and private moments with both commendable sensitivity and spellbinding momentum. Since 1937, the Boys State program has produced scores of notable alumni from Dick Cheney to Bill Clinton and even film critic Roger Ebert. After seeing this movie, it’s difficult to imagine that ambitious figures like Feinstein and Otero won’t one day have political influence which matches that of the program’s biggest breakouts. Equal parts riveting and revealing, Boys State is a vision of American politics that distills our hopes and fears into one supremely entertaining package.

Score – 4.5/5

Also new to streaming this weekend:
Available on Netflix is Project Power, a New Orleans-set action movie starring Jamie Foxx and Joseph Gordon-Levitt about a pill that gives the taker superhuman abilities for five minutes.
Available on Disney+ is Magic Camp, a family comedy starring Adam DeVine and Jeffrey Tambor about a struggling magician who returns as a counselor to the camp he attended as a child.
Available on demand is Sputnik, a sci-fi horror film starring Oksana Akinshina and Fyodor Bondarchuk about the lone survivor of a space accident who is unknowingly harvesting an alien creature in his body.

Reprinted by permission of Whatzup

The new streaming service HBO Max scores their first big original feature with An American Pickle, a well-intentioned but largely inert comedy that can’t quite capitalize on its clever conceit. Adapted from the four-part New Yorker novella Sell Out, the movie is co-produced by childhood friends Seth Rogen and Evan Goldberg but it lacks the signature brand of raunchy humor that the duo solidified with hits like Superbad and This Is the End. Instead, director Brandon Trost vacillates between broad comedy and saccharine family drama within a stifling PG-13 framework.

Rogen does double duty as both Herschel and Ben Greenbaum, the former a struggling immigrant worker from the 1920s and the latter a meek app developer living in present day Brooklyn. Thanks to a bizarre accident involving a giant vat of pickles, Herschel’s body is preserved for a century and when a drone knocks the lid off of his containment tank, he awakens completely unchanged but in a world that has since passed him by. He then meets Ben, his great-grandson and only surviving relative, who initially welcomes the idea of acclimating Herschel to his new environment but quickly sours to his austere disposition.

The elevator pitch for An American Pickle boils down to a clear-cut fish out of water story, although perhaps “mensch out of brine” would be a bit more fitting in this case. It’s a fun premise, one that could juxtapose a previous generation’s concept of rugged physical labor with the millennial’s more techno-centric workplace, among other things. For some reason, screenwriter Simon Rich sends Herschel and Ben their separate ways early on for contrived reasons and pits them against each other for the majority of the story. This not only makes little sense from a dramatic perspective but also makes the humor more mean-spirited than it needs to be as Ben actively sabotages Herschel on multiple occasions.

Of course, I don’t have a problem with darker comedies; Rogen made quite a good one years ago with Observe and Report and he’s also flexed some impressive dramatic chops in films like Take This Waltz and Steve Jobs. Despite crafting two distinct roles with one requiring that he grow an uncomfortably long beard, Rogen just doesn’t seem to have the assistance that he needs here both on and off screen. Nearly every supporting player gets a maximum of 2 or 3 scenes with one of Rogen’s characters, which naturally doesn’t give them enough time to establish themselves within the story. Given that this is primarily a comedy, it would help if these side characters had funny lines to share but more often than not, they don’t.

The movie gets off on the right foot with a prologue setting up Herschel’s life in the fictional Eastern Europe town of Schlupsk, where a series of shovel-based sight gags amusingly sell our hero’s misfortune. Cinematographer John Guleserian gives these early moments a distinctive visual style, using a 4:3 ratio with a hazy edge of frame that recalls silent films from the era in which the scenes take place. It’s an ambitious place to start a Seth Rogen comedy but past that opening, the film is comparatively much more complacent. With aimless direction and a lackluster script, An American Pickle puts its star in quite the conundrum indeed.

Score – 2/5

Also new to streaming this weekend:
Available to rent on demand is She Dies Tomorrow, an arthouse horror film starring Kate Lyn Sheil and Jane Adams about a young woman whose existential dread manifests itself into a contagious disease.
Available on Netflix is Work It, a dance movie starring Sabrina Carpenter and Liza Koshy about a college freshman who enters a dance competition with a group of her fellow students.
Available to rent on demand is I Used To Go Here, a comedy starring Gillian Jacobs and Jemaine Clement about a writer who is asked to speak at her alma mater by her former professor.

Reprinted by permission of Whatzup

Based on the 1955 C. S. Forester novel The Good Shepherd, Greyhound stars Tom Hanks as Commander Ernest Krause, a steely World War II Navy captain leading up an Allied convoy through the treacherous “Black Pit” of the Atlantic Ocean. Surrounded on all sides by Nazi U-boats, Krause and the men aboard the USS Keeling are threatened day and night by enemy ships outside of their line of sight. We see the Battle of the Atlantic through the eyes of the intrepid US soldiers as they fend off the German fleets and courageously make their way to the ports of Liverpool.

This is hardly Hanks’ first involvement in a WWII project. As the lead in Spielberg’s Saving Private Ryan and executive producer for HBO miniseries Band of Brothers and The Pacific, he’s been behind some of the best depictions of the War on both the big and small screen. It’s strange, then, that he would come to the well once more for a film that’s so under the pedigree of his previous work. Hanks not only stars in the film but also translated Forester’s book into a screenplay that reads more like an instruction manual for how to steer a boat rather than a script for a feature film.

Ultimately, it’s Greyhound‘s strict adherence to accurate wartime jargon and seaman’s parlance that sinks it. Certainly realism and authenticity are qualities worth aspiring to but not at the expense of fleshed-out characters and compelling dialogue. Often times, it feels like Hanks threw naval buzzwords like “bearing”, “rudder” and “starboard” into a bingo cage, spun it around and penned the selections. Attempts at character development, like a miscalculated flashback to Krause’s love interest played by Elisabeth Shue, fall well short of what we need to emotionally invest in the largely nameless members of the crew. While the film’s impressive action sequences are all well-shot and tightly edited, they could just as easily appear in any other seabound war picture.

The direction by Aaron Schneider is so workmanlike, it makes Ron Howard seem quirky by comparison. Take away the opening and closing credit sequences and the film barely crosses the 80 minute mark. Each extended siege is solemnly bookended with fadeouts to title cards with the times and locations of the major portions of the mission. Even though Schneider has the ability to show us at least some of the enemy’s perspective, he locks his focus on the members of the Greyhound as the supposedly tense scenes of conflict boil down to Krause barking out commands and underlings scribbling down coordinates. Composer Blake Neely tries to juice things up with a predictably bombastic score but the film works best in the quieter moments, especially when one of the Nazi U-boat captains known as Grey Wolf taunts the Greyhound crew with antagonistic rhetoric via radio.

It’s not difficult to see what would draw Hanks to this role, as it’s squarely within his well-defined wheelhouse of All-American heroes like Captain Phillips and Captain Sully. While arguably no one does it better than he does, I’d like to see Hanks step a bit outside of his comfort zone more often at this stage in his career. Perhaps someone could take a crack at writing a believable antagonist role for arguably the most likable actor in Hollywood history. Even with a sturdy performance at the helm, Hanks’ star power alone isn’t enough to keep Greyhound afloat.

Score – 2/5

Reprinted by permission of Whatzup

As anyone who’s gone through months of quarantine (basically all of us, at this point) will tell you, it has a way of distorting one’s perception of time. With the removal of structured tasks like work and social outings, the “Blursday” phenomenon can make us feel that we’re living the same day over and over again with no end in sight. Given that so many of us can now relate to this purgatorial condition, it perhaps couldn’t be a better time for a time loop comedy like Palm Springs to come along and help us make sense of and maybe even make light of our “quarantine blues”. When Neon and Hulu struck a $17.5 million deal for the film at Sundance earlier this year, there’s no way they could have realized how apropos it would ultimately be upon its release.

Andy Samberg stars as Nyles, a seemingly carefree slacker whose loud Hawaiian shirt shouts “I don’t care” but disaffected disposition points to something a bit darker. “Today, yesterday, tomorrow — it’s all the same,” he murmurs blithely from a pizza-shaped pool float the morning of a Palm Springs wedding. It turns out, his words are more literal than it sounds, as Nyles has actually relived this exact day more times than he can remember. The twist on the Groundhog Day conceit comes in the form of maid of honor Sarah (Cristin Milioti), who becomes stuck in the perpetual time loop with Nyles after an unforeseen incident binds their fates. With nothing but time on their hands, the two work together to absolve themselves from their temporal dilemma.

Director Max Barbakow and screenwriter Andy Siara know they’re in familiar territory here but one of the many joys of watching Palm Springs is seeing how fresh a perspective the pair can graft onto this formula. By making a couple go through the broken record routine as opposed to one person alone, the film investigates the prospects of a romantic relationship in a time warp that continually resets. The story serves as a multi-faceted metaphor for monogamy, making literal the sentiment that two people can live forever in their own shared reality apart from the rest of the clueless world. In this way, the film reminded me often of all-time great Eternal Sunshine of the Spotless Mind in the way it explores how time interacts with romance in unexpectedly complicated ways.

While the performances in Palm Springs might not quite be up to the caliber of Carrey’s and Winslet’s in Spotless Mind, they’re not as far off as one may anticipate. Samberg starts off in familiar goofball territory but it doesn’t take long before he adds layers of anxiety and grief to really sell the experience of a man caught up in his distressing scenario. Milioti is even better as a sardonic match for Samberg’s wise-cracking Nyles as she slowly unpacks the stages of existential dread in the funniest way possible. Elsewhere, the always fantastic J.K. Simmons turns in another excellent supporting performance as a fellow wedding guest who adds even more wisdom and emotional intelligence to an uncommonly perceptive movie.

“Uncommonly perceptive” is not a descriptor I would have necessarily expected to apply to a product of The Lonely Island, the comedy trio Samberg created with two fellow SNL alums Akiva Schaffer and Jorma Taccone. The minds behind frivolous cult comedies like Hot Rod and MacGruber have seemingly matured enough to craft something this simultaneously thoughtful and hilarious. If you’re familiar with the trio’s brand of humor and come into the film with the understanding of how much pranking and mischief two people could get up to in this sci-fi synopsis, then you may have a picture of just how entertaining the film ultimately becomes. Palm Springs is a melancholy and mordantly funny meditation on what it means to grow together with someone in a world that seems doomed to repeat its past failures.

Score – 4.5/5

Also streaming this weekend:
Available on Apple+ is Greyhound, a war movie starring Tom Hanks and Stephen Graham about an inexperienced U.S. Navy captain whose Allied convoy is being pursued by a fleet of Nazi U-boats.
Available on demand is First Cow, an indie drama from writer/director Kelly Reichardt starring John Magaro and Toby Jones about a cook who travels with fur trappers to 19th century Oregon.
Available on Netflix is The Old Guard, a superhero film starring Charlize Theron and KiKi Layne about a group of centuries-old immortal mercenaries who are suddenly exposed and must fight to keep their identity a secret.

Reprinted by permission of Whatzup