by Josh Sewell
Kneecap
(Rated R for pervasive drug content and language, sexual content/nudity and some violence. Opens in select theaters on August 2.)
The premise: In this Irish biopic about the origins of hip-hop act Kneecap, the three members play themselves. When fate brings Belfast schoolteacher JJ into the complicated lives of Naoise and Liam Og, they form an unlikely trio. Rapping in their native Irish language, they unintentionally become key figures in a grassroots movement to save their mother tongue from extinction. Along the way, they clash with police, gangs and politicians trying to silence them.
The verdict: I know almost nothing about Irish hip-hop and even less about the region’s volatile politics, but Kneecap has such an endearing personality that the group’s patriotism shines through. The film might be a never-ending stream of sex, drugs and raunchy humor, but underneath all that is a heartfelt message about remembering where you came from.
It hits most of the usual biopic beats, but director Rich Peppiatt keeps things from feeling too stale thanks to some visually creative storytelling combined with Chris Gill and Julian Ulrichs’ frenetic editing.
As for performances, the leads don’t have to stretch too much considering they’re playing heightened versions of themselves. But – like Eminem in the excellent 8 Mile – they’re surprisingly strong actors considering it’s not their day job. Granted, they get a massive assist from fellow Irishman Michael Fassbender, excellent in a handful of scenes as Naoise’s father.
Grade: B
Ghostlight
(Rated R for language. Now available on VOD and Digital.)
The premise: When unhappy construction worker Dan (Keith Kupferer) inadvertently finds himself cast in a local theater’s production of Romeo and Juliet, the experience transforms his relationship with his wife (Tara Mallen) and daughter (Katherine Mallen Kupferer). As Dan starts to feel more at home in his new community, the onstage drama helps his family work through a recent tragedy.
The verdict: Because it’s such an intimate story about wounded people, Ghostlight is a slow burn. The first half takes its time establishing Dan’s world, how he mostly sleepwalks through life and the tension in his home.
However, the work that writer Kelly O’Sullivan (who co-directed with Alex Thompson) puts in to make audiences understand the characters’ day-to-day existence allows its poignant conclusion to feel earned rather than trite. The story has a couple of too-neat coincidences along the way, but the world seems so real and lived-in that it makes them easy to overlook.
Still, the performances from the real-life husband, wife and daughter team at the heart of the story make the film a must-see. Because the actors are already comfortable around one another, it allows their characters to go to some dark, painful places and make it feel real. Conversely, when they eventually have breakthrough moments that hint at possible healing down the road, they seem authentic rather than dictated by the script.
Simply put, Ghostlight is one of the year’s best films and a strong contender for my Top 10 in December. It’s not always an easy watch, but it rewards patient viewers.
Grade: A
Hundreds of Beavers
(Rated TV-PG. Now available on VOD and Digital.)
The premise: In this microbudget slapstick comedy – which is black-and-white and nearly free of dialogue – booze salesman Jean Kayak (Ryland Brickson Cole Tews) finds himself trapped in a barren winter landscape with almost no survival skills. Up against unforgiving weather and sinister creatures (played by actors in mascot costumes), he must adapt fast if he is going to survive and win the love of his beautiful crush (Olivia Graves).
The verdict: Co-written by Tews and Mike Cheslik (who also makes his feature directorial debut), this funny, clever and insanely creative project combines the manic energy of Keystone Cops films, classic Looney Tunes shorts and old-school arcade games. Hundreds of Beavers became a sensation on the festival circuit over the last couple of years thanks to its goofy sense of humor and Cheslik’s ability to make the $150,000 film look much more expensive.
It helps that Tews is a gifted physical comedian with an innate ability to communicate exactly what his character is thinking purely through facial expressions and body language. The flick comes close to wearing out its welcome (it’s probably about 20 minutes too long), but it finishes strong and is peppered with some brilliant running gags along the way to keep viewers’ attention from waning completely.
Grade: B+
Home Entertainment Spotlight
Sting
(Rated R for violent content, bloody images and language. Now available on Blu-ray, DVD and VOD.)
After her pet spider rapidly transforms into a giant flesh-eating monster, a young girl (Alyla Browne) must fight for her life – and her family’s survival in this creature feature. Written and directed by Kiah Roache-Turner, with special effects by the Oscar-winning Weta Workshop, the film co-stars Penelope Mitchell, Ryan Corr and Jermaine Fowler. Bonus content includes three behind-the-scenes featurettes.
(Rated R for pervasive drug content and language, sexual content/nudity and some violence. Opens in select theaters on August 2.)
The premise: In this Irish biopic about the origins of hip-hop act Kneecap, the three members play themselves. When fate brings Belfast schoolteacher JJ into the complicated lives of Naoise and Liam Og, they form an unlikely trio. Rapping in their native Irish language, they unintentionally become key figures in a grassroots movement to save their mother tongue from extinction. Along the way, they clash with police, gangs and politicians trying to silence them.
The verdict: I know almost nothing about Irish hip-hop and even less about the region’s volatile politics, but Kneecap has such an endearing personality that the group’s patriotism shines through. The film might be a never-ending stream of sex, drugs and raunchy humor, but underneath all that is a heartfelt message about remembering where you came from.
It hits most of the usual biopic beats, but director Rich Peppiatt keeps things from feeling too stale thanks to some visually creative storytelling combined with Chris Gill and Julian Ulrichs’ frenetic editing.
As for performances, the leads don’t have to stretch too much considering they’re playing heightened versions of themselves. But – like Eminem in the excellent 8 Mile – they’re surprisingly strong actors considering it’s not their day job. Granted, they get a massive assist from fellow Irishman Michael Fassbender, excellent in a handful of scenes as Naoise’s father.
Grade: B
(Rated R for language. Now available on VOD and Digital.)
The premise: When unhappy construction worker Dan (Keith Kupferer) inadvertently finds himself cast in a local theater’s production of Romeo and Juliet, the experience transforms his relationship with his wife (Tara Mallen) and daughter (Katherine Mallen Kupferer). As Dan starts to feel more at home in his new community, the onstage drama helps his family work through a recent tragedy.
The verdict: Because it’s such an intimate story about wounded people, Ghostlight is a slow burn. The first half takes its time establishing Dan’s world, how he mostly sleepwalks through life and the tension in his home.
However, the work that writer Kelly O’Sullivan (who co-directed with Alex Thompson) puts in to make audiences understand the characters’ day-to-day existence allows its poignant conclusion to feel earned rather than trite. The story has a couple of too-neat coincidences along the way, but the world seems so real and lived-in that it makes them easy to overlook.
Still, the performances from the real-life husband, wife and daughter team at the heart of the story make the film a must-see. Because the actors are already comfortable around one another, it allows their characters to go to some dark, painful places and make it feel real. Conversely, when they eventually have breakthrough moments that hint at possible healing down the road, they seem authentic rather than dictated by the script.
Simply put, Ghostlight is one of the year’s best films and a strong contender for my Top 10 in December. It’s not always an easy watch, but it rewards patient viewers.
Grade: A
(Rated TV-PG. Now available on VOD and Digital.)
The premise: In this microbudget slapstick comedy – which is black-and-white and nearly free of dialogue – booze salesman Jean Kayak (Ryland Brickson Cole Tews) finds himself trapped in a barren winter landscape with almost no survival skills. Up against unforgiving weather and sinister creatures (played by actors in mascot costumes), he must adapt fast if he is going to survive and win the love of his beautiful crush (Olivia Graves).
The verdict: Co-written by Tews and Mike Cheslik (who also makes his feature directorial debut), this funny, clever and insanely creative project combines the manic energy of Keystone Cops films, classic Looney Tunes shorts and old-school arcade games. Hundreds of Beavers became a sensation on the festival circuit over the last couple of years thanks to its goofy sense of humor and Cheslik’s ability to make the $150,000 film look much more expensive.
It helps that Tews is a gifted physical comedian with an innate ability to communicate exactly what his character is thinking purely through facial expressions and body language. The flick comes close to wearing out its welcome (it’s probably about 20 minutes too long), but it finishes strong and is peppered with some brilliant running gags along the way to keep viewers’ attention from waning completely.
Grade: B+
Home Entertainment Spotlight
(Rated R for violent content, bloody images and language. Now available on Blu-ray, DVD and VOD.)
After her pet spider rapidly transforms into a giant flesh-eating monster, a young girl (Alyla Browne) must fight for her life – and her family’s survival in this creature feature. Written and directed by Kiah Roache-Turner, with special effects by the Oscar-winning Weta Workshop, the film co-stars Penelope Mitchell, Ryan Corr and Jermaine Fowler. Bonus content includes three behind-the-scenes featurettes.
Reach out to Josh Sewell at joshsewell81@gmail.com
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