It's John Luther vs. Perry Mason
Both efforts could be better, but `Punch' is an indie gem
An ace British detective and a Depression-era defense lawyer take the stand in the court of public opinion this streaming week.
So which one — Idris Elba's sexy John Luther or Matthew Rhys' disheveled Perry Mason — will win the audience over this time out? Stay tuned.
Meanwhile, the indie crowd gets much to appreciate as well, including the New Zealand drama “Punch” and the disturbing “Palm Trees and Power Lines,” which features two awards-worthy performances.
Here's our roundup.
“LUTHER: THE FALLEN SUN” >> Let's give you the best news first. Idris Elba is as watchable as ever as that determined rogue British detective John Luther, a guy who blurs the law lines and looks ever so sexy and suave. It's easy to see how after five successful seasons, Elba's Luther has become the go-to for fans of superior BBC mystery series.
Now, prepare for the bad news. The enthusiastically awaited stand-alone movie hurls a wrecking ball at “Luther's” valued reputation, coughing up a serious misfire from beginning to end. It's not Elba's fault; the blame should be assigned to a cuckoo screenplay that gives us a preposterous plot with a nonsensical serial killer (a miscast Andy Serkis) whose nefarious ways land Elba's ace detective in the slammer while the blood flows on London streets.
The usually terrific Cynthia Erivo lands a perfunctory role as Luther's successor, Detective Chief Inspector Odette Raine. She rejects Luther's insistence that she needs his help collaring David Robey (Serkis), whose series of grandiose murders suggest he's been binging on the “Saw” canon.
Unlike previous, much better outings, “Fallen Sun” grows ever more ludicrous and over the top as it goes, provoking laughter and snickers. Motivations don't matter as “Luther” barrels ahead without much finesse to a grandiose finale, a silly showdown that jumps the shark and puts not only Luther but this series on the thinnest of ice. DETAILS >> \*/* out of 4; available Friday on Netflix.
“PERRY MASON, SEASON 2” >> To a lesser extent than “Fallen Sun,” the second season of HBO's take on author Erle Stanley Gardner's classic defense lawyer (played extremely well by Matthew Rhys) also has issues. The rich period details — from costumes to its title sequence — transport us to Depressionera Los Angeles where two Mexican American men become Perry's clients, the defendants in the murder of a rising star who had a kinky side and family oil connections.
As they've done before, creators Rolin Jones and Ron Fitzgerald serve up a slow burn that tweaks the storylines of key players, including Perry's uber-capable colleague Della Street (Juliet Rylance). In Season 2, both Della and Perry fall for someone special, but lust and love never go down easily in a series like this. While the show's languid pace in the first few episodes might test your patience, prepare to get drawn in as this hot-potato case reflects the tenor and the racism of the times, and is far more gnarly than originally thought.
DETAILS >> \*\*/*; available now on HBO.
“CHAMPIONS” >> Bobby Farrelly's inspirational sports comedy-drama relies on a traditional playbook, with a protagonist evolving from a self-absorbed coach to a more compassionate one. It's step-by-step predictable and includes a couple of sentimental groaner moments, but it does sparkle at times. The MVP here is Woody Harrelson as Marcus, a hot-fused, I'm-always-right assistant basketball coach bounced from an Iowa minor league team to overseeing a YMCA squad made up of players with disabilities after he crunches into a cop car and
gets a DUI. If it all sounds like a variation on “Hoosiers” or “The Bad News Bears,” it is. But it's predictable in a genial, comfort food sort of way.
As in nearly all Farrelly movies, “Champions” runs on too long, but its shaggy, rambling style can't help but win you over as it progresses, with Marcus finding romance (Kaitlin Olson) and standing up for his players.
DETAILS >> \*\*/*; in theaters Friday.
“PUNCH” >> One of the greatest pleasures of being a habitual film fan is discovering the little indie gem that is so remarkable you just want to exhort everyone to watch it. Director and screenwriter Welby Ings' longin-development feature debut is extra-special like that, a character-driven tale that reflects the beauty and some of the closed minds that exist in a small town in New Zealand.
Tim Roth is the most recognizable cast member and he makes an ideal Stan, an alcoholic dad who doubles as boxing trainer for his athletically gifted son Jim (Jordan Oosterhof in a knockout turn). When he's not in intense training mode — which is most of the time — Jim hangs out with a sort of girlfriend and with boneheaded guys, the sort who hurl insults out of a car at proudly gay Whetu (Conan Hayes), who's
Maori and turns tricks so he can scrap by in a makeshift home in the woods. A friendship develops between the two that slowly blossoms into a relationship, setting up a clash between the macho world of boxing and a surging passion between two young men. “Punch” realizes that when it's two guys in the ring — as sparring partners or as romantic partners — outside forces can take them down for the count.
DETAILS >> \*\*\*/*; in select theaters and available online Friday.
“PALM TREES AND POWER LINES” >> Newcomer Lily McInerny and Jonathan Tucker command every second of screen time in Jamie Dack's uncompromising and disturbing feature debut. It's won awards on the festival circuit and gained raves, but it's been a tough sell to get it into theaters. That's understandable given its subject matter and the explicit (but not exploitative) nature of a story that could be triggering to some.
While on summer break, 17-year-old Lea (McInerny) encounters the charismatic Tom (Tucker), a predator who comes off as a kind and caring soul and then slowly reveals his true intentions. Using wide-angle shots during its most intense and challenging moments, it's claustrophobically realistic and certain to make your skin crawl while you remain in awe of those central
performances. DETAILS >> \*\*\*/*; on demand. available now on video
“HUESERA: THE BONE WOMAN” >> A hit and award winner on the festival circuit, Mexican director-writer Michelle Garza Cervera's inspired feature debut is a head spinner of a supernatural thriller that evokes classics from the past, including “Rosemary's Baby.” It's no retro imitator by any means.
Cervera provocatively addresses cultural pressures to fit in for soon-to-be mother Valeria (Natalia Solian, in a career-defining performance) who has tucked away her needs and desires so she can do what is expected of her. “Huesera” finds Valeria questioning her reality and sanity as she suspects she's possessed by a demonic force and starts seeing frightful images — such as a woman leaping off a balcony — and starts having trouble separating reality from her own nightmares. Steeped in Mexican lore, “Huesera” announces the welcome arrival of a new horror filmmaker who knows how to tell a damn good, multilayered story that has a purpose and a vision.
available now on several streaming platforms.