Director: Kyle Hausmann-Stokes
Writers: Kyle Hausmann-Stokes, Cherish Chen, A.J. Bermudez
Stars: Sonequa Martin-Green, Natalie Morales, Ed Harris

Synopsis: Engaged in a mysterious relationship with her dead best friend from the Army, a female Afghanistan veteran comes head to head with her Vietnam vet grandfather at the family’s ancestral lake house.

Seeking help for your mental health is still stigmatized. It’s seen by the world outside that you’re not normal or that you have something wrong with you. It’s especially hard when people you love aren’t supportive of the journey. People deny themselves guidance and help because they can’t admit that there’s something wrong. It may not even be a big thing, but it can turn into one if not dealt with.

That’s the situation in which we meet Merit (Sonequa Martin-Green). She’s a former soldier, returned from Afghanistan, in group therapy because of a court order after a negligent incident at work. Her friend, Zoe (Natalie Morales), is with her as well, but we learn quickly she is only present for Merit because she’s dead.

The reason why Zoe’s dead is built up throughout the film, and when pieces begin to fall into place, we think we know what happened. We make an assumption based on limited facts and it’s not until Merit finally comes to terms with what caused her to be haunted by Zoe, that we understand. Writers Kyle Hausmann-Stokes, Cherish Chen, and A.J. Bermudez zig when we think they’ll zag and catch us dropping our smug look when the devastating truth about Zoe’s death is revealed. It’s a script that challenges our notions about soldiers and challenges our perceptions of what life was like for soldiers deployed to Iraq and Afghanistan.

There is a beauty to the structure of My Dead Friend Zoe. Credit for that has to go to director Hausmann-Stokes and editor Ali Greer crafting the visual look of the film like a person’s memory. As Merit self medicates by running punishing distances, snippets of her life with Zoe flit in. These inserts aren’t plot, but a glimpse of how Merit saw the friend she loved. The flashbacks feel like Merit has been holding herself back from remembering everything. They’re placed in an order that builds the tension, but refuses to reveal more than we need in any given piece. Later, as Merit has her panic attacks, the sound and speed of the images are chaotic and disjointed as Merit tries to suppress them from the forefront of her mind.

However, the technical wizardry wouldn’t work if the core friendship didn’t have great chemistry.  Martin-Green and Morales feel so comfortable with each other. Merit and Zoe’s friendship is the kind of friendship that’s more like family. The two of them are great at the goofy rapport with Martin-Green as the straight man and Morales as the loose cannon. They are even better in the hard scenes, the memories Merit is attempting to suppress. There’s a deep sadness to these moments, but it’s more for the memories of our own friends who have left us in one way or another. This relationship feels so real and lived in. Sonequa Martin-Green and Natalie Morales are absolutely perfect in these roles.

If there is fault with My Dead Friend Zoe it’s that its plot drags a little once the Alzheimer’s subplot is in full swing. Ed Harris is as good as he always is as Dale, but it feels a little like something tacked on. Merit could have been escaping to escape, but instead she’s escaping to a larger problem that helps the resolution, but only just. It might have been better if Dale was more of a voice for mental health. He, as the one family member that Merit looks up to the most, could have been a guiding light rather than another echo chamber like Zoe trying to tell Merit to get over it.

My Dead Friend Zoe is a terrifically funny and very thought provoking film. It isn’t one that will leave you easily and you won’t want it to. The leads are terrific and the script is very well written. It will make you want to call a friend you haven’t heard from in a while just to reminisce about what made you friends in the first place.

Grade: A

Director: Ash Avildsen
Writers: Ash Avildsen, Jeff Leen, Alston Ramsay
Stars: Emily Bett Rickards, Josh Lucas, Tyler Posey

Synopsis: In a time when pro wrestling for women was illegal all over the United States, a small town single mother embraces the danger as she dominates America’s most masculine sport and becomes the first million dollar female athlete in history.

Sports films, without a doubt, inspire audiences in ways that other genre films simply don’t. Whether they are epic underdog stories about breaking out of poverty or smashing the glass ceiling of gender norms, their ability to uplift us knows no limits. It’s no different for Ash Avildsen’s film Queen of the Ring, which recounts the triumphant life of Mildred Burke, America’s first million-dollar female athlete. A true display of the American Dream through the formidable elegance of a woman who isn’t afraid to take up space.

Queen of the Ring rolls the clock back to 1930s America, when Mildred Bliss, later known as Mildred Burke (Emily Bett Rickards), has dreams to make her life more than what it is. A single mother born of a single mother seeks to break into the world of wrestling after attending a show with said mother, Bertha (Cara Buono). Among the crowd of mostly men, Mildred’s eyes beam with excitement, stoking a fire inside of her that would burn for years to come. From the moment the match starts to its conclusion, Mildred knows that the ring is where she’s meant to be. Sitting in front of the two women is G. Bill Wolfe (Tyler Posey), who would go on to introduce Mildred to the man who would help make her dreams of becoming a wrestler a reality, his father, Billy Wolfe (Josh Lucas).

During this time in American history, it was illegal in parts of the country for women to wrestle one another, and a risk for trainers to take any on. After Mildred proves herself to Billy by taking out a man in the ring, he agrees to train her. As their professional relationship builds, so does their personal one, and it’s not a healthy environment, whatsoever. Mildred begins to dominate in the ring making money, but, more importantly, also starts making a name for herself. As she builds her career, she knows that to secure her wealth for herself and her son she must hold Billy to a promise he made to her, and marry her. As the couple grows further apart, the roster of female wrestlers grows, putting Mildred up against odds only a woman could face.

Avildsen has the tough job of bringing an athlete to the screen that unfortunately never received the recognition she deserved. Adapting the book of the same name by Jeff Lean, there are undoubtedly moments of Mildred’s life that will get lost within the wider cinematic story. What Avildsen does well in this film is not shying away from Mildred’s struggles, especially when it comes to gender-specific problems. These include marrying a man you don’t want to in order to have a stake in the business you built, or breaking the cycles of abuse, even when it feels impossible. There are plenty of social issues that are touched on, but also plenty of room for the showmanship and physicality of the sport to still have its time to shine.

Where Queen of the Ring truly makes its impact is with the film’s leading performances. Rickards makes it glaringly obvious that she was dedicated to this role; her physical performance alone makes this film worth watching. She fully transforms into her role as Mildred, capturing her fiery passion for her sport and the dominating force she is in the ring. Paired with her on-screen slime ball husband, Lucas plays Billy almost too well; his charm pulls you in, ignoring all his red flags. Their chemistry is what pushes the film along in its slower moments. The supporting cast has solid work from rival promoter, Jack Pfefer (Walton Goggins), and wrestling maven Gladys Gillem (Deborah Ann Woll), but their presence is short-lived and often overshadowed by some rather lackluster work from Posey, Buono, and Adam Demos as Gorgeous George.

The film makes sure to incorporate real female professional wrestlers, so if you are a pro wrestling fan, there will be more than a few faces to keep an eye out for. It’s striking to see so many muscular women on screen together, sharing the screen instead of competing for a spot. Kamille, Toni Storm, Trinity Fatu, Britt Baker, and more all command the screen in Queen of the Ring, showing off their physical abilities as the art form it is. Their inclusion in the film showcases how Mildred’s story transcends generations, how far female wrestling has come, and where it still can go. The stunt work with Rickards is mesmerizing; paired with the hazy glow of the ring lights, their work feels like a ballet routine that just so happens to be surrounded by ring ropes.

Mildred’s characterization in Queen of the Ring is mostly captivating, and she’s incredibly easy to root for. She’s young, beautiful, and a hard working single mother. Her path is a dangerous one, as she continuously places her body on the line for a job that is illegal for her to have. As her career grows, so does her amount of supporters; the film makes it a point to mention that she is a hero to everyone. The film falters in its pacing with telling Mildred’s story; many impactful moments later in the film feel like a “blink and you’ll miss it” scenario. The film lingers on more high-spirited in-the-ring fights, which makes for an entertaining film but leaves the more real elements of Mildred undiscovered.

The film works best when Mildred is in the ring grappling and sparring with whoever is unlucky enough to be her opponent. Visually, the film excels in this regard too, with cinematographer Andrew Strahorn capturing the glow and glamour of the squared circle showcasing the period seemingly effortlessly. Whether getting ready in the brightly lit beauty mirrors showing the drama behind the scenes, or the chaos in the ring while popping bones back into place, Strahorn’s work does a lot of heavy lifting. Unfortunately, it can only lift so much while Queen of the Ring packs one too many needle drops of modern rock covers that do not blend well with the film or its visuals at all.

Overall, Queen of the Ring is a story that is needed right now, as it shows the lengths those who are marginalized must go to be seen and heard. While the film suffers from its minor issues, its strong leading performances and dedication to the message are more than worth the price of admission.

Grade: B

Director: Paul Dektor
Writers: Theodore Melfi, Christopher Wehner
Stars: Peter Dinklage, Shirley MacLaine, Kimberly Quinn

Synopsis: Phil’s a dreamer. Most dreams don’t come true. Phil hates that. But that’s not going to stop Phil from dreaming.

The concept of the American Dream is a goal chased by many film protagonists. It’s a way for the audience to connect with a character. We’ve all chased this concept in some form or another. It could be entrepreneurship, a scientific breakthrough, athleticism, or some other form of amassing fame and wealth. What makes Phil (Peter Dinklage) different from the audience is that, as an economics professor, he knows that wealth is relative and assets are the key to real financial power.

It’s a very 1770s concept of the American Dream. If you own some land or property, you have the power. Phil believes that if he can somehow buy a house, things will start looking up for him. He wants to use an industrial sealant on the paper cut of his issues. This is where the film should keep its focus. Phil’s struggles with the concept of not coming close to affording a house. It’s a problem that many of us face because, unlike our parents, our first salaries didn’t afford us even the possibility of a down payment on a house. Yet, the script pulls a few threads and becomes a bit tangled.

Screenwriter Theodore Melfi and screen story creator Christopher Wehner throw a lot of ideas at the wall and try to make them all stick. In addition to his passion for economics, Phil is also an aspiring novelist. He’s a cliché in that when grad student Claire (Michelle Mylett) gushes over his paper, the two of them start a relationship. He starts another affair with Maggie (Kimberly Quinn) who is attempting to get him to back out of his deal with Astrid (Shirley MacLaine) because Maggie believes Phil’s scamming Astrid. These threads do resolve, but it’s almost like the writers tried to tell the story from a few different angles and decided on everything instead of sticking with one idea.

There are many scenes that don’t quite work, mainly because they haven’t been earned with enough set up. The end of the film especially doesn’t earn the big hearted wrap-up. It’s likely because there are too many ideas at play to really get emotionally involved with Phil or his problems. While we understand why he unravels, we don’t understand how he’s going to continue after becoming whole. Though, these problems don’t matter because the film, in spite of itself, is entirely watchable.

It feels like a dramedy from the late ’90s or early 2000s. Something mid-budget that would star two top actors at the time, or at least a commanding star presence on either side of the gender divide. It’s your basic package that feels cozy and lived in. It doesn’t do anything fancy or flashy, but moves forward pleasantly even with a prickly hero because we know he has a dream and a heart that can grow.

That coziness is thanks to the always curmudgeonly, but loveable Peter Dinklage. He’s an actor with the presence to make an uninteresting man into an intriguing one. He’s completely in command of this character like it’s one he has in his back pocket at all times. He’s played every kind of character one can, but it’s the simple ones like Phil that remind you how good he is. He can make anything more watchable.

All in all, American Dreamer has its moments. It’s not quite the next great film you’re going to watch, but if you want something to relax into that might suck you in in spite of yourself, American Dreamer is the one. There are much worse ways to spend 98 minutes.

Grade: C

Director: Alex Parkinson
Writers: Mitchell LaFortune, Alex Parkinson, David Brooks
Stars: Woody Harrelson, Simu Liu, Finn Cole

Synopsis: A true story that follows seasoned deep-sea divers as they battle the raging elements to rescue their crew mate trapped hundreds of feet below the ocean’s surface.

A film about a profession the vast majority of us know nothing about can be jargon heavy. Things like saturation diving, being able to work at extreme depths for longer periods, or DPO, dynamic positioning officer. There are lots of new words or familiar words with strange new meanings. Films like this get bogged down and lose some humanity, but there is something different about Last Breath. This film keeps its heart amongst the new environment we’re thrust into.

The story is about the divers in harm’s way, first and foremost. It helps that director and co-writer Alex Parkinson co-directed and wrote a documentary feature, that shares a title with this feature, that also covers this true story. He has first-hand knowledge of these people and while many interactions have been dramatized (as well as personal details change), the heart of the story beats because it has real people and their interviews behind it.

Writers Mitchell LaFortune, David Brooks, and Parkinson also stray from some of the tropes that are common to tough guys in tough jobs films. The hard edged veteran, Dave (Simu Liu), is serious and seemingly emotionless. Many other characters in the first scenes call him “The Vulcan,” like the logical Mr. Spock from the “Star Trek” franchise. Unlike a typical tough guy, though, Dave’s toughness comes from a genuine place of safety. He doesn’t want Chris (Finn Cole) thinking of his fiance, not because he’s mean, but because he’s in an extremely dangerous situation and needs the only other person down there with him to watch his back. Simu Liu is getting good at playing this type of character in these types of manly tearjerkers. See his work in last year’s Arthur the King. It’s a shame the rest of the plot, even if true, is too easily predictable.

Most of the rest of the story follows the pattern of similar stories. It’s a pretty boilerplate drama. There is tension and it gets your heart pumping, but there is a nagging feeling in the back of your head. There is a character’s life at stake and as the helpless crew in the ship and the helpless Duncan (Woody Harrelson) in the underwater diving bell waiting to pull his divers to safety, are tense, it never feels like it will surprise. Even as the climax occurs, there’s a sheen of predictability that never quite wears off. The falling action stalls and the climax plateaus for far too long. Last Breath was only ever going to end one way and, at a certain point, you wish the filmmakers would just get on with it.

Though, while you wait for something truly surprising to happen, you can marvel at the images of the environment. If more than a modicum of CGI was used, the effect was seamless. Parkinson and cinematographer Nick Remy Matthews captured some terrific underwater action that looks very practical and keeps the reality of the moment. Connecting those visuals with the incredible sound by mixer Aleksandar Bundalo and editor Archie Lamont creates a tremendous impact. There is a scene where the diving bell impacts the metal of the underwater manifold and the sound makes you jump and makes your teeth hurt simultaneously. Everything underwater was truly stunning.

A film like Last Breath isn’t setting out to reinvent cinema or to splash us with a great deal of melodrama. It sets out to tell a true story well and to make us empathize with a group of people that do the dirty work of keeping the houses of Europe supplied with heat. It’s an interesting story if a bit predictable. Last Breath is a film that reminds you that, as much as it sucks to sit and stare at TPS reports all day, at least you don’t have to risk your neck for a faceless natural gas company who doesn’t want to spend the money on robotics research and development that could prevent anyone from having to risk their life like this.

Grade: C

Director: Joshua Woodcock
Writers: Joshua Woodcock
Stars: Reza Emamiyeh, Tokiko Kitagawa

Synopsis: Betrayal spawns an unexpected night through the streets of Tokyo for two strangers left questioning the meaning of life and love.

Is romance going out of style? This was the first thought I had while watching One Night in Tokyo, the latest film from director Joshua Woodcock about identity, loneliness, and communication in fast-paced, modern cities. In this film, Japan is the background to Sam’s (Reza Emamiyeh) loneliness as he is ditched by his girlfriend when he sets foot in a country he knows nothing about,Tokyo to be precise. Sam then goes to pick up his friend’s girlfriend, Ayaka (Tokiko Kitagawa), the polar opposite of him, and as they navigate the ever-bustling city together, something changes as they navigate one another rather than the city itself.

The intimacy and the coziness of the film will strike a chord with many modern viewers. As it is available now on VOD and digital, it’s not simply a Valentine’s Day special, but a reflective film on the state of modern dating, specifically finding and losing love in overactive cities. While Sam may not seem as relatable, Ayaka has that modern girl vibe about her that makes her both a compelling and an interesting character to follow. Both Kitagawa and Emamiyeh do a great job of portraying the nuances and complexities of their characters, though. Emamiyeh plays more on the internal, his reactions are held back and his emotions are restrained. It suits the character; the lonely, “nice guy” traveling to a foreign country only to have his heart crushed by his mean girlfriend. Kitagawa plays the vibrant local. She embodies the free spirit of someone navigating their own city with confidence and jubilance until she meets a grim surprise, and even her reaction is more externalized, her anger palpable and visible. It’s evident how the off-screen harmony has seeped into the on-screen magic and the result is two characters that viewers slowly warm up to their presence, just as they find themselves time after time.

Films about lonely people falling in and out of love in busy cities are not new. We’ve all had our In The Mood For Love, Past Lives, and Paris, Texas moments. So does this premise work here? The answer is complex. For starters, One Night in Tokyo is its own demon, it operates on its set of rules and filmworld logic. But it feels trapped in the same realm that other films from that particular subgenre, lonely lovers meet in busy towns, without adding any unique angle or spark of its own. There is, of course, the keen interest that Woodcock gives to the Japanese cast, and the emphasis on the agency of the female Japanese character so that it’s not all a White man’s quest in the big, orientalist Western version of a country. It’s not two White people loving one another while the foreign country works as a background to the emotional shared experience like in Lost in Translation. 

Simple creativity within a formulaic genre does not a great film make, and Woodcock smartly sticks to all the proper elements of making a similar story about well-established themes without veering into innovation that may strip the film of its rightful place in said category. This may take from the surprise element that one may secretly desire tuning into a film like that, but it also creates the proper ambience, especially given how the two attractive actors take the script and turn it into a proper, casual dialogue between two lonely people sitting in a bar.

In this feature, both Sam and Ayaka retain their agency, and have a command of their situation. Their connection is mutually held by their clinging to their linguistic otherness from one another, Sam’s English to Ayaka’s Japanese. The most important scene of the film unfolds into two lonely people in a bar, rambling to themselves while no one understands the other, and their language barrier stands between them like a mountain of misunderstandings. It is only when Sam decides to use a phone application for voice translation, that the walls between them start melting, and their barriers shake as they realize how more in common they are rather than different.

One Night in Tokyo is a subtle reassuring comfort movie, a too-slow burn at times, but the chemistry between the leads is highly rewarding.

Grade: B-