Karl Delossantos

‘Train to Busan’ review — A surprisingly unique and entertaining zombie flick

Train to Busan is a heart-pounding, armrest-gripping, teeth clenching zombie flick that breathes new life into the genre.

Just when the zombie genre seemed on its way out, then along rolls in Train to Busan. This South Korean production breathes a new life into the genre without straying too far out of its confines. The rules set in place in this world are a little updated from the usual and refreshingly there are no guns. Not only does that raise the stakes, it makes for action like no other zombie movie I’ve seen. It is one of the best, if not the best, zombie movie since 28 Days Later.

Taking place in Seoul, South Korea, Train to Busan follows Seok-Woo (Gong Yoo), a fund manager, and father to Soo-an (Kim Su-an). In typical horror movie fashion, he’s a terrible father. So terrible that he gives his daughter a birthday present she already has while she begs to see her mother in Busan the next day to celebrate. Looking to appease his daughter, early the next morning he takes her on a KTX bullet train to Busan. Little do they know a chemical spill nearby has caused a wave of infected people. Little do they know, an infected person made it on the train. This swift and quick setup is not only refreshing but integral to setting the pace of the story. As the lower class cars fall to the zombie outbreak, the forward class cabins fight to keep the undead out and escape.

Train to Busan is such an interesting study on the application of a genre. All the facets of a zombie horror movie are there – the absentee dad, the plot-point child, a pregnant woman, a more than capable fighter. However, the way that the movie applies these characters and throws them into the story is quite interesting. The first 45 minutes of the movie can’t help but draw comparisons to 2013’s Snowpiercer. Both movies take place on a train, involve commentary on class warfare, and involve fighting to get to the front of the train. Except, Train to Busan replaces rebels with zombies. However, both have a similar forward momentum that feels fast, efficient, and damn right thrilling.

One of the most refreshing aspects of the movie is its update of the traditional rules of zombie movies. While they are sensitive to sound, they are also more affected by their vision. At one point, a character puts newspaper over a window and the zombies instantly stop their pursuit. It’s a fun rule that’s put to great use a few times. It’s also very refreshing to have zombie movie where there aren’t any guns. At one point, a group of characters makes an all out dash for another car, the all-out assault on the zombies in their way is not only impressive but incredibly entertaining. The creature design is also really marvelous and terrifying. It perfectly compliments the violence of the transformation into a zombie, which we get to witness a few times. What the movie does pull directly from other movies—World War Z to be specific—is the flood of zombies. However, here it’s done on a smaller scale, which makes it look more realistic and all the more terrifying.

While yes, Train to Busan does eventually give into genre cliches – slow reaction times, horror movie logic—the first half of the movie is strong enough to plow through them. Even though some characters feel familiar, you come to actually care about the right people. By the end of the movie, you become so attached that the tension is almost unbearable. But that’s what we’re looking for, right?

The amount of energy that director Yeon Sang-ho is able to infuse into Train to Busan is a welcome change from the stop and go nature of recent entries in the genre. Some wonky translations and frustrating decisions aside, the movie invigorates a genre on the way out. Sure, it completely owes a lot of itself to movies that came before it—World War Z, 28 Days Later—but it does enough on its own to warrant respect all on its own. Needless to say, I am all onboard with Train to Busan.

★★★★ out of five

Train to Busan is available to rent and buy on Amazon!

February 16, 2017
Krisha review — Bold and emotionally breathtaking

Krisha is an incredible debut film by Trey Edwards Schultz with an emotional powerhouse performance by Krisha Fairchild

As I’m sitting here trying to write this review for Krisha, I’m finding that I don’t even know where to start. The experience of the film is, for lack of a better term, emotionally devastating. Simply put, it’s one of the most honest and brutal portrayals of addiction and the toll it takes on the ones around you since Requiem for A Dream and possibly of all time. However, what makes Trey Edward Shultz’s debut picture truly effective is the central performance by Krisha Fairchild in the title role. In a single, crushing scene, she makes the audience understand her character, brings you onto her side, then ravages your emotions with an incredible monologue performed with grace and passion. It’s one of the best scenes from a 2016 film and the single best performance in years.

Made on a microbudget and using his friends and family as actors — including his aunt Krisha Fairchild — Trey Edwards Schultz tells the story of the homecoming of Krisha, a recovering drug and alcohol abuser whose son was raised by her sister Robyn (Robyn Fairchild). Her return to the family, which takes place during Thanksgiving, is met with both trepidation and hope that Krisha has finally made a recovery after alienating herself from her relatives. However, as she realizes the time she has lost and the relationships she has broken, Krisha slowly loses her grip on her sanity.

The opening shot of Krisha is an extreme close-up — the movie is filmed in a 4:3 aspect ratio, which allows the actors’ faces to fill the entire screen — it begins with an image of the title character as she stares intensely into the camera. It is accompanied by a crescendoing piece of score that feels like it’s pulled out of a horror movie. It’s a jarring way to open a movie about a family dinner, but so appropriate. The discombobulated score, which continues throughout the movie, and harsh smash cuts add tension to the movie. It turns a typical family gathering filled with food, football, and cooking into an anxious affair. Even the cinematography uses horror movie tropes like a long take down a dark hallway or framing characters from behind a corner. In fact, Krisha made me feel more anxious than some thrillers have made me feel. This is because we watch the movie squarely in Krisha’s point of view. We feel what she feels. And what she feels is terrified and alienated.

As the night trudges on and Krisha feels increasingly paranoid, the movie tightens the tension until it finally all comes to a head in an intense final act that would make any genre film lover come to their knees. However, as played out as the premise is, Schultz wrote and directed the movie with a flair that is so rare. For a movie so beholden to the past, it’s completely devoid of messy exposition. Instead, we have to infer and build the events before the movie. Because of this, it’s difficult to determine the good people from the bad. The result is one of the most compelling character studies ever committed to film. It’s brave and breathtaking.

The vision that Shultz had for the film is so abundantly clear and it feels as if what we see on screen is exactly what he intended. Whether he accessed some deep personal emotion to create this film or simply thought it up, I’m both ecstatic and disturbed that a movie of such boldly human destruction was conjured up by him. It’s a story of destruction and redemption and the lengths to which we will forgive the ones we love and the energy we put into forgetting them. Krisha is purely visual and cinematic poetry that will cut to your core and deliver you an emotional blow. But in the end, it’s one that you will feel glad you experienced because it will make you want to be a better person to the people closest to you. It will make you reevaluate the number of chances that people are willing to give and that you are willing to give. Most importantly, Krisha is a chilling reminder that old wounds don’t easily heal. It’s a dark truth of being a human, but its one that is bravely depicted here.

★★★★½ out of 5

Krisha is available for free streaming with Amazon Prime!

February 15, 2017
2017 Oscar Predictions: Can “Hidden Figures” Upset “Moonlight” in Adapted Screenplay?

The race for Adapted Screenplay is a low-key competitive category. However, I think it’s also prime for an upset. Moonlight has to watch its back.

Best Adapted Screenplay is a seemingly low-key category that is probably going to go the way we expect. However, I actually think it’s among the most competitive of the night. I could make an argument for every nominee.

The clear frontrunner here is Barry Jenkins and Tarell Alvin McCraney for Moonlight. In addition to being a Best Picture frontrunner, they also won the BAFTA Scripter Award, which has predicted the winner of this category for the past six years. Because of the possibility of a La La Land sweep, this may be the only category to award director Barry Jenkins for his work. I think that they are the safe frontrunner, but arguments could easily be made for all the other contenders in the category. It’s almost impossible to do a proper ranking.

The nominee that I think is most likely to upset, though, is Allison Schroeder and Theodore Melfi for Hidden Figures. The movie is a crowd pleaser and popular with the industry and voters, which is especially evident after their SAG Best Ensemble upset. If voters choose to spread the wealth, this is the one category that Hidden Figures is nominated in that they could vote for it. It’s unlikely to win either of its other nominations — Best Picture and Best Supporting Actress. If you’re looking for an upset, it’s this.

Before nominations came out and the season was officially in full swing, it looked like the momentum was going for Eric Heisserer for Arrival. This was, of course, before two bigger contenders came out — Hidden Figures and one I will mention shortly. While the act of adapting the short story The Story of Your Life to this complex sci-fi drama was an incredible feat, its genius might have gone over the heads of the voters the same way the movie might have. However, if voters like Arrival enough, there is certainly a chance that it could upset.

The other nominee I alluded to is Luke Davies for Lion. It looks like Lion is one of those mid-success nominees that skirts by the Oscars with no wins. Think Brooklyn from last year. However, I think it has a strong in this category after winning at the BAFTAs. The only reason I think that it’s less likely to upset than Hidden Figures is because I think it has a chance at upsetting in Cinematography and Supporting Actor, which might make a win in this category less urgent.

The wild card is really August Wilson for Fences. His posthumous nomination is a rarity, plus his name is being constantly thrown around by Denzel Washington and Viola Davis, which is powerful, especially when they’re said during an acceptance speech. However, plays rarely win in this category. Whether it’s because the act of adapting from stage to screen isn’t as impressive, I don’t know, but it’s a strong statistic to overcome.

If I had to put money on it, Barry Jenkins and Tarell Alvin McCraney have this locked up. But there’s also this sneaking suspicion that this is a prime category for an upset. There are a lot of strong nominees. I’m going to say Moonlight takes it. But watch out for Hidden Figures or Lion for the upset.

Check out all our 2017 Oscar Predictions!

Will Win: Barry Jenkins and Tarell Alvin McCarney, Moonlight
Could Win: Allison Schroeder and Theodore Melfi, Hidden Figures
Dark Horse: Luke Davies, Lion
Should Win: Eric Heisserer, Arrival

February 14, 2017
Lion review — A remarkable true story beautifully told

Lion is one of the few inspirational true stories that translates beautifully on screen thanks to director Garth Davis and a strong performance by Dev Patel

A Long Way Home, the book that the movie Lion is based on, is essentially devoid of emotion. That’s not to fault the book’s author and subject Saroo Brierley. He simply wasn’t equipped with the talent to translate his too-good-to-be-true story onto the page. Director Garth Davis certainly did. Lion could have easily fallen into the idealistic cookie cutter crowdpleaser category. However, Davis’ vision of Saroo’s journey is simultaneously devastating, yet filled with beauty, both human and cinematic.

Lion tells the true story of Saroo Brierley (Sunny Pawar), a boy who grew up as poor as one could in India — begging for scraps of food, caring for his young sister while his mother does hard labor. While following his older brother to a neighboring town, he becomes trapped in a train carriage. After two days on the train, being carried away from his mother, two brothers, and sister, he finds himself in Calcutta (modern-day Kolkatta). For months he must fend for himself by eating scraps of food and taking shelter under bridges. Eventually, he is taken into an orphanage and is adopted by an Australian family, Sue (Nicole Kidman) and John (David Wenham). Twenty years later as an adult (Dev Patel), Saroo decides to use Google Earth to find his long-lost family.

While the story has the plot of a Lifetime movie, it is true, yet improbable as it sounds. The journey Saroo takes is an incredible one. However, it’s also one that could easily be exploited for its emotional beats. The issue with a lot of movies based on incredible true stories is that the focus of the emotion is on plot, rather than character. And while Lion certainly toes that line, writer Luke Davies keeps the focus on the character’s emotional journey rather than the physical one. In particular, the character of Sue Brierley is given new life in the movie. In Saroo’s memoir, he protects his mother from his attempts to find his birth mother in fear that he is going to hurt her. While that is stated, it is never seen. In the movie, we see Sue being affected, not by Saroo’s search, but by the fact that he chose to hide it from her and that he was distant from her. It culminates in an incredible scene that reminds us of Nicole Kidman’s talents. I suspect that it will be her Oscar scene.

However, this is a story about Saroo and the movie does a lot to portray his emotional journey. Most of that falls on the shoulders of Dev Patel, who drives much of the story with his physicality and facial expressions. The shift from book to screen infused the story with an element of the mental toll that the story would take on a four-year-old boy and how it shapes the man he becomes. Sunny Pawar puts in some really great work as the young Saroo in a nearly wordless performance. Patel, on the other hand, depicts the psychological journey. While much of it is suggested with the editing — they cut in scenes from his past similarly to the way that a war movie would portray PTSD — Patel’s reactions to the memories are even more important.

While the performances give an emotional center for the movie, the cinematography and score do all they can to support them. Cinematographer Greig Fraser, who has done some fantastic work including Zero Dark Thirty and Rogue One: A Star Wars Story, finally received an overdue Oscar nomination for his work. And while his work in Zero Dark Thirty is truly phenomenal — the raid scene ranks among the best shot scenes in the decade — his work on Lion certainly deserves its recognition. The way he lights the movie, which in this case was manipulating natural light, does justice to the skin tones of the Indian actors, which, unfortunately, is something that is quite rare. Though, the lighting does more than that. In addition to mixing stabilized and choreographed shots with uncontrolled ones, he used the natural lighting to give the movie a cinema verite realism that feels so grounded. However, as evidenced by the opening shot in the movie which finds Saroo between two hills surrounded by butterflies, Fraser also found the natural beauty of the landscapes he was shooting in.

Lion does have one fault, and that is in its editing. I find it hard to talk about the transition from book to the movie because you are awarding a certain dramatic license to the filmmaker. I can’t fault them in the changes they made for the sake of simplicity and dramatic tension. My bigger issue is the way that they cut the story. Although the movie comes in at just under two hours, this is one of the few occasions that I wished the movie had been a bit longer. Or, I wish the movie had been distributed differently. I think one of the most affecting parts of the book is Saroo’s portrayal of his life before “getting lost.” In particular, the focus on hunger as a motivation and how common and easy it is for a child in India to be lost and never found. While the second half of the movie, which focuses on the older Saroo, is strong in its own right, the movie would have been more dramatically satisfying if we got to spend more time with the young Saroo in India.

All in all, Lion is simply a remarkable story that is told well. After reading the book and being less than impressed, it shows what strong filmmaking can do for a story. I imagine that a lot of people are going to skip this movie because it seems like the typical uplifting Hollywood fare. More than anything, though, it’s a movie that is going to tear you down and build you back up again as a different person. That’s something so rare, yet beautiful to experience. It is far from being a perfect movie. However, it is a completely delightful watch that will stay with you past the last frames. Even the most cynical won’t be able to resist the charm of Lion.

★★★ out of 5

Lion is available on DVD, Blu-Ray, and digital rental on Amazon!

February 14, 2017
Don’t Breathe Movie Review — A tense, incredibly crafted thriller

Don’t Breathe boasts impressive cinematography and direction that makes the tension almost unbearable, but makes you want to instantly watch it again.

2016 has been quite the year for genre films with strong entries ranging from Green Room to Hush, but the one that truly unnerved me was Fede Alvarez’s Don’t Breathe. It’s a story that feels familiar. It’s a home invasion movie, except told from the perspective of the robbers. The twist, which sets it apart from the similarly premised Wait Until Dark, is that the blind man they are robbing is a fearsome war veteran with more than a few tricks up his sleeves.

Don’t Breathe opens with a beautifully directed scene of our three main characters breaking into a house. I love movies that can effortlessly introduce us to its characters without telling us who they are or how we are supposed to feel about them. We quickly realize that Money (Daniel Zovatto) is the young, immature leader of the group. Alex (Dylan Minnette) is more reserved and seems to be in it for the thrill rather than the actual money. Rocky (Jane Levy) imagines the upper-class lifestyle of their targets. And this is all we learn in the first thirty seconds without any dialogue.

We learn that the three are targeting houses that are protected by Alex’s father’s security company. Money sells the stolen items to a friend. After not making enough on the last hit, he suggests hitting a house in a deserted section of Detroit. However, the house is occupied by a man known as the Blind Man (Steven Lang), a war veteran that apparently has a large sum of money as a settlement. That night, after subduing his fearsome dog, the trio make it into the house. What they find is something much more terrifying than they expected – a blind man that could fight back. From there, the story is flipped on the robbers as they fight to escape the house with their lives.

Fede Alvarez, whose feature film debut was the remake of Evil Dead, shows that he is a more than competent director. This movie got to me. The title must refer to what the movie makes the audience do. To say this movie was suspenseful is an understatement. The patience that he demonstrates is incredible. He holds shots and moments as long as he can to truly make you uncomfortable. There are some moments that the tension is almost unbearable. While it’s uncomfortable watch, the fact that he was able to make you feel that way is an incredible testament to his direction. Not only that, the jump scares in this movie aren’t outlined with egregious music cues. He allows the content to speak for itself.

Jane Levy, Dylan Minnette, and Daniel Zovatto in Don’t Breathe.

However, I think it’s easy to say what nearly steals all of Don’t Breathe is its classic, yet singular cinematography by Pedro Luque. The reason a lot of horror cinematography seems to fall to the wayside is that it has to serve the scares. That’s why shots that show an apparition lurking over someone’s shoulder or in the mirror have been so common. It’s so rare for a horror movie to stand out. However, what Luque does in Don’t Breathe is seamlessly merge the needs of the movie with breathtaking craft. In particular, a three-minute one-take shot – with an assist from CGI – is really the centerpiece of the film. Not only does it set up the “field of play” for the entire movie, it begins the mounting tension that the movie never truly releases. It’s very reminiscent of a similar shot in David Fincher’s Panic Room. However, while that shot feels more for the art of it, this is more intentional.

Another scene, which has been highly publicized in the trailer, is when the Blind Man turns off the lights in a pitch black basement. Similarly to the tunnel scene in Sicario, it makes marvelous use of night vision camera – like the way they used heat vision cameras – to make the scene feel claustrophobic. The lack of music underscores the tension. It’s an incredible practice in patience and suspense.

My small issue with the movie is mostly in the character Rocky. She quickly comes to the forefront of the movie and is our main focus. I wasn’t completely sold on her motivations for robbing the house. There are small moments where she will do something risky to get the money that came off as reckless rather than admirable. I think that it is more of an issue with the performance by Jane Levy, which is otherwise really strong. I just think that she doesn’t come off as a “good person” like Dylan Minnette makes Alex. On the other hand, Daniel Zovatto does a fantastic job as the dirtbag Money.

Don’t Breathe is a gorgeous exercise in great directing that expertly ratchets up tension. However, it’s more complex than that. Some unbelievable and inventive cinematography immediately sets it apart from other genre films. You can even dive in further and talk about its commentary on the economic desolation of Detroit. Nonetheless, taking it at face value shows that it’s a thriller that does exactly what it’s supposed to do: leave you on the edge of your seat while you white knuckle the arm rest. Just remember, don’t forget to breathe.

8.5/10

Don’t Breathe is available on DVD, Blu-Ray, and digital on Amazon!

February 13, 2017
Green Room Movie Review — A tense thriller that pits punks against Nazis

Tense, grizzly, and incredibly well-made, Green Room is a unique and incredibly strong entry in the thriller genre.

What can I say about Jeremy Saulnier’s dark and twisted Green Room that hasn’t already been said? It’s a movie that has never truly existed until now. Maybe the general premise has, but the way Saulnier tackles it is unique in almost every way. However, it’s this point-of-view of non-violent violence that I find the most interesting. He doesn’t linger on the violence or the gore of the film, which is impressive considering there’s a lot of it. Instead, he focuses on the characters and the story, which could easily fade into the background. This careful perspective makes Green Room one of the most successful genre films in the last few years.

The reason Saulnier’s last film Blue Ruin, which first brought him into the public eye, was so successful was because of its protagonist. He was an ordinary man in extraordinary circumstances. The Ain’t Rights, a fictional punk band touring the Pacific Northwest, definitely fits the bill. The movie begins with them in a cornfield after the band’s singer Tiger (Callum Turner) falls asleep behind the wheel. They are out of gas, which forces Pat (Anton Yelchin), the bassist, and Sam (Alia Shawkat), the guitarist, to find cars to siphon gas from. This small detail is interesting because it immediately pulls their innocence as people away. But Saunier’s screenplay redeems them as people by subtly detailing their commitment to each other as friends and bandmates.

The first 20 minutes or so is a phenomenal exercise in character building. Without any expositional dialogue, you learn the relationship between the bandmates and their personalities. Pat (Anton Yelchin) is the more reserved heart of the group, Reece (Joe Cole) is impulsive and aggressive, Tiger (Callum Turner) feels like the kid of the group, while Sam (Alia Shawkat) is devoted to all of them. Character details aren’t crammed down your throat. Instead, as the movie goes on we pick up on those character details as they’re needed.

After a performance goes bad, they take a gig at a neo-Nazi punk bar. Yeah, they’re not the sharpest tools in the shed. However, after spending some intimate moments with them during the beginning of the film, you realize that they’re taking the gig out of necessity. Needless to say, things don’t go quite as planned. After their set, during which they hilariously play “Nazi Punks F*ck Off,” Pat stumbles on a crime committed by one of the guys in the club. They are locked in the green room and must figure out how to escape before the fearsome Nazi leader Darcy (Patrick Stewart) arrives with reinforcements. It’s punks vs. Nazis.

Unsurprisingly, it gets ugly – blades, dogs, and all. But not in the way you’d think.

Let’s get back to this non-violent violence. The premise is inherently a violent one. However, playing against genre tropes, Green Room doesn’t focus on the violence or really show much of it. The same goes for the gore. While it is there and present, he doesn’t dwell on it. In one intense scene, a character’s arm gets injured. Most directors would be interested in that aspect of the scene. Instead, Saulnier takes a look at what is happening around this one violent act. It’s incredibly refreshing after a period of time where it seemed that every movie wanted to be the next Saw.

That doesn’t mean it doesn’t have some genre cliches. At one point a character even suggests they split up. However, it’s aware of its own “horror movie logic.” Another character immediately shuts down the idea of splitting up. I’m not going to put it lightly, these characters are dumb. But they feel real. The decision-making process is the same as yours or mine if we were in this situation. You’re not always going to make the smart decision under pressure. That’s what makes Green Room so unique. There aren’t any incredible acts of heroism or superhuman actions. It’s a movie that is as grounded in reality as possible. That goes for both sides. Even the neo-Nazis, who seem like fearsome villains, make mistakes and selfish decisions. There isn’t this horde mentality that often happens with the villains in these “escape” movies. Each one has their own distinct motivations and personalities. In particular, Gabe (Macon Blair) becomes the most interesting from the group.

As the movie progresses, sides are crossed, lives are lost, and the situation becomes dire. There are small pieces of plot that play in, but this movie is about the characters. That’s partially thanks to the actors. Anton Yelchin, who moves to the forefront among the band, is a phenomenally grounded character. His body language and line delivery suggest his reluctance to be the leader and his desire for this situation to just be over. Imogen Poots is also a standout as on of the Nazis who becomes shuffled in with the band. It’s surprisingly layered. On the surface, she’s this potentially insane, creepy presence. But small details reveal that there’s more there. Even something on the edge of caring. Patrick Stewart plays refreshingly against type. And while it’s a good performance, I really wished he had more to do. There wasn’t much depth to him.

Green Room is a movie that deserves to be rewatched. It’s really hard to articulate how well-made this movie is. I’ve watched it at least five times and still want to come back for more. There’s just so much in it to dissect and so many details to discover. Every time I watch it, I find something new or learn something different about a character. I see something happening in the background of a scene or a detail in the set. It’s a thoroughly realized piece of film that will hopefully retain the acclaim it has received. And, for the record, my desert island band would be…

9/10

Green Room is available on DVD, Blu-Ray, and digital on Amazon!

February 8, 2017
I Am Not A Serial Killer review — The dark, funny journey of a sociopath

Max Records gives one of the best performances of the year in the creepy and darkly funny I Am Not A Serial Killer.

Animal cruelty, calling living things “it”, stalking, and wetting the bed. These are the four predictors of a serial killer. John Wayne Cleaver (Max Records) has them all. However, as the title suggests, he is not a serial killer. There’s just a serial killer in his town that is stealing the citizens’ organs. This is not exactly the making for what someone might call “good cinema.” However, I Am Not A Serial Killer is perhaps one of my favorite discoveries from 2016. It’s a movie that seemingly comes out of nowhere. It’s based on a book (which Brian reviewed here) that found mild success, with actors that aren’t exactly box office drivers, and has a premise that can easily turn off a mainstream audience. So, what makes I Am Not A Serial Killer such an effective movie? It completely embraces its quirks and completely delivers on its genre promises.

John Wayne Cleaver is an interesting protagonist. He shouldn’t be so charismatic. I mean, he’s a clinically diagnosed sociopath. However, the movie is told solidly in his perspective. Every shot is of him or from his point of view. This gives you a link into his mind that is both disturbing and hopeful. I Am Not A Serial Killer is essentially two movies. The first is a character study focused on John. We see his day to day to life. We see him at school, helping his mother (Laura Fraser) in their funeral home – yes, it’s completely ironic – and chasing down his town’s serial killer. Casual stuff. However, when he starts getting a bit too close to the mystery, he has to find a way to save himself.

Max Records is tasked with carrying the movie on his shoulders. Not only does he do that, he elevates the material. His performance is surprisingly nuanced. He invokes so much with his face. In one of the best scenes of the movie, he is being taunted by the school bully at a school dance. However, per his rules, he simply smiles and says something nice. When the bully persists, he shoots into a monologue about his sociopathy:

He manages to be charming, yet absolutely terrifying without so much of a vocal inflection or aggressive gestures. His performance is so subtle, without feeling withdrawn. He gets you on his side and then gets your sympathy. He is the foundation of the movie.

Throughout, we find snippets of humanity in John’s struggle with his condition. He may be the first self-aware sociopath committed to film. Because of his understanding of his condition, John has an internal conflict to both fight and give into his urges. At one point John says emotionally, “People are afraid of things, but they’re never afraid of their own actions.” He fears that he is fated to hurt someone. It’s a usual point of conversation with his therapist who points out that his tendencies are predictors, not destiny.

About a third of the way through the movie, it shifts from a character study into a mystery that has elements of 80s television and invokes more recent shows like Stranger Things and The X-Files. It is revealed that the serial killer may not be so human at all. The killer is animalistic in its attacks and leaves behind a thick black goo as its only clue. John becomes fascinated with the killer. In my view, it’s because the killer is the Mr. Hyde to John’s Dr. Jekyll. He becomes obsessed with knowing who this killer is, what makes them tick, and why they’re doing this. Hey, better than murdering people, right? However, the deeper John gets into the mystery, the more intense his sociopathic tendencies become.

From there, the movie emulates shows like Dexter and Six Feet Under, but it doesn’t mimic them. Thanks to the effective cinematography by Robbie Ryan, the movie is actually quite cinematic for such an intimate subject. He uses a lot of natural light, which gives the midwest town a faded look that feels more realistic than the latest trend of desaturating the picture. Director Billy O’Brien adds a film grain to give it an even stronger 80s feel. Finally, composer Adrian Johnston’s creepy, synth-heavy score adds an underlying dread to the entire piece, especially with its sharp cues. For such a small movie, it’s expertly made.

I Am Not A Serial Killer will creep people out before they even watch it because of its premise. However, when you sit down and watch it you realize that the creepiness is exactly what it wants you to feel. I cannot say it enough, but Max Records delivers the performance of the year in this movie. If anything, watch it for that. I can’t wait to see what he does in the future. Overall, some will think the movie is a slog. It’s a slow burner by design. Plus, the final act payoff may not make up for that pace. But expertly built tension is effective storytelling. Whether or not this leads to a franchise, I Am Not A Serial Killer will stay with you from its final rock and roll beats.

★★★★ out of 5

I Am Not A Serial Killer is available on DVD, Blu-Ray, and digital download on Amazon!

February 6, 2017
Dear Oscar Voters: If La La Land sweeps, it will be an embarrassment

Dear Oscar Voters,

I love La La Land. I LOVE it. I have a different appreciation for it versus other film bloggers because of its profound message of alienation that plagues our generation. However, if it wins a record-breaking number of Oscars come February 24th, it will be an embarrassment to the Academy and the industry that will blemish your reputation for years. However, it’s a very likely outcome at this point.

2016 has been a rough year. That’s no secret. Hate, misogyny, racism, xenophobia, and other troubling issues have come to rise. I understand that La La Land is a wonderful escapist movie. But when we look back at the list of Best Picture winners, will we really want remember 2016 as the year that La La Land won? Race, in particular, has been at the forefront of our minds and discussion. #OscarsSoWhite, which has been an issue for far too long, finally had its effects this year with a record 7 acting nominees of color. Other barriers like Joi McMillon becoming the first African-American woman to be nominated for Best Editing or Bradford Young being the first black cinematographer nominated were also broken. Would a sweep of a movie about “champagne” problems really encapsulate the year?

Especially when many movies that emulate our current environment have been recognized. Of course, there’s Moonlight, which turns its attention to a completely marginalized group of people. Hidden Figures talks about female empowerment and that no matter the race or gender of a person, they can get the job done. Then, or course, there’s a Fences, which literally is about the barriers that are put in the way of some people. You could even say Lion talks about compassion and love no matter the skin color. Not even giving a chance to properly recognize these movies would be irresponsible.

Then, there’s the perception of Hollywood. I don’t know if you noticed, but about half the country believes that you’re out of touch rich people who like to self-congratulate. Well, La La Land would essentially be that kind of winner. You are telling the half of the country that looks at the gorgeous political and progressive speeches by Meryl Streep, Mahershala Ali, and David Harbour as over-the-line that you are exactly what they think you are. Out of touch.

But let me get to the meat of it. No movie is THAT good. The three movies that share the record for the most Oscar wins – Ben-Hur, Titanic, and Lord of the Rings: Return of the King – are technical masterpieces that were at the top of their craft at the time. For you to say that La La Land truly has the best costume design over movies like Jackie and Fantastic Beast and Where to Find Them or better production design than Arrival or Hail, Caesar! or a better screenplay than Manchester by the Sea or 20th Century Women is absurd. Sure, give it sound mixing or original score. But don’t just check it off in every category.

I’m not writing this to tell you not to vote for La La Land or that it isn’t a good or even great movie. I’m writing this as a true lover and believer of the Oscars as a political platform and artistic platform like no other. Show people that there are other stories to tell. Show people that movie that represent them on screen exist. Show them that you don’t just ignore what’s going on in the world. Show them the Oscar are more than just a pat on a back to yourself. Be the Oscars that I fell in love with.

With the warmest regard,
Karl

February 3, 2017
Could “Moonlight” Actually Upset “La La Land” at the Oscars?

The overarching story of awards season this year has to be La La Land’s dominance from beginning to end. After winning a record-breaking seven Golden Globes and tying the record for the most Oscar nominations with 14, it seemed that Best Picture was a done deal. And I think it probably is. Smart pundits will put their money on La La Land because it did what it had to do at the precursors. It was nominated for Best Picture (or equivalent) at the BAFTAs, Golden Globes, and Producers Guild of American Awards – winning that latter two. It nabbed director, screenplay, editing, and acting nominations at the Oscars. And it’s doing incredibly at the box office. So why do I think there is room for doubt?

Well, there are a couple things.

Check Out: “La La Land” Movie Review: A surprisingly profound story about dreams and disappointments

The first thing is that it was snubbed for Best Cast at the Screen Actors Guild Awards. Now, a lot of pundits are saying it’s because there really isn’t much of a cast. I agree. Really, Emma Stone and Ryan Gosling are the only major players with John Legend having a small supporting role and J.K. Simmons and Rosemarie DeWitt barely registering. However, per SAG rules, the movie would have five credits. That is more than Beasts of No Nation, Boyhood, Hotel Rwanda, and Best Picture winner Million Dollar Baby had. Granted, Million Dollar Baby got nominations for all three of its actors at the Oscars. More than that, though, these are actors voting on these awards. Not critics or Oscar pundits. They don’t look that deep into things.

If the love for the movie was that strong, wouldn’t it have still been nominated? Especially over Captain Fantastic, which barely registered at the Oscars. The reason I bring this up is because of the pretty solid statistic that the SAG awards have. No movie has gone on to win the Oscar for Best Picture without a SAG ensemble nomination since 1995 when Braveheart won. Even last year, when people were so sure that The Revenant was going to win, it lost to Spotlight.

Even that isn’t the reason I don’t think it’s going to win.

The first real reason is the way the Academy votes on Best Picture. They use a preferential ballot to vote, which means instead of voting for one film, voters rank the nine nominees. A movie needs 50% of the vote to win. The first round, only the voters’ number one vote is counted. If no movie reaches the threshold, the movie with the LEAST number one votes is eliminated. The ballots with the eliminated movie at number one will instead have their number two movie counted. If no movie reaches the threshold again, the same process is repeated.

This means, that you don’t just need a lot of number one votes. Though, obviously, they help. You also need a lot of number two and three votes. This is because, if voting movies past the first round, then those votes will count as number one votes. This is the same process the Producers Guild of America Awards use (the best predictor for the Oscars). More on that later.

Check Out: “Moonlight” Movie Review: An instant classic and landmark in film history

I think there’s no doubt that La La Land will get a lot of number one votes. There is even a possibility that it’ll get enough votes to win in the first round. However, if it doesn’t, I think Moonlight will be able to sneak in and take it all. The Producers Guild went for La La Land. And they’ve been nearly infallible since switching to the preferential ballot. However, I think the frontrunner backlash is going to affect La La Land more than any other movie.

I’ve found that people love both movies. However, with this La La Land backlash, I’m finding less and less people that just like La La Land. The issue with La La Land compared to other frontrunner backlashes is that it has broken a lot of records, which brought up the sentiment that it’s good, but not THAT good. I think that’s going to drive a lot of people to rank it lower on their ballot. Which, is going to allow Moonlight to slip in and win it all. Is it plausible? Yes. Likely? Probably not. But I think if any film is going to upset La La Land, it’s Moonlight and that’s how it’s going to do it.

February 3, 2017
Demolition Movie Review — Jake Gyllenhaal shines in a dull movie

Demolition is an uneven, at best, arthouse film on grief that is all but saved by a strong Jake Gyllenhaal performance.

I think it’s safe to call this the “emotionally disturbed” era of Jake Gyllenhaal’s career. Following career best performances in Enemy, Nightcrawler, and Prisoners, Gyllenhaal returns with yet another fantastic performance in Jean-Marc Vallee’s Demolition. This time, he plays Davis, an investment banker who deals with the fallout of his wife Heather’s (Heather Lind) death. In retrospect, this is actually a step back from his last few roles, which have been in genre films. However, the intensity and complexity of his performance stand. He proves yet again that he is one of the best actors working today. I wish I could be as positive about the film.

Immediately following the death of his wife, Davis goes to a vending machine in the hospital to get a snack. However, his peanut M&Ms get stuck. This causes him to write a letter to the company that makes the vending machines to complain. This strikes up an interesting relationship with the customer service representative of the company, Karen (Naomi Watts). As the story progresses, Davis deals with his grief in an untraditional way. He begins to dismantle things – everything. Nothing, from his computer to the bathroom stalls in his office to his house, is safe. Eventually, his life becomes intertwined with Karen’s. He begins to form a close bond with her son Chris (Judah Lewis). All the while, he must deal with his Father-in-law and boss Phil Eastwood (Chris Cooper) as he attempts to understand Davis’ behavior.

Jake Gyllenhaal as “Davis” in DEMOLITION. Photo Courtesy of Fox Searchlight. © 2016 Twentieth Century Fox Film Corporation All Rights Reserved

The first act of Demolition is actually really strong. The dialogue, in particular, reminds me a lot of Aaron Sorkin. It’s fast, sharp, and riddled with brilliantly carried exposition. The first 20 minutes play like a montage of his adult life and marriage. It’s told with a witty cynicism that carries through the film. It also sets up an incredibly enigmatic character in Davis. At one point, he stands in front of the bathroom mirror and attempts to cry during the funeral. He – and we – are confused by his lack of grief. That’s really what we see for this part of the movie. His reaction to her death. It’s beautifully shot and edited. Jake Gyllenhaal even sells you on the character and his reactions.

But here’s the issue with Demolition. The first third and last twenty minutes together would make a really interesting arthouse film on grief. Though relying on cliches, the sharp Sorkin-esque dialogue and brilliant editing make for a darkly funny character study. However, the middle third and climax feel disconnected from the story. While I really appreciated the sentiment behind Naomi Watts’ character, the lack of real value of the character bogged down the flow. In addition, the character of the son felt unnecessary. That story arc felt like a distraction from the real purpose of the story. Had they connected that story more obviously – like have the son be the catalyst for his eventual acceptance of his wife’s death – then it would have been a stronger movie overall.

However, as I alluded to before, the final 20 minutes of the movie nearly save it. Based on the first half, it’s the ending that we wanted all along. It’s just that the journey to that ending is misdirected. You don’t feel the emotional journey. You see a stitching of interesting shots and dialogue. It’s often the trap that many arthouse films fall into. It injects style without meaning. An arthouse film, in lieu of a goal, focuses on the thoughts and motivations of the characters. That doesn’t quite happen here. Compare that to Moonlight, another 2016 arthouse film, which is very intentional with its narrative and journey.

I can’t tell you whether or not you’ll enjoy Demolition or not. It seems the response for it is sharply divided. But it really depends on your taste in films. You may pull more out of it than I did. However, I can say that if you’re looking for a really strong Jake Gyllenhaal performance and a few good laughs here and there, then give it a go.

6/10

Demolition is available on DVD, Blu-Ray, and Digital Download on Amazon!

February 3, 2017
The Tsar of Love and Techno Book Review — A phenomenal short story collection

Covering nearly a century, The Tsar of Love and Techno tells the story of Russia through interconnected short stories that culminate into one of the best books in years.

There are some books that demand to be read, but The Tsar of Love and Techno demands to be dissected, devoured, and appreciated. To put it bluntly, Anthony Marra’s short story collection may be one of the best books I’ve read in my entire reading life. Short story collections are often hit or miss for me. While there were strong stories in Kelly Link’s Get In Trouble, their underlying connection wasn’t as satisfying. On the other hand, Jennifer Egan’s A Visit From the Goon Squad floored me with its grasp of time and place. Anthony Marra masters that concept and more. Not only does he have a grasp of time and place, but how the characters exist in those two dimensions.

Each story can be read individually and be effective, but when read as a whole it is completely satisfying. The Tsar of Love and Techno tells the story of Russia from 1937 until now. And while it’s very based on character, Russia itself is the most dynamic and interesting part. I’ve never been attuned to the history of Russia nor its society outside of the present day. However, Marra paints a vivid portrait of its history by following these characters within it. From poisonous lakes to its oppressive government to state propaganda, these things are just a fact of life. They fade into the background to give way to the characters and their interactions and lives with these staples.

The opening story “The Leopard” is an incredible exercise in the power of a talented writer. Anthony Marra gently paints a picture of a time, a place, and a person that feels complex and deep in a slight fifty pages. Not only that, he takes the main character through a satisfying emotional journey that feels neither rushed or incomplete. At the center of the story is a retoucher for the Department of Party Propaganda and Agitation, Roman Markin. His job is to erase people from history both literally and figuratively by removing them from photographs.

While “The Leopard” on its own is a phenomenal short story, The Tsar of Love and Techno comes to life as a collection when the subtle connections between the stories are revealed. The connection between the first story and the second, “Granddaughters,” is a blink-and-you-miss-it-line. When you realize it, though, its significance carries incredible weight. These connection continue throughout the story often unexpectedly. Some are more significant than others. But all of them carry the same emotional baggage.

“The Grozny Tourist Bureau” is a witty story about the former director of the Grozny art museum becoming the head of the nonexistent tourist bureau. It’s easily the funniest story of the collection. Though turning a war-torn city into “the Dubai of Chechnya” doesn’t seem the ripest for comedy, Marra has a handle of black humor that permeates through the entire collection. Of course, the story comes with a surprising profoundness and yet another piece of the puzzle revealed.

The title story, “The Tsar of Love and a Techno” is the only story told in the first person. And while it is not as satisfying as the others, it is certainly the most entertaining. More importantly, it represents a turning point in the story. Not only does it bring several storylines crashing together, it gives us a point of view we’ve never seen before: a person that lived as they wished.

But what is it about? That’s the question you always ask when it comes to a short story collection. What makes it more than a random grouping of interconnected stories? Well, for The Tsar of Love and Techno, it’s the idea of retaining the past. What happens when we are gone? Who is left? What is left? Who will remember us? How are we remembered? Are we figures in a painting or a frame with no canvas? Are we the center of a cautionary tale or the hero? No, we are remembered by the people who cared about us. The people who loved us.

In the final few pages of the book, we take a journey that all of us will take, but none will be able to describe. However, Marra articulates his take on it in beautiful prose that acts as the perfect cap to a near perfect book. He understands what he was trying to say. And in a few pages, he says perfectly. He reminds us that someone will remember you.

The Tsar of Love and Techno is available in paperback, hardcover, and e-book on Amazon!

February 1, 2017
8 Best Romance Movies of the Decade

From the moments that make us swoon to the ones that break our hearts, here are the best romance movies of the decade (so far)!

With Valentine’s Day coming up, it’s time to cuddle up with your significant other or your best Valentine’s day friends and binge romantic movies. However, these aren’t your typical romantic comedies. These romances talk about the highs and lows of relationships in a way that your typical rom-com wouldn’t.

So, here are the 8 best romance movies of the decade (so far)!

Beginners (2010)

“You point, I’ll drive.” It’s a moment that feels ripped out of the indie romance playbook. However, in just a few scenes, Mike Mills makes the moment feel like the most important interaction in Oliver’s (Ewan McGregor) life. Stylish without being unsentimental, Beginners is a beautiful look at love at the beginning and end of life. However, more than a romance, what Beginners is really about is how the people in our lives and the people in their lives and the people in their lives affect who we are and what we become. Luckily for us, it’s filled with touching moments, clever banter, and all the things that make us swoon about romances. Rent Beginners on Amazon >>>

Brooklyn (2015)

The book that John Crowley’s 1950s romance is based on is a cold look at homesickness. Essentially, all the romantic potential of the plot is sucked out. However, the movie adaptation grabs all the potential (and more) and spins it into a whirling cross-continental love story. While Ellis (Saoirse Ronan) isn’t exactly the love-stricken, romantic protagonist we hope for in a movie, Tony (Emory Cohen) certainly is. And his baseball loving, Brooklyn-accented ways will charm you to no end. So, when Ellis has to make the trip back to Ireland, your heart breaks just a little with Tony’s. However, it is just a means for the couple to earn their ending — and quite an ending it is. Rent Brooklyn on Amazon >>>

Her (2013)

I realize that this is a love story between a man and a computer but stay with me here. Spike Jonze’s Her is possibly one of the best-written movies of the decade. Much of the genius comes from the long two-way conversations between Theodore (Joaquin Phoenix) and Sarah (Scarlet Johansson). It is an interesting look at what it exactly is to love. Without a body, there is no sexual attraction between the two. Their love comes from their complexities and how they compliment each other. If not for the relationship between the two, watch Her for one of the best voice-over performances in a movie by Johansson. Rent Her on Amazon >>>

The Fault in Our Stars (2014)

Screenwriters Scott Neustadter and Michael H. Weber have pretty much changed the course of the romance genre. While their two most famous movies — 500 Days of Summer and The Fault In Our Stars are drenched in some of the worst facets of the genre — overt cynicism, grand romantic moments, a plot soaked in irony — they make it work. John Green’s novel, which the movie is based on, captured the hearts and minds of the world by delivering a young adult novel that feels wholly grounded. But the adaptation adds something more to it. The irony and cynicism are there, but they feel natural with the characters of Augustus (Ansel Elgort) and Hazel (Shailene Woodley). Watch The Fault in Our Stars on Amazon >>>

La La Land (2016)

If you didn’t swoon over the romance between Mia (Emma Stone) and Sebastian (Ryan Gosling), then I don’t know where your heart went. Damien Chazelle’s love letter to Hollywood musicals has all the moments that you love. The clever banter, honeymoon stage montage, and a dance in the stars (literally). However, what lands La La Land on this list is its ability to tap into our generation’s stance on love. At what point does love for another person lose out to your dreams. It perfectly sums up the age of alienation we’re in. While parts could be heartbreaking, the heart-stopping musical numbers are more than enough to make up for it. Check out our full review of La La Land >>>

Like Crazy (2011)

Of all the movies on this list, Drake Doremus’ Like Crazy is probably the most overlooked and under appreciated. However, what the creators were able to make for a measly $250k is astonishing. While yes, pieces of the plot are improbable — I don’t think the American visa system works like that — it is a means for some pretty deep introspection on relationships, particularly long-distance. Anton Yelchin as Jacob and Felicity Huffman as Anna are astonishing in their portrayal as the young couple. It’s even more astonishing when you consider almost all the dialogue in the film was improvised. It makes for an experience like none other in a romantic movie. Their connection feels genuine. That’s all we can ask for in the genre. Rent Like Crazy on Amazon >>>

The Spectacular Now (2013)

I mentioned Scott Neustadter and Michal H. Webb earlier for The Fault in Our Stars. As I explained they’ve nailed this genre by embracing its worst elements. However, with The Spectacular Now, they subvert our expectations by serving an understated look at the senior year relationship between certified asshole Sutter (Miles Teller) and the sweet girl-next-door Aimee (Shailene Woodley). The great Robert Ebert put it best. “here is a lovely film about two high school seniors who look, speak and feel like real 18-year-old middle-American human beings. Do you have any idea how rare that is? They aren’t crippled by irony. They aren’t speeded up into cartoons. Their sex lives aren’t insulted by scenes that treat them cheaply […] What an affecting film this is.”

Weekend (2011)

Two characters, one set, and a weekend. That is the simple setting for Andrew Haigh’s near masterpiece Weekend. For years, Brokeback Mountain was the representative for gay romances. However, Weekend feels more timely. The premise is simple, Russell (Tom Cullen) and Glen (Chris New) meet at a club and have an immediate connection. However, with just the weekend to decide whether they want to become something more, the movie breaks off into an epic two-person conversation about love, identity, and fear of the unknown. It’s romantic without being sentimental, realistic yet poetic, small but endlessly complex. It’s that movie that comes along once in a while that feels intimate, yet endlessly important.

January 27, 2017
Dan Croll Album Review — Sweet Disarray is a genre-bender that works

With a seemingly endless list of influences, Dan Croll’s debut album, Sweet Disarray, is a wonderful amalgamation of songs.

When I first heard Dan Croll’s debut album, Sweet Disarray, I was in a folk stage of my life. It didn’t help that I worked for an alternative radio station at the time either. And while a few songs jumped out at me like the eponymous “Sweet Disarray” and “Home,” I didn’t really appreciate the album as a whole. I mean, it’s also hard when you have to pick what tracks to spin out of hundreds of CDs coming in. However, after he released two new songs, I revisited the album. What I heard is something completely different from the first time around. Whether it’s because my music taste has evolved or I’ve learned more about music and production, I’m not sure. But it’s a really solid effort from a guy that had a big chip on his shoulder.

Croll attended the Liverpool Institute of Performing Arts and was chosen as one of eight students to have a one-on-one with none other than Sir Paul McCartney. Needless to say, after the single “From Nowhere” dropped, expectations were high. “From Nowhere” is an interesting song and the perfect one to open the album. It begins with an Afro-beat, which is surprising coming from a lanky white guy with Buddy Holly glasses. But quickly he comes in with a guitar riff that gives it a psychedelic rock and indie pop quality that’s hard to nail on first listen.

However, this is just one example of how the album is unidentifiable. “In/Out” is an upbeat indie pop song with electronic elements. “Can You Hear Me,” which is my favorite song on the album, is this concoction of a hip hop baseline (including a piano beat from M.O.P.), which mix with Croll’s understated vocals and backings to make this bluesy entry.

Part of the reason I’m writing this review is because Sweet Disarray received decidedly mixed reviews. And one common complaint was that he didn’t go experimental enough. Well, I think that’s a stupid opinion. There’s no such thing as being experimental enough. By no means did he play it safe. In fact, to have an album that covers so many genres is already a risk. It can pan out like Twenty One Pilots’ Vessel or crash and burn like Lady Gaga’s Joanne. Sweet Disarray is a very solid debut by an artist that I think we’re going to see many great things. So, where’s that second album, Dan? 7.5/10

Get Dan Croll’s Sweet Disarray on vinyl on Amazon!

January 26, 2017
Sing Street Movie Review — A fun musical romp with an emotional punch

Packed with fun musical numbers and flashes of humor, Sing Street is enjoyable on both a superficial and emotional level.

John Carney is obsessed with the power of music. It’s what his last three films, including Sing Street, are about. Once talks about how music can communicate emotion and is a universal language. Begin Again explores the healing power of music. Carney is interested in how music is used to escape from your life with Sing Street.

This is perhaps the closest he’s gotten to a musical so far in his career. It’s the first time he has tackled a period piece. Part of the film’s success has to be due to its ability to immerse you in the 80s. Everything from the fashion to the music to the society is there. The production is quite impressive. The costumes, in particular, are a highlight. Much of the main character Conor’s (Ferdia Walsh-Peelo) knowledge of music comes from his brother – Duran Duran to the Sex Pistols – and that fashion is what they replicate to some success.

Sing Street tells the story of Conor Lalor. During the 80s, Ireland is racked with unemployment and a crumbling economy. His parents are forced to move him to the free state school Synge Street to cut costs. Of course, Brother Baxter, a dictator-like principal, runs the school and sets his sights on Conor for not wearing black shoes no less. The transition to our equivalent of a public school is hard on Conor. He is exposed to violent – possibly sociopathic – teenage boys. On top of that (yes, there’s more), his parents are on the verge of splitting up. Though the movie sounds like a kitchen sink drama, we’re spared from the melodramatics.

After a few days of torture (both physical and mental) at Synge Street, he sets his eyes on Raphina (Lucy Boynton). She’s the object of any 80s teen with big hair, flashy makeup, and a gaze that’ll burn right through you. Conor asks her to appear in a music video for his band. The problem is that he doesn’t have a band. Cue the making the band montage. Conor teams up with Eamon (Mark McKenna), whose dad is in a traveling cover band, and recruits a keyboardist, drummer, bassist, and manager. Together, they form the band Sing Street.

However, underneath the fun musical numbers and making-the-band fantasies is a surprisingly real drama. There’s a scene about a third of the way through when Raphina takes her makeup off while she listens to Conor’s newest song. This is when the movie goes from a piece of the genre to something more. A lot like La La Land, it’s about this dream world that you use to escape the harsh realities of life. However, Sing Street feels a lot more real. It has experiences that more of us know.

Even Brendan, Conor’s freewheeling, music-loving brother, has an internal darkness that’s eventually revealed. It all comes to a head in the scene when they record the video for “Drive It Like You Stole It.” It’s the closest the movie gets to fantasy. And it’s an enthralling scene. Though, the end leaves you heartbroken. It’s a culmination of the harsh realities that Conor faces and his desire for them to simply disappear. Of course, it’s just a facade. “Drive it Like You Stole It” may be the best song from a movie last year. Sorry, La La Land. However, in general, the 80s infused score is not only pitch-perfect but so damn catchy.

Despite its dark undertone, Sing Street is incredibly entertaining. I had so much fun watching this movie. That’s something that you don’t get to say as often anymore. All the characters are likable and come with their own kind of charm. You can believe the relationship at the center of the movie. But what makes the movie truly enjoyable is that you feel the journey that Conor takes. My one quibble with the film is the ending. At first viewing, it felt out of place and unearned. However, an interview with director John Carney quickly assuaged that feeling.

It’s hard to pinpoint the one reason Sing Street works so well. It could be the musical numbers or the direction. Plus, the cast and characters are charming. However, I think it works simply because all these pieces fall together seamlessly. Yes, the drama can feel a bit contrived. But it’s delivered and packaged in such an entertaining way with memorable characters. It easily lands amongst the best films of the year for me.

★★★★ out of 5

Sing Street is available on DVD, Blu-Ray, and digital on Amazon!

January 25, 2017
Before the Fall Book Review — What do you do when you’re the one that survives

Before the Fall is a thrilling mystery that takes the time to dive both into its characters and our society. It’s a haven of a book for book nerds.

“For Emma, what made it so hard to return to the tiny apartment in the West Village she shared with two other girls was the sudden realization that for all those weeks of traveling she had been a stowaway in someone else’s life, an actor on a stage playing a part. She was a royal escort, the chaste concubine, immersed in servitude for weeks at a time, until the rules and boundaries she set to navigate her professional life became the backbone of her personal life as well. She found herself growing increasingly lonely, an object to be looked at, but never touched.”

Before the Fall soars in its ability to create a character, then completely subverting your expectations of them. It is something so beautifully demonstrated in this passage. Noah Hawley’s prose is something to marvel at in terms of language. However, when you take into account the emotional intelligence it takes to write about a character at this depth, it becomes one of the most incredible examples of storytelling in recent memory.

In an era of “fake news,” the resurgence of conservatism, and the reality television mindset of our society, Before the Fall is a lot more timely than I think was intended. It tells the story of a private charter flight that mysteriously plummets into the ocean sixteen minutes into its flight. Onboard were twelve people — a media mogul, a wall street titan, a security guard — however, only two people escape alive. This simple fact sets off a media firestorm and begins a story about what happens after you’re the one that survives.

Check Out: “Sleeping Giants” Book Review: A Unique, Engaging Sci-fi Thriller

The book centers on Scott Burroughs, a down-on-his-luck painter, who by chance meets Maggie, the wife of media mogul David Bateman on Martha’s Vineyard. She offers him a ride on their plane since they’re both heading to New York. This offer changes Scott’s life forever. After waking up in the middle of the dark ocean, he miraculously saves a four-year-old boy who was on the plane by swimming miles to shore. Improbably, yes? It is so improbable that some people think he may have been involved in the crash.

The mystery of how the plane crashed is what bookends the book. However, the real story is the lives of the passengers before and after the crash. How did Scott muster up the strength to save himself a four-year-old boy? How did a man go from a suicide apocalypse cult to flying a private plane? While the stories may seem ridiculous, their effect on the characters and event as a whole are fulfilling.

Bill Cunningham, a Bill O’Reilly type on ALC, is immediately suspicious of Scott and his place on board. Of course, as a conservative, he immediately points to terrorism. Cunningham is doing everything in his power (legal and illegally) to find out how he was involved, while NTSB agent Gill Franklin is on Scott’s side. As we meet each character before the fateful flight, we have to piece together the clues like an Agatha Christie novel.

As I alluded to earlier, the genius of Before the Fall lies in the character. People like the trophy housewife and the sexy flight attendant take on new meaning with this book. Hawley paints a complex picture of each character and analyzes how their pasts steered them towards the inevitable place on that plane.

Check Out: “Dark Matter” Book Review: A tense, well-plotted thriller

Before the Fall might be a bit difficult to get into at first. It begins slowly. However, The middle section of the book is an enthralling character study and analysis of key actors at the center of a tragedy: the survivors, the victim’s family, and the media. It analyzes how these people interlock and interact. More importantly, Hawley has an understanding of how we react to tragedy. It’s the last two chapters, though, that make this an incredible triumph of a thriller. As the story finally pieces together, you are treated with a character study and thrilling finale that doesn’t disappoint.

Before the Fall is the first book that I completed in 2017, and I couldn’t pick a more satisfying start. With mystery, compelling characters, and writing that is poetic and vivid, it’s a haven of a book. However, it’s commentary on society is one of the most interesting things about it. The amount of commentary is astonishing. From the media to fake news to masculinity, Before the Fall is a book in and of its time. And that’s something to marvel at. 9/10

Get Before the Fall in paperback, hardcover, or e-book on Amazon!

January 25, 2017