Smash Cut

Tag: Anton Yelchin

  • ‘Thoroughbreds’ review — Coming-of-age has never been so diabolical

    ‘Thoroughbreds’ review — Coming-of-age has never been so diabolical

    Thoroughbreds is a twisted and darkly funny coming-of-age debut film about what it means to be evil

    Thoroughbreds is about evil. What makes someone evil? However, it begs that question in two ways. What makes someone evil—meaning what action or actions that a person takes that makes them considered evil—and what makes someone evil—in that what happens in someone’s genetics or upbringing that could make them evil. The film, however, is more opaque than that. Director Cory Finney’s first feature is a subversive coming-of-age that is deliciously twisted and bleakly hilarious in a way that we haven’t seen since Park Chan-Wook’s Stoker.

    The characters in Thoroughbreds come from privilege and imbue everything that comes with that. Lily (Anya Taylor-Joy following up her breakout roles in The Witch and Split) is a polished and intelligent boarding school girl who has countless prospects in life. Amanda (Olivia Cooke), on the other hand, could simply care less about what life has in store for her. She admittedly is completely devoid of emotion and can’t even process it in other people. However, the two were old friends and have again started to talk to each other, even though they both know that it’s because Amanda’s mother Karen (Kaili Vernoff) paid Lily to casually tutor her.

    The two girls haven’t spoken to each other in years since drifting apart after middle school—the way it always goes—and Lily is clearly hesitant to interact with Amanda after she euthanized her injured horse with nothing but a knife. And while their reunion is uneasy, the quickly bond over one thing: Lily’s contempt for her stepfather Mark (Paul Sparks). Amanda quickly dispatches an easy solution: murder Mark.

    Like most film noir’s, which Finley used as the basic structure, Thoroughbreds is interested in the morality of its character’s actions. Much of the film’s lean 90-minute running time is spent with the pair debating the absurd plan’s ethics in darkly funny exchanges. Cooke delivers Amanda’s dialogue with a pointed deadpan that always seems to get to Taylor-Joy’s Lily. Connecting back to the central question of the movie, Amanda is the makes question and Lily is the what question.

    “You cannot hesitate. The only thing worse than being incompetent, or being unkind, or being evil, is being indecisive.”

    — Amanda (Olivia Cooke), Thoroughbreds

    Eventually, the low-level drug dealer Tim (Anton Yelchin in one of his final film roles before his tragic death) is introduced into the story. His kicked assumed tough guy exterior mixed with a kick puppy dog endearment makes him an interesting third wheel in the story. He serves as a bridge between the two extremes of the girl. He may be doing something harmful—dealing drugs to teenagers—but he’s doing it for a noble purpose—pursuing his slice of the American dream. Yelchin’s performance just makes the sting of losing him even worse. Few actors could both endear themselves to an audience with characters that don’t always deserve it.

    The girls plan to use Tim as a hitman to murder Mark, who Sparks plays absolutely despicably with few redeeming qualities if any. But does he truly deserve to die for that? Instead of going for genre thrills, Thoroughbreds is more meditative than that. Case in point, a climactic scene is a single image that doesn’t change except for the sounds we hear just outside the frame. This may be Finley’s first film, but he’s extremely assured as a director.

    Thoroughbreds is a perfect example of various elements coming together to make a great film. Taylor-Joy and Cooke deliver incredible performances that act as foils to one another while Yelchin, though limited in screentime, acts as an emotional grounding for the film. The twisted but simple plot is expertly stitched together by Louise Ford and scored by Erik Friedlander—one of the best movie scores of the year. And at the core is a stunning feature debut by Finley. The movie flies by, but it’s impactful and daring. Thoroughbreds is one of the year’s best.

    Thoroughbreds is available to watch on Amazon ➤

    Karl’s rating:

  • Green Room Movie Review — A tense thriller that pits punks against Nazis

    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.

    Joe Cole and Callum Turner in Green RoomLet’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!

  • Star Trek Beyond Movie Review — Focus on character revitalizes the reboot franchise

    Star Trek Beyond Movie Review — Focus on character revitalizes the reboot franchise

    Justin Lin’s Star Trek Beyond shows that a blockbuster can be in the same realm as a character drama and still be successful

    Going into Star Trek Beyond I wasn’t feeling the highest on Star Trek Into Darkness (check out my review here). I thought it was thisclose to being a great movie. But two things kept it from that. The first was the underutilization of the full cast. Second, the movie felt more concerned with having these epic action set pieces that it forgot to have a strong plot underneath connecting them. Since Justin Lin was directing it I was a bit nervous that it would actually be even more concerned with action set pieces. He proved me wrong. He proved me so wrong, in fact, that I think this is the strongest movie in the Star Trek reboot franchise.

    Now, I will precede this review with the fact that I saw the movie during an incredible birthday weekend orchestrated by Brian, but I really think that this movie will hold as one of the best blockbusters of the decade.

    I’m not too familiar with the Star Trek franchise outside the reboot films, but I imagine this is what the series felt like. Justin Lin has shown surprising restraint in character scenes throughout the movie. The movie begins with a simple, but resonant monologue that talked about what is like aboard the Enterprise when they aren’t being attacked or fighting. Lin said he was interested in those moments outside of work and how characters interacted with each other in a personal setting and this sequence was perfect in positioning the overall mood of the movie.



    In all, this movie was the most humanizing of the franchise so far. That brings me to the much talked about decision to make Sulu (John Cho) gay as a tribute to George Takei. As a gay Asian man it was so refreshing to see that particular culture portrayed on screen and the meaning behind it was even stronger. The way it was handled was so beautiful. It didn’t feel like an epic moment. It felt normal. As John Cho said, in ten years it’ll just fade into the background because his sexuality didn’t matter. But what was even more impressive was that this movie talked about the lives of these characters outside of the ship. There was Sulu’s family, but early in the movie, there was a scene between Bones (Karl Urban) and Kirk (Chris Pine) where they talked about his father’s death and talking to his mother. It’s so easy to forget that these characters have lives and that three years aboard a ship is going to take a toll.

    As for the main plot and action, I think that it is visually one of the most interesting and impressive of the series so far. The Enterprise is attacked just above an uninhabited and uncharted planet and as the crew gradually evacuates, they are separated and some are taken by the mysterious villain Krall (Idris Elba).

    The pairings make for incredibly funny moments, but also such great character moments. There are McCoy and Spock which makes for a hilarious pair, but also really touching moments when Spock begins to question his morality. They naturally seem like such opposites, but when they are faced with what seems like a hopeless situation they raise each other up in their own unique ways.

    Then there’s Chekov (Anton Yelchin [RIP]) and Kirk. I think that Chekov felt like a boy in the first two movies, but he truly comes into himself here with Kirk as his fatherly figure. I wish there was more to their story, but the work the Yelchin and Pine put into it is some of the strongest acting of the series.

    Uhura (Zoe Saldana) remains the heart of the crew and that continues when she’s imprisoned by Krall. She is out insight into him. Plus, she gets to kick ass. I wish her role was more integral to the plot, but I’ll take what I can get. She matches with Sulu, who has also become this strong heart in the crew as well.

    Lastly, we have Scotty (Simon Pegg) and Jayla (Sofia Boutella). They become unlikely partners when she saves him from a group of bandits on the planet. Her ignorance to some of the human tendencies makes for hilarious exchanges between the two. But she also has a nice arc about what it is to be brave. Boutella is a breakout star. Her addition ups the female power in the series and shows what an action hero can truly be.



    But as much as I love the action set pieces like the Enterprise being attacked and crashing into the planet or the rescue plan for the imprisoned crew, I still go back to these character moments. However one sticks out to me in particular.

    MILD SPOILER ALERT AFTER THE JUMP

    Early in the film, we are shown the futuristic Federation base Yorktown. The same way our hearts swelled when we first saw dinosaurs in Jurassic Park and we heard the score swell, the visuals of this city were incredible. But it plays a part at the end of the movie too when Krall turns his attack towards it.

    We are introduced to Sulu’s family on the base, which adds an emotional element to the attack. We aren’t seeing faceless red shirt being killed. It is Sulu’s family who we care about because we care about Sulu. It was a smart simple touch that made the film all the better.

    END SPOILERS!

    Star Trek Beyond is about unity and why being together is better than being apart. With the Brexit and Donald Trump being in the news this year, that message holds, even more, truth. However, Star Trek doesn’t concern itself with politics. Yes it had the first interracial kiss on television, yes they have a gay Asian character, but these are born out of moments of character. It’s what made Mad Max: Fury Road so great and what makes this one of the best movies of the year so far.

    8.5/10

    Get Star Trek Beyond on DVD, Blu-Ray, or digital on Amazon!

  • Star Trek Into Darkness Movie Review — A solid but underwhelming follow up

    Star Trek Into Darkness Movie Review — A solid but underwhelming follow up

    It doesn’t live up to the first movie in the franchise, but Star Trek Into Darkness holds its own as an action thriller

    With Star Trek Beyond hitting theaters this week I thought it’d be the perfect time to go back and review its predecessor, Star Trek Into Darkness (the title gets a negative review).

    I need to explain my history with the Star Trek franchise before diving into this review. Three words: I. Have. None. Yes, my first experience with Star Trek was J.J. Abrams’ 2009 reboot and Patrick Stewart’s facepalm meme. That being said, it was nice going into this film with no prior conceived notions of even the tone of what came before. I didn’t know if it was going to be a crowd pleaser like Star Wars or a gritty action thriller like Alien. I quickly found that it essentially toed the line down the middle, though straying more a bit to the crowd-pleasing side.

    I loved the first movie. I thought it was an incredibly sleek and well-shot action thriller that had a surprising amount of depth in its characters. It was the chemistry among the cast and Abrams’ surprising grasp of the film’s mood that made it so successful. It’s surprising that it took me this long to finally get to the sequel. It’s simply one of those movies that just slipped through the cracks. But when I finally did I thought it was a mixed bag.

    Starting off with the cast. I think that the supporting cast was severely underutilized. Zoe Saldana‘s strong, take-what-I-want Uhura was relegated to a pissed off girlfriend role while Anton Yelchin‘s (RIP) endearing Chekov simply ran around saying what was going wrong. John Cho‘s Sulu, even though at one point becoming the acting captain of the Enterprise, didn’t get much more than some strong lines then fades into the background.

    “Nyota, you mistake my choice not to feel as a reflection of my not caring. Well, I assure you, the truth is precisely the opposite.” – Spock

    Instead, a lot of time was devoted to the relationship between Chris Pine‘s Captain Kirk and Zachary Quinto‘s Spock. I didn’t mind that per se, but much of that storyline didn’t need nearly as much time as it received. Another storyline that had a little too much time was Benedict Cumberbatch‘s villainous turn as Kahn. While I appreciated the attempt to create a multi-layered antagonist with motives that could be perceived as admirable, they gave him too much time to monologue and not enough to be a really cruel bad guy.

    We get a moment briefly when his cruelty is truly explored when Kirk, Spock, Scotty, and Dr. Carol Marcus (Alice Eve) are trapped on an enemy ship, but that moment is short lived. That’s the issue I think Abrams had this time around. He was too concerned with creating these epic set pieces like Kirk and Kahn space diving to another ship or a battle with a Klingon patrol and forgot that there was a story to tell.

    That being said, I thoroughly enjoyed these set pieces and the chemistry between the two lead actors. Plus, there were some moments that weren’t as epic but still showed great vision from Abrams, like an attack on a Star Fleet archive early in the movie. He showed some great restraint and focused more on this incredibly minor character’s motivations to the point that it very well might have been the most affecting part of the movie.

    If you enjoyed the first Star Trek, then you will probably enjoy Star Trek into Darkness for what it is: a summer blockbuster. It doesn’t have the charm or the heart of the first, but it gives enough fuel to the franchise to warrant its existence.

    7/10

    Get Star Trek into Darkness on DVD, Blu-Ray, or digital on Amazon!