Review by David Baldwin
Alfred Chin (newcomer Taylor Takahashi) is a high school senior living in Queens. He goes by the nickname Boogie and he dreams of playing basketball in the NBA. His has the skills and the drive, but needs a scholarship in order to play college ball — but his stubborn attitude is just one of the many obstacles standing in the way of him achieving his goal.
There is a lot I admire about Boogie. The film is the feature directorial debut of Eddie Huang, the restauranteur who wrote the memoir that inspired the wonderful ABC sitcom Fresh Off the Boat. He infuses his experiences growing up in an Asian-American family into the film, giving it a resonance and cultural expression missing from any number of atypical sports dramas of its ilk. Huang may not have been a sports prodigy, but the struggles Boogie deals with feel authentic and lived in. The soundtrack is great, and the film looks great.
Review by David Baldwin
I have been trying to write a review for Riley Stearns’ The
Art of Self-Defense for over a week now. I am at the point in my life where
free time is slowly dwindling down, and adulthood and the responsibilities that
come with it keep amping up. I do chores in and around the house, and by the
time I get to writing, I just end up staring at a blank Word document and
falling asleep. But in all of that time, I have not stopped thinking about
Stearns’ film. It has lingered at the back of my mind, popping up when I least
expect it and bringing me snide joy more times than I can count.
And I would like to think that would make Sensei proud.
But I also think that he would consider me less of a man for feeling this way. Probably
even less than that for using the words “snide joy” in a sentence.
If reading that sounds a bit toxic, offensive and more than slightly emasculating, than The Art of Self-Defense may not be for you. The tale of Casey (Jesse Eisenberg), his desire to learn how to defend himself, and his admiration and later obsession with the local dojo run by Sensei (Alessandro Nivola) starts off innocuously and humourously enough. But around the halfway mark, it jumps the rails and morphs into the bleakest, darkest satire imaginable – something that practically wrecks of toxic fumes. And it happens to be one of the funniest comedies of the year thus far.