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Iron Fist photo
Fisting all over the place
When Marvel announced their series of shows that would eventually lead up to a Defenders show the biggest question mark was definitely Iron Fist. Since then Netflix and Marvel have been pretty open with the other series,...

The Defenders photo
The Defenders

Sigourney Weaver to play villain in The Defenders

Yea, that got the crowd excited
Oct 08
// Matthew Razak
As a final surprise at NYCC it was announced that Sigourney Weaver would be joining the cast of The Defenders as the villain. She came out on stage and everyone went pretty damn crazy. No word on who she will be playing, but it's a pretty massive pull.  We'll bring you more as it unravels. 
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"Yeah, I'm thinking I'm back!"
John Wick was one of the biggest surprises of 2014. What looked like a B movie starring Keanu Reeves turned out to be one of the most confident and competent action films of the last few years. Flixist as a whole has been loo...

NYFF Review: Manchester by the Sea

Oct 08 // Hubert Vigilla
[embed]220919:43136:0[/embed] Manchester by the SeaDirector: Kenneth LonerganRating: RRelease Date:  November 18, 2016 (limited) Casey Affleck plays Lee Chandler, a handyman who lives in a small room in Boston. He's prickly and withdrawn, a brooding guy who spends a lot of time alone. When his brother Joe (Kyle Chandler) passes away, Lee reluctantly returns to his hometown to help settle affairs with Joe's teenage son Patrick (Lucas Hedges). Whenever Lee's name is mentioned, people around town perk up. They're surprised, shocked, that Lee Chandler, the Lee Chandler, is back. He's got a reputation for something. There's a reason he's avoided home. Affleck's troubled quiet is remarkable to watch. It's a nuanced performance built around restraint. I found myself wondering throughout the film what moments would cause his stoic facade to collapse. There's such an immense heartbreak and guilt in him, which is clear even before his past is revealed, yet he doesn't want to share his emotional and psychological burden with anyone else. As penitent as he is, an intimate human connection would hurt even more. He'd rather get drunk and get beat up. Lonergan drops several telling flashbacks, and he finds elegant ways to loop the past into the present and then out again. It adds dimension to Lee, and Affleck is superb at playing the same man in different keys. Michelle Williams plays Lee's ex-wife Randi, whose character is similarly constrained by her emotions. She wants to speak about their history together, but doing that may be more painful than staying bottled up. A phone call early in the film captures the tense awkwardness of two people who want to say more, say everything, but can't bring themselves to say much of anything. Williams has always been an excellent and underrated actress, and part of me wanted more of her in the film. It would be a different sort of movie. Manchester by the Sea is more about Lee and to a certain extent his nephew Patrick and the shortcomings of masculine tropes when it comes to raw emotional life. On the one hand the male-dominated story feels like a missed opportunity, but maybe it also emphasizes Lee and Patrick's solitude. With regard to family, this man and this boy are all that's left in each other's lives. The restraint in the lives of the characters may explain why I responded so much to the emotional highs and lows of Manchester by the Sea. It's the catharsis for the audience that the characters can't give themselves. All of the funny and sad material gives an alternately absurd and humane texture to these lives. Even the material that doesn't seem like it fits in a streamlined narrative--such as an unexpected but perfect cameo appearance, or Patrick's teenage horndog shtick--enrich the sad, beautiful whole. Admittedly this seismographic portrait of people's lives doesn't work for everyone. I had a pretty spirited back-and-forth with my friend and fellow film critic Nathanael Hood, and he was lukewarm on the film's jagged contours. Lonergan finds quiet and stillness amid mood swings, and also offers the actors ample room to emote or withhold. Chicken falls from the freezer and a person finally breaks down; someone offers a small tip for service and the other person doesn't know how to interpret that sort of kindness. I laughed, I cried, and I laughed. Yet I ultimately realize that all the funny moments of are punctuated by an unremitting sadness. Lee is comically bad at small talk and social gatherings, but the reasons for it, like so much about Manchester by the Sea, are so personal and painful.
Manchester by the Sea photo
Life is heartbreaking, and funny, too
Watching Manchester by the Sea, I was reminded of two lines from the musical Hedwig and the Angry Inch: "I cry, because I will laugh if I don't" and "I laugh, because I will cry if I don't". Kenneth Lonergan's latest film is ...

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After 10,000 years...
So it's a bit earlier than planned and it's definitely taken the wind out of my sails in more ways than one. But here's the first Power Rangers reboot trailer. I'm not sure what to think. At first watch, it's pretty generic b...

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NYCC: Underwold: Blood Wars gets its first trailer

Vampires and things
Oct 07
// Matthew Razak
The first film in the Sony panel was Underworld: The Blood Wars. There was some discussion on the movie itself, but it was mostly just banter about how sexy everyone was, which is admitedly true. No spoilers or plot points were really dropped, but this trailer was. It looks a lot like an Underworld movie full of blue, leather and dead mythic creatures. Check it out.   
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Resident Evil

NYCC: Resident Evil: The Final Chapter really is the final chapter

... or not
Oct 07
// Matthew Razak
One of the bigger spots for NYCC was the upcoming Resident Evil: The Final Chapter. Somehow this franchise has survived and brought us kicking and screaming with it through the ups and downs. We've seen the first trailer, but...
Apparition Popup Art Show photo
Apparition Popup Art Show

NYC: Check out Apparition Popup Art Show on Saturday 10/8 (Brooklyn Horror Film Festival)

Art and free alcohol--the horror!
Oct 07
// Hubert Vigilla
While the Brooklyn Horror Film Festival gets underway next week, there's a launch event at Catland Books on Saturday, October 8th starting at 6:00pm. The event is free to the public, and there will be free drinks. Art, free a...
Class photo

NYCC: First look at Doctor Who spin-off Class (Updated)

Class looks kind of awesome
Oct 07
// Matthew Razak
Updated: The teaser is now here. Class has had Doctor Who fans going a little crazy. Is it going to be too kiddy or too weird or too whatever. At NYCC we got the first look at an extended trailer that had a lot of the D...
Brooklyn Horror Film Fest photo
The inaugural horror fest in Brooklyn
The inaugural Brooklyn Horror Film Festival starts next Friday, October 14th. The BHFF will screen more than a dozen features and 25 shorts, with additional events going on through the weekend, including Grady Hendrix's one-m...

NYCC: War of the Planet of the Apes is going to be dark

Oct 06 // Matthew Razak
At the event Reeves, Serkis and the series' producer Dylan Clark talked a bit about the making of the new film (and the previous two) while showing off the first teaser and a seven minute, unfinished clip. The basic theme for the night though was that War is really big in every way possible. First it's a war so it's a much bigger film than the previous two in terms of scope, but more importantly for Reeves and Serkis it's bigger in emotional power.  "“It has been the most psychologically intense and physically challenging part of this arc," Serkis said. That's probably because Serkis' character, Caesar, is going to go through some tough stuff this time around. The movie picks up two years after the last film and Caesar is steadily becoming more and more jaded thanks to the war with the humans and his guilt over not being able to stop it from starting. The filmmakers likened him to a much more vengeful Dirty Harry -- a but more action and violent oriented.  In the clip we saw he and a few other apes from the past films come upon a house where they encounter a man. Caesar shoots the man after he attempts to pull a gun on them, but then finds out that he was simply a father trying to defend his daughter. Unlike in the previous films Casesar's empathy is fading as he goes on a suicidal quest to kill off Woody Harrelson's character.  It was actually really interesting seeing the unfinished product as animation moved in and out of the shots and the actors, in their dots and motion capture suit, popped in. A major focus of the event was applauding the performance of the mocap actors, especially Serkis. The mention of academy award nominations was once again brought up, but the reality of that happening is pretty slim still... even if it should.  Finally, we saw a teaser for the film. Oddly, after all three men spoke most of the event about how the movie was more emotional and about the apes not the humans the first teaser trailer was focused on the action and the humans. We saw a group of soldiers hunting in a cave before being taken out by Caesar and some other apes. Then a monologue  by Harrelson's character played over the rest of the film as apes and humans clashed. The end result is a trailer that plays up the action and battle and not the humanity. Hopefully the film itself is more like the event and less like the trailer. 
Planet of the Apes photo
Also there will be war
The Planet of the Apes franchise took an interesting turn when Dawn of the Planet of the Apes came out: it got really good. Like, really, really good. Director Matt Reeves somehow turned a stale franchise into an emotion...

NYCC 2016 photo
Cons bring all the nerds to the yard
Like every other year before, New York Comic Con is underway and Flixist is there to check it out for you. We're doing a little better this year since we already have a bigger crew, and we've got some cool stuff lined up for ...

Review: Under the Shadow

Oct 06 // Hubert Vigilla
[embed]220388:42856:0[/embed] Under the Shadow (زیر سایه)Director: Babak AnvariRating: PG-13Release Date: October 7, 2016 (limited)Country: Iran  It's easy to spot shadows everywhere in Anvari's film given the nature of the beast. Set in 1980s Tehran during the Iran-Iraq War, there are frequent air raid sirens and the threat of missiles coming down on civilian targets at any moment. Anvari sets up a particularly memorable tableau of an unexploded missile that's come through an apartment ceiling. An elderly man lies prone on the ground as if pinned there beneath the shell; the pointed nose seems to have pierced him through the heart. Our hero Shideh (Narges Rashidi) lives in the apartment below, and that particular attack has left her ceiling a mess of cracks. For the characters who live in the building, their meager defense against being blown to pieces involves taping their windows and waiting in the basement for the terror to pass. There's more than the threat of bombs. Under the Shadow opens with Shideh getting kicked out of medical school because of her activism during the Iranian revolution. She's maintained a defiantly western mentality even after the Shah was exiled. Shideh rarely wears a hijab or chador (traditional headscarf and cloak, respectively), and she owns a VCR--a Jane Fonda aerobic workout is a form of dissent. When her husband is called away to the frontlines, Shideh is left alone to look after their daughter Dorsa (Avin Manshadi). The rest of the building seems to be fleeing, and there's talk of djinn, an ancient evil of legend, riding on the wind. Anvari gets a lot of thematic mileage out of the chador and masking tape on windows. Ana Lilly Amirpour, writer/director of A Girl Walks Home Alone at Night, said that wearing a chador felt very bat-like to her, which helped inspire her chic vampire film (sort of like the Persian-language cousin of Jim Jarmusch's Only Lovers Left Alive). For Shideh in Under the Shadow, the chador is a stifling metaphor: an invisible specter delineated in a sheet, a manifestation of Iran's political oppression, the symbol of a gender role she's disavowed. These things cannot be kept out by putting masking tape on windows. At various times in the film, the tape is peeling away. Anvari was born in Iran and lived there 17 years, but is now based in the UK. While he's sometimes distanced himself from the film's politics to emphasize the personal story between Shideh and Dorsa, it's hard for me to view Under the Shadow apolitically. It's a political movie because Shideh's a politically involved hero. Even if it's not always front and center, her actions speak to her politics. Shideh's struggles to keep the bombs and the djinn out aren't just for her own dignity but for Dorsa's future. Dorsa's little doll goes missing amid the chaos, and by extension we're left to wonder what future Dorsa's daughter might face if they were to remain in Iran. (Under the Shadow was shot in Jordan given numerous government restrictions/requirements when making films in Iran.) I'll admit I didn't find much of Under the Shadow scary, but I rarely find horror movies scary. It's eerie, however, and well-crafted. Most times I appreciate a horror movie for being memorable more than being scary. Rashidi is a solid emotional anchor for the film. Manshadi's not given as much to do acting-wise, but that says more about the nature of Dorsa as a character, who's a little one-note adorable. Rashidi plays Shideh with that exasperated air of a parent pushed to her limit, a woman who cares for her daughter so much yet can't help but feel she's also failing her in some way. It might be the all the other worries of country and career that makes her feel this way, pressing down more and more. The cracks begin to show, and they grow bigger, and it's always getting darker.
Review: Under the Shadow photo
Darkness, darkness everywhere
Some of the most notable indie horror movies of the last few years have been by women or about women. For example, see Jennifer Kent's The Babadook, David Robert Mitchell's It Follows, and Robert Eggers' The Witch. Each ...


Marvel's Iron Fist series drops in March

Luke Cage who?
Oct 05
// Matt Liparota
Netflix's Luke Cage series has been out for six whole days already. That means the bulletproof man is old news – we've seen his trick already, and we're ready for the new stuff. Marvel knows we've got all the attention ...

Review: American Honey

Oct 05 // Alec Kubas-Meyer
[embed]220902:43130:0[/embed] American HoneyDirector: Andrea ArnoldRelease Date: October 7, 2016 Rating: NR  In 2013, at the New York Film Festival press screening of Claire Denis’s Bastards, a film critic (I don’t know who it was) asked a painfully stupid question, something to the effect of, “When I am watching the film, I think of the camera like an eye. And I want to know whose eye am I seeing this film through?” Denis also thought this was a stupid question and told the audience so. In that moment, I appreciated her candor. (I appreciated it less when we had a painfully awkward interview just a couple days later, where I opened with “I liked [insert film of hers here],” and she just said “Why?” (It only got worse from there.)) But I bring this up because, while I don’t believe that a camera has to be anyone’s eye, in American Honey, it is rather explicitly. This is a film about Sasha Lane’s (spectacular turn as) Star; it is her Instagram. She leaves an extremely disturbing home life and joins a bunch of societal rejects who drive around the country and sell magazines. It’s a simple narrative, one where nothing happens except for everything. It's told with all the complexity you would hope, everything required to capture a life. And the film works hard to capture Star’s specifically: the camera almost never leaves her side. We witness the events of the film pretty much the same way she does. When she (and by extension we) first sees Shia LaBeouf’s Jake, it’s from a distance. When we see him again, the two closer, but it’s still from Star’s perspective and not the film’s (whatever that means). We don’t cut to a closeup of his antics at the grocery store (set to Rihanna and Calvin Harris’s “We Found Love,” just one of a number of excellent musical cues that seem well outside the budget range for this film but somehow (very happily) make it in). You might expect his face doesn’t fill the frame as he looks at her in that way that only Shia LaBeouf can, to get that little moment to make you swoon. But we don’t get that. We see him as Star does, from where she does. This serves to make a film that is intensely personal, despite being in large part an ensemble piece. American Honey is about Star, but it’s also about the kind of people who Star would align herself to. And this, in part, serves to further develop Star as a character. Her interactions with the outside world say a whole lot about her, but the moments with the ragtag group of misfits in the van say even more. Even sitting in silence, we understand her. It’s a beautiful thing. I have no doubt that there is a cut of American Honey that is at least 11 hours long. It’s just that kind of movie. So much time is spent with the ragtag group of misfits sitting in a van, singing and talking and drinking and just existing. I said that they serve to expand on Star’s character, but let’s be clear: Each member of the group their own little backstory, and even if we don’t get much of it, each character was clearly defined. We may not know much about them, but we get a feeling for who they are on a fundamental level. You don’t always need words to express it, and the film embraces that. Even in their relatively small amounts of screentime, we got a whole bunch of People. Wikipedia tells me that most of the cast was just found around the place, so it’s entirely plausible that most of them aren’t playing characters at all. They’re just being themselves for the camera. And maybe that’s not the case, but it doesn’t matter. Each feels lived-in, and it feels like each could have been the star of (at the very least) their own short. It also feels like the proverbial cutting room floor of the film is probably so littered with character moments that someone could make short films about each and everyone else. If American Honey has a failing, it’s that it has a 2:43 runtime in an era where people claim to not have the attention span for two-thirds that length. I’d fully believe that none of the characters in American Honey would even give American Honey a chance because of its length. (I know that if I hadn’t heard so many great things about it, I probably would have skipped it myself.) But I had a sort of surprising reaction to the length: I checked my watch about an hour in and then never again – usually it’s quite the opposite. It’s not that the first hour is boring, but I was keenly aware of just how long it was going to be during that time. Around the hour mark, I settled into the rhythm of the film. It’s on a very particular wavelength, and if you can’t get into it, then you’re probably going to suffer for those 163 minutes. But if it grabs you, and it certainly grabbed me, then you’ll feel like you’re vicariously living as part of these peoples’ lives. I would never do what Star did or does, nor am I anything like any of the people in that van, but I am pretty damn sure I’d follow each and every one of them on Instagram.
American Honey Review photo
The social network
American Honey is shot in a 4:3 aspect ratio, where the image is approximately 1.33 times wider than it is tall. Movies looked like that a long time ago; TV looked like that much more recently. Neither looks like that anymore...

NYFF Review: Abacus: Small Enough to Jail

Oct 04 // Hubert Vigilla
[embed]220905:43129:0[/embed] Abacus: Small Enough to JailDirector: Steve JamesRelease Date: TBDRating: TBD  Thomas Sung seems like a model for the Asian-American immigrant experience. He helped found the Abacus Federal Savings Bank in Chinatown during the 80s to serve the local community. He knows his customers, he does right by them, and the bank has given his kids opportunities for success. His two eldest daughters, Vera and Jill, help run the bank and will eventually take over. Here's a healthy slice of promising Americana served in Chinatown. But then, Murphy's Law: a handful of Abacus employees commit loan fraud, and then the housing crisis strikes, and then the great recession. Rather than go after Chase, the Manhattan District Attorney's Office throws the book at Abacus. Even though Abacus cooperated fully with authorities for a loan fraud investigation and did everything ethically and by the books in the aftermath, they were considered easy prey. At the beginning of the documentary, Thomas and his wife, Hwei Lin, are watching Frank Capra's It's a Wonderful Life. James returns to that yuletide staple again and again, finding parallels between George Bailey's savings and loan and the Thomas Sung's Abacus. Similarly, the Sungs come across as Capraesque heroes--the set-upon optimists, the embattled idealists, everymen and everywomen always trying. This might be why the film doesn't feel like most other Frontline documentaries. Abacus is in many ways a character-driven film. I feel odd thinking about real people in documentaries as characters, but the Sung family is comprised of memorable personalities. James films them alone and in conversation with one another. The interactions can get nervy and uncomfortable, but they're all well-picked given how well they reveal the family dynamic. James offers another compelling thread in his exploration NYC's Chinese community. Chinatown residents (Abacus' primary clientele) tend to be tight-knit and insular, which goes back to the formation of family-based support groups. The representatives from the DA's office interviewed in the film are baffled by what goes on there. Jurors on the case similarly don't understand how Chinatown operates. I worried that this confusion from non-Chinese people would affect the case. There's such a fascinating contradiction at play. The closeness of the Chinese community gives them a collective strength that they wouldn't have otherwise as a minority group, but the foreign nature of these cultural practices and their minority status make the residents of Chinatown more vulnerable. I mentioned that a sense of Capraesque optimism pervades the film, and yet I couldn't help but read a larger brand of pessimism into the proceedings. The little guy can always get picked on. While it's nice to see the little guy fight, there's a knowledge that this won't be the last time it happens. What about the major banks, who really should have been held accountable somehow for what they've done? But the world isn't so kind to those that are easily trampled. And yet. This reminds me of one the great lines about disillusionment in film: "Forget it, Jake; it's Chinatown."
NYFF Review: Abacus photo
Mr. Capra Goes to Chinatown
Steve James may be incapable of directing a bad documentary. His films includes Hoop Dreams, The Interrupters, and Life Itself. With Abacus: Small Enough to Jail, James continues his record as one of America's most relia...


Not even Stranger Things is safe from the 8-bit treatment

What if it was - get this - an RPG
Oct 03
// Matt Liparota
Stranger Things was one of the biggest hits of the summer; Netflix's 80s-inspired creepypasta series took the internet by storm, producing memes galore and making everyone on your Facebook feed write their name in the logo's ...

NYFF Review: 13TH

Oct 03 // Hubert Vigilla
[embed]220907:43127:0[/embed] 13THDirector: Ava DuVernayRelease Date: October 7, 2016 (Netflix)Rating: TBD DuVernay's central thesis is that while the 13th Amendment ostensibly abolished slavery, the systems of oppression in the 1800s evolved into different forms of oppression that are currently in practice today. It's a compelling argument that begins with the Reconstruction Era following The Civil War, in which imprisoned black men were used as labor to rebuild the south. It continues into segregation and Jim Crow, the war on drugs, the Republican's Southern strategy, and so forth. DuVernay is expert at cycling various ideas, phrases, and images throughout 13TH, which helps make her overraching argument cohesive.  13TH generally follows a linear and chronological crawl through 150 years of American history, intercutting archival footage and talking heads. Our guides through history include activists (e.g., Angela Davis), academics (e.g., Henry Louis Gates Jr.), commentators (e.g., Van Jones), and politicians (e.g., Senator Cory Booker). While the primary draw of 13TH is the outrage at a corrupt criminal justice system, formal touches contribute to the riveting watch. The settings for each of the interviews, for instance, are often industrial spaces that evoke the feel of jails and prisons. DuVernay withholds identifying many interviewees until their third or fourth appearance on screen. I don't know why that seemed so novel, but I was hanging on people's words a little more that I might have been. There are a few contrarians among the interviewees who don't think systemic racism is a problem. Of course they're white dudes. Surprisingly, former Speaker of the House Newt Gingrich isn't one of these clueless white guys. Gingrich appears in 13TH and says that many white people don't understand what life is like for black people in America. I may not agree with his politics, but credit goes to Gingrich. He's relatively more woke than some people I know. 13TH is predominantly concerned with mass incarceration and how the prison population increased dramatically through the '70s, '80s, and '90s. It's neat and brisk through most of its 100-minute run time, though it becomes loose once we focus on the mid-2000s to today. From prison privatization we then cover issues of police militarization, the rise of Black Lives Matter, and even (perhaps unavoidably) Donald Trump's ugly rhetoric in the Presidential race. (Trump makes an earlier appearance when he calls for the execution of The Central Park Five.) If she wanted, DuVernay could have made a mini-series out of this, or a long-form doc in multiple parts a la Ezra Edelman's O.J.: Made in America. DuVernay's such a skilled cinematic essayist that she's able to rein in 13TH even as it seems to stray. I mentioned her cycle of ideas and images earlier. Just when I felt like the movie was moving off track, she would reintroduce an idea or an image to show why one particular point is a reticulation of a previous one. The death of Emmett Till haunts the deaths that gave rise to Black Lives Matter. Phrases like "law and order" take on a sinister quality. The idea of the black man as a rapacious criminal similarly casts its unending shadow. The most memorable recurring image in 13TH involves a black man in a suit and hat. It must be from the 1950s. He's walking through a suburb. There's a mob of angry white men around him. They shove him. They yell at him. He gets punched in the back of the head. But the black man keeps walking. He's being insulted and assaulted, but he's carrying on unphased. During a press conference, DuVernay referred to this anonymous person as "the dignified man". I don't know where he was walking or if he got there, but I hope he made it okay. I hope everyone does somehow.
NYFF Review: The 13th photo
Slavery didn't end, it adapted
13TH feels like a culmination of Ava DuVernay's career to this point. The documentary brings together the racial and social history of Selma, her years of work as a documentarian, her stint as a journalist, and even her under...

Review: Shin Godzilla

Sep 30 // Nick Valdez
[embed]220931:43124:0[/embed] Shin GodzillaDirectors: Hidaeki Anno and Shinji HiguchiRated: NRRelease Date: October 11th, 2016  Much like the original Godzilla (or Gojira) film released in 1954, Shin Godzilla is a natural disaster film through a political thriller lens. When a giant, radioactive monster suddenly rises out the sea and wanders through Tokyo, the Japanese government discusses how to handle the situation. But the focus is on the one lone dissenter, Rando Yaguchi (Hiroki Hasegawa), the Deputy Chief who's more interested in saving as many people as possible rather than rise through the political ranks. As he leads a task force, he must now work with the Japanese government members who have their own agendas, an American government with their own ideas as to how to handle the problem (both metaphorically and narratively), and of course, a giant monster slowly getting deadlier as time rolls on.  As you can gauge from the synopsis, Shin Godzilla is light on Godzilla action. It's reflective of that old school Toho mentality where Godzilla is merely a disaster punctuating the human drama. But unlike the similar criticism used against Edwards' Godzilla in 2014, this film makes sure each of those short bursts is treated with the appropriate amount of weight. When Godzilla attacks, or better yet walks, the action is grounded. You see citizens actively reacting to the monster and even witness some of their downfalls. When this Godzilla tears through a building, there's a sense that each of those buildings is populated. Like the film, Godzilla itself moves in a direct way. Using a traditional suit highlighted by CG also helps the titular kaiju feel real. There is an attention to detail that's been missing from the series for quite some time. It's part of the reason the new design is so effective as well. This "Shin" Godzilla radiates with bright reds and oranges, and I've never seen the series' radioactive fire breath be more effective. Watching deep purples giving way to the trademark blue flame crawling up through Godzilla's tail and then out of its mouth is honestly badass.  But the problem with having such a well thought out, weighted Godzilla is the absence felt when not on screen. By leaning so heavily into a political thriller, directors Anno and Higuchi bet everything on human drama. The main problem with this angle, however, is the political stuff isn't all that interesting. There are vague hints of government members who are making decisions in order to protect their own interests, but it neither helps build the world nor is relevant to the overall plot. The attention to detail also works against the team here as a lot of time is spent explaining minor details like evacuation plans or devoted to following down a chain of command as they issue orders. Leading to much of the dialogue feeling like wasted time. To their credit, Anno and Higuchi do their best to make the dialogue heavy scenes easy to digest. Much of the dialogue is framed through quick cuts (leading to these weird moments when characters speak directly to the camera), and little jokes give some of the members much needed personality. But it's not until the titular monster fully evolves does the film choose to evolve as well. Much like the 1954 original, Shin Godzilla is a thinly (then not so thinly) veiled metaphor for nuclear weapons. But before settling on the same commentary on the subject the series has been known for (making for a weak conclusion), directors Anno and Higuchi slip in some experimental commentary never seen in this series. For one, there are several direct references to America's vision of Godzilla. From its name change, as this film adopts "Godzilla" over the traditional "Gojira," to ridiculing American blockbusters' penchant for big, loud solutions to their problems. But oddly enough as the two ridicule Western film making sensibilities, a lot of its themes are adopted here. When the film works best, it lauds itself with a Japanese nationalism mirroring much of American disaster films. The "united we stand" mentality carries the film through its climax and eventually gives way to a cool "rah rah" moment. Which makes it all the more confusing when it reverts back to a somber, "nuclear weapons are bad" tone.  In the end, Shin Godzilla has me torn. While I appreciate a return to the series' deep thematic roots, the film is at its best when it flirts with ideas outside of the norm. It's a clash of old school Toho and modern monster movie filmmaking that ultimately leaves a lot to be desired by film's end. But at the end of the day, Shin Godzilla accomplishes what Toho set out to do. This new Godzilla is fearsome as it is toothsome. It simply beats out the American version with just the fire breath alone.  Regardless of what Toho decides to do with this new Godzilla series moving forward, I'll be there to watch it happen. 
Shin Godzilla Review photo
Godzilla got busy
When Gareth Edwards' take on Godzilla failed to light up screens here in the U.S., Godzilla's parent company, Toho, took the reboot as kind of an insult. Vowing to reclaim their famous monster, Toho unveiled a striking new de...

NYFF Review: Gimme Danger

Sep 30 // Hubert Vigilla
[embed]220909:43126:0[/embed] Gimme DangerDirector: Jim JarmuschRelease Date: October 28, 2016Rating:  TBD I'll start by accentuating the positive. It's great to watch the Stooges take a victory lap. After years of being a posse of indigent riffraff, The Stooges are now music demigods. On camera, Iggy Pop has such a smooth, comforting cool about him. Whenever he's telling a story, I experienced an anticipatory glee, waiting for that smirk to flourish into laughter and an unbridled smile. Stooges drummer Scott Asheton, by contrast, has a labored voice of a working class life lived hard. His late brother, Ron, pops up in archival interviews. Latter-day Stooges member James Williamson sits near his amp in a bathroom; we also spend some time with Minuteman frontman Mike Watt, who's part of The Stooges' reunion lineup. After the pre-title stinger (standard issue in so many docs these days), Jarmusch starts in Iggy Pop's childhood. Little James Osterberg, who lived in a trailer, tortured his parents with a drumkit and learned punk stagecraft from The Howdy Doody Show. We then zip through the band's formation in the '60s, with a little bit of exploration of the political scene in Ann Arbor, Michigan. The Stooges live communally, and share the stage with their big brother band The MC5. Then they record their self-titled album, and then they put out Funhouse, and then it's on to Raw Power. And then this happens, and then this other thing, oh and this. At a certain point it dawned on me: Gimme Danger was mostly comprised of "and-thens". It's more like the events as fleshed out bullet points, not the life of a band as an essay. Jarmusch includes footage of the infamous Cincinnati Pop Fest performance in which Iggy Pop, held aloft by the crowd, smears peanut butter all over his chest and goes hogwild. So oddball and unconventional, which makes the limp plainness of Gimme Danger a bummer. It doesn't feel like a Jarmusch movie at all. Instead, it's more like a competent TV documentary on The Stooges, but one that never really goes deep enough. They mention the radical politics of Ann Arbor and hanging with The MC5, but that's it. They mention a stint in the Chelsea Hotel, but not much more than the fact they stayed there. So much room for expansion, amusing tangents, the sorts of anecdotes that give texture to a life. But mostly it's all back to the bullet points. I come back to the idea of shape that I mentioned earlier. While talking about "Search and Destroy" on Raw Power, Iggy explains the metaphoric shape of the song. Williamson's guitar fills the space in such a dense way, and that informed how Ron played his leads and how Iggy did his vocals. Pieces come together, play off each other, rework and reconstitute themselves, and find a means of working in combination that kicks like a goddamn drum. You hear or sense that shaping everywhere on Raw Power, which is why it's one of the best albums of all time. You're listening to a band when it gets it and gels. Gimme Danger seems to lack this sense of shape, or cohesion, if you prefer. If this interview goes here, how is it complemented there? And if this footage does this, what should that footage do to complement it? Admittedly, editing seems like the most difficult part of documentary film. Still, I wonder what Gimme Danger might have been with just a bit more shaping. It's not bad, don't get me wrong, but it's not something I'll put on repeat.
NYFF Review: Gimme Danger photo
I just wanna be your doc
Iggy Pop and Jim Jarmusch sound like an unlikely pairing. One's the primal frontman of proto-punk legends The Stooges, the other's a mellow, measured indie auteur. But maybe there's something magnetic about their respective b...

NYFF Review: Paterson

Sep 29 // Hubert Vigilla
[embed]220910:43125:0[/embed] PatersonDirector: Jim JarmuschRelease Date: December 21, 2016 (France); December 28, 2016 (USA)Rating: TBD 2003's American Splendor may be the best companion to Paterson. That film chronicled the life of comics writer Harvey Pekar. Pekar lived and wrote in Cleveland, and kept a day job at a VA hospital. Paterson in Jarmusch's film works as a bus driver in Paterson, New Jersey. He uses little catches of time through the day to write poetry in his notebook. This is the writing life of working people--no parties with literati, no salons, no scenester-ism, no pretension, just toil and care with words. Paterson follows a week in the life our bus driver. At the end of the first day, we get the broadstrokes of this character's routine. He wakes up beside his girlfriend Laura (Golshifteh Farahani), he walks to work, he eavesdrops on people's conversations, he returns home, he walks their bulldog, and he has a drink at the local bar. The routine might seem stifling, but Jarmusch enlarges the world that Paterson lives in. Side characters get fleshed out in unexpected ways, and we get new details about who Paterson and Laura are through careful reveals and well-observed scenes. The initial claustrophobia of the structure both folds out and opens inward. Paterson's acts of noticing help convey his sense of the city he lives in, his interior life, and the lives of people around him. Bad poetry ruins everything. To avoid that danger, Jarmusch hired New York School poet Ron Padgett to write original work for Paterson. Paterson's poetry reads like actual poetry (a pastiche of William Carlos Williams) rather than the hokey stuff that movie-poetry often sounds like. Jarmusch depicts the writing of this poetry through voiceover and superimposed text over montages. It isn't necessarily the most ideal representation of the creative process, but it works. Jarmusch imbues the rest of film with its own poetic flourishes, like the constant appearance of twins, doubles, or mirrored lines, as if trying to find a visual equivalent for internal rhyme or rhyming couplets. (Intentional correspondence: William Carlos Williams, writer of the five-book poem Paterson, is the favorite poet of a man named Paterson who lives in Paterson, NJ in a movie called Paterson. Coincidental correspondence: Adam Driver cast as a bus driver. ) One of the more fascinating things I noticed about Paterson was how it explores the relationship between Paterson and Laura. They spend most of their time apart, but thanks to the new information we get about each of them as the film unfolds, I'm able to understand not just how they work as a couple but why. On the surface, Laura seems like a manic pixie dream girl artist who wound up with a polite stoic, but they complement each other and know the importance of space and time in their relationship. Driver is a delicate soul in this film rather than his usual hipster scumbag. His performance reminds me of an artist friend back in the Bay Area who struggles to make time to paint. Farahani adds depth to Laura, who, like her boyfriend, is a type of optimistic American dreamer. Maybe this space and togetherness between Paterson and Laura is an example of the power of interpersonal enjambment. There's been a lot of recent discussion in the online literary community about the role of writing in the lives of writers. Is writing just a hobby? Can writing really be considered a job? As if those are the only options. Paterson seems to offer its own answer. While he keeps so many of his poems to himself in a journal, Paterson writes because he can't live without it. It's where he finds meaning. Perhaps the melancholy of the score is meant as a counterpoint to Paterson the man. So much about the surface of his life suggests misery. That might be true in other stories, but Paterson is a writer, and in addition to his good fortune for having the friends he does, he has writing to fill the empty spaces of each day.
NYFF Review: Paterson photo
The city, the man, the joyous everday
Jim Jarmusch's Paterson is work of subtle optimism. It's a gentle film, kind and generous, funny, too. Watching the movie, I sensed Jarmusch giving me a reassuring push, like a parent at a swing or a child casting off a toy b...

NYFF 2016: Our Most Anticipated Movies of the 54th New York Film Festival

Sep 28 // Hubert Vigilla
MoonlightDirector: Barry Jenkins This year's big festival darling, Moonlight looks like it could be one of the great, daring coming-of-age films this year. Writer/director Barry Jenkins explores aspects of masculinity, sexuality, identity, and passing in the black community, focusing on a bullied boy named Chiron who lives with his single mother in Miami. ElleDirector: Paul Verhoeven After 16 years away from Hollywood and a decade since his last proper film (Black Book), Paul Verhoeven's Elle looks like a provocative return-to-form. Some critics who caught the premiere at Cannes described it as an empowering rape comedy, a combination of words so antithetical I can't help but be intrigued. Starring Isabelle huppert, Elle is France's official selection for the Best Foreign Film Oscar. 13THDirector: Ava DuVernay In the 13TH, an original feature-length documentary for Netflix, Selma director Ava DuVernay focuses on the systemic racism and pervasive inequality of the United States prison system. The film's title refers to the 13th Amendment, which ostensibly abolished slavery. Interviewees in 13TH include Angela Davis, Senator Cory Booker, and, unexpectedly, former Speaker of the House Newt Gingrich. Toni ErdmannDirector: Maren Ade The buzz around Toni Erdmann is that it's a masterful three-hour screwball drama-comedy about an estranged father and his daughter. Beyond the great reviews out of Cannes and Toronto, I'm going into the film blind but hopeful. It'll be my first exciting dip into the films of Maren Ade. Toni Erdmann is Gemany's official entry for the Best Foreign Film Oscar. PatersonDirector: Jim Jarmusch Jim Jarmusch is one of my favorite filmmakers, which means that my excitement for Paterson is a given. Getting away from the Detroit-based vampires of Only Lovers Left Alive, Jarmusch instead heads to Paterson, New Jersey where a bus driver (Adam Driver) named Paterson writes poems in private. There's obviously more to it than that, but the beauty is in the smaller things. Gimme DangerDirector: Jim Jarmusch Jim Jarmusch is one of a few people doing double-duty at this year's New York Film Festival. In addition to Paterson, he's also got a documentary on the birth and decline and resurgence of The Stooges. Their third album, Raw Power, is one of the best albums ever made. This is an indisputable fact. I wonder how a mellow guy like Jarmusch does with the raucous squalor of Iggy Pop. Personal ShopperDirector: Olivier Assayas Kristen Stewart is doing her best to break away from the Twilight films. She shook free of that sparkling albatross in Olivier Assays' 2014 drama Clouds of Sils Maria, and she re-teams with Assayas for this year's Personal Shopper. The film centers on Stewart's character (part high-powered personal shopper, part spiritual medium... just go with it) coming to terms with the death of her twin brother. Certain WomenDirector: Kelly Reichardt Another NYFF film starring Kristen Stewart, Certain Women looks like one of those quiet, ruminative character studies that can linger in your memory long after it's over. The three stories in the film (adapted from the work of Maile Meloy) are each propelled by the performances of Stewart, Laura Dern, Michelle Williams, and newcomer Lily Gladstone. Billy Lynn's Long Halftime WalkDirector: Ang Lee Here's your Kristen Stewart hat trick. Adapted from the novel by Ben Fountain, Ang Lee's latest is all about an Iraq War veteran dealing with a brief return home. The movie co-stars Joe Alwyn, Vin Diesel, Chris Tucker, and Steve Martin. Shot in 4K 3D in 120 frames per second, Billy Lynn should look and feel much different than anything else that's come before.  NerudaDirector: Pablo Larrain Pablo Larrain has had a busy last few years as a producer and filmmaker, and he's doing double-duty at the New York Film Festival this year. In Neruda, Larrain tells a semi-fictionalized account of the political exile of Pablo Neruda in Chile during the late 1940s. The poet is on the run from a shadowy Chilean agent played by Gael Garcia Bernal. JackieDirector: Pablo Larrain Just announced yesterday, Pablo Larrain's Jackie will have its US premiere at NYFF 54 at a special screening. His English-language debut is a biopic of Jackie Kennedy set around the time of the JFK assassination. Natalie Portman stars in the film, and she's apparently turned in a remarkable performance as the former First Lady. GraduationDirector: Cristian Mungiu Cristian Mungiu's films have a devastating power. Much of it comes from his control of long takes and what that does to the perception of a scene. In Graduation, Mungiu turns his attention to a father determined to have his daughter graduate and study abroad after she's been assaulted, no matter what compromises must be made. Graduation is Romania's official entry for the Best Foreign Film Oscar. Manchester by the SeaDirector: Kenneth Lonergan Kenneth Lonergan's Manchester by the Sea is a movie I've been wanting to watch all year thanks to major buzz at Sundance. The film follows Casey Affleck's character, who returns home to Massachusetts after the death of his brother. Lots of pain and carefully observed family drama ensues. JulietaDirector: Pedro Almodovar I never expected Pedro Almodovar to adapt Canadian literary fiction icon Alice Munro to the big screen, but here goes with Julieta. Taking stories from Munro's collection Runaway, Almodovar continues to do what he does best: explore the lives and relationships of fascinating women. Julieta is Spain's official entry for the Best Foreign Film Oscar. The B-Side: Elsa Dorfman's Portrait PhotographyDirector: Errol Morris There are certain things audiences expect from an Errol Morris documentary, but The B-Side looks like it'll throw fans for a loop. Morris puts away the Interrotron and instead spends quality time with a good friend. The friend in question is photographer Elsa Dorfman, best known for taking endearing, oversized 20x24 Polaroid portraits.
NYFF 54 Preview photo
Just a handful of major highlights
The 54th New York Film Festival kicks off on Friday, September 30th and runs until Sunday, October 16th. This year's slate looks generally solid, and several of the movies are going to be shoo-ins for best-of-the-year lists c...

Fantastic Beasts photo

Now that Fantastic Beasts and Where to Find Them is a little over a month away expect to see more and more of it leading into its November release. When you see the trailer, these are probably your immediate thoughts: 1. "Fan...

Lion King photo
Lion King

Disney working on live-action The Lion King remake

Sep 28
// Nick Valdez
As pretty much everyone guessed after seeing Jon Favreau's technical marvel, The Jungle Book, Disney is indeed moving forward with a live-action adaptation of the animated classic, The Lion King.  Confirming on their web...
NYFF 2016 photo
NYFF 2016

54th New York Film Festival starts Friday, runs September 30-October 16

Flixist coverage kicks off this week
Sep 27
// Hubert Vigilla
The 54th New York Film Festival kicks off this Friday, September 30th and runs until Sunday, October 16th. One of the biggest end-of-year film festivals, Flixist will be there checking out some of the most acclaimed anticipat...
Herschell Lewis photo
On a personal note...
You've probably already heard the news about Herschell Lewis since we just told you, but a great deal of you may not have that close a connection to the director. His films have often been lost to history unless your a specif...

RIP Herschell Gordon Lewis (1929-2016)

Sep 26 // Hubert Vigilla
RIP H. G. Lewis photo
The Godfather of Gore has passed away
Herschell Gordon Lewis, the influential exploitation and horror filmmaker who was nicknamed "The Godfather of Gore", passed away today. He was 87 years old. Born in Pittsburgh in 1929, Lewis would become a legend among goreho...

Fruit Ninja photo
Fruit Ninja

New Line Cinema will release Fruit Ninja film, first plot details revealed

Drain your brain batteries
Sep 25
// Hubert Vigilla
As we previously reported, there is a film adaptation of Fruit Ninja in the works because money. The film rights have been picked up by New Line Cinema because produce and money, too. In the brief Hollywood Reporter piece on ...
The Simpsons photo
The Simpsons

You're not ready to watch 600 episodes of The Simpsons in a row

FXX's second "Every Simpsons Ever"
Sep 23
// Nick Valdez
When Fox first launched its spin-off channel, FXX, back in 2014, we were treated with an "Every Simpsons Ever" marathon. A week long event that showed the 552 episode long series in full. Now topping that is their second mara...
Power Rangers photo
Power Rangers

Bill Hader cast as Alpha 5 for the Power Rangers reboot

Sep 22
// Nick Valdez
To go along with the news of a New York Comic Con panel, first look at the zords, Elizabeth Banks as Rita, and Bryan Cranston as Zordon, is the coolest bit of news yet. Announced on Twitter, Bill Hader is joining the Power Ra...

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