Popping up on screens since the ‘90s, and best known for his roles in Lost and more recently The Good Doctor, which he also executive produced, the actor replaced Deadpool actor Ed Skrein in the role of jaguar-transforming Ben Daimio in Hellboy, after a whitewashing controversy erupted online.
Rocking the Couch takes a rudimental approach in its coverage of #metoo that resultingly ends up scattershot and well-trodden. From interviews of actresses who have experienced sexual abuse to history lessons on misconduct in Hollywood, Rocking the Couch’s ambitious efforts to cover a broad spectrum of information within a sixty-minute runtime is admirable, however, sees it unable to effectively dissect important issues facing Hollywood and culture at large.
Where female interviewees share their traumatic experiences on screen, it is with the male respondents, often members of law enforcement or producers, and their dissociative responses on how female victims should behave that highlight something culturally problematic. It is unclear whether Rocking the Couch has something interesting to say about this male perspective – the bizarre manner in which interviews are conducted, involving green screen backgrounds and interviewees drinking wine, is distracting to the point that important themes come across as satirical.
Issues with editing are prevalent throughout Rocking the Couch, with director Minh Collins’ decision to embellish the film with cheap transition effects and stock-images that interrupt interviews being of high school PowerPoint presentation quality.
In title, Rocking the Couch makes a bold declaration that its timely subject matter will disrupt Hollywood, which despite its earnest attempts to do so doesn’t rock the couch as much as it brushes past it.
Matt Schrader's 2.5 hour biopic in 6x episode podcast form about the rivalry and friendship between young Steven Spielberg and George Lucas that changed cinema forever (for the worse in many a film buff's opinion).
Sideways meets Bridesmaids, with Amy Poehler starring and directing Netflix comedy about turning 50, also starring Tina Fey, Maya Rudolph, Rachel Dratch, Paula Pell, Maya Rudolph, Ana Gasteyer and Jason Schwartzman.
Though catered to with primping regularity on the small screen, the tween audience has copped short shrift when it comes to cinema. Their tastes are so singular that they practically exclude interest from all outside demographics, perhaps putting the brakes on any possibility of making true box office gold. After crafting a modest success with 2017’s Rip Tide, prolific and enterprising producer Steve Jaggi replicates that film’s formula – relatively-high-profile-American-gets-transplanted-to-Australia – with Back Of The Net, which sees Disney Channel darling, Sofia Wylie (Andi Mack, High School Musical: The Musical: The Series), taking on a similar role to Rip Tide’s Debby Ryan (Jessie, Sing It!). The results are equally fresh and entertaining.
American-in-Oz, Cory Bailey (Wylie), is a nerd of the first order, more interested in science and studying than just about anything else. But when a classic absent-minded-professor move sees her board a bus for a soccer academy instead of the one taking students on an ocean study trip, Cory is thrown way, way outside of her comfort zone. Suddenly surrounded by cute boys, bitchy girls and sweet new friends, Cory has to use her considerably sized brain pan to find a way to carve out success on the soccer field.
Equipped with a cast boasting energy to burn – Sofia Wylie is like a cinematic ray of sunshine, while Kate Box (TV’s Rake and Wanted) gleefully steals all of her scenes as the soccer team’s harried coach – director, Louise Alston (making a surprise detour after the impressive Jucy and All My Friends Are Leaving Brisbane), mines them for all they’re worth. With a limited budget, she really showcases her cast, letting their natural charisma and screen presence glow through. While the messages are strong and on-point, and the humour is effortlessly bubbly, the cliches do admittedly fly thick and fast, and you can pretty much see every plot move coming from a mile away. The film’s abundant warmth, energy and charm, however, make up for these shortfalls, and Back Of The Net ends up kicking more than a few nifty goals.