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...
Unbroken is the first film directed by Angelina Jolie. That alone has given it a lot of hype, but it's easy to understand why it would be pushing at Oscars anyway. It's base on the true story of a WWII hero and Oscar just eats up historical war dramas like that. Legendary and Universal clearly are setting this up as Oscar bait.
There's a difference, however, between deserving an Oscar and desperately trying for one. Unbroken is desperately trying for one. "I should be an Oscar film," it screams without actually being one. Like a spoiled rich kid it believes it deserves something that it hasn't earned.
There's something to be said for perfect timing. Would Selma be one of the best movies of the year if it had released in January? Yes. But coming out now makes it a true masterpiece of its time. As we try to wrap our heads around Eric Garner and Ferguson here comes a movie about one of the most pivotal moments in the civil rights movement. It is a film for our times and given the times it will leave you floored the second the credits roll.
It is also exactly how you should make a "bio pic." A slice in time, not a checkbox of a person's life. This is a film that captures Martin Luther King Jr. by giving us a look at one instance and extrapolating from there. If it weren't for the stunning achievement of Boyhood this would be the greatest film of the year.
I don't think anyone thought we'd be seeing a franchise born when Night at the Museum first hit. The movie was plenty fun and surprisingly creative with a solid message that really didn't need to be revisited. Then it was, and it was OK. And now it is yet again with Night at the Museum: Secret of the Tomb.
Of course overshadowing almost all of this is the fact that Secret of the Tomb will be the last time we get to see Robin Williams on the big screen in a new movie. This is his last role to hit theaters and for that, no matter what the quality of the film is, we should be thankful. One more chance to see him work his magic is well worth watching any film.
When Peter Jackson announced that he'd be stretching The Hobbit into three movies I was a bit wary, but excited. While the book itself could have easily been put into one, maybe two, films there's enough lore in the world to fluff our three movies. Still, it seemed like a stretch. However, after I enjoyed both the first and second films -- fully acknowledging that they were not as good as the original LotR films -- I was all set to watch an over two hour action sequence take place in the third.
Really that's all that's left. What amounts to a pretty minor part of the book after (spoilers) the death of Smaug is now stretched out into a full film. Two hours of Middle Earth action sounds pretty good to me, especially after enjoying the first two. I should have known that it isn't action that makes Middle Earth awesome.
I remember distinctly when Jon Stewart left The Daily Show for three months to head to Jordan to shoot his directorial debut. It was an interesting time both because John Oliver took his spot (and did an excellent job there) but also because I was just so curious what he was making. Jon Stewart making a movie in Jordan? What?
And I immediately knew that I had to see it whenever it was finally available. Initial reception was a bit tepid, but it didn't matter. I had to see it for myself and give it a fair shake. The Daily Show plays a significant enough role in my life that I felt I owed its host that much.
Fortunately, Rosewater is something worth watching.
Every year, there is at least one biographic film about someone who accomplished great things in his or her life, whether it's something artistic, scientific, or otherwise. This year's biopic of note is The Theory of Everything, which tells the story of Professor Stephen Hawking and his ex-wife, Jane Hawking.
Based on Jane Hawking's book, Traveling to Infinity: My Life with Stephen, the film touches a bit on Hawking's work as a scientist, but focuses more on his relationship with Jane and how things change as their relationship and his disease begin to develop. It is an intimate series of moments of their lives together.
When Disney scooped up Marvel they picked up a ton of comic book history and properties. You had to guess they wouldn't use them all in the same way (i.e. massive blockbusters), and Big Hero 6 is the first Marvel film to break out of the Marvel Cinematic Universe. In fact Big Hero 6, a Disney Animation production, doesn't even have the Marvel logo before it. This is not a Marvel film, it is a Disney one.
For that we can be quite thankful. Disney has finally gotten its footing in the animated world once again and following Frozen expectations couldn't be higher for the studio's next animated film. While I seriously doubt that Big Hero 6 will inspire the crazed fervor that Frozen did, Disney's recaptured magic his still here, elevating a kid's superhero movie to something more.
Last year, Japan Cuts played Sion Sono's Bad Film, a project filmed back in 1995 but not finished until 2012. In my non-review of the film, I unequivocally called it a masterpiece, and I stand by every word. It is a labor of love that throws caution to the wind in order to just make a freaking movie, everyone and everything else be damned. This is Sion Sono's world and you just have to deal with it.
Why Don't You Play in Hell? is a celebration of that worldview. And it's every bit as brilliant as you could hope.
[This review was original posted as part of our coverage of the 2014 New York Asian Film Festival. It is being reposted to coincide with the film's theatrical release.]
You should see Birdman. In fact, you need to see Birdman. Alejandro González Iñárritu’s film is something truly special, and were it not for the fact that Boyhood finally saw its release, it would undoubtedly be the most fascinating thing to come out this year (and, really, in recent memory). Every single facet of it can be the start of its own overly-long review. And for that reason, this review is going to be split into two parts. This is the main review, and in the coming days I’ll be following it up with a more analytical (though still generally spoiler free) Review Companion piece.
If you know nothing about Birdman, you should just go see it. Close your laptop, turn off your phone, stop whatever it is you are doing and just get to the nearest theater where it’s playing. Going in blind isn’t really necessary here, but there’s no reason not to either. I went in knowing only that it was not an adaptation of Harvey Birdman (spoiler), and that made it especially fascinating for me. But to be honest, the things that I found fascinating probably won’t be the things you find fascinating. Really, there is so freaking much to talk about in this movie.
So let’s get into it.
[This film was seen as part of our coverage of the 52nd New York Film Festival. It is being posted to coincide with the film's limited theatrical release]
I thought the good folks over at the NYFF were kidding when they described Whiplash as "Full Metal Jacket at Julliard." I've been burned by their film descriptions before, so I couldn't trust something that just sounded so brilliant. I mean, that's one hell of a pitch. But sticking with my rule of going into films blind, I left it at that. I didn't watch the trailer, nor did I seek out the short film that raised the money to fund the feature. I didn't even listen to "Whiplash."
But that pitch pulled me in. And much to my surprise, it's shockingly fitting. And to be honest, it's even better than it sounds.
[This review was originally posted as part of our coverage of the 52nd New York Film Festival. It is being reposted to coincide with the film's theatrical release.]
Everyone listen. I'm going to pretty much surprise the crap out of you because by writing the next sentence I'm surprising the crap out of myself. I enjoyed Dracula Untold. I know. You've probably just decided that maybe you don't want to trust my opinion anymore, but hear me out.
Dracula Untold is a Universal monster movie. You know those old classics from back in the day that starred Dracula and the Wolfman and the Mummy. In fact they're making an entire film universe for those guys to star in. The point is that those movies were meant to be fun and kind of ridiculous and that is exactly what Dracula Untold is despite its many flaws.
To start this will be the only time I am typing the full name of the movie: Alexander and the Terrible, Horrible, No Good, Very Bad Day. There, got that over with. From here on out we'll be referring to the film as Horrible, No. Everyone else is calling it Alexander so we'll be different.
Horrible, No is quite the surprise as from trailers you probably thought it was a bottom of the barrel adaptation of a classic children's book that Disney just threw a few actors at and dumped into the October slumps. You'd be wrong. While it isn't the most original film out there, it is one of the better family comedies put onto the screen in a while. The jokes may be a bit tired, but there pulled off with such aplomb and pluck that at the end of the day it all turns out good.
Gone Girl is the book of the moment. Much as The Girl with the Dragon Tattoo was The Big Thing when David Fincher adapted it for US screens, Gillian Flynn's novel seems to be ubiquitous. Everyone is reading it and talking about it, and those who aren't are certainly aware of its presence.
I expect this is partially because of the David Fincher adaptation. The book was released in 2012, and though it quickly hit the New York Times Best Seller List, I didn't hear about it until the announcement of its cinematic release. I considered reading it, but I never got around to it. (Flixist Editor-in-Chief Matt Razak has been hounding me to do so now, though, so I may pick it up.)
Walking around New York City, posters for the film are unavoidable. This adaptation is a big deal. The Big Book is about to be The Big Movie.
And it's going to get people talking.
[This review was originally posted as part of our coverage of the 52nd New York Film Festival. It has been reposted to coincide with the film's theatrical release.]
The dramatic family comedy. A staple in our modern day film scene. Throw is some folky pop music and a few stars and you've got yourself a big giant cliche ready for the theaters. There are ways to do it right, though. If you can pull your film out of melodrama and into actual emotion then you can hit the nail on the head. It happens.
It only half happened here. This Is Where I Leave You boldly teases at pushing its characters and feelings in interesting directions, but holds back far too much. It leaves us with a family dramedy that works on basic levels, but never transcends its genre.
Looking back over Liam Neeson's career since Taken turned him into an action hero one could argue that he's basically made the same movie over and over. A vengeful individual in some sort of manly battle involving life and death. And, yes, that is a valid argument. But it also isn't.
See, while Neeson's films have all been pushed the same way, they actually haven't all been that similar (both in tone and quality). From the outstanding The Grey too the awful Taken 2 Neeson has basically played around with the theme of the bad ass, elder hero in a variety of ways. Now they haven't always worked, but one thing remains consistent: Neeson is awesome. That pretty much describes A Walk Among the Tombstones perfectly. It doesn't always work, but Neeson is awesome.
Every so often, a film comes along that completely shatters your expectations. You think you've got it figured out and then it throws a curveball. Then another. Then five more. Soon you realize you can't figure the film out and you have to just let it happen, because even hazarding a guess at what happens next will just make you look silly. It's rare for something so consistently bizarre to be released, and even rarer for it to be a blockbuster, even a foreign one.
But The Pirates is one of those films. And I'm still reeling from the impact.
The Drop is one of those little crime thrillers that comes out and no one really hears about it and you aren't sure why it was made. Possibly the studio thought it could grab some award love or something, but nothing is actually going to come out of it. This is too bad because Tom Hardy gives a performance that you could never see coming from the man.
The Drop sadly isn't up to its star's performance, but that only makes Hardy stand out more. There is nothing more fantastic than watching an actor completely embody a role. There are few things more upsetting than watching the movie surrounding it never match it.
When I decide to watch a movie, it is usually based on two thing:
Whether or not the press picture implies some kind of action.
While there's obviously some leeway on the first one, once a movie pushes past the two hour mark I tend to weigh my interest more carefully. I'll take a random chance on an 80 minute movie or a 100 minute. But a movie that's 135 minutes? That's past the limits of the "Why not?" attitude. I'm not sure what it says about my psychology, but that's the way it is.
The press notes for Kundo show a bald man wielding two giant butcher knives (check!) and gave a 100 minute runtime (check!). That sounded right up my alley.
But while it definitely has the action I was looking for, the runtime on the press notes was off by 35 minutes. That was an unwelcome surprise.
In past reviews, I've written about the problems with poor subtitles on foreign films. Improper use of language serves as a distraction from the comedy or drama and makes the experience worse. I love the English language. It's my lifeblood and my livelihood. So when I see it mangled, I get angry. When it comes to foreign films, I can at least forgive the fundamental language barrier. It's the reality of a love of foreign films, and I am willing to cut some slack.
But though Cam2Cam takes place in Bangkok, the film is in English and was ostensibly written by someone whose first language was English. I say ostensibly because I have trouble believing that's true.
Then again, what was I supposed to expect from a movie called "Cam2Cam"?
I'm a sucker for sports movies. You give me a gang of lovable underdogs, a few training montages and a triumphant final game and I'm in your pocket. It's just so easy to get caught up in a sport film even when their bad. They hit all the right points that we love and when done even remotely right you at least feel a little bit of joy when those underdogs win the big game. What I'm saying is that it is really hard to make a sports film that you just stop caring about.
When the Games Stands Tall does this. Not only does it go on for way longer than it should, but it doesn't grab you in the first place. It's as if the filmmakers had never seen a sports film before. No, check that. It's as if they had never seen any movie before.
It's been more than 20 years since Lois Lowry's The Giver first hit shelves, and more than a decade since I first read it. It's one of those transformative books, and before the recent YA trend towards totalitarianism, the first exposure most people had to dystopias. It's not really 1984 for children (because it's not really for children, despite everyone I know having reading before middle school), but what it says about the world and about imagination is formative for a lot of people. It definitely was for me.
When I heard it was being adapted, I wasn't excited about it, but I also wasn't totally put off. It's a story about imagery, and actually seeing some of the images that are discussed in the book (and the way they affect the view of a colorless, lifeless world) struck me as potentially compelling.
But as I sat in the theater, I realized that I was wrong: The Giver isn't about imagery at all.
Into the Storm is one of those movies that you wonder where it came from. Natural disaster films are so early 2000s and this one feels particularly ancient. Clearly the thinking was that with all the super storms hitting us the time was ripe to pick the genre again, but it really isn't and Into the Storm isn't the film to do it in.
While you don't have to do much to be a competent natural disaster movie there are a few rules. The biggest one is not to actively insult people who have actually been affected by cataclysmic disasters. Into the Storm fails at this, and while it may succeed at a few other things because of that it fails completely.