Giuseppe Andrews’ “Touch Me in the Morning” is comprised of mainly a man throwing a lot of camera errors towards the audience presenting it as arthouse chic. It watches like a pointless exercise towards the audiences’ attention span. The dialogue rambles endlessly (most times I had to turn up my volume to hear any dialogue), the narrative is almost non-existent, and there are a myriad odd and incredibly mind-numbing musical numbers that aren’t catchy or fun.
A real estate agent meets a woman in the worst circumstances she could possibly be in. With some coaxing, they both travel to Los Angeles so that she can take revenge on those who have put here where she was when he found her.
I’m a big fan of Jay Baruchel (the actor), and as director of “Random Acts of Violence,” his adaptation of the original graphic novel by Jimmy Palmiotti wastes so much of its potential. It’s a great concept, with great commentary that amounts to a sub-par horror movie. The still relevant themes about how society tends to lionize serial killers, the unusual serial killer culture that most people tend to celebrate, and how most of their victims are virtually ignored begs for a dark horror movie of this ilk. Sadly, there is not a single substantial thing we can take away from all of this in the end.
Director Matthew John Lawrence’s horror rock comedy is probably one of the best films about the punk rock experience since “The Green Room.” While nowhere near as dark as the aforementioned film, it’s a movie with a silly title that is shockingly complex, heartfelt and injected with a sharp message about how if you’re willing to do “anything” to make it big, it can come back to haunt you. While the title might be something of a turn off to some, “Uncle Peckerhead” really packs in so much heart and genuine characterization.
Sasha Baron Cohen has remained one of the most scornful critics of the modern American political scene and has taken to destroying the status quo whenever possible. He’s been especially vicious in 2020 with his incredibly controversial “Who is America?” limited series, which he then follows up with the “Borat” sequel. This movie is not at all a cash grab, if fans were worried, it’s instead yet another case of Cohen pulling down the curtain in an America most of us doesn’t know exists. Or at least likes to pretend doesn’t exist.
A divorced father who’s let himself go faces the reality of losing custody and visitation of his son. As he tries to make things right, he discovers more about himself during a last hoorah weekend in Milwaukee with his son and best friend.
John Hyams’ “Alone” begins kind of sketchy. In fact I spent the first fifteen minutes not quite sure where the screenplay was going, if anywhere. But sticking with it, I’m glad to discover that “Alone” is one of the best and most exciting thrillers of the year. While it does get off to kind of a sputter, it transforms in to a journey of self discovery and evolution for a woman who is shambles when we first meet her. By the end, she has to figure out if she can keep charging head first in to the world, or if she wants to recede back in to the night.