This is it guys ... the final episode of Flixistentialism as we know it. The gang plus some old (white) faces of Flixist past get together and reminisce on this long journey of a podcast we've all embarked on. There's fantasy...
Tammy is a film you really want to be good. An almost entirely female led cast in a raunchy comedy is still a rarity despite Bridesmaids showing us all it can be done successfully. This is the kind of movie we need to diversify the comedy scene and give us something else than Judd Apatow and Wayans brothers films.
That is it would be the kind of movie if it was any good at all. Unfortunately Tammy is a complete and total mess of a film devoid of much humor and suffering from even less character development. If you name your film after its lead character she better be damn interesting and Tammy is not.
Han Gong-Ju is incredible. It's easily the best film I've seen at the New York Asian Film Festival thus far and among the best I've seen in a long time.
It's also extremely depressing, to the point where I'm not sure I can really write about it. But I can't in good conscience not give it my sincerest recommendation. If you're in New York, it's playing at MoMA for the next week. Tickets can be bought here.
Whether we end up with a full review or not, go see Han Gong-Ju.
[For the next month, we will be covering the 2014 New York Asian Film Festival and the Japan-centric Japan Cuts. Click here for more information, and check back here and here for all of the Asian film coverage you can shake a stick at.]
Director/Writer John Carney is establishing a little nitch for himself in the film industry. A modern take on the backstage musical except now the stage is the studio and the music is far less grandiose. With Once, his academy award winning film, he nailed the sort of real world drama musical and he returns to that new genre again with Begin Again except this time he has big name stars and an American budget.
Carney is clearly a talented and emotional musician and returning to this form allows him to flex those muscles once again. Can he have the same impact as he did on his debut feature film or does upping the ante in almost every department mean a bit of soul is lost? In a film about finding the soul of art and yourself it's a bit ironic what the answer to that question is.
Coal mining is a scarily dangerous profession. Our need for crude energies leads thousands of people to risk their lives every day mining for energy. It's a wonder that with such harsh conditions, it's taken this long for a film to capitalize on that setting's natural creepiness. Now we finally have one in Beneath, a film inspired by a true story of several miners getting trapped in a mine.
Eschewing traditional horror and instead developing a surprising psychological thriller, Beneath is a unique take on paranoia, isolation, and suffocation. It's just too bad you don't really care what happens to any of these people.
I'm going to tear this movie apart. It's coming right below the jump. Just be ready for it. Because of that I want to open with this: Optimus Prime riding Grimlock into battle in Hong Kong is frickin' awesome. There's just no denying how cool Transformers can be and that Michael Bay can pull off some awesome stuff. There are parts of this film that will blow you away.
It's just that the rest of it is so bad it isn't worth it.
Snowpiercer has been among my most anticipated films for the past several years. Every time we did a preview of what's upcoming, Snowpiercer has been on there in some capacity. When it got its Korean release last year, I was convinced a US release was imminent. I mean, it stars Captain America! How could it possibly be delayed?
But, of course, it was. The Weinstein Company took on distribution rights, but they wanted to cut it and Bong Joon-Ho refused to let them do so. So now the release is finally upon us, the full film as it was intended, but only a limited release.
I'm still annoyed at The Weinstein Company for trying to mess with the film in the first place... but I have to admit that I kind of understand why.
The German title of Nothing Bad Can Happen is "Tore Dances," something I knew from the beginning thanks to the multiple attempts I have made at learning German in my life. It's one of the few things I remember, but I'm glad it's something I knew from the outset, because while a name like "Nothing Bad Can Happen" is immediately off-putting, "Tore Dances" is not. No movie called Nothing Bad Is Going to Happen is going to end well. I mean, seriously. Right off the bat, you see that and you call bullshit. "Tore Dances," on the other hand, leaves a bit more to the imagination. It's also a bit less marketable (people are definitely more interested in seeing something bad happen than watching Tore dance), so I can understand why the change was made.
Coherence is part of a genre that will be heretofore referred to as "subtle sci-fi." Mention sci-fi to anyone and they'll think of Star Wars or Star Trek first. And they'll think of those films because that's what we've been bred to believe sci-fi is. These are worlds unlike our own, whether they're far in the future or a way in the past. They may feature people who look like us, but their characters don't really live like us. They're surrounded by robots and aliens and guns that shoot lasers. They're the things we imagine our technology will be capable of.
What people won't think of is Coherence, even though it's firmly entrenched in that genre. They won't think about it because the world of Coherence is the same one you and I am writing in and the same one you are reading in. There's no special technology, nothing that distinguishes their world from ours. Everything feels real not just on a dramatic level but on a visceral level. You believe that these people are in this position, and you wonder if maybe—just maybe—it could happen to you.
Despite being proven horribly wrong when 21 Jump Street film came out and it turned out to be hilarious instead of horrible I was once again a doubter when news hit that 22 Jump Street was coming along. The first one worked and here comes the obligatory sequel that will just recap all the old jokes and ruin it was my line of thinking.
Sometimes it's good to be wrong... twice. I suppose I shouldn't have been so suspect with basically the entire creative team returning for the film, but how was I supposed to know they'd actually make a comedy sequel that was both different from the original and smart in its own way. It's not something movie studios usually do, but both Jump Street films have proven that the series (please let there be more) is all about pointing out or expectations and then destroying them.
Dreamworks' How to Train Your Dragon was refreshing. Setting new standards for book adaptations and animated films, Dragon somehow was everything you look for in an entertaining kid's movie. It had a tight hero's journey story (that was nuanced enough for adults and respected kids' intelligence), good looking visuals, a great voice cast, and it managed all of this while being cute as a button.
Good thing its sequel, How to Train Your Dragon 2, keeps the momentum going as it raises the bar for sequels going forward. With how prevalent inadequate sequels/prequels/reboots have been in Hollywood lately, I'd forgive you for fearing Dragon 2 would suffer the same fate. Luckily, we don't have to worry about that one bit. Cheap little throwaways are not going to cut it anymore.
We've got a contender for Best Animated Film of 2014 right here folks.
Disease dramas are in a subgenre that certainly has more misses than hits. If not done in a certain way, you can turn an emotionally stirring story into a schmaltzy mess. Often films find it incredibly difficult to find a balance, but as such with real life, there's no rule book or true direction as to how to deal with death. Filming this very unnatural, awkward run through the five stages of grief could lead to a good film.
But when you condense that into two hours, there's not a lot of room explore. Sadly, that seems to be Lullaby in a nutshell. A film that really wants to walk through the five stages of grief when it really should jog at a brisk pace.
With Jupiter Ascending getting pushed back to February Edge of the Tomorrow might be the last of the original summer action movies left standing. Yes, it's an adaptation of a short Japanese novel, but that is still more original than the majority of sequels and and remakes taking up the rest of the summer. As such it had me very interested for it despite the lack of buzz.
It's also an insanely interesting concept. Basically you're getting Groundhog Day, but with mechs, aliens, Tom Cruise and Emily blunt. Throw in the underrated Doug Liman as director and you've got a movie that ten years ago would have been a tent pole, but instead is struggling for relevance. It shouldn't be because other than one tragic flaw it's an absolute blast.
I've been anticipating Maleficent for a long time. As a big Disney fan, I don't usually like when Disney decides to make a live action version of one of their properties (101 Dalmations is worse than you remember, trust me), but casting Angelina Jolie as the titular witch was enough to pique my interest.
Trailer after trailer showed off how good Jolie looked in costume, Lana Del Rey's amazingly dark "Once Upon a Dream" cover, and even made me interested in the whole "this is the TRUE story" angle. But the entire time I've been worried that the actual film might not live up to the mountain of hype I'd made for myself thanks to the recent glut of lackluster gritty fairy tale reboots. Thankfully, the final product isn't too far off the mark.
Maleficent is like a fine ham and cheese quiche that might not have been baked long enough. It's still good, but some bites are a little more raw than others.
Seth MacFarlane's directorial debut, Ted, was a welcome surprise. It was a mix of a charming friendship, un-ironic love of the 80s, and gratuitous amount of raunchy humor. Like the best episodes of MacFarlane's Family Guy, it managed a fine balance between all of those things to provide a high quality product. With his sophomore effort, A Million Ways to Die in the West, I was hoping things would be a little less, well, sophomoric.
A Million Ways starts strong, but as it continues, it feels like a million years as joke after joke is thrown out with hopes that one of them works. As jokes continually fail, and extraneous scenes pile onto the film's near two hour run, I soon realized I'd rather die in a million different ways than continue watching this juvenile mess.
Blended is Drew Barrymore and Adama Sandler's third movie together after The Wedding Singer and 50 First Dates. Evidently that's a thing now. Like they make a romantic comedy of sorts with each other every ten years. Because it's a thing we're supposed to think fondly of their return to the big screen.
The problem is that after Grown Ups and Grown Ups 2 it is physically impossible to think of Adam Sandler fondly anymore. He has spent and and all good will he's built up previously and now any movie starring him should be an instant red flag of suck. With the bar set so incredibly low is it actually a good thing to say that Blended is surprisingly not the worst movie ever? No, I suppose that's still a bad thing.
The X-Men movies have a troubled past. Three out of the six previous films have been critically ripped apart. Yet in spite of their dubious quality, each of the X-Films have done extremely well commercially. Basically, no matter how bad we might say the franchise has gotten, there's still a desire to see each one. I know I still watch these movies hoping they'll nail it someday.
But where does that leave the seventh film in the X-Men series, Days of Future Past? After rebooting the franchise, rebooting Wolverine's origins, changing directors multiple times (and will sadly have to do that once again thanks to recent unfortunate events), and creating a continuity so convoluted no one knows what's going on anymore, Days of Future Past has quite the mountain to climb.
Luckily for both fans of the X-Men and fans of comic book movies in general, Days of Future Past says "F**k all that" and delivers the best X-Men film to date.
A feel good sports movie from Disney? I don't think anyone was expecting anything to earth shattering from Million Dollar Arm. Life lessons will be learned. Sports will be played. People will change. It's the kind of thing that Disney has become a pro at, and your enjoyment on Million Dollar Arm will rest entirely on whether or not you're tired of sports movie cliches.
Also, John Hamm is just a damn charming man. Damn charming.
When that first roar hits you know they did this thing right. There's a chill that will go down your spine if you're a Godzilla fan. As he moves you'll wonder at how they found that perfect balance between rubber suit and actual monster. This is Godzilla.
Godzilla's previous American outing was a sin against all things good in the world, but this one, this one knows what's up. Well, at least when it comes to giant monsters knocking the sh*t out of each other in the middle of cities. That's what really matters, right?
There's plenty to be said about the new film, and it isn't all positive, but in the crucial aspects -- the ones that have always made Godzilla fun -- it succeeds.
Whenever someone mentions Dan Fogler, I'm suddenly interested. He's a comedic dynamo who always seems to choose interesting or niche projects. Directing his second film since 2009, Fogler displays acting ability that he really hasn't be able to show off yet. With Don Peyote's strange, but cool tale, Fogler has a grand spectrum of insanity.
It's just a shame that the rest of the film falls apart.
I had completely written off Neighbors. Coming off of Seth Rogen's last starring role in This is the End, the first trailer for Neighbors underwhelmed me. I've gotten used to Rogen acting, writing, and directing his own films so I was a little concerned when Rogen placed himself in someone else's film. Was his lack of major involvement going to impact the overall quality of the film? Should you expect less because Rogen didn't write a lot of it himself?
Thankfully not. Even with some groan inducers, Neighbors is a little smart. It just needs to reign it in a bit.
[This review was originally posted as part of our coverage of South by Southwest 2014. It is being reposted to coincide with the film's wide release.]
The first Amazing Spider-Man failed to live up to the "Amazing" in its title. But while it wasn't perfect, it certainly had potential to become something great. Like with most superhero franchises, there's always a promise of better stories once the origin is out of the way. Despite some troubling advertising the last few months (the barrage of trailers, the announcement of yearly sequels and spin-offs), I still found myself looking forward to the The Amazing Spider-Man 2.
When done in an amazing, spectacular, or superior fashion, Spider-Man movies could be the best comic book films out there. More so than any other superhero, Peter Parker is relatable. He's just a goofy guy who's in way over his head sometimes. And the same thing can be said of this movie.
The Amazing Spider-Man 2 is in way over its head. When power is handled irresponsibly, you get a fun but awkward web of a film.
Brick Mansions is a complete surprise. I had no prior knowledge of it going in (didn't know it was a remake of the French film, District 13), and decided to finally see it when one of the trailers managed to grab my attention. I had completely expected generic action, maybe some cool guy lines from the late Paul Walker, and maybe it'd be fun.
What I didn't expect was how much fun I'd have. It's grandiose, silly, but most importantly, it never once loses an ounce of sincerity. Brick Mansions is stacked, and that's a fact. Ain't holding nothing back.