One Movie Punch

Episode 746 - The Report (2019)

Hi everyone! It’s been a minute, hasn’t it? I’m back today with this special episode, covering a film that I saw just before the stay-at-home orders were issued in California for the current pandemic. It’s going to be an extended episode, with an update on things here at One Movie Punch, my review of THE REPORT entangled with an essay on how the pandemic has affected the film industry in the short term and the long term, and for those that stick around afterwards, a fun audio drama to tide you over during the extended absence. We last left you with our review of LETO back on March 14th, which feels like forever ago, and like yesterday. I had been following the news regarding the Coronavirus, and lamenting how little was being done to contain it, when things began to snowball in New York and New Jersey. Folks were already hoarding food, water, and apparently toilet paper. I remember standing in line, prior to social distancing and masks, listening to someone calmly argue with anyone willing to listen that this was all a hoax, even while dropping three months of food into their cart. I can still remember wondering if anyone around me had it, and if I was going to die, and when I got back to the house that day, I let the team know they could put their pending reviews on permanent hiatus. There was supposed to be a break anyway. I had a Patreon episode planned out that was announcing a three month break for the podcast so I could concentrate on two major projects: First, our website needs a massive update, and every episode we publish makes that task grow ever larger. We know folks can’t find much on our website right now, and we want to change that, while changing hosts. Second, as our team continues to grow, we need a better back-end system to manage our content. I needed some time to work on these projects, and couldn’t do that keeping a daily podcast going on. You’d think that with the pandemic, and the initial stay-at-home orders, that this would have been a slam dunk. Unfortunately, it was anything but that. I spent the first two weeks at home in a downward spiral, one driven by anxiety over whether I had contracted the virus standing in line, and amplified by the depression which followed each anxiety attack. The only way I could get it under control was to occupy myself, which I did by playing “The Witcher III: The Wild Hunt”. We felt reasonably safe after the first two weeks, but rationality doesn’t do much for anxiety and depression once it gets going. It wasn’t until about five weeks later (and completing “The Witcher III: The Wild Hunt”) that I came out of my spiral. Distance learning was limping along for One Movie Spouse and One Movie Spawn, and I decided to get to work with all the free time I had, spending more time reading and exercising, and more importantly to you all, spending four to six hours a day taking online training classes for SQL Server and C#, and building a custom application to help automate our process on the back end. I was making great progress, which came to a screeching halt as our plans were being developed for returning students (and teachers) to school. I was already behind schedule a little bit, and pushed back our restart date to 9/1 to accommodate the delay. Our districts were fortunate enough to adopt distance learning models, but until the final decisions were made, my anxiety and depression cycle started up again. It also meant we had to rearrange our tiny California townhome to accommodate one student and one teacher for distance learning, including rearranging rooms, assembling furniture, and doing some massive cleaning. It also came with some practical issues in continuing the podcast for the foreseeable future. The pandemic has required quite a few families to make sacrifices to accommodate work and school changes. Our family is no exception. The increased expectations for distance learning this fall now require One Movie Spouse and One Movie Spawn to be online for longer periods of time each day, which makes trying to watch a movie at home nearly impossible. There’s also a lot more housework to be done with three people around all the time, which eats into finding time to manage the podcast. I can’t really go back to producing the podcast the way I was before, at least until we’re done with distance learning, or when it feels safe enough for me to work elsewhere. What does that mean? Well, it means the regular podcast will be off the air for the duration of the pandemic. The best I can do right now is continue working on the custom application to automate our process as time permits, and wait patiently for our world to go back to some semblance of stability. Once there’s an opportunity to restart, then we will reach out to our critics, collaborators, and fans to figure out a schedule to bring us back on the air. If that’s possible before the pandemic is finished, I’ll let you know. In the meantime, I want to thank you all for your continued support over the past few years. Big up to our sponsors for their contributions! Thank you for all the work from our critics! And especially to you all, our fans, who we hope will be there when we return. Until then, stay safe and healthy! We’ll be back before you know it. Here we go! ///// Today’s movie is THE REPORT (2019), the political thriller written and directed by Scott Z. Burns. Daniel Jones (Adam Driver) is a congressional staffer who is tasked to investigate allegations of torture by the CIA in the wake of the terrorist attacks of 9/11, and the two occupations that followed. The film also stars Annette Bening as Jones’ boss, Senator Dianne Feinstein, and Jon Hamm as Denis McDonough, who eventually became Obama’s Chief of Staff. No spoilers. THE REPORT (2019) closes out an excellent year for Adam Driver, whose additional films in 2019 included Oscar-darling MARRIAGE STORY (Episode #668), fan favorite STAR WARS: THE RISE OF SKYWALKER (Episode #672), and the campy THE DEAD DON’T DIE, which received mixed reviews. This year follows an excellent filmography, which has also recently included BLACKKKLANSMAN (Episode #225), THE MAN WHO KILLED DON QUIXOTE (Episode #523), and LOGAN LUCKY (Episode #065). It seems like Driver appeared out of nowhere in the last few years, but the secret to his success has been his excellent choices in roles, since about 2012, leveraging regular work on “Girls” to take on a number of films with excellent and notable writers and directors, including Scorsese, Gerwig, Baumbach, and The Coen Brothers. All things said, Driver may also be the best thing about THE REPORT, aside from the uncanny resemblance between Bening and Feinstein, mannerisms and all. Everything else about the film is pretty standard, though, and that has to do with the subject matter. The story of Daniel Jones, and the investigation into CIA torture, is definitely an important story, but doesn’t have a satisfying ending. I don’t think this fact spoils the film, as the only satisfying ending to this story would have been trials and convictions for war crimes by everyone taking part, and that clearly didn’t happen. It’s also not the only example of war crimes being uncovered and remaining unpunished in US history. THE REPORT follows roughly the same investigatory and political machination track as Spielberg’s THE POST (Episode #353), but we get the satisfaction of the Pentagon Papers being published and some form of accountability. If it wasn’t for the cast, I’m not sure THE REPORT would have gotten as much attention as it did. I don’t think this takes anything away from Scott Z. Burns’ efforts. The film is still a hell of an accomplishment. It just has trouble competing in our ever-changing film industry, particularly in the wake of the pandemic. THE REPORT, along with THE POST for that matter, falls into a growing category of films that can be experienced pretty much identically at home or in the theater. It certainly wasn’t made for the box office, where it only gathered less than $250,000, but it was made for the growing streaming-only market, much like MARRIAGE STORY or THE MEYEROWITZ STORIES for Netflix. As an aside, that’s a secondary reason for Driver’s success – finding recognition through the growing streaming audience. The pandemic has seen a number of these “theater-independent” films continue to roll out on streaming services, whereas “theatre-dependent” films that try to bank on box office payouts have seen massive delays and declines, along with a few innovative attempts at screenlife films. Disney in particular has been scrambling to develop and solidify its online presence, while managing the previously sunk production costs and the hemorrhaging tourist-driven income of parks and resorts. I’m very much looking forward to the return of the Marvel Cinematic Universe, not to mention all the films that really benefit from a theatrical presentation. But I don’t really want to see BLACK WIDOW or MULAN if it’s not on a big screen first. I also don’t think the $29.99 premium VOD purchase point is going to workout, although I’m curious to see the long-term viability. That’s one half of what I would call “theater-dependent” films. The other half are films that benefit from having a large audience, one who is especially engaged to see the film. I hesitate to say “audience-dependent”, because there’s a much different vibe between friends gathering at a home to watch a film, and enjoying a premiere with other film fans. The best film I’ve seen during the pandemic that fits this description is THE LOVEBIRDS, which made a Netflix debut in lieu of waiting for the theaters to reopen. One Movie Spouse and I saw the film, and laughed quite a bit, but I think we both knew that seeing this film with a packed house would have been even better, especially for the raunchier parts of the comedy not spoiled by the trailer. I’ve been really missing both kinds of “theater-dependent” films, mostly because I got a Regal Unlimited pass late last year before everything shut down. It may be the most important distinction the pandemic has made within the industry: that some films require a theatrical experience, and that the industry will remain after this pandemic, in lieu of an all “at home” experience. It doesn’t mean there won’t be fallout among the major movie chains, especially those invested in expensive markets. I fully expect to see some chains go bankrupt and get bought up by Netflix, Amazon, Warner, and Disney as outlets for group-themed premieres of streaming favorites, as well as those “theater-dependent” films. Amazon might have even made a profit from THE REPORT, if they owned a chain to show it in. THE REPORT is a pretty standard government investigation film, elevated by its above average cast, and anchored by a great performance by Adam Driver as Daniel Jones. Scott Z. Burns leverages the Amazon loss leader model to produce his second writer/director feature, which deserves a larger audience, despite its depressing subject matter. Fans of films about government, or fans of Driver or any of the cast members, will definitely enjoy this film. Rotten Tomatoes: 81% (CERTIFIED FRESH) Metacritic: 66  One Movie Punch: 8.0/10 THE REPORT (2019) is rated R and is currently playing on Amazon Prime. ///// JOSEPH: “And now, what absolutely did not happen back in March 2020, nor will be used as a bridge to relaunch the podcast when conditions permit...” JOSEPH: “Really not liking the news lately. The virus looks like the real deal. It’s a good thing One Movie Punch Tower is completely self-sufficient, with power, food, air, and water for up to five years.” EILEEN: “Have we tried any of these items installed by Belko Industries?” JOSEPH: “No, but I’m sure everything will be just fine. They’re a very trusted name in the industry. Built buildings all around the world. Didn’t go with the neural implant upgrade, though. I mean, I’m not stupid.” AMY: “What’s that?” JOSEPH: “Looks like the stay-at-home order has been issued for California. All right, no time like the present to test things out. One Movie Spawn, go press the button for PANDEMIC.” JOSEPH: “Once that’s pressed, the tower begins sealing up. And we should be able to disable it with no problem... Oh BEEEP!” AMY: “What?” JOSEPH: “What button did you press?” EILEEN: “The one labelled PANDEMIC, like you said, on the end.” JOSEPH: “It’s activated the nuclear fallout option!” AMY: “Can we just turn that off?” JOSEPH: “No, it’s set to lock things out for five years minimum.” AMY: “Can’t we just call someone to help us?” JOSEPH: “No. It shuts off all communications. I mean, who was supposed to be left?” EILEEN: “Wait, you mean we’re trapped in here together for five years? I’m supposed to go to college!” JOSEPH: “I’ll get started on getting us out, but it’s going to take some time. How much, I’m not sure. You know, it looks like the buttons were switched on the panel! Did you do this?” EILEEN: “Are you kidding me?!” JOSEPH: “Did YOU?!” AMY: “Of course not!” JOSEPH: “I wonder who did it, then...”

Episode 745 - Leto (2018)

Hi everyone! We’re closing out the week with our final entry for this quarter in our series “Under the Kanopy”. Kanopy is a library and university funded streaming service that grants card holders six free streams a month, featuring a combination of classic, mainstream, independent, and international films. They currently have streaming deals with some of our favorite distributors, like A24 and Kino Lorber, which offer the critically acclaimed, if not commercially successful films. Today’s film I sort of chose at random when filling out the schedule for the quarter, not really realizing it was a Russian film, or a black and white film, or would have a bunch of awesome experimental editing and storytelling. Finding these surprises is part of the great fun of exploring the films on Kanopy. I’ll be up in a bit with my thoughts on LETO, or Summer in Russian, but for a few other films in this series, check out THE BATTLE OF ALGIERS (Episode #738), MARIANNE AND LEONARD: WORDS OF LOVE (Episode #731), and HAVE A NICE DAY (Episode #724). Before the review, we’ll have a promo from our good friends at the Cinema Recall podcast. Every episode, The Vern takes a look at iconic scenes in classic movies. You can find them on Twitter and Instagram @cinema_recall, and also subscribe to their podcast at anchor.fm/cinemarecall. Don’t miss a single episode! Subscribe to stay current with the latest releases. Contribute at Patreon for exclusive content. Connect with us over social media to continue the conversation. Here we go! ///// > ///// Today’s movie is LETO (2018), the Russian biopic directed by Kirill Serebrennikov, and written for the screen in collaboration with Lily Idov, Michael Idov, and Ivan Kapitonov, based in part on the memoirs of Natalya Naumenko. It’s the summer of 1982 in Leningrad. Mike Naumenko (Roman Bilyk) is the leader of Zoopark, a Russian rock band, and a member of the Leningrad Rock Club. While visiting the countryside with his wife Natalia (Irina Starshenbaum), he is introduced to Viktor Tsoi (Teo Yoo), an aspiring musician Mike takes on as a prodigy, which ultimately leads to the formation of the band Kino. No spoilers. So, since this is the last Under the Kanopy segment for a while, I’ll let you in on a little secret on how I choose which films to watch. Every week, I keep track of all the films which were released in the theaters which receive a Certified Fresh rating at Rotten Tomatoes. A lot of those films rarely make it outside the Los Angeles and New York markets, often films imported by smaller distributors like Kino Lorber, Oscilloscope, and today’s distributor, Gunpowder & Sky. Every quarter, then, when I’m planning I take a look at the films off that list which make it to Kanopy, and pick whatever eleven films are available. And it generally leads to a wonderfully diverse assortment of films. LETO was one of those films this quarter, which I just added to my Kanopy queue and watched as time permitted. I didn’t remember what the film was supposed to be about at all, and was honestly worried it was going to be a Jared Leto biopic. But like most films in this series, I went in with an open mind and an open heart, despite being nervous about watching a black and white Russian film, the last one I watched being HARD TO BE A GOD, Aleksey German’s final film, which was kind of long and boring at times. Thankfully, LETO is definitely not that. LETO is actually more akin to Aleksei German, Jr.’s most recent film DOVLATOV (Episode #307), which gave me a contemporary film that peeked behind the Iron Curtain to look at non-propagandized life in Russia from an artistic point of view, in this case, notorious writer Sergei Dovlatov. LETO takes place just over a decade later, in the early 1980s as Russia is beginning to shift more and more towards glasnost. The underground parties and black markets for American goods in DOVLATOV’s time period were slowly being integrated into the rock clubs and import/collectors markets in LETO. Both films obviously have a specific point of view about Soviet Russia, but for me, the real joy is seeing just how similar lives were between the US and Russia. The most important cultural similarity explored by LETO is the sense of rebellion among the youth, a punk spirit that was finding more traction and airtime in the west, but was also finding a similar subversive expression in the east. I had never heard of either Zoopark or Kino before seeing this film, but LETO explores the two musicians who head up each group, working around censors to make sure talent gets heard. LETO also explores the influences for many of the more famous songs by both bands, told as these amazing long-take music videos, saturated with layered ink pencil like edits. Each music video segment takes the viewer away from the realism of the main story, for a more surrealist look at what is happening, and usually ending with a character playing the personification of punk reminding us that the music video events didn’t actually happen. Kirill Serebrennikov does excellent work here. LETO isn’t just a story about the music, though. In addition to the history lesson, we’re also invited into the complicated politics and relationship of Mike, Natalia, and Viktor. Natalia develops a crush on Viktor, which Mike doesn’t have a problem with until, predictably, he does, causing creative and political turmoil. The complicated interplay between the three is at times familiar to many other love triangles, but also insightful set against the context and time period. Cutting the film in black and white allows the film’s realistic drama elements and surrealistic musical elements to gel together for a great picture. But as the film comes to a close, Serebrennikov begins to inject color back into the film, even showing previous black and white film pieces and segment now in filtered color, a shocking accent mark against a beautiful filmscape. I can’t think of many films where I get to learn something, and feel something, and be surprised by something, but LETO did all three for me. After watching LETO, I also gave both bands a listen, and discovered even more to love. Honestly, I can’t think of a better way to end this quarter’s Under the Kanopy series. LETO is a film for music fans, particularly fans of the punk and new wave movements in the early 1980s. Kirill Serebrennikov smashes together a quick history of two Russian rock musicians with the emotional turmoil of their love triangle, set against a lovely black and white backdrop with the occasional surrealist transition. Music fans, fans of contemporary Russian cinema, or folks wondering what life was like behind the curtain, should definitely check out this film. Rotten Tomatoes: 78% (CERTIFIED FRESH) Metacritic: 69 One Movie Punch: 8.5/10 LETO (2018) is not rated and is currently playing on Hoopla and Kanopy.

Episode 744 - Swallow (2019)

Hi everyone! It’s Friday, so it’s time for another Fantastic Fest feature from Andrew Campbell. Today’s feature had a very limited run in the theaters from podcast favorite IFC Films, picked up from the flurry of content that debuts at Fantastic Fest every year. Andrew will be up with his review of SWALLOW in just a bit, but for a few other reviews from Andrew, check out AFTER MIDNIGHT (Episode #737), JALLIKATTU (Episode #730), and BLISS (Episode #723). Before the review, we’ll have a promo from our good friends at the Book of Lies Podcast. Every week, Brandi Fleeks and Sunni Hepburn take a look at a fraud case or famous con artist, breaking down the methods, the signals, and how to spot similar scams in your life. You can find them on Twitter @Bookofliespod and on Facebook and Instagram @bookofliespodcast. Be sure to like, retweet, share, review, and subscribe! Subscribe to stay current with the latest releases. Contribute at Patreon for exclusive content. Connect with us over social media to continue the conversation. Here we go! ///// > ///// Hello film fans! Andrew here. Just two movies left for me to cover before we close out the first quarter of 2020, so I thought I would end on a couple of high notes. This week and next I have two films about women on the brink living vastly different lives, both delivered by writer/directors making their feature film debut. These movies are unique to anything you’ve seen before - gorgeously shot by creators with clear artistic visions. You’re going to want to be the one that tells their friends about these films. Today’s movie is the psychological thriller SWALLOW (2019), the debut film from writer/director Carlo Mirabella-Davis. SWALLOW stars Haley Bennett as Hunter, a woman with grew up underprivileged who now finds herself married at a young age to Richie (Austin Stowell). Richie grew up in wealth with well-connected parents who remain hyper-involved in the lives of Richie and Hunter. The parents gifted their son a stately home as a wedding present and along with it comes a mountain of social expectations. In turn, Richie foists upon Hunter his ideas of how a subservient housewife should behave - curating a meticulous home, providing dinner on the table, and serving his every need, while living no life of her own. Feeling imprisoned by her posh lifestyle, Hunter develops a very serious and very real psychological disorder known as pica - wherein sufferers consume non-nutritive indigestible objects. First off, Haley Bennett is terrific as Hunter. There are a half-dozen or so characters that she interacts with throughout the film, but much of the gravitas of the story is conveyed during the quiet moments when Hunter struggles to find meaning in her life and begins to give in to her disorder. It starts subtly with a marble which she quickly swallows and later retrieves. It’s such a bizarre affliction, but director Mirabella-Davis handles it with grace, sometimes eliciting nervous laughter from the audience and at other times forcing viewers to turn away. If you’re concerned that the writer/director is exploiting a peculiar and somewhat arresting affliction as the basis of story of a tortured woman, rest assured that’s not the case. The director was present at the screening and very candid with the audience afterward. His grandmother has psychological issues, including some form of pica, which gave him some family history with the illness. He has also experienced personal issues with self-identity and societal expectations as depicted in the film. During his 20’s, Mirabella-Davis, who now self-identifies as male, spent a four-year period living as woman at a time well before the modern-day social concept and growing acceptance of gender fluidity. Stylistically, this film is quite striking. If the unconventional and personal story is not convincing enough to give it a watch, take a look at the trailer. The framing and set design feels as if the world of the television series “Mad Men” had never evolved more than half a century later. Every shot is framed like a painting. In the more still moments when Hunter is contemplating devouring household objects, the sound design is spectacular. The silence of the hermetically-sealed home in which Hunter spends so much of her life alone juxtaposed with the sound of metal on teeth is subtle domestic horror. As a first-time filmmaker (feature-length anyway), Mirabella-Davis exerts exacting control over every aspect of the film, just as Hunter’s husband and in-laws seek to maintain her over her. What makes SWALLOW fantastic?Everything just coalesces beautifully in this film. It’s a story that feels like it’s treading all new ground while allowing viewers to identify with the core message, even if Hunter’s disorder is a little tough to swallow (please pardon the horrendous pun). I would put a slight trigger-warning on this one as this is an emotional story of a woman confronting trauma and living with a troubled psyche, but it’s told with such compassion that I wouldn’t recommend anyone avoid it. SWALLOW is a deeply affecting tale of empowerment, masterfully captured by a fresh new storyteller. Fans of films with women dealing with psychological problems and confronting identity issues such as THE HOURS or SECRETARY will enjoy this film. Rotten Tomatoes: 89%  Metacritic: 62 One Movie Punch: 8.6/10 SWALLOW (2019) is rated R and is currently playing in limited theatrical release and available on VOD. Come back next Friday for SAINT MAUD. One last film before our regular podcast hiatus, so let’s go out with a bang. There is a glut of religious based horror films out there, usually centered around exorcisms. SAINT MAUD is the antidote for those boring, predictable, jump-scare laden movies. It tells the story of a young home health care nurse with strongly-held religious convictions, to put it mildly. In a world of doubters and sinners, Maud finds it more and more difficult to relate to those who don’t see the path that’s so clear to her. Get ready for the year’s best horror film. See you then!

Episode 743 - Tokyo Godfathers (2003)

Hi everyone! Happy Thursday! We’re welcoming back Christina Eldridge to the podcast with a review of the latest offering from GKIDS, a remastered cut of 2003’s critically acclaimed TOKYO GODFATHERS. We’re lucky to have Christina’s long-term love of anime on board here. For a few other recent reviews, check out RIDE YOUR WAVE (Episode #722), KLAUS (Episode #708), and her debut review for WEATHERING WITH YOU (Episode #687). Before the review, we’ll have a promo from our friends at the Pop Pour Review podcast! Every week, the PPR crew review a film, then craft a cocktail based on the movie. I don’t drink myself, but I know a few people that do, and every recipe fits in surprising ways. You can find them on Twitter and Instagram @poppourreview, or by searching for Pop! Pour! Review Podcast on Facebook. Thanks for all your support last year! Subscribe to stay current with the latest releases. Contribute at Patreon for exclusive content. Connect with us over social media to continue the conversation. Here we go! ///// > ///// Hello, everyone! This is Christina Eldridge with Durara Reviews (a part of One Movie Punch). Since my last review of RIDE YOUR WAVE (2019), I’ve been house hunting so wish me luck! If you’re not already following me @Durarareview, or @OneMoviePunch, go do it! I promise to continue to bring you the latest and greatest of anime movies! Today’s movie review is for TOKYO GODFATHERS (2003). This is one of my personal favorite Christmas movies. Satoshi Kon directed this classic comedy/drama. It was produced by one of the mainstays of anime, Madhouse, and is currently distributed to the United States by GKIDS. TOKYO GODFATHERS is about three homeless people who find an abandoned baby on Christmas Eve and decide to find the mother rather than take her to the cops as to avoid the foster system. This review is spoiler free. Gin (Toru Emori) is a middle-aged homeless man who loves to drink. He survives with Hana (Yoshiaki Umegaki), a former drag queen club star who now lives as a trans woman, and Miyuki (Aya Okamoto), a high school aged runaway. The three attend a Christmas Eve play and a soup kitchen together, then decide to look for books in the garbage. While digging, they hear the crying of a baby and discover an infant girl with a note asking to take care of her. They also find a bag containing photos, business cards, and a locker key. The only person in the threesome who is excited about this discovery is Hana, as she would never be able to have children on her own. Gin tries to talk her into giving the child to the police, but Hana refuses, as she was a product of the foster system herself. She elects to find the baby’s mother from the clues in the bag instead. The three set out on a journey that takes them not only on an adventure, but on a discovery of themselves and why they really are on the street, rather than the false images they have given each other, no matter how horrifying or shameful these reasons really are. Satoshi Kon is one of anime’s most celebrated directors. He is responsible for such masterpieces as PERFECT BLUE (1997), which is one of my all-time favorites, PAPRIKA (2006), MILLENIUM ACTRESS (2001), and the series PARANOIA AGENT (2004). Kon-san’s favorite theme of blurred reality combined with fantasy is present in most of his works, even TOKYO GODFATHERS (2003), although it is not as apparent. Kon-san’s artistic directing style has been copied by other directors, most notably, Darren Aronofsky. In REQUIEM FOR A DREAM (2000), Aronofsky acknowledged the shot-for-shot bathtub scene from PERFECT BLUE (1997) but denies that BLACK SWAN (2010) is in any way adapted from it. Christopher Nolan’s INCEPTION (2010) was also accused of being an off-shoot of PAPRIKA (2006), that includes plot similarities, specific scenes and characters, to which he denied. To public knowledge, Kon-san never took legal action on either of the directors, assuming the ‘imitation is the sincerest form of flattery’ moniker instead. The film was released in North America by Sony Pictures on December 29th, 2003 in an attempt to get an Academy Award nomination for Best Animated Feature, but it was unsuccessful. The domestic release brought in a total of $128,985 and the International release brought in a total $480,540. GKIDS’s re-release will include a 4K restoration and a new English dub. TOKYO GODFATHERS is an unwilling adventure of three friends who depend on each other for survival by homelessness. Finding an abandoned baby together forces them to not only care for someone else, but for themselves through self-discovery, and to confront the lies they tell themselves in order to maintain their status quo. This movie will make you laugh, make you cry and, most importantly, make you think. Rotten Tomatoes: 90% (CERTIFIED FRESH) Metacritic: 73  One Movie Punch: 10/10 Children Loved By God TOKYO GODFATHERS (2003) is rated PG-13 and will be re-released in select theaters on March 9th and March 11th. Minasan, domo arigatou! Be on the lookout for my next review of the Wuxia action packed film SHADOW (YING) (2018) later this month. This time, I promise! Until next time!

Episode 742 - The Great Hack (2019)

Hi everyone! For those of you outside the United States, or perhaps living under a rock within the United States, we’re currently going through a presidential primary campaign. It’s been a bumpy ride so far, with a lot of noise and very little substance. But it has also been driven, at least in part, by the lesson of the previous election cycle, which involved the use of Big Data to collect information on US voters. Up to 5,000 data points per voter. You all know how biased I am when it comes to US politics, so that’s why we’ve brought in Shane Hyde today to review THE GREAT HACK, as part of his Horror Stories series. Because some horror stories are real. For a few other reviews from Shane, check out THE HOUSE OF THE DEVIL (Episode #728), WOUNDS (Episode #694), and RUST CREEK (Episode #654) Before the review, we’ll have a quick promo from our good friend Kolby Told Me, one of our biggest supporters of the podcast last year, as demonstrated by his near domination of the Follow Friday boards. You can find him on Twitter, Facebook, and Instagram @kolbytoldme. And if you take up one of his recommendations, let everyone know that Kolby Told Me! Subscribe to stay current with the latest releases. Contribute at Patreon for exclusive content. Connect with us over social media to continue the conversation. Here we go! ///// > ///// Hi, I'm Shane Hyde, and while the world burns down around us I'm going to keep reviewing for One Movie Punch. And that's a fact! Today’s movie is THE GREAT HACK (2019), directed by Karim Amer and Jehane Noujaim. This is one of those films that will pit Twitter user against Twitter user, Subreddit against Subreddit, Facebook grannies against 'woke' anti-Facebook pilgrims, Russian bots against other Russian bots. But no matter your political leaning, whatever label you choose for yourself, there's a story here and they're trying to tell it. The story focuses in on Brittany Kaiser, and through interviews and supporting characters and archive footage, it puts a framework that seems like it's asking you to feel sorry for Cambridge Analytica, their exposure, their role in the 2016 US Presidential Elections, the Brexit vote. They were hired to do a job, given data from Facebook and information about their targeted audiences, and they say in THIS FILM that they exploited psyops that should be regulated by the UK Government. But, you know, they exploited it anyway, and exposed the most vulnerable in the world's populations to seek a particular outcome. This is a film that aligned itself kinda with my left-leaning worldview, but then asked me to have sympathy for those involved at a personal level, and then asked me to consider the ramifications of these psychological operations at an international level. And I think it does these things well. Do I have sympathy? Well, no. Am I considering the impact psyops at an international level? Yes. But I fear I'm ill-equipped to deal with it. But we know there will be no satisfactory ending here although THE GREAT HACK attempts to wrap it up. There is no neat bow to go on top. We know now that Cambridge Analytica didn't survive the scandal (although they're still behaving in the same garbage way as another business). We know that Brittany Kaiser dramatically left England but didn't need to. And we know that there's been no real justice here, because there's been no real crime - despite military grade psyops being utilised against a civilian audience. This is a movie that should have us all outraged. It tells the story of our own data used against us to target us for our baser instincts. And the (attempted) undermining of democracy pursuant to a pound or two from the Brexit campaign. Instead I came away... well, tired. A bit over it all really. THE GREAT HACK feels like it underscores the fact that honesty and integrity are dead and this is the post-script. Last time I reviewed a documentary that was FYRE: THE GREATEST PARTY THAT NEVER HAPPENED (Episode #398) and I feel that was a more honest account than THE GREAT HACK. Since our world has devolved into a Bandersnatchian "Relax: 1/ Don't 2/ Do it" dichotomy, THE GREAT HACK is either telling us a small bit of a larger puzzle or diving into whack-job liberal conspiracy theories. You can't relax in THE GREAT HACK. They either did it. Or they didn't. And look at where we are today. Rotten Tomatoes: 88% (CERTIFIED FRESH) Metacritic: 67 One Movie Punch: 6.0/10 THE GREAT HACK (2019) is rated M and currently streams on Netflix.