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Piotrowska offers an almost unnervingly straight-faced performance as a woman who has left her family, friends and culture behind and refuses to even consider what that has meant for her life. Her blank stares cause Katie to open up to her, which adds surprising textures to their interaction. As Katie, Friedman-Cohen watches invasively from behind her camera, failing to remain objective as a documentarian. But perhaps that isn't possible for anyone. Occasional side characters are voyeuristically realistic.

The filmmakers subtly reveal glimpses of Alicja's backstory by simply keeping the camera on her. "Were you abused as a child?" Katie asks, but Alicja never answers. As these two women dance around each other, where they go is increasingly uncomfortable, mainly because it reveals deep-seated attitudes without ever saying them out loud. Eventually, Katie realises she needs an ending, and what happens is creative, deeply disturbing and a provocative, deliberate head-spinner.

themes, language, sexuality, violence

19.Jul.19

Performances are easy and realistic, underplaying the dramatic undercurrents of tension swirling between this group of intriguing, involving people. Banzhaf is terrific as a young woman whose identity is compromised by being home, struggling to maintain her sense of self as old memories and new feelings mingle. Opposite her, Thompson, Maughan and Dunphy all have very strong scenes, creating vivid characters who are very easy to identify with as they grapple with emotions that surge in unexpected directions.

There's an intriguing angle to this story in the way it explores the small lies we tell our families about oureselves without even thinking about them, whether it's withholding information, offering false opinions or allowing untrue assumptions to continue. And the converse is also explored here, namely the often unspoken pressures we put on our closest loved ones to live up to the expectations we have for them. So it's no wonder that we need to find outsiders who will accept us for who we really are.

themes, language

26.Mar.19

The acting is deliberately deadpan, the only way to maintain dignity in a movie that's so resolutely silly. Playing things straight allows these veteran actors to deliver some terrifically sarcastic zingers while building a nice sense of camaraderie between each other. Best of all, Berenger, Bridges, Gossett and Flanagan never forget that they're playing retirees; there are no idiotic Expendables-style antics here. And Abeysekera's Celestro is a hilarious poser. So even if the villain is a little nonsensical, the action scenes have a raw nuttiness that carries an emotional kick.

The central nefarious plan is hinged on the fact that no one will miss a few old people, so why not steal their supernatural abilities and take over the world? And since the effects are more eye-catching for their simplicity, there's a loose honesty that makes even the most absurd wackiness rather endearing. It's also nice that the film doesn't wear out its welcome, quietly layering in its themes then wrapping up the corny plot with another dumb joke.

themes, language, violence, sexuality

10.Jul.19