RTD: 5 Underrated Gems & 5 Biggest Disappointments

To kick off my Best of the Decade recap, I want to start with something a little small, five of the most underrated/overlooked gems and five of the biggest disappointments I experienced – nothing groundbreakingly amazing for the former (though there are some remarkable movies) and nothing earth-shatteringly awful for the latter, but movies I still couldn’t resist talking about. Also, for the disappointments, I want to make it clear that I don’t think any of these particular movies are bad – they’re simply movies that were dragged down by their inability to live up to their potential. Enough said – let’s get started!

5 UNDERRATED GEMS

BPM (BEATS PER MINUTE) (2017, dir. Robin Campillo)

Set in the early ‘90s, BPM recounts the Paris chapter of ACT UP, an activist collective working to combat the AIDS epidemic. Though ultimately a fictionalized account, director Robin Campillo injects his personal experiences of his involvement with ACT UP, and the film remains in my mind as an exceptional addition to the canon of LGBT cinema. Though there is no remarkable cinematography or any philosophical profoundness, BPM is a film powered purely by heart and soul, and it delivers. It is a political film, yes, but it is never once alienating, as BPM never forgets the human lives at hand, making for an experience that is thematically engaging and profoundly human for all of its 140 minutes, a feat indebted to the skills of actors Arnaud Valois and Nahuel Perez Biscayart, who take centerstage as a couple directly impacted by AIDS and the tragedy that ensues from it. Despite excellent reviews and a marvelous performance at Cannes (taking home the Grand Prix award), I’ve yet to hear anybody discuss BPM following its theatrical runs – for a film as assertive as this, with a great viewing experience to suit, BPM demands more attention.  

COLUMBUS (2017, dir. Kogonada)

Stuck in their own existential crossroads, two uncertain souls – the middle-aged son of a renowned architect (John Cho) and a high school senior with a passion for architecture (Haley Lu Richardson) – cross paths and form an unlikely bond in Columbus, the directorial debut from video essayist Kogonada. It’s a small, humble film that never reaches for the throat in the drama that carries throughout. Despite this, Columbus triumphs as a provocatively quiet experience, sometimes even tearjerking – the solid performances and fascinating chemistry between Cho and Richardson play a huge part in this, complimented by a moody score by Hammock, perfectly suiting the small scale of the film. What makes Columbus such a singular experience, however, is the gorgeous cinematography from Elisha Christian, who truly captures the jarring and awe-inspiring architecture of Columbus, Indiana, often considered the birthplace of modern architecture. Though Columbus is perhaps a bit too humble for its own good, I cannot deny that it is an effective indie film, and as far as I’m concerned, Kogonada is a name to be kept on every cinephile’s radar.

IN THE FAMILY (2011, dir. Patrick Wang)

In his 2011 debut In the Family, Patrick Wang writes, directs, and stars as Joey, who is in the midst of a complicated custody battle of his partner’s young son after the sudden death of the former. From my experience, movies that deal with progressive themes have a tendency to bank on said themes as the main feature, sometimes to the point of self-righteous smugness, rather than something circumstantial. Though Wang deals with a myriad of progressive themes here, he never calls attention to these issues – open, but not in-your-face, a truly refreshing change of pace in contrast to the trends I previously mentioned. And the actual film is truly something special. My only criticism is the bloated runtime (just shy of 3 hours), but within that timespan is a gripping courtroom drama (a setting I’m usually not a fan of), touchingly human thanks to phenomenal performances, especially from Wang – if I were to rank my top 10 favorite male performances from the last 10 years, Wang’s lead role here would earn a spot in the top 3. For such a talented auteur, it’s a shame Wang isn’t more well known, unfortunately further evident after the release of 2018’s A Bread Factory (which was Matt Zoller Seitz’s pick for that year’s best film). He may not be recognized, but at least he’s making movies. Here’s to hoping for more from Patrick Wang, because indie cinema needs more filmmakers like him.

JAMES WHITE (2015, dir. Josh Mond)

Fewer thoughts are more painful for me to dwell on than that of inevitably losing my mother, and very few films have been able to tap into those fears like James White did, and the lack of attention it gets baffles me (the only reason I know if it is a 4/4 rating on rogerebert.com). A terrific Christopher Abbott takes the lead as the titular protagonist, a man in his late-20s with no direction, no prospects, and no particular motivation to care. Soon, however, his life takes a sharp left turn when his mother (Cynthia Nixon) suddenly approaches her final days when she becomes terminally ill, and only James is in a place to take care of her, forcing him into a life-changing crossroads. Granted, all of the circumstantial elements of James White – cinematography, script, etc. – aren’t much to write home about, the proximity this film gets with its subject matter is almost literally too close for comfort. I wish you the best of luck not tearing up by its end, but as sad as James White is, it ends on an optimistic note. When it does end, you just might feel compelled to give your mother a call. For your and her sake, do that.

KRISHA (2015, dir. Trey Edward Shults)

Trey Edward Shults has been steadily rising as an auteur to be reckoned with (further solidified with the recent release  of the exceptional Waves), all of which has started with the 2015 release of Krisha. Set on Thanksgiving Day, the titular Krisha (Krisha Fairchild), a recovering alcoholic, comes to the family gathering to redeem herself, but tension gradually boils to discomforting degrees. Anybody who has ever had that family member and/or has been put in the midst of a similar situation, Krisha is so well done that you will have no choice but to relive that moment in your life. What’s truly remarkable about Krisha is how it thrives via its meager limits; it was shot over the course of only 9 days, with the cast made up of mostly friends and family of Shults, including Fairchild, Shults’ real-life aunt. Not once does a glimmer of amateur filmmaking glare, and Krisha becomes one of the most confident and assured debuts I’ve ever seen, and the lack of attention Krisha gets borders on criminal.

5 BIGGEST DISAPPOINTMENTS

BRAVE (2012, dir. Mark Andrews; Brenda Chapman; Steve Purcell)

Not many may expect this from me, but I have a huge soft spot for Celtic lore, especially all of the beautiful folk music that goes along with it (my mother and I were regulars at the annual Kansas City Irish Festival). Containing my excitement was difficult upon seeing the first trailer for Brave, the next Pixar film centered on ancient Celtic culture. My expectations were soaring in the heavens, but what I got was yet another “princess against traditional roles” story. I don’t mind a familiar story as long as something unique is done with it – other than the setting, it just felt stale and a touch tired, not to mentioned paired with a subplot involving a bear that was, frankly, just plain silly. It wasn’t a complete failure: the voice acting was solid (especially from Kelly Macdonald), and the climax was a terrific lesson that there is a time and place for diplomacy as well as for battle. Not a bad film, by any means, but a mediocre outing from Pixar as well as a major missed opportunity.

THE DISASTER ARTIST (2017, dir. James Franco)

There’s always been a magnetic enigma to The Room, the cult sensation dubbed “the Citizen Kane of bad movies”, and Greg Sestero’s book The Disaster Artist was something of a revelation. It was the Ed Wood of my generation, as well as perfect material for a film adaptation. James Franco must have felt the same, not only directing the film adaptation, but also starring as Tommy Wiseau. Despite James Franco’s surprisingly effective performance (I didn’t think anybody could capture Wiseau that well), The Disaster Artist minimizes the bizarre friendship of Sestero and Wiseau (the true heart of the story) in favor of uninspired hopping of one funny highlight to the next, often taking superficial jabs at Wiseau’s expense. Sure, the recreation of key scenes The Room are fun to watch (albeit feeling like plastic knock-offs), but once the novelty has worn off, there’s little to latch on to – this movie would be nothing of significance if not for The Room. There is at least passion behind Franco’s The Disaster Artist, but more often than not, it’s misdirected. In other words: the book was better.

JOKER (2019, dir. Todd Phillips)

I may not be big on the whole comic book movie craze, but I must admit that I looked forward to Joker. A non-canon origin story dual-functioning as a stand-alone urban loner drama a la Taxi Driver was not only ripe for potential (further promised with a lead performance from Joaquin Phoenix, one of the best actors today), but a much-needed break from the standard issue comic book movie fare. It was certainly refreshing to see something different that took risks, but different and risky doesn’t make a good movie by default. Joker indeed talks the talk of Scorsese & Schrader, rich in atmosphere and palpable in its depiction of urban decay. When it attempts to walk the walk, though, it stumbles comically, often resembling the attitude a teenager who thinks being edgy is deep and profound by default. What a shame, because there are moments when Joker really, really tries, but its pseudo-deep attitude and bad choices leave the film horribly unbalanced. Not even Phoenix could save it – despite a committed performance, this Joker is a character that hasn’t been fleshed out enough to be worth such talent and commitment.

T2 TRAINSPOTTING (2017, dir. Danny Boyle)

Trainspotting was never a masterpiece for my taste, but it’s difficult not to be won over by its bizarrely memorable characters and the drug-fueled misadventures they get tangled in – they deserve to be revisited. Granted, a sequel already existed in the form of Irvine Welsh novel Porno, but Trainspotting’s morbidly beloved ensemble needed to be brought back to the screen. Well, 2017 saw the release of just that: T2 Trainspotting, set 20 years after the events of its predecessor. Admittedly, seeing the skagboys on screen brought a smile to my face, but it didn’t take too long before that smile was brought down by Boyle’s trademark over-stylization, a lackluster script, and some of the clunkiest pacing I’ve seen yet in a movie. Though Spud’s subplot about writing memoirs is very touching, none of the hijinks or stakes feel worth getting invested in, and the film ends up feeling like an aimlessly nostalgic dwell, despite the kinetic style and energy that power it. I equate T2 Trainspotting to eating a stale cupcake – no matter how sweet it is, no matter how much frosting or sprinkles top it, the dry, hardened basis makes for an unpleasant experience.

YOU WERE NEVER REALLY HERE (2017, dir. Lynne Ramsay)

We Need to Talk About Kevin was one of the best films I saw in the last 10 years. It firmly placed acclaimed Lynne Ramsay on my radar. Needless to say, I was psyched for her next film, whatever it may be. Well, circulating around the 2018 festival season was You Were Never Really Here, starring Joaquin Phoenix as a troubled war veteran who tracks and rescues missing girls. The praises and accolades were high, with one critic calling it “Taxi Driver for a new century.” To say I was excited was understatement, but when I finally got around to it, well…indifferent. Though Phoenix was absolutely terrific (in one of his most interesting roles), You Were Never Really Here feels detached from itself, never getting fully invested in its characters, story, or themes, despite such jarring subject matter. Other than a rescue sequence set to “Angel Baby”, there are no scenes worth talking about, and the entire film just comes and goes without much impact. These are all valid enough reasons to criticize a film, but the fact that I waited 6 years, but with the knowledge of the greatness Ramsay is capable of, You Were Never Really Here is disappointing in the coldest way possible.