'The Peanut Butter Falcon' Review

Synopsis: Zak, a young man with Down syndrome, runs away from a residential nursing home to follow his dream of attending the professional wrestling school of his idol, The Salt Water Redneck. A strange turn of events pairs him on the road with Tyler, a small-time outlaw on the run, who becomes Zak's unlikely coach and ally.

Runtime: 97 minutes

MPAA Rating: PG-13 (for thematic content, language throughout, some violence and smoking)

Who should see it? Those in the mood for a pleasant feel-good film.

The Peanut Butter Falcon serves as a feature debut for writer-directors Tyler Nilson and Michael Schwartz following their collaborations on various shorts and documentaries. The duo excels spinning a modern Mark Twain yarn for their first feature though, which will quickly charm you into submission. This buddy-road adventure earns a lot of goodwill from the dynamite pairing of Zack Gottsagen and Shia LaBeouf, as the two actors pal around en route to their respective destinations. Though casting a special needs actor for the lead role is positive in the interests of realism and onscreen representation, this choice could have gone awry. An insensitive script or uncertain direction could have easily compromised the endeavor, but fortunately, the filmmakers offer a mature perspective of Zak and his disorder.

Nilson and Schwartz recognize the unconscious bias through which society perceives individuals with Down Syndrome and acknowledge this most explicitly in a key scene. Tyler doesn't talk down to Zak or treat him differently than he would anyone else. However, not everyone they encounter on their journey offers Zak the same courtesy. This further translates into the making of the film itself as Nilson and Schwartz don't ask any less of Gottsagen than they would another actor cast in the role. Compared to his costars, he endures challenges of equal measure and proves up to the task. For a first-time performer, Zack Gottsagen is exceptional, regardless of his disorder. In the role, Gottsagen demonstrates an authentic assuredness and insecurity in Zak's high and low moments. To top it all off, he really sells the happy-go-lucky attitude. As I've already alluded, his rapport with LaBeouf is especially charming.

All the while, Shia LaBeouf and Dakota Johnson lend sturdy supporting turns. LaBeouf draws a lot from Tyler's particularly troubled past, articulating profound despair in his reflection and a spark of joy in the lighter moments. Rounding out the core trio, Johnson imbues Eleanor with benevolent motherly qualities as well as a determined spirit. 

The narrative's not without its fair share of coincidences. Characters conveniently find each other, and the antagonists are thinly sketched, but none of that undermines this wholesome tale of friendship and family. As the title suggests, The Peanut Butter Falcon is an unusually endearing endeavor which flies in spite of peanut butter-matted wings. 

Film Assessment: B+

'Suspiria' (2018) Review

Young American dancer Susie Bannion arrives in 1970s Berlin to audition for the world-renowned Helena Markos Dance Co. When she vaults to the role of lead dancer, the woman she replaces breaks down and accuses the company's female directors of witchcraft. Meanwhile, an inquisitive psychotherapist and a member of the troupe uncover dark and sinister secrets as they probe the depths of the studio's hidden underground chambers.

Directed by Luca Guadagnino, Suspiria is a remake of the 1977 film which is widely considered a classic among the horror community (I've never seen the original, so I can't really compare the two or offer my own thoughts). If there's one thing that I'm certain of though, it's that Suspiria will likely be one of the more polarizing films to be released this year. Frankly, I'm surprised it still has a fresh audience score on Rotten Tomatoes (currently at 72%). I say that because I consider Suspiria to be arthouse horror and general audience members tend to hate those sorts of films. I, myself, am even conflicted on the film and will be the first to admit that it just wasn't for me, similarly to last year's mother!.

Like mother!, Suspiria wavers between being meandering and bloodcurdling. Similarly to how I felt about mother!, I respected its craft but was unable to invest myself in the story due to the cold, composed characterization. An opening title card informs the viewer that the film contains "six acts and an epilogue set in divided Berlin," but I'll go ahead and let you know the sixth act is a blood-thirsty fever dream. If that sounds up your alley, then by all means, go see Suspiria if it's playing near you. Otherwise, I'd stay as far away as possible because it's very long and relentlessly violent.

My biggest knock against Suspiria aside from its cold characterization would be that its two and a half hour long runtime was quite excessive. If you're immersed in the film's atmosphere, this probably won't be an issue, but I found myself bored during many of the dialogue and dance sequences, then mortified for the remainder. Otherwise, it's competently made and features an exceptional ensemble. The cinematography and score are entrancing while the hair and makeup work is extraordinary to say the least, allowing Tilda Swinton to camouflage herself and embody three different roles. I was just unengaged with the story unfolding and deeply disturbed by much of the unsettling imagery.

Though I found Suspiria to be mostly aimless, even I'll admit that the cast did an excellent job all around. Dakota Johnson, Mia Goth, and Tilda Swinton were stand-outs in particular, but the cascade of supporting actresses did a fine job as well. Really, I didn't hate this film so much as I was repeatedly repelled by it. If it's any consolation, I'm astounded that this came from the director of Call Me By Your Name and my objective score would be a bit higher.

If you're into gore, guts, and grotesque body contortion, then this just might be the movie for you! As the official Suspiria Twitter account likes to boast, "Suspiria is fun for the whole family!" (in all seriousness though, don't subject children to this film unless you intend to punish them or you never want them to sleep again).

Film Assessment: C-

'Bad Times at the El Royale' Review

Seven strangers, each with a secret to bury, meet at Lake Tahoe's El Royale, a rundown hotel with a dark past. Over the course of one fateful night, everyone will have a last shot at redemption before everything goes to hell. 

Bad Times at the El Royale is the second feature film to be written and directed by Drew Goddard following The Cabin in the Woods. In the vein of a Tarantino film, Bad Times at the El Royale is a crime thriller with a stylish retro aesthetic and plenty of pulp to spare. However, non-chronological storytelling is the one Tarantino trademark which ultimately restrains the narrative flow of Bad Times. Goddard's assembled a star-studded ensemble of eccentric personalities, so you're invested in uncovering their backstory, but Goddard often does so at the expense of the moment - frequently inserting flashbacks in the midst of a tense scene to stretch out the runtime and deflate the suspense.

This is by design, but you can't help but wonder if this story would have been better paced if told differently. While this approach undoubtedly uncovers the layered nature of this collection of characters, the trade-off seems geared towards enhancing subsequent viewings. Otherwise, the story's got plenty of exciting twists and turns that will surely maintain your attention while the cinematography, camera-work, production design, soundtrack, and score are all aces!

Meanwhile, the film's main draw is its all-star cast, and they each deliver in spades. Between the likes of Jeff Bridges, Cynthia Erivo, Dakota Johnson, Jon Hamm, Cailee Spaeny, Lewis Pullman, and Chris Hemsworth, a wide variety of seedy types interact with one another and their layered dynamic proves to be the pinnacle of this pulpy mystery. While the entire cast fires on all cylinders, I'd declare Bridges, Erivo, Pullman, and Hemsworth as the stand-outs.

In spite of some pacing problems, Bad Times at the El Royale upends its namesake. Whatever you do, don't let the title fool you. You're sure to have a good time if you book a two-and-a-half hour stay at the El Royale! 

Film Assessment: B