Chad Liffmann – Spinning Platters

Film Review: “Novocaine”

Novocaine delivers a funny dose of violent shenanigans

Nate (Jack Quaid) dangles unfeelingly in “Novocaine.”

Novocaine opens with a needle drop that signifies a level of spot-on self-awareness that perfectly sets up the tone of the film, as if the filmmakers are telling us, “Hey, our film is gonna be ridiculous, melodramatic, and won’t pull any punches, so just sit back and enjoy!” Using Jack Quaid’s everyman charm and a central conceit that allows for an abundance of inventive comedic violence, Novocaine fulfills its goal of delivering preposterous hard-hitting entertainment. Continue reading “Film Review: “Novocaine””

Film Review: “On Becoming a Guinea Fowl”

Humor and tragedy converge in the brilliant and disquieting On Becoming a Guinea Fowl

Shula (Susan Chardy) wears a guinea fowl costume to begin “On Becoming a Guinea Fowl.”

With the release of On Becoming a Guinea Fowl, writer/director Rungano Nyoni’s first feature film since her 2017 indie darling, I Am Not a Witch, the Zambian born British filmmaker has once again proven her unique talent for depicting tribal traditions through a modern lens. Guinea Fowl is simultaneously tragic and comically disquieting, venturing in and out of surreality within its otherwise grounded character-driven narrative. Kudos to A24 and a few UK and European studios for producing and distributing Guinea Fowl, since the film is not an easy sell. Guinea Fowl should be seen; its tightly controlled narrative, powerful performances, and artistic risk-taking make it one of the first must-see films of the year. Continue reading “Film Review: “On Becoming a Guinea Fowl””

Film Review: “Cleaner”

Cleaner is an unassuming Die Hard copy with B-movie energy

Daisey Ridley has a stellar view of London and the unfolding hostage crisis.

Cleaner is the type of B-movie matinee you watch while getting ready to meet friends for dinner, or a mysterious title on your streaming platform’s home page that you indifferently hit ‘play’ as you finish the NY Times crossword before heading to bed, only to find yourself having not solved a single clue ninety-five minutes later. You’ll rarely seek the film out, but you’ll welcome its breezy distraction. Cleaner is co-directed by executive producer Sébastien Raybaud (Femme) and Martin Campbell, but the latter’s surefootedness as an action director enables Cleaner to rise above its ham-fisted script. Campbell’s filmography includes iconic brand re-launches like The Mask of Zorro, Goldeneye, and Casino Royale, silly B-movie spectacles like Vertical Limit and The Foreigner, and a few cringe-y flops like Beyond Borders and The Green Lantern. Cleaner fits within the second grouping: a silly actioner with its entertainment value and narrative absurdity evenly matched. Continue reading “Film Review: “Cleaner””

Film Review: “Love Hurts”

What hurts more… Love? Or watching this movie?

Marvin (Ke Huy Quan) wants a home for you!

Ke Huy Quan and Ariana DeBose deserve better. The two Supporting Actor Oscar winners, for Everything Everywhere All At Once and West Side Story, respectively, can tackle dramatic and comedic material while holding an audience’s most focused attention. When used right, Quan and DeBose can elevate a film from good to great. Unfortunately, Love Hurts isn’t good. Instead, Love Hurts results from an inexperienced filmmaker who doesn’t understand how to utilize the valuable toys he has to play with. The film is excruciatingly overwritten and poorly edited, with Quan’s inherent charm as its sole saving grace. Continue reading “Film Review: “Love Hurts””

Film Review: “You’re Cordially Invited”

Cordially uninvite yourself from seeing this unfunny clamor

Jim (Will Ferrell) and Margot (Reese Witherspoon) feign politeness.

You’re Cordially Invited is built around the sort of romantic-comedy conceit you’d find supporting a plethora of its ilk from the 1990s and early 2000s: a wedding venue is unknowingly double-booked by two eccentric families. This logline is a promising opportunity for comedic hijinks, set-pieces, and confrontations. Unfortunately, You’re Cordially Invited stumbles through its vignette-styled plot without a shred of consideration for how and why anything is happening. Despite noble attempts by the film’s two leads, Will Ferrell and Reese Witherspoon, to hold it afloat, You’re Cordially Invited is a middling straight-to-streaming title, destined to play unwatched in the background of more engaging home activities. Continue reading “Film Review: “You’re Cordially Invited””

Film Review: “Dog Man”

Dog Man stays on a kid-friendly leash

Author and cartoonist Dav Pilkey’s successful kids book series, Captain Underpants, was adapted into a 2017 box office success. Pilkey’s other book series, Dog Man, is receiving the same treatment. The Dog Man feature film is, for lack of a better term, harmless. The script’s jokes are cute, the narrative is briskly paced, and the voice acting is solid. If you have small kids, there’s a strong likelihood that they’ll really enjoy Dog Man. If you don’t have kids, there’s not a lot in the film for you. Continue reading “Film Review: “Dog Man””

Film Review: “Wolf Man”

Wolf Man has a simplistic horror appeal, but is that enough?

Charlotte (Julia Garner) stares into the increasingly lupine eyes of Blake (Christopher Abbott) in ‘Wolf Man.’

From Leigh Whannell, the Australian director of Upgrade and the masterful modern-day reimagining of The Invisible Man, comes his new take on a Universal Monsters horror classic, Wolf Man. Distilling the werewolf mythos into a visceral it-all-happens-in-one-night movie, Wolf Man is efficient in its pacing and scares. However, the film lacks the emotional gravitas of a romantically strained family trying to reconnect during extreme circumstances. So, because Wolf Man clocks in at under two hours, is pleasantly ultra-predictable, and contains quality thrills, it’s a great choice for a frivolous movie night. Continue reading “Film Review: “Wolf Man””

Film Feature: Chad’s Top 20 Films of 2024

It’s been an odd year for movies, partly due to the lasting effects of labor strikes. There are very few masterpieces, and just as few disasters. Instead, 2024 featured a lot of solid 3-3.5 out of 5 star films, a healthy selection of entertaining fare that enabled the theater industry to finish the year far ahead of what many analysts had feared (box office-wise). Well, without further ado, here’s my ranked Top 20 best films of 2024 (and don’t forget to check out Carrie’s Top 10 Films of 2024 as well): Continue reading “Film Feature: Chad’s Top 20 Films of 2024”

Film Review: “Nosferatu”

Eggers takes Nosferatu for a chilling, seductive spin

Lily-Rose Depp stars as Ellen Hutter in director Robert Eggers’ NOSFERATU, a Focus Features release.

In his films, Robert Eggers (The Witch, The Lighthouse, The Northman) loves to explore ancient rituals and antiquated language. Remaking Nosferatu, director F.W. Murnau’s 1922 German silent film based on Bram Stoker’s Dracula, seemed like a perfect fit due to the story’s gothic style, devilish rituals, and old-fashioned dialect. Eggers’ Nosferatu is a darkly seductive version of the classic horror story, with enough theatricality to make it the director’s most widely accessible film to date. Continue reading “Film Review: “Nosferatu””

Film Review: “Babygirl”

Kidman and Dickinson play with power dynamics in Babygirl

In case anyone doubts her, Nicole Kidman remains one of the most talented movie stars, still working, and proves it again in Babygirl. Kidman exists among a tiny group of actors who can effortlessly disappear into their diverse set of challenging roles. Babygirl represents another winning entry in her extensive filmography, which is a monumental testament to the longevity of her acting prowess. Babygirl is writer/director Halina Reijn’s follow-up to her comedy horror sleeper hit, Bodies Bodies Bodies. On the surface, the two films have very little in common, but within their respective stories is an incisive exploration of power dynamics and modern concepts of gender roles. Continue reading “Film Review: “Babygirl””