Is Yosemite ready for its closeup on Netflix? Not so fast … .
This week, we review a six-part mystery series set in the famed national park as well as four indie features that deserve wider attention. They all debut this week, along with the edgy Western “Eddington.”
Here’s our roundup.
“Untamed”: It’s a pleasure to see a series set in Yosemite even if, 1.), It isn’t actually filmed there (British Columbia subs for it with key iconic images inserted in) and 2.), the mystery at the heart of it it turns out to be a phony edifice itself. Eric Bana goes extra broody as park special investigative agent Kyle Turner, a guy ridden with despair and grief after the death of his son. He gets somewhat shaken out of that immense depression once he suspects foul play was involved in the death of a female hiker who took a fatal plunge off El Capitan. He and newbie partner Naya Vasquez (Lily Santiago), who has moved from the big city to the big outdoors, investigate her death and kick up the proverbial hornet’s nest.
The premise promises more than what ultimately gets delivered in this disjointed, semi-compelling six-part series from showrunners Mark L. Smith (“American Primeval”) and Elle Smith (“The Marsh King’s Daughter”). Littered with too many red herrings and subplots, the story leapfrogs about and prevents viewers from getting emotionally invested about solving the crime at its crux. Worse, the mystery leads to a preposterous, unsatisfying and predictable resolution. Bana’s performance is trapped by melancholy while Santiago counteracts that broodiness with energy. Sam Neill is fine as chief park ranger Paul Souter, an underwritten part, while Rosemarie DeWitt as Kyle’s ex-wife channels resigned grief well. But the actor, and character, who is the sparkplug of “Untamed” is Wilson Bethel as Shane Maguire. His extra-shady ex-military park wilderness expert provides the menace and narrative tension that “Untamed” often lacks. Too bad, “Untamed” didn’t focus on the clash between Shane and Kyle, and dropped all those other strands. Details: 2 stars out of 4; drops July 17 on Netflix.
“Don’t Let’s Go to the Dogs Tonight”: In her directorial debut, actor Embeth Davidtz makes one smart move after another, both as filmmaker and screenwriter. Her immersive, richly detailed adaptation of Alexandra Fuller’s 2001 memoir of the same name is an engrossing drama told from a child’s perspective, in this case that of inquisitive 8-year-old Bobo (Lex Venter, giving one of the most perceptive child performances ever). The POV allows the film to vividly convey how racial prejudices get handed down through generations and serves as a historical snapshot of what life was like for a white farming family in the tumultuous days of 1980 Rhodesia, as the South African state was gaining independence as Zimbabwe. Davidtz, who grew up in South Africa, is incredible in the pivotal role of Bobo’s hard-drinking and mentally unraveling mom Nicola, whose psyche gets rubbed raw by tragedy and does not see herself as a racist. Her actions often say otherwise. Bobo observes her behavior, which then seep into her own actions, such as when she’s playing with the kids who work for her parents and orders them around. It’s a credit to her talents that Davidtz juggles many balls successfully (the Fuller’s familial house takes pains to show what a mess its and points to unstable minds) and one of those is how she elevates the story of family servant Sarah (Zikhona Bali),whose kindness is exploited and ultimately costs her. This is a tremendous directorial debut in every way. Details: 3½ stars; opens July 18 at the Elmwood in Berkeley; the Smith Rafael Film Center in San Rafael; and the Landmark Opera Plaza in San Francisco; expanding to South Bay theaters next week.
“Unicorns”: The straight guy world of Essex mechanic and single dad Luke (Ben Hardy) gets upended when he steps into a club and becomes gobsmacked by drag performer Aysha (Jason Patel). The problem is Luke doesn’t realize that Aysha is the stage persona of Ashiq — a gay, closeted Muslim man leading a separate life away from his conservative parents. Aysha is likewise drawn to the rugged and handsome Luke, and after a confrontation they eventually settle into an agreement in which the cash-strapped Luke becomes the night-time driver for Aysha and escorts her to private dance and performance gigs. While the scenario follows the blueprints of many romantic dramas, the characters — both leads are written and performed so well — come with stories that we haven’t seen before and are told with the right measures of grit and grace. Co-directors Sally El Hosaini and James Krishna Floy — who also wrote the beauty of a screenplay — along with Hardy and Patel, in his feature debut, ensure that this is an authentic story about complicated people that won’t lean into stereotypes or surrender to being yet another tragic queer romance that leaves us filled with despair. There’s hope and joy to be found here along with passion and genuine heat, giving us a gay romance to treasure for years to come. Hardy’s performance, in particular, is unforgettable. Too bad it’s only showing in one Bay Area theater; it deserves a much wider release. Details: 3½ stars; opens July 18 at the Opera Plaza in San Francisco.
“Apocalypse in the Tropics”: The timing couldn’t be more important for the release of director Petra Costa’s disturbing documentary about the factors and people responsible for the mercurial ascendancy and fall of former Brazilian President Jair Bolsonaro. With President Donald Trump branding Brazil’s pursuit of justice for Bolsonaro a “witch hunt,” Costa’s impassioned documentary serves as a historical wake-up call about the real factors involved in his election and presidency and how it led to a revolt over the results of a fair election. Sound familiar? Costa’s film echoes with that haunted relevance but also delves into how evangelical leaders figured into turning Bolsonaro into a superhero and how a nation of “moral” seekers became his willing disciples and defenders. It’s a timely documentary from the maker of “The Edge of Democracy” that puts the political upheaval not just in Brazil but in America in stark perspective. Details: 3½ stars; available now on Netflix.
“Push”: A nightmare of a car accident shatters the life of Barcelona-born real estate agent Natalie Flores (Alicia Sanz) whose showing of an isolated estate could well turn into her last. There’s an abiding zeal for all things Hitchcock in this blood-curdler from the crack team of David Charbonier and Justin Powell (“The Boy Behind the Door,” “The Djinn”). Raúl Castillo plays against type and makes for a menacing, unstoppable presence in a surreal homage that’s yell-at-the-scream enjoyable and benefits from its terrific cinematography from Daniel Katz. Details: 3 stars; available now on Shudder.
Contact Randy Myers at soitsrandy@gmail.com.