Afternoons: 2-7pm
I’m an Ohio native, and growing up I also lived in Florida for a short time before graduating from Ohio State (sorry…but still Big Ten, right?) My wife Hope and I have one son (he’s in L.A. trying to be a star) and together we are Rotten Tomatoes-approved film critics on our website www.maddwolf.com.
I’m a very blessed cancer survivor, and have been privileged to work in radio since I was 16. I’m a big sports fan, and I also enjoy fitness, my Harley, scuba diving, fishing, and of course…music! Glad to be here!
No legacy films, no sequels, no superheroes, just original ideas and fascinating history on the big screen this weekend. A summer of bombast may be rolling toward us, but what we have this weekend is a a reminder that you don’t have to have action figures or TV shows or super powers to make a good movie.
Reviews courtesy of maddwolf.com
Backrooms
In theaters
by Hope Madden
There is reason to compare Backrooms, feature debut from 19-year-old co-writer/director Kane Parsons, to Skinamarink, the 2022 feature debut from writer/director Kyle Edward Ball. If you are one of the many who found Ball’s nightmare an effective, even terrifying head trip, Backrooms might be for you.
If you didn’t, that’s OK too. Backrooms shares the true experiential nature—you may feel as though the director has somehow filmed your actual nightmares. But a lot more happens in this one.
Backrooms is liminal space horror, not entirely unlike Genki Kawamura’s effective video game adaptation, Exit 8. But for all these comparisons, Parsons crafts an unnervingly unique excursion into the uncanny.
Captain of that voyage is Clark (Chiwetel Ejiofor). He manages a furniture store where he dresses like a pirate for low-fi ads. It’s 1990. Clark wanted to be an architect. He just keeps making the same mistakes, like a circuit he follows forever expecting a different destination. That’s why he sees Dr. Mary Krane (Renate Reinsve).
Let’s pause, because that’s reason enough to see the movie. Here are two actors who’ve built careers on understated, natural performances that ground every moment onscreen in something honest. Which makes them a magnificent choice for a film where nothing makes sense, and that’s the whole point.
Kane adapts a series of shorts that made him a YouTube force, all of it based on online Twenty-teens creepypasta dread of being trapped eternally in an endless, yellow, moistly carpeted maze of empty rooms with no hope of escape.
The fact that Parsons turned this concept into a compelling feature essentially about our own labyrinthine minds and psychiatry’s impotence is pretty impressive for a teenager!
Both leads give the film earnest vulnerability and obvious intelligence, which sells the madness. Their few scenes together are wonderful, but that’s not simply because of their talent. The script is engrossing, forever mirroring what’s been seen and said in a way that could feel heavy handed were it not for Kane’s sure direction.
It’s easy to make a trippy movie that doesn’t make sense because you don’t really have to make sense. A lot of bad horror leaves you guessing because of sloppy scripting. Backrooms never feels sloppy. Every tee shirt, piece of furniture, neighborhood street feels intentional, tells its own story. Everything loops, remembers but doesn’t, until you can’t shake the dread that nothing is right.
Backrooms, because it’s so singular in its vision, won’t sit with everyone. But for those of us who have nightmares of being trapped in room after windowless room of fluorescent buzz and mildew smell, this is our Skinamarink. I mean that in the best way possible.
Grade: B+
https://www.youtube.com/watch?v=2z6a6NUFlsU
Tuner
In theaters
by George Wolf
His first narrative feature may focus on busting into safes, but Oscar-winning documentation Daniel Roher shows some fine natural instincts for cracking the code that makes “romantic thriller” a crowd pleasing genre ride.
The thriller part comes when mild-mannered piano tuner Niki White (Leo Woodall from Nuremberg and The White Lotus) gets lured into a secret life of crime. Niki was a child prodigy on piano, but a diagnosis of hyperacusis (allergic to loud noises) derailed his performing career. Working with father figure Harry Horowitz (Dustin Hoffman) as a piano tuner blessed with perfect pitch, Niki wears noise canceling headphones all day and laments what might have been.
A chance encounter with a shady security team at a high-end mansion leads Niki to show how his hyper-sensitive hearing can be used to open combination locks. So the menacing Uri (Lior Raz) offers Niki the chance to make some big money, just when Harry’s medical bills have started piling up.
Romance blooms when music student Ruthie (Havana Rose Liu) needs her piano tuned (pause for laughter, but she really does). Ruthie is vying for a choice position as an assistant to maestro Marius Maissner (Jean Reno) and doesn’t really have time for a boyfriend…but she and Niki are such an irresistible match!
Woodall’s turn is understated and sympathetic, Liu (Bottoms, Lurker) has a natural presence that gives Ruthie some complex layers and Hoffman is clearly having a ball with some blatant (scene) stealing of his own. All three of their characters seem real from the opening minutes, allowing the film to pull you in with ease.
Roher (Navalny) launches Niki’s two lifelines on a consistently engaging collision course buoyed by the terrific performances, sharp editing (film and sound), effective tension, shocking twists and an unlikely couple we can’t help rooting for. And along the way, Roher and co-writer Robert Ramsey find time to toss in well-placed nods to the rot of “f – you money,” America’s obscene health care system and the often under-appreciated nature of art.
Yes, Tuner packs a lot into its 109 minutes, so much so that it’s easy to stop wondering about security cams or why Niki paying bills with stacks of cash doesn’t arise any suspicions. You just shrug it off, and that speaks loudly about how well the rest of the film is constructed.
In fact, the slightly contrived, crowd-serviced turns that come in Act Three would elicit a few eyes rolls in lesser films. But by then, Tuner has carved out its own safe space, as a pitch-perfect example of how to make an audience want exactly what you’re going to deliver.
Grade: A-
https://www.youtube.com/watch?v=rdlOZhl-nSA
Pressure
In theaters
by George Wolf
How do you wring new tension from any well-known historical event, much less one with an outcome that’s been globally celebrated for over 80 years?
The films that have done it successfully focus intimately on the personalities involved in making pivotal decisions, and on some lesser-known factors that influenced their actions.
Pressure wisely does the same, turning the final order for the Allied Invasion of Normandy (D-Day) into a standoff between two polar opposite weathermen.
Andrew Scott is terrific as Group Captain Dr. James Stagg of the RAF, the Allies’ Chief Meteorological Officer who comes to General Dwight Eisenhower (Oscar-winner Brenden Fraser) with the highest recommendation from Winston Churchill himself.
Stagg’s blunt, no nonsense and analytical approach clashes immediately with Colonel Irving Krick (Chris Messina). Krick has earned Gen. Eisenhower’s trust through a history accurate forecasts, but Dr. Stagg believes Krick’s approach to the data at hand is suspect.
D Day is planned for the morning of June 5th, 1944. The film opens with 72 hours to go, and Eisenhower needs an answer.
Are we good to go? Krick says clear skies. Stagg says dangerous storms ahead.
Director Anthony Maras and co-writer David Haig adapt Haig’s 2014 stage play as an effective character study of a man who knew enough about the weather to never proclaim certainty. Stagg is quiet but confident, and Scott (All of Us Strangers, Wake Up Dead Man) deftly captures the internal struggle of a man being urged to tell the Generals what they want to hear even though he believes it’s wrong.
When Stagg tells Krick “You’re selecting data that suits you and ignoring the rest!” the line lands hard (just imagine if Krick had social media.) And it’s part of how the script cements Stagg’s courage of conviction as the largest seaborne invasion in history hung in the balance and his pregnant wife’s hospital took shelling back home.
Maras (Hotel Mumbai, The Palace) gets solid support from Fraser, Kerry Condon and Damian Lewis, and only occasionally drifts from the effective intimacies for more broadly brushed, war film grandstanding. And while the actual invasion sequences may not be exactly Private Ryan-worthy, that is a very, very tall order, Maras knows the film needs to go there and kudos to him for reminding us of that those brutal beach sacrifices.
Gen. Eisenhower’s famous quote to JFK credited the success of the Normandy invasion to having “better meteorologists than the Germans.” That wasn’t just a quip, it was an invitation to learn more.
Pressure is a good place to start.
Grade: B+
https://www.youtube.com/watch?v=zdM4tdLQBg0
