If you want a little star power in your Heartland experience, look no further than Late Bloomers, which stars the one and only Karen Gillan. She stars as Louise, an aimless 28-year old who breaks her hip after an ill-advised drunken trip to an ex’s house. In the hospital, she makes a connection with Antonina (Malgorzata Zajaczkowska), an elderly Polish woman who speaks no English. Their relationship stars off rocky but due to Louise’s perseverance, they strike up an unlikely bond. Gillan navigates Louise’s shifting tones throughout, from youthful naiveté to righteous indignation, and handling the comedic and dramatic beats. First-time director Lisa Steen, working from a script by Amy Greenfield, doesn’t tread new ground narratively speaking, but there’s a warmth to be felt within the film that carries it through. Music plays a big part in Louise and Antonina’s experiences, and the scenes where the characters simply let the music take over rank among the better of the film. I often found myself smiling during these moments, regardless of how predictable the film around it is.
7000 Miles feels similar to Late Bloomers, in that it’s another story of generational understanding, but the former is less successful in execution than the latter. The film follows a young pilot named Jo (Alixzandra Dove) as she returns to her native Hawaii after the death of her grandfather. When her grandmother Meli (Wendie Malick), who essentially raised her, begins having memory issues, Jo begins to discover parts of Meli’s hidden past. Jo also begins reconnecting with a childhood crush who makes her realize she should fight harder to make her dreams a reality. It’s a film that shares a bit with Sweet Home Alabama but also includes a goofily sincere line like “She was the greatest hero of all time!” when referencing Amelia Earhart. Characters are broadly written without ever really investigating them below the surface, and the plot moves in predictable directions from the get-go. Malick and Dove perform amicably together and separately, but there’s a more introspective film to be made about regrets and grief than what’s on display in 7000 Miles. I’ve seen worse films from major film festivals, and that’s about the nicest thing I can muster to say.
Don’t go into New Life expecting a straight-up horror film. Rather, it plays more like an outbreak thriller for most of its runtime. Sure, there are some solid horror moments to be found, but first-time writer and director John Rosman prioritizes the story over the scares. The film follows a game of cat and mouse as Jessica (Hayley Erin) goes on the run through northern America, while Elsa (Sonya Walger), a government fixer, is tasked with bringing her in. What causes the chase is best left unsaid, but Rosman doesn’t overstuff the narrative with unnecessary details. And he throws in some neat visual tricks to liven up the spy chatter when Elsa is on the road. New Life doesn’t necessarily break the mold in the genre, but it shows that Rosman is a voice to look out for.
The Movie State 