reviews

Review: Trainwreck

Jul 17 // Nick Valdez
[embed]219680:42492:0[/embed] TrainwreckDirector: Judd ApatowRated: RRelease Date: July 17, 2015 In Trainwreck, Amy Townsend (Amy Schumer) is a woman who's just enjoying her life. She's got a good job writing for a magazine and doesn't see the need to get into a monogamous relationship any time soon thanks to her father's (Colin Quinn) teachings ("Can you imagine playing with the same toy the rest of your life?"). One day she's assigned an article about Dr. Aaron Connors (Bill Hader), a sports medicine practicioner who's about to go through an intense surgery. Then through some ups and downs, the two eventually fall for each other. Through the synopsis you can't really gauge why Trainwreck is great, and that's one of the biggest drawbacks. You have to be willing to accept the film's traditional style in order to enjoy its personality. But this film's been about personality from the beginning.  I've seen so many romantic comedies over the years, I've been able to break them down into four main components: quirky girl is an outsider for some reason, quirky girl meets guy who changes her life, random man candy to oggle, and the quirky girl becomes the most important person in the film's world by the end. Unfortunately, Trainwreck has all of these components. It's completely predictable from beginning to end, but the film would rather you enjoy its components rather than the package as a whole. That's not necessarily a bad thing by any means when all of the individual pieces are as well put together as they are here.  As Schumer has proven in the past, she's a comedic dynamo. Couple that with an amazing cast for her to bounce off of, and we've got a romantic comedy more grounded than anything in years past. Her charm just oozes off the screen and effects the rest of the cast. Everyone in the film has such a natural chemistry it makes Apatow's tendency to run his films a bit long all the more bearable. In fact, I wish there was more of her conversations with Brie Larsen as Amy's sister. There are a bunch of scenes between the two where Brie cracks a laugh, and you can tell that it wasn't an intentional one. It's the little things like that which give the film a lot of character. Something that's always hollow in these romantic comedies. Speaking of chemistry, Schumer and Hader are magnetic. While Hader's character could use more development, Hader fills the role with enough quirk that it elevates it from the material. Schumer's script is amazingly put together too. While there're some jokes that don't work, and Judd Apatow's direction does seep through and you notice a few bits that could've been cut for time (and because they weren't really funny), when the two meet in the middle they knock it out of the park. Like John Cena and Lebron James, for instance. A typical quality of an Apatow directed film are the numerous celebrity cameos from folks you wouldn't usually see in a movie like this. While a bunch of unfunny cameos are here in spades, Cena and James are almost too perfect. As the two fill the conventional "bad bro date" and "quirky guy's best friend," Schumer's writing mixed with their surprising talent completely blindsides. James' acting may be a bit stilted, but he gets the best lines in the film (my personal favorite being a Kanye West riff), and I can't tell you how many times I laughed at John Cena. That guy has a future in comedy. Also, if you wanted to see him naked here's your chance.  Trainwreck is somehow both traditional and unconventional. I don't know how the film managed to find a perfect balance between being an entertaining comedy while still dealing an effective romantic push, but there's so much charm it's easy to write off a lot of the film's technical issues. Normally I'm so jaded with films like these, so I would've torn into how much like other movies it is. But it's not. It's sort of the anti-27 Dresses.  Maybe it's Amy Schumer's persona, or maybe it's how down to Earth it all feels, but when I saw Schumer dancing as a grand romantic gesture at Trainwreck's end (so predictable, I told you), I couldn't help but fall in love with her myself. 
Trainwreck Review photo
John Cena has a great ass
Whether or not you're a fan of her comedy, Amy Schumer is not going anywhere. Comedy's current "It" girl, Schumer's earned all of the accolades through her comedy specials and often hilarious television show, Inside Amy Schum...

Review: Ant-Man

Jul 17 // Matthew Razak
[embed]219677:42491:0[/embed] Ant-ManDirector: Peyton ReedRelease Date: July 17, 2015 Rated: PG-13  Ant-Man might be the most divergent from the original Marvel comic yet. Instead of focusing on the original Ant-Man, Hank Pym (Michael Douglas), the movie skips over to the modern iteration: Scott Lang (Paul Rudd). As Pym, and his then wife The Wasp, were two founding members of the Avengers in the comics this is kind of a big deal, but it's what you get when you can't roll out a movie based on a shrinking superhero until you've established everything you do is going to be a hit. Marvel has done that and so we get an up-to-date Ant-Man, and Pym's daughter Hope van Dyne (Evangeline Lilly), instead of Pym. That doesn't mean Pym was never Ant-Man nor that there was no Wasp. The movie picks up in the past as Pym quits his superhero heroics for the then new S.H.I.E.L.D. after the death of his wife and vows to hide the technologies that allow him to shrink and control ants. Jump forward to modern day and we find Lang just getting out of prison and unable to find a job so he goes on one more heist... and steals the Ant-Man suit. Meanwhile, Pym has been forced out of the technology company he runs and his predecessor Darren Cross (Corey Stoll) has finally, after years of denial from Pym, discovered how to shrink people. He's built a suit called the Yellowjacket. The only way to stop him from misusing this power? Steal it. There, my friends, you have a set up for a heist movie, and for the most part this heist works. It's a fun and enjoyable romp highlighted by the great use of Ant-Man's powers throughout. Though his powers cause some of the movie's problems. Any good heist movie is pretty complex, but with Ant-Man's abilities it kind of simplifies things down. The rest of the gang (including T.I. and Michael Peña) seem to be there more for comic relief and to fill a heist movie quota than anything else. The heist itself isn't that clever either as it plays out in a very straight forward manner that you don't see very often in modern heist films. There's no Now You See Me twist coming with this one. The movie does feature a heavier dose of comedy than other Marvel films. This one is very in line with modern heist films that incorporate a humorous gang into the proceedings to liven things up. Plus, you've got Rudd, who delivers his normal comedic talents to the proceedings. This makes Ant-Man easily the lightest of the Marvel films and probably the funniest, though Guardians is right there with it. The problem with the film's focus on traditional heist film tactics is that it trips into cliche constantly. There's a training montage, and a planning montage and a group of stereotypical teammates. Ironically by differentiating itself from other Marvel films it becomes more generic as a whole.  What's great is that it doesn't especially matter because the fun comes straight from the superpowers. Ant-Man's abilities are so unique in comparison to the rest of the heroes out there that it gives a new spin to things. The action is impressively done and uses the shrinking/growing dynamic in some really awesome ways. The final fight between Ant-Man and Yellowjacket is especially well done as they shrink and grow in and out of a variety of locations. Director Peyton Reed did a really admirable job putting the scenes together with just the right amount of comedy mixed into the fight. I'd still rather see what Edgar Wright could have done (he does get screenwriting credit), but Reed does some very cool things here that turn a very straightforward heist into something awesome. One of the possible holdovers from Wright's time is just how referential this movie is to the history of heist films. It is often an homage to the classics of the genre. There's a train fight sequence hearkening back to train robbery westerns, a little Mission: Impossible thrown in, some subtle references to Ocean's Eleven and plenty more for those who know their heist movie history. While other Marvel films have given nods to their respective genres, Ant-Man is by far the most meta of them all. I half expected Rudd to pull a Deadpool and talk to the camera at some point.  Sadly, one of the other effects of Wright leaving is that the story isn't as fleshed out as it should be. At points it feels rushed, as a condensed production schedule would make it. This is especially true of the character Hope, who was created specifically for the film, and creates one of the film's most blatant plot holes. She's a trained fighter who knows how to use the suit thanks to her dad, but we can't have her using it because Lang needs to be Ant-Man. They wrote themselves into a corner with the issue and use the excuse that her father doesn't want her using it to make sure she doesn't. It feels even more forced thanks to the first end credit sequence in which (spoilers) her father shows her the Wasp suit he was working on with her mother (end spoilers). One wonders if Wright had been allowed to finish his version if this pretty sexist problem would still be around.  What really works about Ant-Man, and what keeps its problems at bay is that it's small and and practically immaterial. Much like the hero himself, the film is incredibly micro. It, for the most part, ditches the wider Marvel universes and focuses on fun and adventure. It's not the bloated, overwhelming Age of Ultron and its not the completely disconnected Iron Man 3. It's exactly what the MCU needs right now: a creative dose of fun. 
Ant-Man Review photo
Shrinking down the MCU
Marvel has a problem on their hands with the MCU. They've got a cohesive style that can make all the Marvel films feel very similar. The way they've attempted to address this is to deliver movies that are stylistically simila...

NYAFF Capsule Review: Revivre

Jul 14 // Alec Kubas-Meyer
[embed]219609:42489:0[/embed] RevivreDirector: Im Kwon-TaekCountry: South Korea 
Revivre Review photo
The End
Revivre is director Im Kwon-Taek’s 102nd film. Think about that. Really, really think about what that means. Even if most of his early films were essentially throwaways created to entertain the unwashed masses, this man...

NYAFF Capsule Review: Coin Locker Girl

Jul 14 // Alec Kubas-Meyer
[embed]219612:42486:0[/embed] Coin Locker Girl (Chinatown | 차이나타운)Director: Han Jun-HeeCountry: South Korea 
Coin Locker Girl photo
Family values
Director Han Jun-Hee introduced Coin Locker Girl as a "fun" film. He said that he doesn't joke much but he made a fun movie and hoped we would have fun with it. And either his translator really missed the point of his in...

NYAFF Capsule Review: Chasuke's Journey

Jul 13 // Alec Kubas-Meyer
[embed]219663:42484:0[/embed] Chasuke's Journey (天の茶助 | Ten no Chasuke)Director: SabuCountry: Japan 
Chasuke's Journey photo
Mr. Angel's Screenwriting Workshop
Chasuke’s Journey is an indictment of dramatic shortcuts in writing. The head tea server in heaven works among the screenwriters who decide the fates of everyone below, but their stories are trite. The immortal one who ...

NYAFF Capsule Review: Nowhere Girl

Jul 13 // Alec Kubas-Meyer
[embed]219660:42485:0[/embed] Nowhere Girl (Tōkyō Mukokuseki Shōjo | 東京無国籍少女)Director: Mamoru OshiiCountry: Japan 
Nowhere Girl Review photo
Whup whup whup whup
New York Asian Film Festival co-programmer Samuel Jamier has a tendency to describe films as “interesting,” and he will sometimes say the word five times in half as many minutes when introducing them. He didn&rsqu...

Review: The Gallows

Jul 10 // Matthew Razak
[embed]219651:42478:0[/embed] The GallowsDirectors: Travis Cluff and Chris Lofing Rated: RRelease Date: July 10, 2015 The Gallows had plenty of positive buzz coming out of the film festival circuit and it's pretty easy to see why. The movie is scary and does try to shake things up here and there. There's definitely something inherently scary about a high school at night, which is where our four protagonists find themselves. Reese Houser (Reese Mishler), Pfeifer Brown (Pfeifer Ross), Ryan Shoos (Ryan Shoos) and Cassidy Spiker (Cassidy Gifford) are trapped in the high school after sneaking in one night. Two decades before this a boy had died in a freak accident during the production of a play called The Gallows in the school's auditorium. His ghost isn't too happy about it and now he's finally got a group of teens trapped at night that he can terrorize.  The plot is pretty basic for a horror film; a small group of people being tormented by a deadly ghost who has a flare for the dramatic despite the fact that he could kill them all with his mystical powers in a second flat. The found footage gimmick feels more like a forced hook than what the directors originally intended, though since the pair wrote the screenplay as well it probably wasn't. Cluff and Lofing do do some clever things with it here and there, however. A few scenes in particular are fantastically constructed, especially one set in a hallway lit only by a red exit sign that fantastically uses shadows and off camera changes to build tension. The directors also cleverly use the two cameras the teens have with them to play out scenes completely from one perspective and then jump back to show us the same scene from another. Ignoring montage in favor of this style actually works incredibly well, adding fear that wouldn't be there to many scenes while still allowing for kills to play out on screen eventually. It's a great balance between the belief that being scary means leaving something off the screen and the constant need to shock the audience with visuals.  Sadly, the plotting and pacing can't keep up with the cool ideas and the film suffers for it. The movie falls victim to some terrible editing that is horrifically excused by the camera panning to the floor, shaking a bit, and then the teens suddenly being somewhere else when the camera swings back up. It rips the realism out of the movie, which for a found footage film is really problematic. There's even issues with how exactly they're filming at points, which allows for some great scenes but breaks the movie's own rules. Not to mention the plot itself is pretty flimsy. The movie is more of a collection of really interesting horror scenes than a horror whole. Great ideas keep cropping up and scaring you, but they don't accrue into a coherent whole.  Then there's the film's ending that's supposed to shock you, but is both predictable and tacked on. In what is supposed to be a twist the movie jumps out of scary and into stupid in the blink of an eye. Since the film's scenes don't build onto each other the movie's ending feels especially random. The movie makes no attempt to foreshadow what's coming meaning theirs no build to the conclusion, but it also awkwardly pretends like it was a surprise when anyone whose understands how movies are plotted will see it coming a mile away. It's too bad the filmmakers didn't work this out as the ending could have been something people talked about if pulled off correctly. For some cheap (well, as cheap as the movie ticket price near you) thrills The Gallows definitely delivers. There's moments that show that Cluff and Lofing can get up to some pretty interesting stuff with the genre, but their lack of structure and the found footage style mean the film isn't all that it could be. 
Gallows Review photo
Isn't high school bad enough on its own?
If you had hopes the the found footage genre of horror would go away you are in for a sore future. It's here to stay so you might as well embrace it. The sub-genre can offer up some fantastic scares if done right, but its ove...

Review: Minions

Jul 10 // Nick Valdez
[embed]219629:42476:0[/embed] MinionsDirectors: Pierre Coffin and Kyle BaldaRated: PGRelease Date: July 10, 2015 Before the minions found Gru from the Despicable Me movies, they were a species who've existed since the dawn of time. Attaching themselves to whatever evil creature they could find, they tried to serve as the best henchman they could until their boss' inevitable end. Lost and listless, minions Kevin, Stuart, and Bob set out across the world in order to find a new boss. That search leads them to Scarlet and Herb Overkill (Sandra Bullock and Jon Hamm) the top of the villain food chain who want to steal the Queen of England's crown. All of this, of course, leads to the same kind of yellow tinged shenanigans you know and possibly love.  When this was first announced, I had a few hang ups. I really enjoyed the Despicable Me films, but the minions were always a side bit that I never quite attached to. Originally written into the films in order to make Gru more likable, they're the epitome of easy kids' jokes. Burps, farts, and pure gibberish designed to make kids laugh and provide nothing more than an annoyance for the adults watching the films (which actually have a well crafted narrative of parenthood and coming to grips with sacrificing your dreams in order to support your children's future), so I worried that spinning them off into their own narrative would only highlight their hollow design. And that's kind of true here. Thankfully, there's at least an attempt to give Minions the same amount of heart as the rest of the series.  Once you get used to the long stretches of minion language-less dialogue, there's some nice character development here...but you've got to figure it out for yourself. Kevin, Stuart, and Bob all have some unique personality traits (Kevin is the responsible one, Stuart is the party one, and Bob is the young and cuddly one) but don't go further than the surface level. Geared more toward children than ever, this film is light in both plot and all-ages humor. Thankfully the film is just a breeze, and it's over way before you start thinking about it. At the very least, the main trio is built well enough that you'll emotionally invest in them long enough to follow through the film's short stint. Though I'm sure these minions are reaching a point of diminishing returns (hopefully there's no plan to keep these solo films going) that their shenanigans won't be able to sustain a film on their own much longer. This one's barely held together by the skin of its teeth.  The human cast is fantastic, and they're a breath of fresh air in between all of the shenanigans. Sandra Bullock and Jon Ham completely commit to the film's nutty nature, and both of them need more roles where they're allowed to chew the scenery as goofy bad guys. Bullock seems to enjoy her role the most, but close runner ups are folks like Michael Keaton and Alison Janney who're criminally underutilized. Maybe casting such big names just to give them a bit part is part of the film's slight meta humor. But that might be giving the film too much credit.  At the end of the day, Minions isn't made for you or me, but for the kids. But as I've argued every time I review one of these animated films, it's time to expect better for your kids. Sure not every animated film can, or needs to be, like Pixar, but if we keep paying for things like this they'll keep churning them out for an easy buck.  It's a flavor of the month film that'll definitely be forgotten once the next big cute thing comes along. Minions is not as terrible as I expected, but it's far from great.  But whatever, your kids'll love how cute it is. 
Minions Review photo
Papaya banana blah blah
Whether or not you've seen the Despicable Me movies, you definitely know who these little twinkie looking guys are. Perfectly designed to appeal to almost every demographic (a Xanax like shape, a bright and happy yellow, spea...

NYAFF Review: Tokyo Tribe

Jul 07 // Alec Kubas-Meyer
[embed]219610:42463:0[/embed] Tokyo TribeDirector: Sion SonoRating: NRCountry: Japan  If you asked a small child to describe to you what they thought when they heard the phrase "rap battle," you'd probably get something like Tokyo Tribe. This isn't a film about a few MCs spittin' some ill beats in order to prove themselves and ultimately win the respect of their peers; it's a film about a city ravaged by rap-related crime and the ultimate gang war that breaks out. And much of the dialogue spoken between the characters flows against the thumping beats that back the entire film. It's a rap musical; it's a martial arts action film; and it's a sardonic comedy eviscerating systemic issues with Japanese culture. It's everything you could possibly want it to be and a whole lot more shoved into just two hours of screentime. (It's also a manga adaptation. Shocker, that.) I honestly wonder who will find the music more grating: people who hate rap, or those who love it. It's pretty obvious why the former would hate it, but the latter is the more interesting thing to discuss. This is a film that clearly has reverence for rap music, but more often than not it makes a pretty poor case for the genre. Rapping is hard. (I should know. My dream is to be a white rapper some day, but I'm terrible at it, and it definitely won't happen.) I get the impression that a lot of people don't appreciate the linguistic ability and agility required to really get some funky fresh rhymes going. Unfortunately, those are things the general cast of Tokyo Tribe lack. When the credits rolled, a couple of Japanese names (written in Japanese letters) were followed by "Young Dais." I'd been expecting something like that, because I knew right off the bat that Kai, the head of the Peace and Love gang, was actually a rapper. Everyone else had an awkwardness to their rhythm that Kai had on point from start to finish. Everyone else was amateur by comparison. And yeah, of course they were. They're actors, and he's a rapper for one of Japan's various boy bands. It was a good casting choice, but it made me wish that there were more rappers and fewer actors. (There were some others that were clearly rappers as well (I particularly liked the heads of the female gang), but they weren't crucial to the story and didn't get much screentime.) Sion Sono has played up style at the expense of substance in the past, but never so dramatically as here. Tokyo Tribes oozes more character from an average frame than most films in their runtime. Whether it’s the ridiculous and elaborate sets or the bizarre image distortions and lens flares (or a combination of the two), this is a movie that is distinctive and memorable. Love it or hate it, you cannot deny it. You don’t forget that you’ve seen a movie like Tokyo Tribes. You can’t, unless you legitimately have a memory disorder. And if you do… well, you’ll get to see it for the first time all over again, and there’s something magical about that too.  But, of course, form can overtake function, and that undoubtedly happens here. During the film’s final confrontation, one of the characters raps The Point of the movie, and I nearly said (out loud), “Oh! So it’s a film with a message.” It wasn’t funny then, and it’s not funny now, but up until that moment the film wasn’t building up to anything other than a battle. I mean, there’s a “Good vs. Evil” thing in the sense that the bad guys hate Kai's gang because of the peace and love thing, but that never feels like more than a way to artificially build conflict. And there’s nothing inherently wrong with that, but to pretend at the 11th hour that this was all in service of something? Come on.  The only time when style gets away from the film is in the moments of pathetically poor CGI. There are a few moments where it’s so blatantly fake that the veracity of the moment is ruined. You have to suspend a whole lot of disbelief in order to get into this movie, but there’s still a limit. A tank that looks like something a child would make in a My First AutoCAD class is that limit. And it’s not just that tank, though that’s the most obvious example of it. What’s worse is the blood. In the past, Sion Sono films have been horrifyingly bloody, but the blood was real. It felt like a thing that existed in the film. My only real problem with Why Don’t You Play in Hell? was that it took the easy way out on occasion (and lower-budget Asian cinema clearly hasn’t figured out digital blood sprays yet (come on guys, Fincher had this shit down in 2007)). But here it's worse, because even if the initial spray in his previous film was sometimes faked, at least the blood staining the floors and the people after the fact were real. The moment could be forgiven in service of the greater good. Not so here. The film verges on being bloodless, because the red stuff has no feel to it. It's just an effect lazily thrown onto the screen a few times and then forgotten about. But those are all relatively minor in the grand scheme of things. People have said that Tokyo Tribes is too much of a good thing, and I don't think that's quite accurate. It's not too much of a good thing, because it's too many things to be too much of any one of them This film throws the proverbial kitchen sink at the screen and does so with an ungodly amount of technical flair. When you get sick of rapping, it turns into a (fantastic) action movie. The punches may not always land, and the wirework is very clearly wirework, but ya know what? It's freaking awesome. And then there's more rapping. And then there's some rapping and fighting. And it's all awesome. A plausible argument could be made that there's just too much movie, that it could have been cut down by 20 or 30 minutes without much narrative impact. But to what end? The content of the film is nothing if not excessive. Why shouldn't the film itself embody that as well?
Tokyo Tribe Review photo
Well then.
My favorite film to play at last year's New York Asian Film Festival was Sion Sono's cinematic love-letter/masterpiece Why Don't You Play in Hell?. It's a spectacular film, and now that it's seen a domestic release, y'all hav...

Review: Ted 2

Jul 06 // Nick Valdez
[embed]219625:42462:0[/embed] Ted 2Director: Seth MacFarlaneRated: RRelease Date: June 26, 2015 In Ted 2, Ted the Teddy Bear (Seth MacFarlane) gets married and wants to start a family. But when he and Tammy-Lynn file for a potential surrogacy, Ted learns he's legally defined as property. Since he's not a person, he loses his job, his marriage is annulled, and he loses all manner of rights. He and his "Thunder Buddy" John (Mark Wahlberg) decide to fight the decision, enlisting the help of newly licensed lawyer, Sam Jackson (Amanda Seyfried). Then the film is filled with some marijuana infused shenanigans. dick jokes, and the occasional court scene as Ted tries to prove that he's truly human.  We try our best at Flixist to keep you folks out of the back end, but I've got to come at this straight on. Somehow, in some weird way, I'm always the one reviewing comedy sequels. Time and time again, I end up making the same point that one person's comedy trash is another person's comedy treasure. But I think I don't have to reiterate it with Ted 2. I'm sure everyone, regardless of taste in humor, will universally find the humor lacking. While most comedies will mine the humor from the story as the plot finds the funny in interactions between characters, this film relies on non-sequiturs. I'd hate to once again compare this film to other stuff MacFarlane's done, but like A Million Ways, Ted 2 has a lot of Family Guy sensibilities. Very little plot tied together with jokes that don't really belong. In fact, there's even a sperm donor joked ripped right from that show.  What's most unfortunate is there are definitely a few core concepts that would've worked wonders for the film had they been explored a bit further. Sure, I'm not supposed to expect some grand dissection of civil rights in the US but you can't present the idea as a major theme of the film and not elaborate on it further. It makes every tangent even more egregious. But I'm not sure how we wasted so much time since the film far out runs its course about two thirds of the way in. There are plenty of unfunny bits that could've been trimmed for time (most notably the scene in the trailers where they try and masturbate Tom Brady in order to steal his sperm), and lots of random side characters that could've been axed for brevity (like the overly bro gay couple that never go deeper than surface level "I hate nerds" jokes). And those corporate sponsorships? Did we really need a Hasbro executive as one of the villains or a final climax set at New York Comic Con?  If you were a fan of original like I was, I'm sure you're wondering whether or not the rapport between John and Ted is still strong. I'm happy to report that it's stronger than ever. One of the film's few redeeming qualities, Mark Wahlberg and Seth MacFarlane have settled into a groove that rarely feels forced. Although the writing between the two was better the first time around, the new routines the two show off are pretty funny. Although they're more examples of jokes that don't pertain to the plot (like the Law & Order or improv heckling gags), it doesn't matter when they're entertaining. Besides, Ted trying to get John back into the dating scene is a better fit for their quasi bro relationship. It's a shame that Amanda Seyfried gets dragged into this (I'm sure it's because of some favor or she genuinely enjoys working with MacFarlane for some reason) since all her character amounts to is a weed smoking failure who needs to ask for help from men more established in their careers.  With Ted 2 you get what you expect. Don't have expectations, and you won't be disappointed. I'm just tired of that criticism being an easy out for lazy comedy. This film just reeks of the same kind of absentmindedness you'd get from using the drug Ted loves so much. Caught in a haze of thick smoke, the humor struggles for air as joke after joke fails to land. Sure, you'll get one or two laughs overall but Ted 2 seriously lacks the humanity it wants you to believe it has.  There better not be a Ted 3 in the works. 
Ted 2 Review photo
No humanity
Say what you will about Seth MacFarlane, but the man knows how to stay in business. Despite many critics noting a decline in all of his television programs and his last effort A Million Ways to Die in the West died a million ...

Review: Magic Mike XXL

Jul 01 // Matthew Razak
[embed]219601:42455:0[/embed] Magic MikeDirector: Gregory JacobsRated: RRelease Date: June 25, 2015  You know how Magic Mike (Channing Tatum) got out of the grind (pun intended) and left to start his own furniture business at the end of the first film? Well, screw that. He's back. When the guys -- Big Dick Richie (Joe Manganiello), Tarzan (Kevin Nash), Ken (Matt Bomer) and Tito (Adam Rodriguez) -- show up in town on their way to a stripper convention Mike drops everything and joins them for one last ride. It seems that Dallas abandoned them so the group is breaking up, but not before one big fun trip to the biggest stripping event in Florida (a state I assume has a lot of stripping events). Plot kind of ensues and along the way the pick up an MC, Rome (Jada Pinkett Smith), hook up with Andie McDowell and see Michael Strahan perform a ridiculous strip. Who really cares, though. The point of this movie was clearly to push the mostly naked men and forget about the rest. The screenplay is paper thin and mostly consists of the gang of guys shooting the shit, which, in all fairness, is actually kind of entertaining. They're clearly ad-libbing a bunch and it lends some charm to a story that's non-existent. It also keeps you in on the joke so you don't have to care quite as much. Everyone seems to know why they're there and they're just having fun doing it. Unfortunately director Gregory Jacobs didn't get the fun memo and shoots the film like he's directing an art piece. He's trying to do his best replication of Soderbergh's direction from the original that he can, but it isn't the time or place and he doesn't have the skill. The strip numbers are a mess, sadly destroying a lot of the fantastic dancing pulled off by Tatum and his cohorts. The grand finale of abs, pecs and banana hammocks feels flat thanks to Jacobs' inability to build momentum or hold a scene together. What should be a bunch of fun starts feeling dragged out and sloppy.  Thankfully he can't crush the cast with his directing. Tatum is as Tatum does. The guy just oozes screen appeal and has actually pulled himself into a credible actor. Meanwhile Donald Glover joins the crew and delivers fantastically, though we never get the full abs show for him. The biggest surprise (pun still intended) is Manganiello) who takes a much larger role in the film and delivers wonderfully. Even Kevin Nash gets to talk a bit more this time around, which was nice of the filmmakers to do.  Sadly, the "road trip but with strippers" plot isn't enough to hold up the film from strip scene to strip scene, especially with the lackluster direction for those scenes. The guy's repartee may be fun, but everything else drags. There's attempted plot lines about love and life and moving on from stripping, but nothing ever clicks in any meaningful way. You get the feeling they're just saying this stuff because they had to put some more words into the screenplay. Every scene without men taking their clothes off feels wasted, except for Andie McDowell's cameo, which is fantastically dirty and fun.  That's really what you're going to see Magic Mike XXL for anyway so why care about all the rest? It is the equivalent of a Cinemax movie geared entirely towards showing mostly naked women off and it does that... except with men. If you want abs, strippers, thrusting loins and more dollar bills than you've ever seen before in a movie then Magic Mike XXL delivers. It's just too bad it couldn't deliver the entire package (pun totally intended). 
XXL Review photo
Abs-olutely what you expect
The first Magic Mike was a bit of a surprise. While it was obviously all about very in shape men dancing mostly naked Steven Soderbergh actually brought a little charm to it. The almost ad-libbed feeling the screenp...

NYAFF Review: Meeting Dr. Sun

Jul 01 // Alec Kubas-Meyer
[embed]219608:42457:0[/embed] Meeting Dr. Sun (Xingdong daihao: Sun Zongshan)Director: Chih-yen Yee Rating: NRCountry: Taiwan  Everyone knows the rule of threes. You can do a joke three times before it becomes grating. If done well, that repetition can make it amazing, but going beyond that just becomes frustrating. I don't know who who it came from, but I've heard it said that the trick to Family Guy's humor is that things become funny again after you've done them for the 27th time. It's funny, funny, funny, not funny, not funny, infuriating... kinda funny, funny, amazing. And that's kind of accurate. I'm sure there's something in our brains, probably a fear response, that tells us that eventually this thing that is making us uncomfortable with its repetition is actually something to be laughed at (again), lest we drive ourselves actually crazy. Whatever it is, it works. Sometimes. Meeting Dr. Sun really wants that to be true. Or at least, its editor does. Because apparently he left the editing bay after he put together his rough cut and someone walked by and shouted, "It's perfect!" Every single scene is too long. Every. Damn. One. You could cut at least 10 seconds from the end of every sequence in the film and it would only benefit the film. Most shots go on too long, and every joke definitely goes on too long, but sometimes they become funny again. Meeting Dr. Sun is a heist movie, of sorts. Some kinds can't afford to pay their class fees, so they decide to steal a statue and sell it for scrap. But they have to steal it. But because they're children (end of middle school/beginning of high school (or the Taiwanese equivalent of that), if I had to guess), everything is inherently very silly. As it's presented, there are no great stakes, and there are no serious dangers. It's not even really clear what it would mean if the kids didn't pay their class fees. (Here my American ignorance is probably at issue, though the film's dialogue makes it seem like it's not a necessity to get through the year.) The whole thing feels appropriately childish, and on some level the humor actually works like that as well.  Some years ago, I was having dinner with a friend and his extended family. His very young cousin wanted to be the center of attention, and so he said to said to his dad, "Hi mommy!" and everyone laughed. And then he went to every single person around the table (nearly a dozen of us) and said, "Hi mommy!" to all the men and "Hi daddy!" to the women. The first couple of times, it was adorable. By the time he got to me? It was infuriating. But the kid thought he was the cat's pajamas, and he kept doing it until his dad (thankfully) stopped him. He would have done another round of the table, I'm sure, because he didn't understand what actually made it funny, just that other people were laughing. And that's what the humor in Meeting Mr. Sun is like. I laughed pretty hard on multiple occasions, and some of the people around me laughed so hard I literally (not figuratively) thought they were going to die, but then once I'd moved on, the young kids onscreen wanted to keep doing the joke. They keep pantomiming or dancing or talking or moving or doing any of those other things that kids do, because... they're kids. What else are they gonna do?  That said, there's a weird, dark undercurrent about issues of socioeconomic class structures throughout the film. And while it's always there, it doesn't come up explicitly until the end, when it hits in a fascinating, mood-wrecking kind of way. And thinking back on the film through that lens, it's actually pretty seriously depressing; a (very) long sequence involving two characters trying to prove that their family is worse off is played for humor, sort of, but it's really very sad. At the time, that was in the back of my mind, but it didn't snap into focus until that moment near the end. But this theme seems so at odds with the comedic intentions of the film. Director Yee wanted us to laugh. But here was this grand theme about poverty and what it forces people to do, even on a small scale. And... we were supposed to laugh at it? I mean, I definitely did. I'm just not sure how I feel about having done so.
Meeting Dr. Sun Review photo
Child's play
In the two hours leading up to the US premiere of Meeting Dr. Sun, I saw director Chih-yen Yee speak twice. First was at a reception hosted by New York Taipei Economic and Cultural Office. The second was just minute...

Review: Terminator - Genisys

Jul 01 // Sean Walsh
[embed]218671:42029:0[/embed] Terminator: GenisysDirector: Alan TaylorRated: PG-13Release Date: July 1, 2015 We all know the story: Savior of humanity John Connor (Jason Clarke) sends Kyle Reese (Jai Courtney) back in time to prevent a terminator (Arnold Schwarzenegger) from killing his mother Sarah (Emilia Clarke) before John is born. However, Kyle finds himself in a very different situation shortly after his arrival in 1984. What follows is a bit of timey-wimey shenanigans that only the Terminator franchise can provide. To say any more than that would really ruin the surprise. Do be warned going forward, however: I will say a little more. Fair warning. First off, you can barely tell that Arnold Schwarzenegger is sixty-seven years old. The man's charisma is absolutely infectious and seeing him in the leather jacket and sunglasses that made him a household name is like coming home again or putting on your favorite, well-worn pair of shoes. He's perfect. He's a finely-aged wine. He's Arnold Goddamn Schwarzenegger. He delivered every one of his lines with a delightfully robotic wit and I could honestly spend the rest of the review just talking about his performance but that's not very fair to the other people involved. While she's no Linda Hamilton (is anyone?), Emilia Clarke does well as the new Sarah Connor. She's a lot more well-adjusted to her situation than the Sarah Connor of yesteryear and is more than capable of protecting herself. Jai Courtney, who has come a long way since being super duper bland in A Good Day to Die Hard, is our Kyle Reese and I'll be honest: I'm for it. He didn't break new ground or completely change my movie-going experience or anything, but he was a sturdy male protagonist and when you're starring opposite Arnold Schwarzenegger, that's all you can ask for. Jason Clarke's John Connor was dark, brooding, and scared (inside and out) after thirty-someodd years of fighting Terminators and he really sold it. These four are joined by Matt Smith in a brief but significant role that was blissfully kept under wraps (unlike many other facets of the film courtesy of the bastardly second trailer) and J. K. Simmons in a more substantial but similarly all-too-brief role as a detective. Finally, and I would be remiss to forget him, Lee Byung-hun of I Saw the Devil and G. I. Joe fame plays the new T-1000. He is menacing and carried that same icy cool Robert Patrick had in T2: Judgment Day. I was really very surprised with the effects in Genisys. I expected them to look good but I'll be damned if they didn't look great. All of the Terminators and other Skynet enemies looking amazing, the liquid metal looked real and, most importantly, the battle between present-day Arnold and circa-1984 Arnold was incredible. To my admittedly untrained eye, there was zero uncanny valley and he looked fantastic. Springboarding off of the effects, the action was almost non-stop. From the final assault on Skynet in 2029 in the beginning of the film, the movie GOES. The aforementioned fight between two Arnolds, a handful of car chases, a pretty excellent battle against the T-1000, and a wonderful final battle; all of it was great. I don't think I rolled my eyes during any of these sequences and after the last two films, I think that's a very good thing.   The score was good but honestly, what else do you need to hear other than DUN-DUN-DUN DUN-DUN, DUN-DUN-DUN DUN-DUN in your Terminator movie? Most important, of course, is the writing. I don't want to say too much because of all the moments where I wish I hadn't seen that stupid second trailer or any TV spots or heard any ads on Spotify or seen half of the films' posters, but what I will say is that it was an awesome movie full of twists and turns and fortunately some surprises, which is impressive considering how hard they tried to ruin it with spoilers. There's some fun time-travel stuff and at one point i was like "Oh, it's like Terminator meets 12 Monkeys," but then I realized that 12 Monkeys utilizes more or less the same time-loop that Terminator does. If you think too hard about the time travel stuff your nose may bleed and you might feel the vein in your head start to pulse uncomfortably but if you take it for what it is, it's a lot of fun. And lest I forget the most important factor: Genisys has a completely logical explanation for its inclusion in the title. There's a lot of callbacks to the first two films, many of which are a little more subtle than you'd expect. I found myself fist-pumping and quietly cheering many times over the course of the 126-minute runtime. The only real complaint I have about the story is there are a small handful of unanswered questions, but as Nick reported last September, we've got two sequels coming our way. Mr. Valdez can rest easy knowing that, in this humble reviewer's opinion, Genisys is absolutely good enough to warrant sequels. Will this film stand the test of time like the first or second films? Maybe, maybe not. Is it better than the third and fourth films? Absolutely. Am I excited for the sequels? You bet your shiny, metal asses I am. As far as summer movies go, this is one of my favorites in a long, long time. If I didn't know any better, it may well be my favorite film of 2015 (so far, mind you). I went in to this film expecting it to be awesomely bad and I left it singing its praises over and over. If nothing else, I would like to publicly apologize for anything negative I said about it in the months leading up to last night (excepting the awesomely horrific EW pictures). tl;dr: Go see Terminator: Genisys. 
Terminator Genisys Review photo
Old. Not obsolete.
Based on the stupid title, initial plot description and Entertainment Weekly photos, I was a little more than skeptical about Terminator: Genisys. Even though the synopsis had many, many things I loved in it (time travel, Emi...

Review: Inside Out

Jun 19 // Matthew Razak
[embed]219580:42445:0[/embed] Inside OutDirectors: Pete Docter, Ronaldo Del Carmen Rated: PGRelease Date: June 19, 2015 The plot of inside out is easy, and it's been tackled before. The movie is the story of the emotions who reside inside a girl named Riley's (Kaitlyn Dias) head. There's Joy (Amy Poheler), Sadness (Phyllis Smith), Anger (Lewis Black), Fear (Bill Hader) and Disgust (Mindy Kaling). Everything is going pretty swimmingly for Riley and her emotions until one day the family has to move triggering a flood of sadness in what was a perpetually happy girl. Joy, panicking after a particularly sad moment becomes a key memory, gets herself and sadness sucked out of headquarters and into the nether regions of Riley's brain. The two must find their way back with the help of Riley's old imaginary friend, Bing Bong (Richard Kind), as Anger, Fear and Disgust attempt to hold the fort down with disastrous consequences. If there is a limit to Pixar's wonderful imagination they haven't found it yet. Just when you thought the studio was going to sit back and rest on its laurels an entirely original and creative movie like Inside Out gets made. They deliver a film that has the emotional impact of the beginning of Up and yet somehow still make it fun and enjoyable. They've taken universal emotions and turned them into a children's film that somehow delivers a commentary on sadness that's more powerful than most overwrought dramas. The film is a lesson in how to address serious subjects while still having fun. The screenplay is brilliant and honed to a fine point. Inside Out's story could be an overly complex and melodramatic mess, but it's crafted to a fine point. Reigning in the chaos of two separate worlds, a plethora of characters and a bunch of complex ideas the film masterfully weaves its story. The juxtaposition of the comical Anger, Fear and Disgust at the helm of a young girl's brain with the real world reactions to that is powerful. It delivers a film that tackles depression and loss in ways that never get melodramatic or cheesy. Somehow in a children's film we find some true heart. That heart is going to make you cry. I don't care how much of a tough guy you are Pixar is going to worm its way into your heart and then play those strings like a classical guitar. Part of this is because they're just so damn good at it, but another aspect is the fact that Inside Out's themes are so universal. We've all been right where Riley is at some point in our life and Pixar has put that on the big screen in a way that is not only relatable, but enjoyable. Often films involving sadness only involve that, but the entire point of Inside Out is that our emotions are all mixed together. Sadness and happiness aren't competing forces, they lead to each other. For a film directed at children this is some of the most adult dealings with emotion I've seen. The movie may also be Pixar's most stunning visually. It's definitely a departure from their usual style, though not entirely removed. It simply looks brilliant and is constantly getting more and more creative with its visuals throughout. Joy is especially well designed as her body constantly shines with happiness. Meanwhile Sadness somehow seems to drip with the emotion. At one point the characters are reduced to abstract thoughts in a brilliant and clever animation sequence that just highlights what Pixar can do.  My only concern with the film is that it over simplifies things. Depression and emotional issues are immensely complex medical issues. Inside Out by its very nature doesn't delve into that as much as it could and it may leave some who have been through these things shaking their heads. That being said it's still an incredibly accessible doorway to talk about emotions and change. Humanity as a whole is often remiss in discussing what we're feeling and Inside Out gives us a chance to say, "Yea, I've felt like that before." It does this not by being overbearing in its message, but by inviting you in to enjoy it. So there are some words on Inside Out. They're OK. I still don't think I got it right. I guess the only words I really need to write are: see this movie. 
Inside Out Review photo
Pixar's best?
I'm having a lot of trouble writing this review, and it's not because my computer crashed and deleted the almost finished product at one point. No, I'd already been through a few drafts before that and nothing was working. Us...

Review: When Marnie Was There

Jun 12 // Alec Kubas-Meyer
[embed]219314:42335:0[/embed] When Marnie Was There (思い出のマーニー)Director: Hiromasa YonebayashiRelease Date: May 22, 2015Country: Japan In the wake of Hayao Miyakazi's retirement, Studio Ghibli has "temporarily" shuttered its doors. There may never be another Studio Ghibli film. There are probably people who are mad at Miyazaki for leaving. When Marnie Was There is a response to those people. It's a response to people who hold grudges and hate themselves and take it out on others. It's a a response to the fundamental negativity that drives much of modern society. And it made me cry.  It's easy to forget that cartoons can make you feel real people emotions if you don't watch many of them. And obviously calling a serious animated film like any Ghibli production a "cartoon" is reductive at best and borderline offensive at worst, but the point is that it isn't just the ultra-artistic works like Ghibli films that can get to you. They're probably about the best example, but it's just another toolset for a would-be filmmaker to use. And one that doesn't get nearly enough credit for the things it can do to you. When Marnie Was There starts in a place where the air is bad. It's a city, and Anna is a girl with asthma. She hates herself and keeps herself isolated from everyone around her. She has an asthma attack and the doctor tells her foster mother that she should be sent to the countryside. A countryside where there is nothing but Anna, nature, and whatever creepy, spirit-related things are going on in the town's abandoned buildings. (So far so Ghibli.) Before too long, Anna runs into Marnie, a blonde-haired girl who lives in the Marsh House, an old abandoned mansion at the edge of town. But, of course, Marnie isn't real. You know that. Anna knows that. The film knows it. Marnie's scenes are hyper-stylized, often dream-like, but knowing that she's not real actually makes everything more intriguing. Because the question isn't, "Is Marnie real?" It's, "Who is she?" Or perhaps, "Who was she?"    But what's never a question is what her role in Anna's arc is going to be. From the outset, it's obvious that Marnie is here to bring Anna out of her shell, to allow her to talk to others and stand up for herself and be brave. She's a self-loathing pre-teen. The world has enough of those. Marnie is there to help her come to terms with everything she's gone through. To give her some perspective. And its ability to put things into perspective without being contrived or annoying is When Marnie Was Here's greatest strength. Even in particularly expository moments, everything comes from a place of honesty in a valiant attempt to get at the fundamental beliefs we all have. A conversation between Marnie and Anna about the role of the parent begins a bit stiff, and I was worried that we were heading down the wrong path, but it ultimately turned into something exceedingly compelling. Whether it was critiquing an aspect of society found in both Japan and America, celebrating it, or simply accepting it is probably up for interpretation, but nothing in the film is skin-deep. It's all in service of these moments of revelation that turn both Anna and Marnie into an extremely compelling pair, even if the latter is "imaginary." But imaginary or not, Marnie's impact on Anna is tangible. As the truths behind Marnie's past become clearer, Anna begins to build up the strength to keep her partner safe from the evils of the world. Because there are always evils, no matter who you are or how you live. And even if you can't always fight them yourself, being able to recognize the plights of others and connect with them will make you a stronger person. Perhaps someone who can help others face their own demons as well. And when it all comes down to it, we're all in this together. Films like When Marnie Was There serve as reminders of just how meaningful life can be.
When Marnie Was There photo
All the places you'll go
Every so often, I think about old articles I've written, for Flixist or elsewhere, and wonder how different they would be if I'd written them now. Not from a grammatical or structural perspective. I wonder how my fundamental ...

Review: Jurassic World

Jun 12 // Per Morten Mjolkeraaen
Jurassic WorldDirector: Colin TrevorrowRelease Date: June 12, 2015Rated: PG-13 Jurassic World is set twenty-two years after the events in the first movie, and takes us back to Isla Nublar, now a fully functioning dinosaur theme park. It's been running successfully for years, but now visitor rates are declining because, as Bryce Dallas Howard's Claire puts it, "no one is impressed by dinosaurs anymore." This short, blink-and-you'll-miss-it piece of dialogue sets up the entire movie, from narrative to structure and concept. Because, on a narrative level, no one cares about dinosaurs anymore, a new attraction has to be revealed: a genetically-modified super-dinosaur! But as one can imagine, this super-dinosaur decides to break free and eat a lot of people. On a structural level, the fact that no one cares about dinosaurs anymore, allows director, Colin Trevorrow to make this movie without indulging in the inherent awe-inspiring nature of dinosaurs. Conceptually, as I said above, it speaks volumes about Jurassic World as a genre movie. The film is less related to its predecessors, but more so a close cousin to the modern high-concept monster-disaster movies.   The plot is simple, but I didn't expect - nor want - anything else. Two young boys (Ty Simpkins and Nick Robinson) arrive at Isla Nublar to experience the theme park in all its functioning glory, while Chris Pratt loves and respects his Raptors because he's just that chill and awesome and cool, and everyone loves Chris Pratt - even Raptors, which the previous Jurassic movies always said were the most dangerous dinosaurs of all. Even an uptight businesswoman like Claire has a soft spot for Chris Pratt, and she doesn't even want kids, nor does she know how old her nephews are, so you know she's an uptight businesswoman, because... character development.  This was my biggest concern going in, and unsurprisingly, it is my biggest fault with the movie as a whole. The characters are so poorly written and developed, it's almost offensive to the cast. There's no nicer way to put it, sadly. It's a real shame to see talented individuals like Chris Pratt, Bryce Dallas Howard, Vincent D'Onofrio, and Jake Johnson go to waste, because they're given nothing to work with here. They're all caricatures, stripped down to the most simplistic and banal. The worst has to be Bryce Dallas Howard, who I actually feel bad for. Dallas Howard is a nuanced and versatile actress, but any and all of her talent is tossed aside by the screenwriters. It's not exclusively lazy character development either, but rather the fact that she's created as she is to contrast and support the free-spirited nature of Chris Pratt's Owen. And of course Owen will change Claire "for the better" throughout the movie, because any business-focused woman who doesn't want children is an inherently bad person, and needs a man to change her. However bad that is, both Chris Pratt and Jake Johnson still managed to charm me from time to time, but that's only because Chris Pratt and Jake Johnson are my charming man-crushes, not because the movie does them any favors.  But let's talk positives: The movie is fun and action packed, and Chris Pratt is charming as hell. As soon as the super-dinosaur escapes and starts eating people, the movie gains a lot of points. I was really cynical about the idea of a genetically-modified dinosaur before seeing the movie, but I'll happily eat my own words of cynicism and criticism if it means a better movie, which is the case here. Having the big baddie be GM allowed for a lot of creative freedom to come up with and construct quite a few fun and original action set pieces. I'm always hesitant to say too much, but the so-called Idominus Rex has a few tricks up his sleeve (Disclaimer: Although the Idominus Rex has longer arms than the T-Rex, it does not have actual sleeves.)   Mr. Idominus Rex takes a stroll across the island, eating anyone who comes in its way. At one point he smashes through a huge aviary, allowing a flock of pterosaurs to fly wild across the island killing people. There is one scene, in this PG-13 movie, that albeit bloodless, is pure torture porn and really shocked me. Sadly, not in a good way. The rest of the pterosaur-attack is fresh and fun however, as the scary winged creatures has been sorely missing from the previous movies - save a few strange minutes in the third movie. As the conclusion comes closer, the humans, dinosaurs, and the super-dinosaur converge at the central plaza of the theme park, and it becomes a full-fledged Godzilla movie. It's grandiose and fun, but it's a formula that's been done to death, and Jurassic World adds nothing new to it. For those who want to see a simple, mindless monster-flick, I think this conclusion will satisfy, but for those wishing for something more, it lacks a lot.  Even with all its problems, there's a lot to like about Jurassic World. The scenes with the Idominus Rex in the wilderness are unique as far as dinosaurs killing things go and fun to watch. It's surprisingly well choreographed, and luckily, the CGI isn't terrible. There was a lot of talk about the CGI and its lack of detail in recent months, but it's clear that they've spent some time trying to fix it. While it still isn't the best, it seems more alive and works much better with its environment than we saw in the trailers - especially the fish-tank-dinosaur. However, as someone who always want CGI to be a last resort - a way for a director to enhance the practical - it is too obvious at times. It doesn't help the movie that we've been spoiled by George Miller and Mad Max: Fury Road recently, but for what it's worth, Jurassic World does well with what it has.  In the end, I think Jurassic World will split the audience. There's no doubt in my mind that tons and tons of people will love it, but I'm equally sure tons of people will dislike it. I fall in the middle. I found its venture into monster-flick-territory somewhat boring, judged by what it is - and not what I wanted it to be - it does its job decently. In a post-Fury Road effects and Godzilla-monster world, however, it doesn't reach those highs. Far from it. 
Jurassic World Review photo
At least it's not Jurassic Worst...
A few weeks ago, Mad Max: Fury Road became the fourth entry in a 30-year old franchise, "continuing" the story set up all those years ago. I don't think it is necessary for me to tell you just how much The Best...

Review: Doomsdays

Jun 05 // Alec Kubas-Meyer
[embed]219533:42421:0[/embed] DoomsdaysDirector: Eddie MullensRelease Date: June 5, 2015Rating: NR  Doomsdays wears its Wes Anderson influences on its sleeve. The meticulous, often symmetrical compositions and indie score serve as a reminder that there is a filmmaker out there who many people call an auteur. But it's reductive to just think about this film in terms of Wes Anderson. It's Haneke's Wes Anderson, for sure, but who I really kept coming back to was neither of those directors; it was Christian Mungiu, director of one of my favorite films of all time: 4 Months, 3 Weeks, 2 Days. But it didn't remind me of that film so much as his follow-up, Beyond the Hills. What struck me about Beyond the Hills was how real it all felt. The reality came primarily from the use of extreme long takes (Mungiu knows how to do a gosh damn long take) and the moments that would take place within them. There's a particular moment where a bunch of characters build a cross and then tie another character to that cross. The whole thing happens in one shot. And as I watched it, I thought, "They only did this once, right? It's way too freaking complicated. The lumber costs alone would make multiple takes impractical." Turns out they averaged upwards of 40 takes of each shot, because they didn't get enough rehearsal time and so the first few (dozen) takes were his rehearsal. But even so, it was the feeling that this wasn't just a shot that was done over and over and over again that sold it. The moment felt natural, real, and horrific. Every extra action in a long take requires setup. A character takes off their jacket, their tie, their shoes. Each of these things must be put back into place before the take can be redone. It's complicated, and it requires a lot of time. But it's those little moments that make it feel real. Because you're not thinking about that work that went into setting up the scene. You're just thinking about the scene itself. It feels real. Even if they had to do 16 takes to get it right. By contrast, I'm reasonably sure that every single shot in Doomsdays was done precisely once. The opening shot, a car pulls up, two people get out. They go to their door, see that someone has broken in. They go inside. And then a window shatters, and two people come out. One of them runs up to the car, pulls out a knife, and jams it into the tire. It deflates. They run off.  Doomsdays is a low-budget film. They raised just $22,000 on Kickstarter. But in the opening shot, they shatter a window and stab a tire. And that's just the start. This is a film with dozens of locations, and the protagonists damage nearly every single one. And I spent most of the time thinking about how horribly wrong everything could have gone while being consistently impressed with just how much mayhem they committed on what must have been, again, a very low budget. Because it's the kind of film that only gets made on a low budget, because the audience is, by design, rather small.  Dirty Fred and Bruho wander through rural-ish towns and break into homes. They stay there for a day or two, raid the fridge, liquor storage, and medicine cabinet, and then go off to the next place. They have no real home and no destination. They walk everywhere, because Bruho hates cars. (Hence puncturing that tire in the opening shot.) There are character arcs (though much of the actual arcing takes place in back half of the movie and feels occasionally rushed), but there's not much of a narrative arc. They get some more companions and things happen and escalate, but it all feels relatively inconsequential. The ultimate life decisions (one of which feels far more genuine than the other) should be momentous, but they aren't. They're just things that happen.  This isn't a bad thing, to be clear. It's just a reminder that this is a film with a very particular audience. It's a film for people who are okay with occasionally rough performances, because beyond those rough performances are moments of brilliance. In Cannibal Holocaust, there's a moment where one of the characters shoots a pig. He actually did that. And then, just for a second, he breaks character, clearly affected by it. But the shot isn't over. He still has to monologue. But they only had the one pig, so that's the take that ended up in the film. Doomsdays doesn't have anything quite so obvious, but I expect there were moments where director Eddie Mullens thought, "Well... it is what it is." Each shot builds to something. The longer the take, the more likely something destructive is to happen within it. At the end of 45 seconds, someone throws a brick through a window. And you know what? That may well have been some random person's window. The imperfections actually serve to make the whole thing feel more real. Not realistic, per se, but more like a series of events that actually took place. They broke that window (and that other window (and that other one)), they destroyed that car, and they broke all those glasses and vases and whatever else got in their way. I saw them happen with my own eyes, not in real life, but in a real document of those actions. It's a meticulously composed documentary about rebels without a cause. And it's absolutely fascinating.
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It's time to sing The Doom Song now
I get emails pretty much daily asking me if I want to review this film or that. Most of the time, I ignore those emails. Periodically, I glance at them and then ignore them. When you've read thousands of press releases, it be...

Review: Spy

Jun 05 // Matthew Razak
SpyDirector: Paul FeigRated: RRelease Date: June 5, 2016 The amount of ways that Spy could have gone horribly, horribly wrong are pretty high. It's a spy movie parody featuring an overweight woman full of crass humor. If this had come out with a different director we'd be looking at an insulting, pandering piece of comedic trash, but instead Feig makes Spy a clever and resoundingly unique experience capitalizing on McCarthy's comedic skills and charm.  McCarthy plays Susan Cooper, a CIA agent who spends her time behind the desk talking into Bradley Fine's (Jude Law) earpiece as he goes on daring and dramatic missions. When Bradley is killed, however, Susan must go out into the field to hunt down Rayna Boyanov (Rose Byrne) and take revenge. Throw in a fantastically comical Jason Statham as a rogue CIA agent out for revenge, and you've got an amazing mix of comedic actors hamming it up while still offering a surprising amount of competent (and graphic) action sequences.  What Spy does best is completely invert what it "should" be doing. A cursory glance at the film would make you think it's a bland spy film parody, but Spy isn't a parody as much as it is a comedic spy film. Instead of mocking conventions with bad site gags and an inept spy as most spy parodies do it plays into them and then finds its comedy elsewhere. Instead of offering up tepid action sequences and fights it goes full bore as if it were actually an action movie. There are some sequences here that the steadily worsening Michael Bay could take some lessons from, especially since the film earns a hard R through violence. It's still the comedy that sells, and Spy's comedy just works. There are fat jokes, but they aren't at the expense of McCarthy. The humor isn't driven by her being a fish out of water as a spy, but instead through actual clever comedy. Feig and McCarthy have some of the best timing together and it shows throughout the movie, even in the beginning when things start off a bit slow. Once the obligatory gadget collecting scene rolls in you won't be able to stop laughing. Once Jason Statham starts rattling off his nigh-impossible spy missions you'll be on the floor. Spy also offers a refreshingly female driven narrative for a genre that is obviously male obsessed. This should probably be expected from Feig, but the director once again delivers. In another instance of eschewing the norm Peggy doesn't rely on any man to save her at any time. This doesn't mean that the film ignores sex jokes or inappropriate behavior, but instead celebrates it as comedic. One of the things Feig's comedies do best is tow the line between inappropriate and hilarious, something another film opening this weekend could have learned from.  You probably weren't expecting such a glowing review of the film. McCarthy has felt tired in her last outings and the advertising for this one did nothing to make one think it was something special. Turns out the ads can be wrong and that McCarthy still has plenty of juice in her tank... as long as she's taking on good projects.  
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Like a good spy, you don't see it coming
Over the past few years I've grown increasingly tired of Melissa McCarthy's shtick. I figured this was because I was tired of her, but it turns out she's just been making mediocre movies. Her shtick still works when someone i...

Review: Entourage

Jun 05 // Matthew Razak
[embed]219534:42423:0[/embed] EntourageDirector: Doug EllinRated: RRelease Date: June 3, 2015 Entourage focuses on Vince (Adrian Grenier) and his entourage: Eric (Kevin Connolly), Johnny Drama (Kevin Dillon) and Turtle (Jerry Ferrara). The show was about Vince's rise to fame after being discovered by agent Ari Gold (Jeremy Piven). From what I've seen of it it basically was about the four guys driving around acting like assholes, but having everything work out for them. The film is basically the exact same thing, but on a bigger scale. Ari is now the head of a film studio and he wants Vince to make his first movie, but Vince won't do it unless he can direct. Ari acquiesces and we jump forward a few an unspecified amount of time to Vince running out of money and Ari having to go to the films financiers, Travis Mcredel (Haley Joel Osment) and his father (Billy Bob Thorton) to beg for more money. Unfortunately Travis is sent back with Ari to see the movie and starts causing trouble. This doesn't actually effect anyone that much except for Ari, so the rest of the crew spends the film hitting on women, driving a crazy cool Cadillac and having sex. What was always the most confusing thing about Entourage is that it never seemed to have a point, and this film suffers from the same problem unless it's sole point was more Entourage. If that's the case then well done, but I'm guessing it wasn't. The movie is neither satire or straight comedy. It has not true dramatic push and makes no attempt at developing its characters. It's only theme seems to be cramming cameos into every shot and its only message is that celebrities get to have a slot of sex and date Rhonda Rousey. If that's what you're going in for then you'll be pleased, but as someone looking for an actual movie out the experience you're going to be very disappointed. The film's lack of narrative focus and avoidance of any attempt at self awareness is also problematic because it can't quite handle its rampant sexism and racism. The point, it seems, is to send up the ridiculousness that is Hollywood, but the movie is never clever enough or interesting enough to do that. It replaces interesting female characters with cameos and any attempts at constructing a plot that seems to move forward are derailed by subplots that seem entirely pointless. Maybe a fan of the show would be attached to them since they're already attached to the characters, but anyone else will just wonder why we should care. That's not to say that all of Entourage doesn't work. Piven's Ari Gold is easily one of the best characters to come out of television, and the film makers obviously know this. He gets more screen time than anyone else and milks it fantastically. Granier seems almost useless as the rest of the cast plays around him, but only Dillon's character's subplot is actually somewhat interesting with the other two entourage members having needles story lines thrown around, and this despite the fact that one of them involves Rousey.  It's very clear that those who watched the show will get a lot more out of the film than I did, but for those that didn't it's probably best to just stay away or keep it for a rental. There's nothing new or interesting here to latch onto and in the end the film feels more like a reunion special than a movie. That's all well and good for fans, but when someone is shelling out a full ticket price they should expect a bit more.
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Someone should make a TV show about this
Let me just stop you right there, fan of HBO's Entourage. I never watched the show so this review is probably rather pointless from your point of view. Sure, I saw a few episodes here and there, but I really have no attachmen...

Review: The Nightmare

Jun 05 // Hubert Vigilla
[embed]219463:42422:0[/embed] The NightmareDirector: Rodney AscherRelease Date: June 5, 2015 (limited, VOD)Rating: NR Rather than rely on scientific rigor or consultations with medical professionals, The Nightmare is more about the experience of sleep paralysis and what it means to the people who suffer from it. The focus on individual voices rather than experts makes The Nightmare similar in some ways to Ascher's previous documentary, Room 237, which was about conspiracy theories and off-beat critical interpretations of Stanley Kubrick's The Shining. Each segment of The Nightmare is generally the same: a subject recounts his or her experience with sleep paralysis, and Ascher recreates the hallucinations with actors, generally culminating in a mini-horror set piece of some kind rife with Dario Argento color schemes and creepy sound design. What distinguishes each experience is the individual interpretations and descriptions of the sleep paralysis sufferer. In one of the most memorable of these horror tableaux, a giant three-dimensional shadow creature hunches over the bed. It's so tall, this shadow, that it has to stoop in order to fit in the room. The only distinguishing feature about it are red eyes and fangs. In the distorted voice of nightmares, the shadow tells the dreamer, who's frozen and staring up into its eyes, "You're going to die." He's told this repeatedly. He can only listen. It's a menacing moment, and there's something about the angles of the room and the vulnerability of the dreamer that makes it an effective horror spectacle. But it's more than mere spectacle, which comes back again to the importance of the individual voices of The Nightmare. Dreams are so personal, and while therapists and sleep specialists can help uncover the neuroses and the neurology that influences them, the visceral experience of dreaming is always something private until someone chooses to share it, and even that can fall short. Think about when friends recount their nightmares, but the terror seems foreign to you because of the difficulty of relaying the physical and intensely psychological experience. The Nightmare recreates the visceral space of bad dreams, and the voices of the subjects add the personal dimension that heightens the terror of being helplessly at the mercy of our minds--it makes a personal experience participatory. Keeping expert analysis out of The Nightmare also helps relate the personal discoveries and struggles that people with sleep paralysis experience, as if they're finding touchstones and footholds in the real world to make sense of their interior lives. Inevitable references are made to horror movies and science fiction movies with similar imagery--A Nightmare on Elm Street, Communion--and there's brief mention of the various manifestations of sleep paralysis hallucinations around the world. All these people, all over the world, throughout history, terrified but not alone in this helplessness. That's almost comforting, at least until the next episode of sleep paralysis. When I interviewed Rodney Ascher about Room 237, he referred to The Shining as a machine for spontaneously creating synchronicities and coincidences, which also seems like a nice way of describing the way we try to make sense of dreams, in this case bad ones. When confronted with something so existentially dreadful that's rooted in the unconscious and subconscious, there's an attempt to make sense of it somehow. The dream might point to some greater psychological or spiritual need (maybe these aren't separate concerns). We get to ask, "Why did I dream about x-thing?" or "Why did y-person do this to me?" or, ultimately, "What does this mean?" If we couldn't ponder meaning or create meaning from this mental matter, that would be absolutely terrifying.
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So much for a good night's sleep
Sleep paralysis is a condition that affects people in a liminal state of consciousness between sleep and wakefulness. When it strikes, a person is unable to speak or move. Several people who discuss their own experiences with...

Review: We Are Still Here

Jun 04 // Alec Kubas-Meyer
[embed]219488:42405:0[/embed] We Are Still HereDirector: Ted GeogheganRelease Date: June 5, 2015Rating: NR  A lot of people have compared We Are Still Here to the films of Lucio Fulci. Fulci, for those who don't know, was an Italian director known for his gore-heavy horror movies, such as the infamous Zombi 2 (a "sequel" to George Romero's Night of the Living Dead, released as Zombi in Italy). For what it's worth, Zombi 2 is the only Fulci film I've seen. I expect that at least a few of the critics who have made that comparison have never seen any of his filmography. Writer/director Ted Gheogegan thinks so as well. But whether that's true or not, the comparisons make sense, because the film is heavily inspired by Fulci's House by the Cemetary. So heavily inspired, in fact, that nearly every character's name in the film comes from HbtC's characters, cast, and crew. (Naming characters is hard, you guys.) It's also, so I've been told, pretty beat-for-beat similar in its structure. I was told this by the writer/director, so I expect it's probably true. But I can't speak from experience. But if it's true, I want to see House by the Cemetery, because it must have a pretty rock-solid foundation. (That's a house joke, by the way. A haunted house joke.) I first met Ted at NYAFF 2012. Some months prior, he had took over duties on the Korean Movie Night series, so he and I had been in contact before. When I heard he was taking over NYAFF PR, I was like, "Oh, sure. That guy." When we actually first met, he was like, "Oh, sure. That guy!" We talked, because that's what you do. I asked him if he was a particular fan of Asian cinema. He said no, that Genre was really his thing. I thought that was sort of odd, considering the circumstances, but you don't have to be in love with something in order to get people to cover it. But that stuck with me, and so I was unsurprised by his first film as director was a horror film. (I find it mildly amusing that he co-wrote a Korean film before directing a horror film, however.)  At the talk where I found out about the existence of We Are Still Here, Ted said something crucial: "I want people to be entertained. I want people to walk out of the theater having had a good time." It's both a significant statement in and of itself (this film embraces the idea of and wants to be entertainment), but also because of how it manifests itself in the film. Anne and Paul Sacchetti have been having a less than stellar year. Their son, Bobby, died. In order to get away from the memory, they moved to a cold, rural New England town. These characters are played straight. They are sad. And unfortunately for them, they moved into a haunted house. The basement is obscenely hot and there's a faint odor of smoke. If I had to guess, I'd probably think that somebody had been burned to death in that house. Perhaps someone who was angry and wanted revenge on the next unsuspecting homeowner? Perhaps. But here's the key thing: the other characters are not played straight. Or rather, they're not characters that are intended to play straight. There's the Harbinger of Doom; there's the stoner hippie; there's the sketchy New England townsfolk. All of these things are funny. But they're not dumb funny. They're just funny. They're entertaining. This is a horror film with a sense of humor.  Last I heard, there has only been one notably negative review of We Are Still Here. I don't know where it came from, but I know that the person who wrote it is dumb. He didn't get it. He was annoyed that the film was funny and that the characters a little silly. He was expecting straight horror and didn't get that. He bashed the film for his own ignorance. He's a terrible critic. A critic's job is not to project their own biases onto a film and judge it based on those assumptions. Not terribly long ago, I got into an argument about Mad Max: Fury Road. Someone was angry at the film because he thought that it had failed as a fundamental critique of violence. Which would be fine, if the film was trying to be a fundamental critique of violence. But it wasn't. And so instead of being profound, he came off like an idiot. He missed the point, and blamed the film for his own inadequacies. The person who called out Ted's movie for being hammed up is much the same. I'm not trying to imply that the film is beyond reproach. It's not. And people are welcome to hate the film's silliness. They are also welcome to hate the fact that the film was trying to be silly. They shouldn't, but if you don't find humor enjoyable, then you're welcome to not like what Ted was going for. But you have to accept that that is the film's intent. You cannot say it fails at being serious because it has over-the-top moments and occasionally stilted performances when that was literally the point. I remember when the earliest reviews came out praising the tone of the film, saying that it struck the right balance between horror and humor. "They got what I was going for!" he exclaimed. When I told him that I liked it, he said much the same thing.  But there are things I didn't like about it. I thought that the cinematography was more "interesting" than it was "good." The camera is often in motion, giving a voyeuristic feel that reminded me a little bit of 2012's Resolution. It feels like you're watching the film from something's perspective. The camera moves like a person does, or a ghost or whatever. It moves. And that's compelling, but the images themselves are often a little drab. It may be an accurate representation of New England winters, but there's a beauty to that kind of life that I never really felt like We Are Still Here captured. It's a perfectly fine looking movie (and the practical effects look great (the computer generated ones less so)), but I wasn't in love with it. Also: the highlights frequently looked blown out, and not in an artistic way so much as a "Whoops, overexposed the shot" kind of way. Even if it was intentional, it didn't look good. But it's not about whether or not it looks good. It just needs to look good enough to tell its story, and it does that. So, about that story. I grew up in a small town in Rhode Island. Many years ago, there was a series of murders in my town. People still talk about it. Small towns have long memories. New England towns in particular. There's something fascinatingly insular about them, but not in the way that something like Winter's Bone is. But then again, maybe that's just because of where I grew up. Maybe someone from the south sees Winter's Bone as the norm and We Are Still Here is the crazy thing.  We Are Still Here is about an undying memory. The house is haunted by sin. A sin that goes unspoken except the man who can't help but tell anyone who will listen about the horrors of the old Dagmar house. And when they're introduced, it's a brilliant moment played brilliantly. Honestly, much of the film is, and the beats of the narrative often surprise (the first person to survive is the exact person you expect to die first). The scares are a bit jumpy at times (and one particular jump scare completely breaks the film's logic in order to have a cool moment (something I called Ted on and he admitted to)), but they also work. There's tension from the start. At first, it's just a picture frame that falls over without provocation. It leads into the film's title, and there is never any question of whether or not the house is haunted. Even if the characters don't necessarily fall in line, you know. And you see them surprisingly early on. We Are Still Here isn't afraid to show the Dagmars.  I'm not sure that was the right move, because as fascinating as they are, there's an odd, CG sheen to them that takes away from the fear factor. They should be terrifying, but they aren't. They look too fake, like a monster in a rubber costume, except instead of rubber it's subpar computer graphics. It doesn't stop them from being involved in some legitimately scary moments, but it does keep them from being the nightmare-inducing horror icons that they could have been. Still, the buildup is excellent, and by the time the shit hits the fan, you're invested. You've laughed and jumped. Maybe you screamed if you're a pansy like me (I didn't scream, but I probably would have if I had been in a theater and not at home with the curtains wide open and the lights on). And the payoff is pretty goddamn great. It's not a film that answers all of its questions, but it also doesn't leave a thousand plot threads open just to preserve a false air of "mystery." You know what you need to know and a little more. It's a film you can talk about with friends, dissecting its moments (especially the ending) and trying to parse what it all meant. Too many films these days (and genre films in general) tell you everything, and it takes away from the horror. We Are Still Here tells you things, but you can't necessarily assume it's telling the truth. The film is an unreliable narrator at times. It's from something's perspective, but that thing isn't necessarily all-knowing. But the fear of the unknown, wondering why the Dagmars do what they do, who they choose to attack and who they simply decide to mess with. It keeps you invested, it keeps you wondering, and it keeps you scared. I'm glad Ted made a good movie. I'm glad I don't have to post this review to Facebook with a note saying, "Sorry man, but you fucked up." It's hardly flawless, but I was absolutely entertained. And if that was truly the intent, then the film is absolutely a success. A silly, scary, and ultimately satisfying bit of genre filmmaking. Ted, if you've made it this far: Well done. I look forward to seeing what you come up with next.
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They certainly are
A few weeks ago, I opened my Ladies of the House review with a caveat: I knew the director, sort of. We're Facebook friends. He was the head publicist at the Film Society of Lincoln Center. But it was only sort of a disc...

Review: San Andreas

May 29 // Matthew Razak
[embed]219506:42413:0[/embed] San AndreasDirector: Brad PeytonRelease Date: May 29, 2015Rated: PG-13  At some point in the last 20 years or so CGI and ever more impressive special effects have allowed a new genre to crop up. The destruction genre is a subset of action that, as the name suggests, revels in the destruction of a place or the entire world. This destruction is usually caused by some natural disaster, but the end result is always the same: buildings tumble, millions of people die, and one group of people makes it out alive. It's always the same and by now the shine of seeing a city fall apart has worn off. We've seen it 100 times before in 100 different ways so if you're making some destruction porn you better have something more than just stunning visuals of a building falling over. That is all San Andreas has. It is a destruction movie functioning on the belief that we're still impressed by this stuff despite that fact that it is no longer impressive. Does it look good? Sure, but so does every other movie in the genre, and we literally just saw San Francisco destroyed last year in Godzilla. It just isn't exciting anymore without something behind it and there is nothing behind San Andreas. It is, in fact, so boring and vapid that its lack of character ruins its destruction sequences because, damn it, you just want everyone to die. Ray (Dwayne Johnson) is an LAFD helicopter rescue pilot and he and his crack team are the best of the best so when the San Andreas fault starts to cause massive earthquakes stretching from Hoover Dam to San Francisco he hops into action... by ditching his team, hi-jacking a government helicopter and saving his wife, Emma (Carla Gugino) in L.A. then flying to San Francisco to rescue his daughter, Blake (Alexandra Daddario). Meanwhile Lawrence (Paul Giamatti), a scientist at Cal Tech has, figured out a way to predict earthquakes and has warned all of San Francisco that an even worse one is coming. Prolific destruction ensues as millions die and Blake loses layer after layer of clothing in order to show her breasts off.  It's dumb to expect too much depth in a destruction movie, and you really shouldn't, but the lazy nature of San Andreas is particularly insulting. The plot is so paint-by-numbers that I expected the screenplay credits to be attributed to a coloring book. The "estranged couple pulled back together by disaster" trope is so old and so poorly executed that not even Johnson's charm can salvage how ineptly it is handled. Meanwhile you've got Blake falling in love with a guy she just happened to meet ten seconds before the world started shaking and his little brother following them around for comic relief. It is surprising then, considering just how little creativity went into the screenplay, that they could screw it up so badly. You'd think with most of the characters and plot already developed a million times over in tons of other movies they could have pieced together something coherent, but instead the movie can't even hold onto its own basic plot threads. We're introduced to Ray's crack team of rescuers, but they disappear once the destruction starts. The film can't even give it's villain a proper farewell as Emma's new boyfriend, who is routinely made more unbelievably douchey, plot line consists of him being a douche and then (spoilers) dying.  But, you say,who cars about plot when you've got the Golden Gate bridge being crushed by a tsunami (after it miraculously survives a 9.6 earthquake). Suspend your disbelief and just enjoy the ride. It's just hard to enjoy a ride that you've been on 20 times and isn't executed very well in the first place. Brad Peyton brings almost no creativity to the job, content to let his CGI department make some pretty pictures and then piece them together into a "story." Tension barely builds in action sequences thanks to the fact that he can barely hold a scene together. Near the end, when Ray must rescue Blake from drowning at one point, the sequence falls apart about like the building the two are trapped in. Maybe if San Andreas felt even slightly aware of just how cliche and unoriginal it was then it could be fun, but instead it takes itself deadly seriously. At one point Paul Giamatti looks directly into the camera and says, "Pray for the people of San Francisco." It's a line so campy it should have been played up as such. Instead it only highlights the film's inability to capture either the true emotion of massive destruction and death or the awe that these kinds of films use to be able to pull out of us simply from visual splendor. One more note. The timing of this film could not be worse given the situation in Nepal. While Warner Bros. has provided information on how people can contribute to relief efforts in marketing campaigns and agreed to match dollar for dollar every contribution their employees make to Nepal what they didn't do was make a movie that inspires any of the emotions that this tragedy deserves. San Andreas just wants to show destruction and it wants you to revel in it.That's nearly impossible given the timing of the release and the fact that reveling in nothing but glorified destruction got old at least five years ago. 
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A lot of faults
I'm going to preface this by coming out as a lover of big dumb action. I do this because critics get a lot of crap for coming down on "fun" movies where we're supposed to go in with our expectations low and just enjoy the "fu...

Review: Slow West

May 25 // Per Morten Mjolkeraaen
[embed]219486:42403:0[/embed] Slow WestDirector: John MacleanRelease Date: May 15, 2015Rated: R   In its short runtime (just 85 minutes), Slow West introduces us to the odd couple, Jay (Kodi Smith-McPhee) and Silas (Michael Fassbender), who wander through the 19th Century frontier to a reach Jay's lost love, Rose (Caren Pistorius). Jay and Rose were born and raised in Scotland, and where Jay sees a love interest, Rose sees the younger brother she never had. For reasons unknown, Rose and her father (Game of Thrones' Rory McCann) emigrated to the outskirts of Colorado. They live in a small house in the midst of a vast field of corn and grass, like a picturesque postcard of colorful and untouched nature. Their home is an idyllic one, representing calmness and solitude, and where the only disturbance seems to be a friendly native that once in awhile shows up to partake in their freshly made coffee. It represents the destination of Jay and Silas' journey across the treacherous lands, and it is an enviable one. However, danger lies between them in more ways than one, as a small group of bounty hunters are following their tracks, lead by Payne (Ben Mendelsohn). This concept of beauty and calmness is recreated and reinforced by the cinematography of Robbie Ryan. He manages to use the New Zealand woodlands to capture a lost age on film, and every frame is composed with care and dedication. His magnum opus is a late action scene, where he singlehandedly strengthens the entire movie with his observant lens. As gunmen appear and disappear in a low cornfield – like a bloody game of Whack-A-Mole – the stationary composition makes for a fantastically hilarious scene, and one would have been dead on arrival in the hands of a lesser cinematographer. As the film rushes by – and it does – our two compadres cross paths with a handful of fun and interesting characters, from a Swedish family to a mysterious, lone researcher and, of course, a run-in or two with the bounty hunters. They are all caricatures of the Western genre. Silas is the archetypical lone wanderer who cares little – and says even less – but may find redemption through an unlikely friendship. Jay is the innocent and pure, who follows his heart and still believes there is love in a world where a single coin could have you killed. The bounty hunters are... bounty hunters, but Ben Mendelsohn almost steals the show as Payne. Although he only makes a few appearances, the man in the comically large fur coat makes plenty of it with a love for absinthe and drunken gibberish.  Although the dialogue is fairly scarce, Slow West seems intent on saying something with it. Mendelsohn's Payne is a fair example (so is Fassbender's Silas), but most intriguing is the lone researcher. I hesitate to quote him, as I always support the idea of seeing a movie as blind as possible, but his short appearance is mysterious in more ways than one. The best way I can describe him is with a parallel to the video game, Red Dead Redemption, where you can meet a man dressed all in black, who appears and disappears as he pleases – always with a thought-provoking word for you. What it all means, if anything at all, is up for you to decide. In any case, this mysterious researcher in Slow West lingers in my mind still.  And thus we've come to the movies biggest draw: its comedy. Slow West is absolutely hilarious at times. It is bleak and black, like something pulled straight from a Coen brothers movie or a less-polished Tarantino gag. At one point, Jay and Silas comes across a skeleton crushed by a tree, with an ax in its hand. They make dispassionate comments about Darwinism and move on. In the final action sequence, the entire crew must have had a field day a work as it may be the funniest explosive climax to a Western movie since Django Unchained. However, the comedy isn't omnipresent and disappears completely in certain scenes, leaving us with a movie lost between two states.This is not to say I dislike cross-genre movies, au contraire, I can really love them, but to attain my love, it has to function as a whole. Whenever a movie can't function like this – caught between two genres – the end result is one which struggles to find its own identity. A movie can be as beautifully shot, directed or acted as it wants to, but without its own identity – its own soul – it will never be remembered for long.  Slow West is without a doubt a fun and, above all, efficient ride. Too many movies overstay their welcome, and there's something to be said for a filmmaker who respects the audience's time. Maclean proves this with Slow West.
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Michael Fassbender is Sad Silas
John Maclean's feature debut, Slow West, is an ambitious one. It is a pastiche of the classic American westerns – a celebration of the genre – and comparisons and parallels to master directors like Quentin Taranti...

Review: The Human Centipede 3 (Final Sequence)

May 25 // Sean Walsh
[embed]219487:42404:0[/embed] Human Centipede 3 (Final Sequence)Director: Tom SixRelease Date: May 22, 2015Rated: Unrated Dieter Laser returns to the franchise he made famous as Bill Boss, racist, sexist, malevolent warden of a prison in the middle of the desert. Laurence R. Harvey, villainous manbaby star of Human Centipede 2, plays his sidekick/prison accountant Dwight Butler. These two men find themselves with a problem on there hands when Governor Hughes (Eric Roberts for some reason) threatens to fire them if they can't fix their crappy prison. Butler suggests to Boss, "Hey, let's make the prisoners into a giant Human Centipede like those two movies." And then they do. That's the whole plot. Were you expecting Kubrick? I don't have a lot to say about this film, to be honest. It's graphically violent, really racist, really sexist, and has little redeeming quality to it beyond Dieter Laser's super over-the-top performance as Bill Boss. It has a premise, and follows it to the end. It was competently made. But it just doesn't have anything going for it beyond that. So instead, let me give you a list of all the messed up/notable stuff that happens in chronological order to sate your curiosity and save you the 102 minutes you won't ever get back. SPOILERS AHEAD. The film starts with the credits of the first two movies, because meta Lots of general hardcore racism and talk of rape Dieter Laser graphically breaks Tom Lister Jr.'s arm Dieter Laser spends most of the movie eating from a jar of dried clitorises he got from Africa (Bree Olson eats one later, not knowing what they are) A man is waterboarded by Laser with three buckets of boiling water and then the washcloth is peeled off the man's boiled face We get to see Dieter Laser loudly climax from oral sex (performed off-camera by former adult film star Bree Olson, the film's sole female character, Laser's secretary/living sex toy) Dieter Laser graphically castrates Robert LaSardo, rubs the blood from the wound all over his face and then later eats the man's balls for lunch (breaded and everything) In a bizarre fantasy sequence, Robert LaSardo shivs a helpless Laser and has sex with the wound Tom Six shows up and gives them permission to use his idea and explains about how he consulted a real doctor about the medical accuracy of making a human centipede  During a screening of the films, Laser tells the prisoners he's going to make them into a human centipede and they riot, which leads to Bree Olson (again, the single female character) being beaten into a coma by Tom Lister Jr. During the surgery segment, Laser inserts his revolver into a man's stoma and shoots him, shoots a disabled man, and decides to attach a man with chronic diarrhea in front of Robert LaSardo Laser has sex with a comatose Bree Olson When Tom Six sees Laser's "special" project (that involves cutting off arms), he vomits on a glass door and exits the film After the 500-person centipede is unveiled, we are shown that the only female character in the film, who spends the entire film being used for sex before being beaten into a coma and raped in her comatose state, is sewn into the centipede for reasons(?) Laser unveils to Governor Eric Roberts his special project, the Human Caterpillar, made from the limbless torsos of the lifetime and death row inmates After Roberts says that Laser and Harvey are insane and will get the chair, Laser shoots the prison doctor, then Roberts comes back and tells them he changed his mind, leaves again, and Laser shoots Harvey so he can take the credit for himself The film ends with a naked Laser screaming nonsense through a megaphone from a guard tower overlooking his centipede as patriotic music swells To say this film is problematic is to put it lightly. It is virulently racist for reasons unknown, treats the single female character as an object to stick male genitalia in (and, again for reasons unknown, throws her into the centipede because why not?), and generally delights in inflicting pain on both its characters and its audience. But you should know what you're getting into where a film's central theme involves people being sewn ass-to-mouth. Like I say in the image above, Human Centipede 3 is indeed 100% the third Human Centipede film. If you like watching racist, cruel men castrate dudes and have sex with women in comas with the titular centipede happening in the background, then boy this film is for YOU! If you liked the first two films, you'll probably like this one. If you're only lukewarm on them, you can probably skip this one. Bottom line: Human Centipede 3 is competently made schlock. Tom Six is an edgy dude with some weird stuff (and quite possibly issues with women) rattling around in his head, but he can make a good-looking movie. Hopefully his next series has more merit. Happy Memorial Day, everybody.
Review: Human Centipede 3 photo
"100% a film that was made"
I did not care for the first Human Centipede. It was a generic torture porn with a couple gimmicks in the centipede itself and the claim of being 100% medically accurate. As a jaded horror fan, I spent most of it yawning (cri...

Review: Tomorrowland

May 21 // Matthew Razak
[embed]219474:42399:0[/embed] TomorrowlandDirector: Brad BirdRelease Date: May 22, 2015Rated: PG-13  Unlike Bird's other writing/directing efforts Tomorrowland is a blunt hammer that uses almost no subtly or panache to tell a story about the contradictions inherent in human nature and our inability to save ourselves. The screenplay is lump of dialog put together simply to once again inform us that we're destroying the earth and if we don't change it's all going to end. What's at fault for this inevitable calamity? Who knows. Politics, money, video games, movies, reality television; everything is wrong and nothing is right. That is, of course, unless we hold on to our hope and try to make a better... sorry, I just threw up a bit in my mouth. Again and again this movie comes back to our destruction of the world. In this case it's literal as there's a count down to doomsday. The move opens with a painfully done "talking to the camera" narration that only serves to highlight the thud of a screenplay. Frank Walker (George Clooney) and Casey Newton (Britt Robertson) -- yes, naming a lead character Newton is about as subtle as the movie gets -- are telling the story of how they came to be where they are now. It turns out that when Frank was a child he was whisked away to a wondrous city called Tomorrowland by a girl named Athena (Raffey Cassidy). We flash forward a few decades and Frank is living in a run down house while Casey finds a magic pin that takes her to Tomorrowland, but all is not right and the three must join together to save the future.  Narratively the film is a mess, with cause and effect having little consequence and tension building at a snails pace as the movie spews one cliche ideal after another. The problem isn't the ideals (I agree with almost all of them), but their execution. Tomorrowland screams about a lot of problems and offers almost no solutions. At times hypocritically complaining about action movies and then rolling right into an action sequence. It feels more like the film is saying what it thinks it should be instead of what it believes in, and Bird doesn't help it along any with his uncharacteristically heavy-handed direction. At times the overwhelmingly obvious cues of environmental friendliness and peace illicit eye rolls instead of agreement. We get it. Wind power is awesome and we shouldn't kill each other, you don't need to remind us with every cut. I will admit that despite being burdensome, Tomorrowland's optimism is a bit refreshing. It is truly always happy and excited for itself. In a landscape of movies that are often dour, even from Disney themselves, this one stands out for always, always, always being upbeat even when it's not. Maybe that's part of it's biggest problem, though. Because the film, and Casey especially, are always looking at the bright side and always exclaiming how amazing everything is then nothing is. Except for one scene involving the Eiffel Tower almost nothing from the film is truly amazing.  That goes especially for the movies special effects, action and acting... which is basically the entire film. There's a massive dependence on digital effects for the movie and they aren't where they need to be, especially after seeing what can be done with practical stunts last week. We're supposed to be awed by Tomorrowland itself, but it never feels original or special. When action does come it is routinely basic and incoherent. Bird seems as sloppy as the screenplay in his direction of anything that moves fast.  Almost every actor could be swapped out for any other actor. Clooney especially feels rough in the role, as if he doesn't care enough to really work with it. The only stand out is Cassidy who offers the film's best line and the only serious depth in any character. Finally, the movie is oddly violent. In another instance of hypocrisy, actual murders occur on screen. There's no blood, but people are vaporized at random and a human-looking robot has its head torn off in a fight sequence that would have given the film an R-rating had the combatants not been robotic. It all feels woefully out of context in a film that is decrying our ever escalating enjoyment of violence in media and more importantly is intended for children.  Tomorrowland is nostalgic for a future that never happened, much like Woody Allen's Midnight in Paris is for a past that never happened, but it loses its fun and love in its overbearing effort to send a message. It's flat plotline and dud action mean that nothing ever sparkles despite the actors repeatedly telling you that it does. Does it actually care about its message? It's unclear. If it does it's doing such a terrible job of sending it that it feels disingenuous. Great films have meaning to their message, all Tomorrowland does is shout from the mountain top that we're doing it all wrong. Well, Brad Bird, so are you.
Tomorrowland Review photo
The future is a letdown
If you're like me you were pretty excited for Tomorrowland. Almost everything Brad Bird touches is magic and his obsession with nostalgia made a perfect fit for a film based off a Disneyland park whose future never came to be...

Review: Pitch Perfect 2

May 15 // Jackson Tyler
[embed]219455:42387:0[/embed] Pitch Perfect 2Director: Elizabeth BanksRelease Date: May 15, 2015Rated: PG-13  As the movie opens, the Bellas (our A Capella heroes) are performing for none other than President Obama himself, inserted into the audience with cheesy stock footage. Every member of the team gets their moment in this welcome back performance, building up to the reveal of fan favourite Fat Amy, hanging from a curtain and belting out a solo. Then, her trousers get ripped, and she ends up exposing herself to the entire audience, who react with abject horror. Ha ha, a fat person has a vagina! How disgusting! Roll titles! It's an opening indicative of what to come. For one thing - it isn't funny. Pitch Perfect 2 is disappointingly light on laugh out loud moments, perhaps the only memorable one coming from an unexpected cameo. The scenes play out with a sense of obligation to them, a been here done that feeling that is oh so familiar to leagues and leagues of comedy sequels, and the jokes are often little more than references to the prior movie. Bumper's back, and he flirts with Fat Amy at a party! Again! *nudge nudge, wink wink* Pitch Perfect 2 is also approximately seven years long, squeezing in about six incongruent and unfocused character arcs in the gaps between the many, many musical setpieces that make up the 115 minute running time. It takes a twenty minute detour to David Cross' house half way through the movie in order to do a reprise of the popular sing-off scene from the first film. It's perhaps one of the movie's better scenes, but it's far too elaborately constructed and belaboured for something that amounts to nothing more than a tangent.  Whilst it's easily the most out of place scene in the film, it's less a problem itself and more a symptom of deeper structural flaws. The scenes don't flow, the story isn't constructed for a thematic or emotional ends, it's a conveyor belt of stuff that has to be there. The music scenes have little to do with the character scenes which have little to do with the comedy scenes. All the required elements are present, but haphazardly thrown onto the screen with no attempt to bind them into a strong narrative. But all of that would be completely forgivable, if the movie's core was solid. After all, Pitch Perfect's aims are important - it positions itself as a story of empowerment, essentially a franchise of coming of age movies about a group of girls being best friends. And if it achieved that, structural flaws and indulgent reference humour would ultimately be only surface level criticism. But that dream dies in the opening scene. The movie's humour often springs out of this crass and nasty place, consistently aiming its sights on anyone who isn't slim, conventionally attractive and white. Fat Amy's confidence isn't played as a response to a harmful culture that consistently shames and dehumanises her, it's a setup to a joke that is always being told, and the punchline is her fatness. In between the movies, the group has picked up a new member from Guatemala, who constantly references her impending deportation. Hana Mae Lee's character isn't just the quiet, timid asian girl from the original, now she's a ninja too!  It's hypocritical for Pitch Perfect 2 to stake its claim at empowerment, when it's filled to bursting with harmful jokes, and its core musical gimmick isn't far removed from Acoustic Covers of Rap Songs. While it's disappointing, it isn't exactly surprising, these problems existed in the first film, and the sequel has only doubled down on the upsetting elements. The movie is a two hour adaptation of Patricia Arquette's Oscar speech, its feminist politics defined by a lack of self awareness and intersectional thinking, as it cuts back and forth between scenes of the Bella sisters bonding to thirty seconds of hilarious racist transphobia. But hey, then they sing a song.
PP2 Review photo
A Capella Wordplay Indicating Failure
Everybody loves a song. It can be the perfect emotional climax to a movie. From The Blues Brothers to School of Rock to Linda Linda Linda to, hell, the original Pitch Perfect, the final performance as cathartic...

Review: Dark Star: H.R. Giger's World

May 14 // Hubert Vigilla
[embed]219427:42372:0[/embed] Dark Star: H.R. Giger's World (Dark Star: HR Giger's Welt)Director: Belinda SallinRelease Date: May 15, 2015 (limited)Rating: NRCountry: Germany/Switzerland Dark Star: H. R. Giger's World is a fans-only sort of film. His art is striking, imposing, especially given the sheer size and scope of it. Even Giger's oversized art books like Necronomicon I or Necronomicon II--essential texts for fans of dark fantasy who came of age in the 80s and 90s--can't begin to convey the scale. In one room of the Giger Museum, the walls are covered in an ornate tableau of pale cyborg women worshiping Baphomet; a recurring motif of columns topped with the heads of babies look like rows of necrotic phalluses, and any gap in a wall is a potential mechanoid vagina. The film doesn't give much of a scaffold of appreciation for non-Giger fans, though, or any sense of his position as a figure in the underground and punk/new wave movement, or just how many people have been influenced by his creations. The archival footage that shows Giger creating his artwork is more illuminating than the comments from friends and family. The commentary about his art is the same series of platitudes that have been said about Giger for years: darkness, a technological and organic blend, ugly eroticism, the night of the soul. Even as a fans-only proposition, Dark Star tells Giger fans things they've known for years rather than adding new dimensions or depth. When we see a young Giger work, there's excitement even if the footage is familiar. He allows images to spray out quickly from his subconscious onto paper through an airbrush. He doesn't sketch ahead of time but simply lets the images flow from him, as if any additional intermediary between brain, ink, and surface would occlude the process of rendering his multi-textured dream world. It's a tragic counterpoint to the elderly Giger. Gargle-voiced and hunched over, his demeanor suggests he's been hobbled by a stoke in old age. He struggles to sign his name, and his speech has a labored quality. He wanders his home, which is domestic in some parts and Giger-esque in others. I wish Dark Star had explored the Giger house and its layout in greater detail since it seems like his home is his entire world; it's not Harlan Ellision's eccentric abode (aka The Lost Aztec Temple of Mars), but it does have a train track and a dining room fit for xenomorph royalty. For some artists, the space in which they work is a manifestation of the interior world that makes the work possible. The only art Giger creates for Sallin's camera is a pencil sketch of a familiar form--the delineation of a phallus maybe, the suggestion of a passage possibly, the general enticement of sex. But the sketch is only a wireframe rather than a fully realized idea. Giger may be in pain as he speaks, which is why so much of the talking is done by others for him in the documentary. He smiles, though, and when Giger smiles, there's a genuine warmth to it. It's like watching the last glimmers of light in a darkening room.
H.R. Giger's World Review photo
A fans-only look at H. R. Giger that may disappoint Giger fans
H. R. Giger passed away a year ago this week. His biomechanical art is instantly recognizable--Egyptian and yet otherworldly, simultaneously erotic and repulsive; a combination of flesh, alloy, suppurations, and vertebral for...

Review: Mad Max: Fury Road

May 14 // Matthew Razak
[embed]219448:42382:0[/embed] Mad Max: Fury RoadDirector: George MillerRelease Date: May 14, 2015Rated: R  If you're not a child of the 80s and you subsequently ignored everyone telling you to watch at least one of the Mad Max films for the past 20 years then it's possible you don't know the premise of the franchise. That really isn't a problem. One of the strangely wonderful things about this series is that continuity is the last thing it cares about. Instead its focus is on its themes and the mythic creation of a man called Max.  There are a few key elements, of course. It's somewhere in the post-apocalyptic future. Water, gas and areas that aren't desert are scarce. Man has fallen into lawlessness and still wears far more leather than you'd expect. The world is dependent on despots who run small fiefdoms where they control the supplies and the cars -- car chases are really popular in the future. Max (Tom Hardy) is a loner haunted by something terrible that happened in his past (possibly the tragic ending of the first film, but it's never made clear).  He's taken prisoner by one of these fiefdoms run by a mutated man named Immortan Joe, who has developed a war like cult around his control of water. On a routine gas run Imperator Furiosa (Charlize Theron) steels the tanker she's carrying so she can rescue five women from being bred by Joe. A chase across the desert ensues in which both Max and one of Joe's half-life warriors, Nux (Nicholas Hoult) join the fray. It may sound like I'm simplifying much of the film with that last sentence, but I'm not. Once Fury Road gets started on its chase premise it holds onto it until the very end, only stopping every so often to deliver exposition of some surprisingly sentient plot points. It is as non-stop as a film can be and it works magically. Characters are developed almost entirely through actions leaving dull blather and burdensome world creations (I'm looking at you, Jupiter Ascending) in the background. At first it may feel like the movie is being horribly unclear because it refuses to hold your hand, but then you realize that by letting the story ride along with the car chases its not holding your hand, but yanking you along with it screaming, "Shut up and enjoy the damn ride!" Miller's blend of actual stunts and limited CGI is a master work in cinematic action. The only person who could even come close to him right now is Gareth Evans of The Raid and The Raid 2 fame, and he owes much of his style to Miller's original trilogy. It's the kind of action that makes you shift your thinking from "this is fun and dumb" to "this is fun and art." The kind of relentlessly, perfectly contstructed set pieces that prove just exactly what's wrong with the likes of lazy action direction we get from Michael Bay types. The difference is just how relentlessly old school Miller is in his direction. It's as if Miller didn't get the memo that over-cranking to speed things up just isn't done anymore or that pushing into an extreme close up at high speed is considered tacky now. No one told him and so he just does it and it works. It works so damn well and feels so original that even the most jaded action connoisseur will be on the edge of their seat during the film's climatic final chase. This all despite the fact that really each sequence is the exact same thing (tanker getting chased by cars). That's not a problem, though, because in reality the movie is just one long, beautiful action sequence. It's the tanker chase from Road Warrior drawn out across an entire film and it's glorious. This isn't to say that there's nothing to bite your mental teeth into. Mad Max isn't really about the nitty gritty of characters, but more a study of archetypes, humanity and the ever present lone wolf hero. Max isn't a character, he's a symbol for survival, rebirth and redemption. That's why the films have almost no continuity between them. It's why Tom Hardy's almost monosyllabic performance is so spot on. It's why the characters around him are the driving force of emotion while he is simply the hammer that triggers change. If anything Theron's Furiousa is the star of this film as she takes the role of the heart -- albeit one that can kick some serious ass. All this is why the movie's use of the rescue of a group of "pure" women trope actually works despite the cliche. Fury Road is delivering an incredibly meta, two-hour action think piece on the genre itself. You may think I'm over analyzing all this, and that's absolutely fine. You can come out of Fury Road thinking everything I just said is idiotic, but you can't come out of it thinking you saw anything but a kick in the ass to action cinema. Mad Max is actually mad, and weird and strange and different. It features a double-guitar-flameflower playing mutant strapped to the top of a car that is basically a massive speaker system. It has people wearing ridiculous clothing and some of the maddest dialog this side of a David Lynch production.  Fury Road may be a "sequel," but it feels entirely original, and that might be the real reason it stands out so well. In an industry that has become so cannibalistic, to the point that it could destroy itself, Fury Road is undeniably unapologetic about being different. If this is what is on the other side of the superhero movie apocalypse then sign me up. 
Mad Max Review photo
Way beyond Thunderdome
You might be wondering just why a franchise (or whatever Mad Max films are) to a trilogy that came out in the 80s and starred Mel Gibson is getting a sequel now. The real reasons probably have something to do with money and c...

Tribeca Review: Maggie

May 08 // Hubert Vigilla
[embed]219246:42343:0[/embed] MaggieDirector: Henry HobsonRelease Date: May 8, 2015 (limited)Rating: PG-13 Wade (Schwarzenegger) brings his daughter Maggie home from the city after she's attacked by a zombie. Bite victims slowly turn. Symptoms include necrosis, cataracts, dizzy spells, respiratory problems, and a heightened sense of smell. It's only a matter of time before Maggie will need to be killed or sent to a quarantine center, and the latter may be a worse fate. At certain points of Maggie, I was struck by how Schwarzenegger has aged in an interesting way. The texture of his face is like tree bark from certain angles and in certain light. More than that, the expressiveness of his brow and his eyes has increased. Same goes for his mouth, as if the stoic straight line we're accustomed to from his blockbusters is able to communicate more with age. It's not just a one-liner dispenser, and his scowls seem layered. Patiently holding a shot on Schwarzenegger has the potential to reveal his inner emotional machinery. This unexpected depth in Schwarzengger's performance comes mostly from the film's quiet moments. In one scene, like something out of a Terrence Malick film or an Andrew Wyeth painting, Wade wanders a field introspectively. His silhouette from behind has a heftier grimness in the dimming light. It's impossible to forget he's Arnold Schwarzenegger, and yet maybe the moment works better than it would otherwise because it's Arnold Schwarzenegger trying to negate his own Arnold-Schwarzenegger-ness for the sake of the story. Maggie is at its best when it uses zombie-ism to explore the impending loss of a loved one to a terminal illness. In Maggie's case, it's about coming to terms with the inevitability of death. Had Schwarzenegger not been cast, the film would have been billed as a showcase for Breslin. She carries at least half of the film. (She's the title character, after all.) When not succumbing to fits of dread, Maggie tries to live just like a teenager. There's a normalcy about living with her condition. In a brief sidetrip from the farmhouse, we see Maggie with her friends being carefree before going back to high school in the fall. Infected or not, to them, at least for now, she's still Maggie. The film's handful of missteps have less to do with the performances than the occasional saccharine note in the script. Bits here and there feel a little too much like "father and daughter bonding" beats in a movie. Breslin and Schwarzenegger perform them well, but the actors seem more natural when exchanging small looks and little lines together throughout the film rather than dedicating a full scene to semi-expository bonding. An accretion of affection is almost always preferable to a tenderness dump. For a film that's propelled more by its quiet moments, the wind down of Maggie features an overbearing bombast in the sound design and David Wingo's otherwise low-key score. It undermines some of the control that Hobson maintains for the film, and I wonder how much better a scene or two would play if they were muted. This might be one of the few times that anyone's called for an even quieter and more delicate finale to a movie featuring Arnold Schwarzenegger, but in Maggie, the performances are able to do the emotional heavy lifting on their own.
Maggie Review photo
I know now why you cry
Maggie is one of the last things you'd expect out of Arnold Schwarzenegger. Abigail Breslin, who plays the title character? Okay. Joely Richardson, who plays Maggie's stepmother? Sure. But not Arnie. Though Maggie's a post-ap...

Review: Reality

May 05 // Alec Kubas-Meyer
[embed]219356:42363:0[/embed] RealityDirector: Quentin DupieuxRelease Date: May 1, 2015Rating: NR On some level, this review is the third part in a series on Quentin Dupieux's absurdist rollercoaster. In March of 2013, he blew me away with Wrong, making it the first film I ever broke the nearly-impossible-to-break 95+ barrier for. It changed the way I viewed cinema, the requirement for such a high score. It proved to me that absurdist cinema is a thing that can exist in a way that’s every bit as brilliant as absurdist theatre. It was eye-opening, and I loved it. Later that year, he released Wrong Cops. To put it bluntly, Wrong Cops is garbage. My review of the film features the line, "I wanted to punch a baby." With Wrong, I called Dupieux a modern-day auteur. With Wrong Cops, I wondered if it had just been a fluke. Wrong received a 95, Wrong Cops a 35. (Undoubtedly the most severe drop in scores seen on this site.) But whereas Wrong Cops was built on the premise of the previous film (while learning absolutely none of the lessons from it), Reality was something new. The only image I saw, the one on the poster, looked like the kind of thing I had wanted from Wrong Cops and gotten from Wrong. I was willing to chalk Wrong Cops up as the fluke, not Wrong. So for me, there was a lot riding on Reality, because I really, really wanted to like it.  Reality is at its best when it embraces its absurdist roots. Wrong Cops' fundamental failing was its inability to create a world where everyone accepted that things were weird. There were absurdist characters in a real-ish world. Reality threatens to be that sometimes. Case in point: The film opens with a man killing a wild boar. He brings it home and guts it. In the boar is a blue VHS tape. He simply throws it into the trash along with all the intestines. So far so good. At dinner, the young girl asks why there would be a video tape in a hog. There is a discussion about the fact that that wouldn't make any sense. For a moment, I was worried that we were in Wrong Cops: Round 2. It turns out, though, that the movie we are watching is, probably (and I emphasize probably), a movie within this movie. And suddenly it is acceptable again. People in the movie within the movie can comment on things that don't make sense. And, honestly, questioning the logistics of any given action can work in a grand sense as long as the response is always something to the effect of, "Because duh. That's why." There are plenty of times when characters in Reality question their surroundings, but the answers to their questions never actually answer the questions. In fact, they rarely even acknowledge the question's intent. This world makes sense to them, and if someone else is a little bit confused, it's fine, because they'll get into it before too long. There is no one in the film who is simply incapable of accepting the absurdities of the world, even if they are mildly annoyed by some of the specifics. And so the pendulum swings back. And as the film delves further and further into its own demented logic, all worries fade away. This is absurdism. And though it isn't as universally effective as Wrong, it has its own contributions to the genre. Wrong 2 would be stale. So we need to go somewhere else. In fact, Reality comes off as a response to Wrong's single sorta-failing. Late in the film, a series of events happen, only to be revealed as a dream or hallucination or something to that effect. When I realized what that meant for the narrative, I was originally sorta angry, before realizing that it totally didn’t matter in any way, shape, or form. It simply was, whether it happened or not. Reality is that sequence taken to its logical extreme. You might have expected that, considering it’s called Reality. You never know if something is real, a dream, a movie, a movie within a dream, a dream within a movie, a dream within a dream within a movie, or any number of other options. Any given moment could be any number of these things. It’s probably several at once. You don’t know it at first, of course, because you’re stuck within one version of reality, but as soon as it starts to bend, suddenly the genius of the whole thing becomes clear. Rubber would have been more interesting as a play. Wrong is more interesting as a movie, but it could become a reasonably compelling play without any fundamental changes to its narrative. Reality is a movie, and there is no way it could be translated to the stage. Of course, the fact that it’s about movies and about making movies helps that, but it’s more complicated than that. Take a punchline that comes relatively early on: A film producer is complaining to a director about how he uses too much filmstock because he won’t just say cut. The camera just keeps rolling for no reason. And then we move to a new character driving a jeep. And driving. And driving. And driving. It’s amazing. It’s perfect, even. (Honestly, the entire sequence that follows is flawless and is easily my favorite part of the film.) It’s also uniquely cinematic. And many of the tricks used to obfuscate reality (e.g. blatantly obvious continuity errors) are medium-specific as well. When Reality’s credits rolled, I thought, “Thank god.” Thank god that Wrong Cops was a fluke, because we need someone like Quentin Dupieux. But I also thought that it was still a step back from Wrong. And in many ways, it absolutely is. But though it may be a few steps back, it also takes some important strides forward. Reality makes sense as a follow-up to Wrong. He’s proved that the medium can be home to brilliant, absurdist narratives. And now he’s pushing those boundaries that he created. He may not be as wildly successful on every level, but it would be more disappointing to see something stagnant. Reality is new, and it paves a pathway for the future of the genre. And I’m positively giddy about what that future might hold.
Reality Review photo
Or something like it
I imagine that the script for Reality is caustic. That it antagonizes the reader and makes for something that is even less comprehensible on paper than it is on screen. Rather than following the regular format, it's prob...


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