In the new comedy thriller “Self Reliance”, Jake Johnson plays a lonely man named Tommy who is stuck in a mundane existence. Ever since splitting up with his long-time girlfriend nearly two years ago, Tommy has seen his life become one long boring routine. Every day it’s the same thing. No zest, no excitement, and no social life outside of his mother (Nancy Lenehan) and two sisters, Amy (Mary Holland) and Mary (Emily Hampshire).

But one day everything changes as he’s walking to work. A black limousine pulls up next to him and inside is Andy Sandberg (playing himself). He asks the starstruck Tommy to get in which he promptly does. It turns out that Sandberg is the paid spokesman for a dark web reality TV game show. In it the contestant must stay alive for 30 days while hunters try to track him down and kill him. If he survives he will win one million dollars. Weird, right?

But there’s an interesting rule (or loophole as Tommy interprets it). He can only be targeted if he is alone. Any moment he’s not within close proximity of someone he can be killed. He first goes to his family thinking he’ll stick close to them for the 30 days. But they think he’s after attention and refuse to play along. He then approaches a homeless man named James (a hilarious Biff Wiff) and hires him to stay by his side 24 hours a day. But James isn’t the most reliable. Terrified and paranoid, Tommy finds what may be his means of survival in the slightly neurotic fellow contestant named Maddy (Anna Kendrick).

In addition to starring in “Self Reliance”, Jake Johnson also produces, writes, and makes his directorial debut with mostly satisfying results. At times the movie feels like the work of a first-time feature filmmaker, lacking assurance and focus. But Johnson has a great feel for comic timing and delivery, working in the same aura as Jay and Mark Duplass. Yet he has a distinct oddball flavor all his own, melding deadpan with the absurd, resulting in some genuinely laugh-out-loud funny scenes.

While the story centers around a wild and wacky premise, the movie itself is pretty tame, playing is safe rather than really going for it. Instead Johnson sticks with his strengths which is a key reason why the movie works in the end. Not all of the humor lands yet it hits a lot more than it misses. And it’s helped by an all-in cast who were consistently cracking me up (Hampshire is a hoot). It’s a promising debut in a genre that can always use new comedic voices. “Self Reliance” is now streaming on Hulu.

VERDICT – 3 STARS

A cerebral space drama and Adam Sandler – not exactly a ‘peanut butter and jelly’ kind of combination at first glance. Now throw in a giant extraterrestrial spider voiced by Paul Dano and you have “Spaceman”, a movie that on paper defies description. It’s directed by Johan Renck, best known for his work on the award-winning mini-series “Chernobyl”. His involvement adds another curious piece to the enigma that is “Spaceman” while also adding to the film’s allure.

It should be said, “Spaceman” is not a Happy Madison production and that’s a good sign. Written for the screen by Colby Day, the film is based on the 2017 novel “Spaceman of Bohemia” by Jaroslav Kalfař. Sandler fans who haven’t tapped into his more thoughtful work might be surprised by his ability to pull off such a somber and restrained meditation. But “Spaceman” is a welcomed reminder of how good he can be whenever he ventures outside of his exhausting comfort zone.

Emotionally layered, necessarily slow, yet ever absorbing – “Spaceman” is the kind of movie that is sure to provoke a fascinating array of responses. For me, I have a real soft spot for these kinds of movies. When they’re done well it’s easy for me to get lost in them. Such is the case with this rich exploration of the human condition set against the backdrop of the daunting vastness of space. It’s something that’s been done before and Renck’s inspirations are impossible to miss. But that doesn’t take away from what he accomplishes.

Sandler plays Jakub Procházka, an astronaut on a Czech space mission to study an ominous yet beautiful purple-hued particle cloud in deep space that’s large enough to be seen in the Earth’s sky. 500 million kilometers from home and on the outskirts of Jupiter, Jakub is entering his 189th day in space – the halfway mark of his journey (I’m not sure the math adds up but oh well…).

Back on Earth, Jakub’s mission is tightly guarded by the head of Mission Control, Commissioner Tuma (Isabella Rossellini). She keeps a firm and calculated grip on information. In doing so she has captured the public’s interest by commercializing Jakub and turning his mission reports into must-see television. At the same time, she closely monitors and screens information given to Jakub, withholding anything that she and her team feels may jeopardize his fitness to complete his mission.

But what Mission Control doesn’t realize is that by keeping certain information from him they’re actually contributing to his downward mental spiral. In addition to being lonely and overcome by feelings of isolation, Jakub desperately misses his wife, Lenka (played by the always terrific Carey Mulligan, an actress who can make reading a cereal box compelling). But this yearning of his is driven mostly by deep feelings of guilt and regret, even if he’s not ready to admit it.

Jakub tries to keep his worsening mental state hidden from his Mission Control handler Peter (Kunal Nayyar). There’s even a sense of denial as Jakub struggles to convince himself that he’s fine. But he’s forced to come face to face with his distress after he discovers an uninvited visitor aboard his ship. Elegantly voiced by Dano and in the form of a giant brown spider, the extraterrestrial reveals itself to be an explorer who has been studying human behavior.

Through their interactions we begin to see deeper into the reluctant Jakub’s psyche. The more the alien arachnid probes the more we see what has driven him to such a fragile place. Most of what we see centers around his marriage to Lenka. Mulligan is an aching hypnotic presence seen mostly as a silhouette pulled by the alien from Jakub’s memories. We see the two fall in love and soon after learn that Lenka’s pregnant. But Jakub’s obsession with his mission drives a wedge between them. And his eagerness to leave her alone to have their baby feeds a growing frustration that leads Lenka to question their entire relationship.

It’s never said for sure when the movie takes place, but there are features that seem firmly grounded in the past and others that feel near-future. Similar ambiguity is found in the characters as well, more specifically in the choice to have the cast use their natural accents. It’s a decision that fits nicely within the film’s enigmatic framework. Equally effective is the claustrophobic yet immersive cinematography from Jakob Ihre and Jan Houllevigue’s rigorously detailed production design.

“Spaceman” can best be described as a psychoanalytical character study set as much in the depths of one man’s soul as it is the vastness of space. Director Johan Renck pulls from a variety of films such as Tarkovsky’s “Solaris” and Kubrick’s “2001: A Space Odyssey”. He even throws in a dash of Malick and a smidgen of Spielberg. But even with its deeper musings, there is a simplicity at the film’s core that considers a number of potent themes including the meaning of love, neglect, and the need for human connection. Altogether it makes for an unexpectedly moving experience that some will have a hard time connecting with. Me…what can I say, I was captivated. “Spaceman” premieres March 1st on Netflix.

VERDICT – 4 STARS

Johanna Putnam’s elegantly made and emotionally layered psychological drama “Shudderbugs” embodies much of what is both special and essential about independent cinema. It’s the kind of movie that comes from a filmmaker who only has to answer to herself. No pressure from producers, no big studio meddling, no demand to make something more digestible for mainstream audiences. Putnam and her small but cohesive team of collaborators had the freedom to make the movie they wanted. And the results are pretty special.

“Shudderbugs” recently had its Arkansas premiere at the El Dorado Film Festival where it took home the Pam Callaway Spirit of the Festival Award. Filmed in 2020 at her parents’ farm in upstate New York during the COVID-19 lockdown, “Shudderbugs” tells a deeply resonating story about coming to grips with loss and trying to move forward. It’s a story that’s rich with feeling, full of evocative imagery, and driven by an aching and soulful lead performance from Putnam herself.

Putnam plays Samantha Cole who returns to her family’s rural farm house following the unexpected death of her mother Elizabeth. Sam’s father, a beloved local historian, drowned two years ago in their small pond. So that leaves Sam, an only child, to handle her mother’s affairs. Over the course of her stay, Putnam patiently yet methodically lets us in on the family’s history, mostly through Sam’s memories and discoveries. Dreams, flashbacks, phone calls, etc. – these devices and more help the audience fill in the lines.

But Putnam also keeps us feeling a bit off balance. “Everything seems off,” Sam says at one point and we sense the same thing. There are a handful of mysteries that spring up and Putnam throws us a few curveballs that make us question what we see and think we know. For example, what was Sam’s mother’s cause of death? And what’s with the creepy neighbor named Noah (Brennan Brooks, also the film’s DP) who lives in the basement of a dilapidated yet character-rich old house down the road?

Adding to the subtle sense of unease is the sublime sound design. At times it seems as if everything we hear is amplified – the squeak of a screen door, the wind chimes on the porch, the creaking stairs, the buzz of mosquitoes. It can be eerie, haunting, and even hypnotic. Yet as with everything it’s very controlled and never overpowering. That’s a testament to Putnam’s keen direction and particularly her terrific management of tone. You see her confidence in her determination to stick with her vision, and maintaining the right tone is essential to that vision.

Putnam makes so many good choices both as the film’s director, writer, and star. It’s hard not to be swept away by her mesmerizing drama, from its compelling setup straight through to its fittingly poignant final frame. You could say the film is a tad longer than it needs to be and that’s one thing that will likely trip up the aforementioned mainstream crowds. But I’ll happily accept that if it means getting something as genuine, as original, and as alluring as “Shudderbugs”.

VERDICT – 4 STARS

Writer-director Vivian Kerr brought her short film “Scrap” to the El Dorado Film Festival in 2019. In 2022 she adapted it into a feature film and has since been screening it on the festival circuit, winning several awards along the way. Now “Scrap” returns to the EDFF as a thematically rich and emotionally grounded feature-length drama anchored by strong character-driven storytelling and three fantastic performances.

With “Scrap”, Kerr has offered up thoughtful and genuine examinations of a number of resonating themes. Among them are brother-sister relationships, maneuvering through life’s trials, coming to grips with the hand you’ve been dealt, and taking responsibility. At the same time issues of homelessness, single motherhood, infertility, and disillusionment are woven into the fabric of Kerr’s story, all handled honestly and thoughtfully.

In addition to working behind the camera, Kerr also stars in the film, playing a single mother named Beth who was recently laid off from her well-paying corporate job due to downsizing. As a result she has lost her home and now finds herself at a crossroads. In the meantime, Beth’s adorable young daughter, Birdy (Julianna Layne) has been staying with her brother Ben (Anthony Rapp of “Dazed & Confused” and “Rent” fame) and his wife Stacy (a scene stealing Lana Parrilla).

Beth has Ben and Stacy believing that she’s away on business trips. In reality she’s desperately running from one highly sought job interview to the next during the day while spending her nights parked in upscale Los Angeles neighborhoods sleeping in her car. As we watch Beth’s routine, it’s hard to miss the desperation, the heartbreaking moments of shame, and most notably the denial. That last one is the basis for the impressive but crumbling facade she has constructed.

Ben and Stacy suspect something is going on with Beth. But they are having a crisis of their own. They’re a loving and successful couple – she’s an attorney and he’s an author of a popular series of fantasy novels. They have done very well for themselves. Now they’re ready to have a child, but infertility has made it difficult. They have taken treatments, but with every unsuccessful outcome more stress is added to their marriage.

In many ways Ben and Stacy are the antithesis of Beth. They are stable, established, and dependable people. They witness how irresponsible and careless Beth is with her daughter and it frustrates them, especially as a couple desperately wanting a child of their own. This really affects Stacy who has a difficult time hiding her aggravation. It creates a palpable tension between the two women.

Despite her faults, Beth is never portrayed as a bad person. Quite the opposite. She sincerely loves her daughter and wants what’s best for her. But far too often her obsession with reclaiming her former status blinds her to her responsibilities to Birdy. It leads to several bad choices that only make her situation worse. And her unwillingness to be truthful with a genuinely concerned Ben risks alienating the one person willing to help her.

There is some really good brother-sister chemistry between Beth and Ben as seen in the pointed arguments, the warm encouragements, and the playful insults. As more context is given, we begin to see their relationship as more layered and textured. Kerr’s direction is key, but even more crucial are the performances. Though a touch stilted at times, she and Rapp have an organic rapport that sells us on every exchange. Even better is Parrilla who is able to make Stacy the most nuanced and sympathetic character in the film.

“Scrap” is an impressive feature film debut from director, writer, and producer Vivian Kerr. From the very start she shows such good control of the material, throwing in a handful of good laughs and some tender moments while never losing sight of the the more serious slice-of-life drama that gives the movie its punch. It’s a well-paced film, propelled by (mostly) richly developed characters and fleshed out relationships, both of which are critical to the movie’s success. “Scrap” recently screened at the El Dorado Film Festival.

VERDICT – 3.5 STARS

While Sundance Film Festival attendees got an early first look, others won’t have to wait long to see “Suncoast” which is set to premiere on Hulu February 9th. And trust me, it’s a movie you’ll want to see. It’s a semi-autobiographical and deeply personal story from first-time writer-director Laura Chinn. Made in the memory of her own late brother, “Suncoast” is a film certain to resonate with a number of people in a variety of different ways.

Aside from Chinn’s assured direction and her (mostly) absorbing script which is an endearing combination of heart and humor, “Suncoast” thrives thanks to the utterly delightful breakout performance from Nico Parker. The 19-year-old star brings a fresh and nuanced perspective to the coming-of-age drama, navigating a handful of irksome tropes and still relaying an emotional richness and authenticity that often evade movies like this.

Parker plays Doris, a shy and sheepish 17-year-old who spends most of her time helping care for her brother Max (Cree Kawa) who is dying of brain cancer. Ever since her father passed away Doris’ mother, the brash and impertinent Christine (wonderfully played by Laura Linney), has worked long hours to be able to support her family. That’s left Doris to watch over Max, who is immobile and unable to communicate, sacrificing her own teenage experience in the process.

As Max’s health worsens and the end draws closer, Christine admits him into a hospice care center in hopes of making his last days as comfortable as possible. Meanwhile her relationship with her daughter has steadily deteriorated. Regardless of her efforts, nothing Doris does is good enough for her mom. Adding to it, Christine’s preoccupation with Max has led to an unwitting neglect of Doris. Chinn’s measured handling of this mother-daughter tension is crucial. And no matter how hard Christine is on Doris, she’s never presented as a villain. It’s all a byproduct of repressed grief which she refuses to deal with.

At Clearwater Christian High School Doris makes friends with an annoying gaggle of air-headed preppies after offering to host a party at her house while her mom is away. The tired teen antics and shallow drama we get is by far the movie at its weakest. Far more interesting and entertaining is the unexpected friendship that springs up between Doris and a local activist and grieving widower named Paul (a perfectly cast Woody Harrelson). Some of the film’s most organically funny and heartfelt moments are when the two are together.

But the key relationship in the movie remains between Doris and Christine. Linney will have you laughing the hardest with her no-filter directness and quite possibly tearing up the most as she inevitably comes to terms with her grief. Meanwhile Parker delivers such a perfect melding of vulnerability, frustration, and angst. She keenly captures the essence of a teenager forced to grow up too fast yet still yearning for the experience she has missed out on.

Chinn’s affections for her characters comes through in every scene as does her personal connections to key elements of her story. There’s an honesty in her approach and even the most emotionally-charged moments feel truthful. Again, the overly conventional teen stuff get old and can sometimes weigh the movie down. But it doesn’t overshadow the film’s many strengths nor does it take too much away from what is a truly marvelous debut from Laura Chinn. Sign me up for whatever she does next. Premieres February 9th on Hulu.

VERDICT – 4 STARS

In the revisionist Western “The Settlers”, director Felipe Gálvez sits us down in 1901 Tierra del Fuego, Chile during the Selk’nam genocide. That’s when land-hungry sheep ranchers backed by large livestock companies and protected by the Chilean and Argentine governments carried out the systematic extermination of native tribes that populated the area. It was yet another dark and vile stain on human history.

Gálvez begins by introducing us to a young Chilean mestizo named Segundo who is our eyes and ears for much of the harsh and uneasy 90 minutes that follow. Segundo (played with such quiet yet pained intensity by Camilo Arancibia) works in the fields under the cold-hearted Alexander MacLennan (Mark Stanley), a former British lieutenant who is now a foreman for a wealthy rancher named José Menéndez (Alfredo Castro).

The haughty Menéndez claims that the local indigenous tribe, the Onas, are killing and stealing his sheep. So he sends MacLennan on a lengthy expedition across his land. It’s under the guise of scouting a path for him to safely move his sheep to the Atlantic Ocean. In reality there is something far more sinister behind it – a secret agenda at the heart of the mission.

MacLennan orders Segundo to come along without letting him in on the details of their expedition. They’re joined by Bill (Benjamin Westfall), a ruthless, racist, and borderline cartoonish American mercenary who is Menéndez’s right-hand man. The three head out on horseback across the vast open territory eventually arriving at the base of the snowcappeed Andes Mountains.

Along the journey, Gálvez and his co-screenwriter Antonia Girardi give us a clear sense of who these three men are. This is especially true when the trio happen upon a small camp of Ona. The sheer barbarism at the hands of MacLennan and Bill along with their cold and calloused indifference is hard to stomach. Meanwhile the mostly silent Segundo is horrified by what he witnesses but is too frightened to try and stop it. His feelings of complicity torture him through the rest of the film.

The story is broken down into chapters tagged with ever so slightly pretentious headings like “The King of the White Gold”, “The Half-Blood”, and “The Ends of the Earth”. Yet it gives us a harrowing and unflinching dive into Chile’s colonial past, offering a piercing and fittingly uncomfortable critique. And all to the backdrop of DP Simone D’Arcangelo’s stunning John Ford-esque canvas.

Gálvez makes a bold choice for the final 30 minutes – a turn that’s both mesmerizing and frustrating. It sees the story suddenly bolt forward seven years. In these scenes an envoy of the Chilean president named Vicuña (Marcelo Alonso) confronts Menéndez about the massacres across his land in an effort to make amends with what remains of the indigenous people. It’s utterly engrossing and ends the movie with a morally repugnant gut-punch. But that jump in time leaves a big gap full of questions that never get satisfying answers.

Even with that conflicting miscalculation, Gálvez has his points to make and he does so by handling his material in a manner that you wouldn’t expect from a first-time filmmaker. He shows a willingness to take risks and makes choices that may not completely work as intended, but that show confidence and vision. And for a movie like this one, that’s the kind of approach that proves to be invaluable.

VERDICT – 4 STARS