The 48th Cleveland International Film Festival has finally come to a close, and thankfully, Allison and I got to sink our proverbial teeth into a handful of quirky movies. Don’t miss our full coverage just after the jump!
Films
A HOUSE IS NOT A DISCO
Full review at the link.
THE LAST VIDEO STORE
Throwback movies are all the rage right now, and rightfully so for a generation that grew up with some of the best films ever made hailing from prior decades. The Last Video Store constantly reminds us of these eras, particularly the late 80s/early 90s. Nyla (Yaayaa Adams) stumbles into a nearly-abandoned video rental store with a bunch of tapes to return. As Blaster Video’s sole employee, Kevin (Kevin Martin) breaks down the iconic faux-VHS’s that Nyla brings, including Jurassic Park rip-off Preystalker, and hockey-masked-killer sequel, Beaverlake Massacre Part 4. Nyla also pulls out one that Kevin does not recognize, and appears to contain some strange powers. After they slip in the tape, one skeletal zap later, the monsters from the movies are quite literally sucked into the real world. Casper, this film’s iteration of Jason Voorhees, looks incredible. I personally love a good meta horror spin (Scream is my favorite franchise, after all), but the execution of this concept fails to impress. The location remains static at the video store, featuring minimal bloodshed. Each chunk of the story feels half baked, and the premise stretches so thinly it threatens to break. Some films should just stay as shorts. The effects are very questionable; funny enough, there’s an easy out to simply blame it on the respective movies for being poor quality too. At least The Last Video Store tries to do something unique, but it needs more of a hook to truly have its audience rewinding to watch again.
TONY, SHELLY & THE MAGIC LIGHT
Showcasing the underrated power of stop motion animation, Tony, Shelly & The Magic Light channels gothic vibes and has quirkiness to spare. Little glowing Tony longs to have a real friend, and just fit in; his workout-obsessed father barely pays him any mind, considering the two twin babies he also raises. In their apartment building, things are about to get a whole lot stranger. A famous retired dancer and her daughter, Shelly, may be the key to unlocking the untapped potential of Tony’s glow. The dark entity known as the Spirit threatens to swallow everything Tony holds dear. Stunning effects and a fully-realized world make some of the shortcomings a little more glaring. This includes an obnoxious neighbor so chubby she can barely fit through her own door and aptly named Ms. Tubby, unexplained flowers growing on the Caretaker’s back that eventually have a visual payoff, and a weaker story than expected. Still, Tony, Shelly & The Magic Light should appease fans of stop-motion in particular. Its tender moments of beauty and potent use of “Leaving on a Jet Plane” will leave a mark.
UNSPOKEN
Full review at the link.
WE GROWN NOW
(Written by Intern, Sean Barry) We Grown Now beautifully depicts kids making the most of growing up in harsh conditions. Set in Chicago’s Cabrini-Green housing complex in 1992, we follow two young boys, Malik (Blake Cameron James) and Eric (Gian Knight Ramirez), as they experience the cruel realities of society. Malik’s relatively nurturing family is often juxtaposed with Eric’s more rough home life down the hall. Both households are run by single parents who provide truth and understanding for their children. Lil Rel Howery excels in a powerful against-type performance as Eric’s stern, but caring father who must recognize his young son’s wants and needs. Minhail Baig’s gorgeous direction employs mesmerizing lighting and long, steady tracking shots which will make anyone nostalgic for the lighthearted days of early adolescence. Jay Wadley’s hypnotically heartwarming score assists in creating a childlike wonder which permeates their world. Upbeat music plays during a tense moment when police arrive at the school, adding a stark mood contrast between the scene’s direct implications and the students’ perception. The illusion of childhood does not go away until Malik’s mother scolds him for skipping class. She is tearfully distraught, as she explains how much violence exists outside their apartment. As the soundtrack goes silent and the camera becomes handheld, Malik’s vulnerable innocence is suddenly shattered. However, it is not gone forever, and he gradually becomes awestruck by noticing inspiring deeds around him. Acts of kindness cause the duo to perceive everything differently, as they are reminded of aspects that are quintessentially human. This coming-of-age drama is powerful enough to spark conversations about life, while remaining tender enough to effectively connect both past and present.
For more information about the 2024 edition of the Cleveland International Film Festival, please head on over to the fest’s official website.