Kodachrome is a road trip redemption film with a groovy analog aesthetic and a solid triumvirate of performances from Jason Sudeikis, Elizabeth Olson, and Ed Harris. Yet the film is held back from being a memorable one by its ham-fisted and predictable screenplay.
You could say the cinematographer Alan Poon is the real star of the movie by creating an embracing warm color scheme accentuated by close up shots using natural lighting. The director Mark Raso also isn’t afraid to shoot important scenes in low light which highlights this films cinematographic range. This warm color scheme is matched by a soundtrack populated by classic rock hits that are always a crowd pleaser. The marriage of music and lighting creates such a groovy aesthetic it keeps the film enjoyable throughout.
The screenplay is the predictable at best, the writers certainly don’t subscribe to the iceberg theory of writing. It honestly feels like the writers think the target audience are stupid. Every time they manage to make a subtle point through action or dialogue, Elizabeth Olson character then explains that point in detail. This ham-fisted approach to the writing is also perpetuated in how predictable the movie is. The director mine as well have had flashing text fly across the screen reading “Foreshadowing” or “character life symmetry” at multiple points throughout the movie.
This type of writing inherently makes the characters dry and predictable as well, but even with their limitations, they are played very believably by the actors. Elizabeth Olson does very well as her character is easily the most shallow and least thought out. Jason Sudeikis and Ed Harris have more dynamic characters as the movie revolves around their father-son relationship. They start to build a nice chemistry, which is necessary as all the conflict is dialogue driven between them. Unfortunately, it feels like they build that chemistry too late. The first two-thirds of the film is slow as the interaction doesn’t have much emotional gravitas. The final third achieves that emotional stimulation but the ending is so predictable it almost cheapens the entire experience. I found myself really wanting it to be over in the last five minutes.
Beerfest is a feel-good sports satire from the Broken Lizard comedy group that melds low brow humor with clever allegories of famous sports films, creating a surprisingly witty redemption story. The movie starts with two 1st generation German Americans who travel to Germany to spread their father’s ashes. On this journey, they uncover a long-held family secret and the international beer drinking competition Beerfest.
What ensues is the meat of the comedic bbq where the brothers are building the great American beer drinking team, which consist of five old college buddies, to compete in next years Beerfest competition versus the Germans, who consist of the brother’s half-cousins and half-uncle. The personal stories of the five American team members are all subtle takes on modern sports movie plots. This leads to both hilarious and heartwarming moments, mostly stemming from the team members own redemption stories.
The film editor and director deserve credit for the torrid pace to the editing, which leaves few if any scenes or jokes that inhibiting the progression of the plot. The pacing does create a small issue at the end, as the film ends on a climax. A common trope in sports films but not a terribly welcome one.
Set and character design are incredibly outlandish, which is common from the writing group broken lizard. It fits this film very well as the actors fully embrace how outrageous they look and play the part, especially the Germans. The one glaring video flaw is the CGI is horrible even for 2006. The seldom times CGI is used it’s very distracting. Which makes me wonder why it was even used, but a small complaint about an otherwise sound movie technically.
You’ll finish this movie and walk away glad you watched it, even if it is pretty shlock comedy. Beerfest is a good comedy for the consistent satire melding with a bevy of political and low brow humor, that turns Beerfest into a unique sports film.
Icarus has a scale issue, as the subject material becomes much larger than the movie itself. Yet this is also what makes it so captivating.
The film takes a drastic shift from focusing on Bryan Fogel to focusing on Grigory Rodchenkov about 30 mins in, which leads to uneven pacing and unfinished storylines. We start by following Fogel who is attempting to dope for a bike race, almost all of his personal storylines are left unfinished, which is disappointing. Icarus is redeemed by the breathtaking story uncovered by the filmmakers of a Russian medical director(Rodchenkov) who designed a state-run doping program. Grigory Rodchenkov and Bryan Fogel work to help expose the secrets long held in the Russian anti-doping agency. Rodchenkov’s entire career in anti-doping is put under a microscope, not just by the filmmakers but at the time by the world. This attention on Rodchenkov makes the documentary feel more like a geopolitical thriller than a sports documentary. This political intrigue keeps the movie entertaining, as some more technical scenes tend to make the documentary drag a bit. My biggest gripe other than the biking storyline being left out to dry is that the middle of the movie just isn’t as interesting as the beginning or end causing me to become slightly disengaged. But thankfully the ending snapped me back to attention.
Even with its flaws as a film, Icarus is an occasionally thrilling and always informative dive into the world of sports doping. A must see for any serious sports fan interested in doping or anyone interested in the inner workings of the Russian Government.