Tag: Now Streaming

Why The Cabin in the Woods is A New Classic Horror Movie

Five years later, The Cabin in the Woods is looking more and more like a horror classic that is singular in its mission to revitalize the genre that we know and love.

Five years ago, the trajectory of the horror genre was forever changed with the release of the Joss Whedon and Drew Goddard film The Cabin in the Woods. Well, maybe not forever changed, but it sent a statement to the horror community that has certainly been heard.

Cabin is a loving hate letter to the horror genre. It simultaneously emulates — specifically the genre post-Evil Dead — and criticizes its new tropes by “explaining” its most outlandish aspects. The last movie to attempt this to success is Scream, which set off yet another wave of copycat movies. However, The Cabin in the Woods is one that won’t be easily copied, which is why it is and will stand as a new horror classic.

Drew Goddard and Joss Whedon wrote The Cabin in the Woods in essentially a weekend as a response to a couple of failed projects and a glut of “torture porn” horror movies — popularized by the Saw series. In the Blu-ray commentary, they called the movie “something for us.” However, that “us” can also describe fans of the genre. This movie could only be born out of horror movie fanatics that are so well-versed in its history and tropes that it would take another horror movie fanatic to truly catch all the references. In that sense, The Cabin in the Woods is a gift to horror fans.

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The Cabin in the Woods doesn’t just subvert the genre tropes, it challenges the very fabric of the horror movie industry. The movie opens on Sitterson (Richard Jenkins) and Hadley (Bradley Whitford) speaking to Wendy Lin (Amy Acker) about several failed rituals around the globe. Goddard and Whedon’s decision to open with this scene was surprising but completely necessary to the success of the movie. Without it, we’d open to the next scene which shows the girl next door type Dana (Kristen Connolly) packing for a weekend at the eponymous cabin in the woods with her newly blonde friend Jules (Anna Hutchison) and her jock boyfriend Curt (Chris Hemsworth). Goddard creates the opening of almost every 2000s horror slasher so perfectly — right down to the score — that the audience would immediately be turned off by it. However, the opening scene in the facility coupled with the fact that the characters don’t exactly meet their stereotypical horror counterparts — Dana had an affair with a professor, Jules is pre-med, and Curt is at school on full academic scholarship — makes you realize that this is a horror movie like no other.

Goddard was careful to actually recreate the horror movie setup that he is looking to tear down — the other two friends joining them on the trip fill the roles of the comedic stoner Marty (Fran Kranz, who gives one of the best performances of 2012 in the film) and love interest Holden (Jesse Williams). The group even encounters a creepy old man at a seemingly abandoned gas station warning them of their impending doom. However, Goddard and Whedon use the scenes at the facility to explain those occurrences. It’s a subtle jab as to why every horror movie plays out the same.

By the time the film comes together — which is refreshingly gradual compared to the sudden “twist ending” that has also plagued the genre — you’ve already pieced together the clues and have come to an understanding about it. Simply put, The Cabin in the Woods is one of the sharpest satires of our generation. It’s a meta-horror movie that simply laughs at the very movies it’s trying to perpetuate. More than that, there’s a clear sense of recognition. Any horror fan watching the movie can pick out the cliches and stereotypes. However, the movie quickly subverts those and replaces them with reference after reference to classic horror movies — some direct and some you have to dig through your brain to unlock. There are so many that you have to pause the movie several times to catch them all. But that’s why Cabin is so good. As much of a sharp criticism it is, it’s also a playground for horror fans to play in. After watching this movie a dozen or so times I am still discovering new references.

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But what does it mean? Satires often have a message to whatever they’re satirizing. So, what is the message to the horror genre? Well, the last few minutes of the movie quite efficiently lay that out there. The genre and its fans need a hard reset. We need to stop asking for more blood, more gore, and more sex when it comes to the genre. Instead, the movie begs for smarter characters, more interesting rules, and new stories to be told. Instead of the 33rd Halloween movie, Goddard and Whedon send out a plea for the next Scream or 28 Days Later. The genre needed a reinvention and, in my opinion, The Cabin in the Woods started one.

Following Cabin we’ve seen an influx of original horror. Some can’t be attributed to the movie. The Conjuring is another movie that was on the forefront of the horror renaissance and part could be attributed to the fact that people that grew up with 80s horror now have the chance to make movies that they want to see. However, I also think that Cabin gave filmmakers the confidence to tackle more interesting stories. Between The Witch, It Follows, The Babadook, and Get Out, this decade has had its lion’s share of great horror. However, I’m always going to look fondly on The Cabin in the Woods for encapsulating the mood of the times and acting as a transition into the golden age of horror.

April 11, 2017
Zodiac holds up better than ever 10 years later | movie review
David Fincher’s 2008 film Zodiac has grown to be one of his best, if not one of the best cinematic offerings of the century.

Zodiac strikes the perfect balance between engrossing police procedural, atmospheric horror, and compelling character study to be one of the best movies of the century.

To fully appreciate Zodiac, you have to watch it more than once. On the first viewing, you should focus on the story, the plot, and the red herrings. The twisting tale of the Zodiac killer — a serial killer who tortured Northern California with his sick games for more than a decade — is one that is not easily unraveled. It’s a disorienting story. And director David Fincher understands that. He puts you into the headspace of the characters by playing with space and time.

They’re who you should focus on next. How do they grow throughout the story? Why do they make the decisions they make? It’s not always an easy question to answer. Lastly, look at how the film was put together. An entire semester of cinematography can be taught from this one movie. DP Harris Savides uses a neutral color palette that feels appropriate for the Bay Area setting, but somehow he finds empathy in the characters. Coupled with Angus Wall’s emotive editing, it immerses you in the world. However, it all goes back to the way Fincher mixes these elements. So, watch it a fourth time. Then you’ll understand why this is not only Fincher’s best film but one of the best movies of our generation.

The tale of the Zodiac killer was never one that would easily transfer to film. Despite the violence of the attacks, the publicity of them, and the rigor in which the investigation was handled, in reality, the breaks came slowly and there was never a clear progression when it came to the case. If anything, the most cinematic facet of the story was the multiple red herrings during the investigation. So, how did David Fincher and screenwriter James Vanderbilt fill out the nearly three-hour running time? While the story of the Zodiac was a huge part of the movie, as was the investigation — a large chunk feels like All the President’s Men or Heat — the main focus is how the investigation fundamentally changes the characters.

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Robert Graysmith (Jake Gyllenhaal) frames the story as a San Francisco Chronicle cartoonist who is on the periphery of the Zodiac case when the newspaper receives a letter from the killer demanding that a puzzle is published in the paper. Eccentric journalist Paul Avery (Robert Downey Jr.) takes lead on the case for the Chronicle while SFPD Inspector David Toschy (Mark Ruffalo) takes hold of the police investigation.

The first half of the movie plays like a police procedural — take Heat or The French Connection — and newspaper drama — like All the President’s Men or the more recent Spotlight. It’s a thrilling whirlwind of facts and dead ends and terrifying attacks that increasingly adds to the sense of helplessness with the case. However, the second half becomes one man’s obsession — Robert Graysmith, specifically — with finding the truth. Not for any higher purpose. Simply because he craves the answer and eventually needs it.

Zodiac is a story that isn’t inherently cinematic. There isn’t a linear storyline. Essentially we follow information as it’s traded and moved from place to place, which is why Fincher makes the decision to bring it down to the character-level. A huge part of that is due to Savides’ near iconic cinematography. It’s kinetic at some points — the first Zodiac letter arriving at the Chronicle office for example. Other times, it’s emotive — Graysmith speaking with a potential suspect in his home is a masterclass in using camera movements to build tension. It’s the combination of the two that paces the movie in a way that makes it feel like there’s more action happening than there actually is.

Chloé Zhao makes Nomadland‘s melancholic but hopeful story of nomads traversing the American West a stunningly complex character study of life on the margins of society.

Robert Downey Jr. and Jake Gyllenhaal in Zodiac. Courtesy of 20th Century.

That doesn’t mean that its set pieces aren’t thrilling. Those scenes demonstrate Fincher’s patience — it contributes to the nearly 3-hour running time without feeling unnecessary. Take the scene where the Zodiac attacks an unsuspecting couple lounging by a lake. The way it unfolds is slow and deliberate. Calculating, like the Zodiac himself. And unlike Seven, his other crime procedural, the scene is almost devoid of cinematic flair. The scene is scoreless and the cinematography is extremely objective. It’s unsettlingly emotionless — like the killer.

Robert Downey Jr. mixes his carefree attitude perfectly with genuine journalistic curiosity. As the character evolved during the film, Downey is able to maintain a ghost of the character’s previous life to heartbreaking effect. The same goes for Mark Ruffalo. In particular, his chemistry with Anthony Edwards is what makes his character and performance work. Chloe Sevigny also does great work in her limited screentime, which still has an impact.

However, the two performances really stand out. John Carroll Lynch — who does similar creepy work in The Invitation — sends chills down your spine with his enigmatic portrayal that becomes more sickening each moment he’s on the screen. Jake Gyllenhaal, on the other hand, is endearing, which is essential to the role and to the last half of the movie. As Graysmith falls further into his obsession with the Zodiac, it becomes easier to feel alienated by his character. Instead, you feel sympathetic for him. His hunger for the truth is infectious.

I think the acclaim for Zodiac only increases from here. Ten years ago, the film was received rapturously. However, the weight of its cinematic importance has only begun to be appreciated. Even with more popular movies like Fight Club and Gone Girl, and more uniformly acclaimed movies like The Social Network and The Curious Case of Benjamin Button, I believe Zodiac is going to be the Fincher movie to be studied, remembered, and revered most highly. It proves that digital can be as cinematic as film and that long running times, lack of action, and information overload are just minutia when compared to the real goals of the film. Those goals are emotion, the visual language, and the power of cinema that we don’t often stop to appreciate.

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Hey! I’m Karl. You can find me on Twitter and Letterboxd. I’m also a Tomatometer-approved critic.

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April 24, 2017
HBO Max: 10 Great Movies Now Streaming (July 2020)
Here is a running list of some of the best movies streaming on HBO Max this month!

From HBO originals to the DCEU to the Studio Ghibli back catalogue, HBO Max is a film geek’s haven. Here are some of the best movies streaming this month.

Ad Astra (2019)

Here’s what it’s about: Astronaut Roy McBride (Brad Pitt) goes on a cross-solar system mission in search of his missing father (Tommy Lee Jones) to prevent the destruction of the planet.

Why you should watch it: Although its premise sounds like an action-packed sci-fi epic, Ad Astra is more of an internal journey. Director James Gray uses space travel—and all its dangers and unknowns—as a kind of therapy for Pitt’s character. As he explores space, he also explores his own morality and inner traumas.

Alien (1979)

What it’s about: Commercial spaceship Nostromo intercepts a distress signal from a distant planet. However, after an encounter with a mysterious alien egg, they find themselves fighting for survival aboard their ship.

Why you should watch it: A masterclass in horror and suspense, Alien remains one of the best science fiction and horror movies ever made. In addition to its lived-in vision of space travel, director Ridley Scott created a cast of iconic characters led by Sigourney Weaver’s Ellen Ripley. She is still one of cinema’s great heroes.

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Blood Simple (1984)

Here’s what it’s about: Marty (Dan Hedaya) suspects his wife Abby (Frances McDormand) and his employee Ray (John Getz) are having an affair arranges to have them killed. However, after a series of misunderstandings chaos ensues.

Why you should watch it: The directorial debut of lauded director duo The Coen Brothers, Blood Simple is simply one of the best first features ever made. A western neo-noir filled with suspense and the Coens’ famous dark humor, its tight plotting and rhythmic pacing make it an entertaining breeze of a watch.

Catch Me If You Can (2002)

Here’s what it’s about: Based on a true story. Frank Abagnale Jr. (Leonardo DiCaprio) is just 19, but has already been a Pan-Am pilot, doctor, and attorney. He’s also the world’s greatest con man. But FBI agent Carl Hanratty (Tom Hanks) is on his trail.

Why you should watch it: The directorial debut of lauded director duo The Coen Brothers, Blood Simple is simply one of the best first features ever made. A western neo-noir filled with suspense and the Coens’ famous dark humor, its tight plotting and rhythmic pacing make it an entertaining breeze of a watch.

Kiki’s Delivery Service (1989)

Here’s what it’s about: On her 13th birthday, young witch Kiki ventures out to find a town to complete her training. However, when she settles on a town, she learns that fitting in isn’t as easy as it seems.

Why you should watch it: Kiki’s Delivery Service is quintessential Hayao Miyazaki. He hides complex coming-of-age themes in a fantastical, entertaining, and heartwarming narrative that uses its lack of stakes and adversity as a point of strength and hope.

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The Nice Guys (2016)

Here’s what it’s about: A down-on-his-luck private eye Holland March (Ryan Gosling) is hired to investigate the apparent suicide of a fading porn star in 1970s Los Angeles. Along the way, he crosses paths with muscle-for-hire Jackson Healy (Russell Crowe). Together, they uncover a deeper conspiracy that takes them through the LA criminal underbelly.

Why you should watch it: Director and writer Shane Black has a very specific sense of humor. It’s sharp, a little bit dark, a little bit silly, but it always catches you off guard. The banter between Gosling’s March and Crowe’s Healy is already reason enough to watch it. It’s the classic odd couple dynamic that’s amplified by both actors’ performances. Gosling, in particular, is a riot as a bumbling alcoholic that can never seem to catch a break. Plus, no other actor can scream or fall as hilariously as Gosling.

Singin’ in the Rain (1952)

What it’s about: Don Lockwood (Gene Kelly) and his best friend Cosmo (Donald O’Connor) are struggling through the transition from silent films to talkies in Hollywood. Especially since his on-screen co-star Lina (Jean Hagen) has a shrill voice. With the help of Kathy (Debbie Reynolds), they make movie magic.

Why you should watch it: Watching Singin’ in the Rain is like the feeling of a warm embrace of a memory—even if you never watched it before. Filled with bright and brassy musical numbers, hilariously memorable characters, and a Hollywood ending like no other, it’s easily one of the most delightful movies ever made.

Unfriended (2015)

Here’s what it’s about: Six friends gather for a video call on the anniversary of a classmate’s suicide. When they receive a message from her from the grave, a sinister game begins.

Why you should watch it: Unfriended is a movie I believe we’ll look back on and see an underrated horror classic. Taking the classic slasher format and giving it a modern update by making the setting a skype conversation on a laptop screen, it gives us the spooks and scares we crave by turning our mundane everyday lives into a horror movie. [Full review]

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Hey! I’m Karl. You can find me on Twitter and Letterboxd. I’m also a Tomatometer-approved critic.

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July 8, 2020
‘To All the Boys I’ve Loved Before’ review — A crush-worthy teen rom-com

To All the Boys I’ve Loved Before is a swoon-worthy teen romantic comedy with a heart of gold and a trailblazing protagonist.

To All the Boys I’ve Loved Before comes on the heels of Set it Up and Crazy Rich Asians, which seems to cement 2018 as the comeback of the romantic comedy. And while To All the Boys I’ve Loved Before would seem like it has the least pedigree of the three, it’s one of the best teen movies I’ve seen in years—including movies I loved this year like Love, Simon and Blockers. That’s because it, for the most part, subverts the typical teen rom-com cliches.

One part of that is casting Vietnamese-born actress Lana Condor as the lead character who was written in Jenny Han’s book of the same name as a half-Korean, half-Caucasian girl—something that not every Hollywood adaptation of a prior property has done. However, the other part of the movie’s success is that Susan Johnson took those typical rom-com cliches in the movie and simply makes them work. It has the typical structure of a rom-com, but fills that structure with realistic—but still over-the-top—characters and a star-making performance by Condor.

Condor plays Lara Jean Covey, your typical high school student who awkwardly tries to find someone to sit with in the cafeteria, is afraid to drive, and harbors crushes on boys that she barely has contact with. However, unlike most teens, she writes letters to each of her crushes—the letters are as embarrassing as you’d think—and hides them away in a gift box her deceased mother gave her. Some of those crushes include a middle school spin-the-bottle kiss, Peter (Noah Centineo), her Freshman year homecoming date Lucas (Trezzo Mahoro), and her sister Margot’s boyfriend and former friend Josh (Israel Broussard).

That last crush is the one that could have the most devastating effect for Laura Jean since Margot (played by Janel Parrish) has broken up with Josh right before she left for college in Scotland. That’s why when the letters somehow get out in typical rom-com fashion, Lara Jean hatches a plan to avoid an awkward discussion about his letter.

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To All Of The Boys I’ve Loved Before

That plan involves another former crush, Peter, now the school’s most popular lacrosse-playing jock who just broke up with his girlfriend and Lara Jean’s former best friend Gen (Emilija Baranac), pretending to be her fake boyfriend to convince Josh she’s not in love with him anymore. But Peter has his own motivation for the fake relationship. He desperately wants Gen back since she left him for a college student.

Though the plot is as teen rom-com as it gets and the story beats don’t stray too far from the standard—there are ridiculous parties in enormous mansions, a climactic school event that is a turning point for the movie, a leaked embarrassing moment caught on camera—Johnson makes every single moment count, even the corny ones.

But what struck me the most was the emotional moments. Surprisingly they had a lot of impact, especially a moment where Lara Jean and her father (John Corbett) reminisce about her mother and he tells her a story about a diner they’d frequent. A lot of rom-coms can feel like they lack a human element, but it’s alive and well To All The Boys I’ve Loved Before.

The reason Netflix has been so successful in churning out romantic comedies is that they realize they don’t have to reinvent the wheel. To All the Boys I’ve Loved Before doesn’t do much to surprise, but it has heart, something that the barrage of rom-coms that came out in the 2000s didn’t have. Don’t sleep on this movie just because it’s familiar—save for a lead character and actor blazing a trail for diversity—To All The Boys I’ve Loved Before is a crush-worthy movie that will have your heart swooning.

To All the Boys I’ve Loved Before is now streaming on Netflix. You can get the novel here.

August 20, 2018
'Those People' Movie Review — Jonathan Gordan is remarkable in this solid debut

Those People follows a twentysomething Upper East Sider who’s torn between pursuing his socialite best friend and a new romance with an older pianist

Quick review: Despite some first-time feature issues, Joey Kuhn’s Those People gives enough material to its talented lead Jonathan Gordan to introduce him as an exciting new talent.

When Those People is good, it soars. It lives in those moments of humanity — a kiss on the street, a mother/son heart to heart — and revels in the relationship between its characters. Though it flirts with melodrama, Joey Kuhn’s debut feature tries to ground its character even if they live in the sky of Manhattan known as the Upper East Side.

Toeing the line between the melodrama of Gossip Girl and the LGBT coming-of-age stories that have become a genre in itself, Those People follows Charlie (Jonathan Gordon), a 23-year-old painter who is the heart of his group of attractive friends living in New York. And while he’s the one that glues the group together, Sebastian (Jason Ralph) is the one gravitational pull. As the son of a Bernie Madoff type, he is dealing with a crisis of identity that drives much of the forward plot. Because of this, he unwittingly craves the attention of his friends with cries for help — excessive drinking, veiled suicidal thoughts. In particular, he needs support from Charlie, who has had a crush on him since they were younger.

However, when Charlie begins dating older concert pianist (Haaz Sleiman), the group of friends begin to be tested as Sebastian moves closer to the brink and Charlie struggles with his own feelings for the two men. In a way, it feels like a Gatsby for the modern age. Unfortunately, it never quite reaches those heights. I was pleasantly surprised that the movie was able to move past its premise — which is unjustly boiled down to a love triangle — and into something more profound. Still, it never takes enough diversions from the predictable direction.

What it does have, though, is heart and charm. In those moments, the movie soars — an early scene when the group of friends comes together to celebrate Charlie’s birthday is a prime example. That’s partially thanks to the cast — supporting players Britt Lower, Meghann Fahy, and Chris Conroy do great work. But the only way Those People works is with Jonathan Gordon in the central role. He sells the character’s struggles not only in words but with mannerisms. He turns a character who did not have much depth written into the script into a fully-fledged and realized person.

Those People never quite becomes the movie that I wanted it to become after I realized that it wasn’t just about a love triangle. In the final moments, we find the group of friends at the center of the film standing together in the apartment that we were first introduced to them. It felt like the series finale of a TV show. However, it doesn’t feel like Kuhn earned that final scene or the climax for that matter. Sebastian says at one point, “you don’t just face our good sides. You stare right at our one eye and you find the beauty in it anyway.” That’s the movie I wanted. One about friendship and relationships and the confusion of love. We get that most of the time, but at others, it loses its way distracted by extraneous plot lines. However, what is on the screen is good enough to introduce us to an exciting new talent in Jonothan Gordan.

April 25, 2017
‘Calibre’ review — Netflix’s suspenseful Scottish Highlands thriller

Calibre is a lean and oppressively dark thriller set in the Scottish Highlands that announces Matt Palmer as an exciting new filmmaker and Jack Lowden as a star

Calibre at the beginning is interspersed with sweeping, silent shots of the Scottish Highlands. The shots are beautiful but foreboding and isolating. Slowly the film closes in. The shots get tighter and lighting gets darker. The movie is literally closing in on the main characters.

The film, which is director Matt Palmer’s feature debut, is methodical and precise in its plot as two friends, Vaughn (Jack Lowden—last seen in Christopher Nolan’s Dunkirk—is brilliant here) and Marcus (Martin McCann), go on a hunting trip far into the Scottish Highlands.

Palmer’s screenplay deftly sets up the relationship of the pair in the breezy first act of the film. Vaughn, who has fiance and baby on the way, and Marcus, a businessman with a cocaine habit, are old boarding schoolmates that have the air of friends that can pick up where they left off even after time apart.

Their hunting trip takes them to a small village on troubled times held up and led by Logan (Tony Curran in a great performance). Though their drunken night on the town is light and fun despite some tension with the locals, the trip is anything but a relaxing reunion between schoolmates.

Something remarkable happens about 20 minutes into the film. In short, the hunting trip goes awry and someone ends up dead. From that point on, it’s nearly impossible to look away from the screen for most of the running time. Continually Calibre wounds tighter and tighter as new information and increasingly distressing events hammer at the pair before a bracing but inevitable finale closes out the taut thriller.

Even more impressively, the most suspenseful scenes are the ones where it’s just characters talking. However, Palmer’s sharp writing and tight directing keep you at arm’s length so you’re constantly at the edge of your seat trying to decipher who knows what.

Calibre flirts with folk horror like Kill List and, in an odd way, The Texas Chainsaw Massacre. They all follow polished city folk as they go up against rural counterparts. However, the more important similarity is the main characters’ series of decisions that lead them to their fates.

Truly though, the story isn’t something we haven’t seen before. However, when a movie is told this effectively with a Hitchcockian flair—credit has to be given to Chris Wyatt’s masterful editing and composer Anne Nikitin simple but oppressive score—it’s hard not to be engrossed in Calibre.

Calibre is now streaming on Netflix!

Karl’s rating:

August 28, 2018
Frank review — A celebration of weirdness and papier-mâché heads

Michael Fassbender is fascinating as the papier-mâché headed lead singer in Frank, which celebrates weirdness and understands mental illness

Frank is just about as quirky and surreal as you’d imagine a movie about an experimental indie band with a lead singer who constantly wears a giant papier-mâché head would be. However, surprisingly, the character of Frank (Michael Fassbender) — who dons that giant head for the entire 90-minute running time — isn’t the weirdest character in this movie. And that is one of the many reasons that this movie triumphs. Although this is a pretty sharp satire of the creative process, particularly that of the new wave of pretentious indie artists that seem to think that building an audience is a threat to their artistic integrity, it also has an appreciation for the same people and has a firm step in reality. It begs interesting questions, even if the way it ponders them can only be described as eccentric.

Jon (Domhnall Gleeson, in yet another strong, but under appreciated performance) is a down-on-his-luck wannabe musician who is tolling his days in his cubicle or walking down the street piecing together lyrics based on his observations. One day, as he’s walking down the beach, he witnesses a man being pulled out of the ocean by paramedics. As the man is being attended to, he encounters Don (Scoot McNairy), who reveals that the man was drowning himself and was the keyboardist in the band Soronprfbs — no one actually knows how to pronounce it. When Jon mentions that he is a keyboardist, Don, the manager of the band, invites him to fill in at their gig that night. When Jon shows up, the rest of the band is reluctant except for Frank.

This first performance with the band, with all the disparate electronic sounds, nonsensical lyrics being talk-sung by Frank, and lack of melody, is surprisingly charming. That’s mostly due to the fact that Frank, thanks to Fassbender, is as whimsical as the enormous papier-mâché head he wears — the head is oblong and smooth with enormous eyes that constantly feel like they’re judging you. After the performance, which goes well until it doesn’t, Frank invites Jon to become a full-time member of the band and to join them in Ireland and record the band’s first album. The band, particularly Clara (Maggie Gyllenhaal), has a strong disdain for Jon whose mainstream tastes rub them the wrong way.

Eventually, after explicit hot tub sex, a Viking funeral, and a lesson on YouTube, Jon reveals that he has been sharing videos of the band rehearsing online and that they’ve been invited to the South by Southwest festival. It takes a while for the movie to get to its main points, but it ponders them vigorously until the very end. Who is art for? The artist or the audience? In the case of Frank, there is the added storyline of mental illness. The way you react to the tonal switch in the third act will determine how you react to this movie as a whole.

On the two sides of the aisle are Jon and Clara. Jon, who is more concerned with his social media followers, is encouraging Frank as an artist to share their music with the world. Clara, on the other hand, recognizes the fragility of Frank’s psyche. She understands that for Frank the music is art and medicine. In director Lenny Abrahamson’s able hands, the shift from quirky comedy to character study is jarring, but a welcome relief. Though watching the band set in the woods painstakingly use various household objects to make disparate noises to use on their album is hilarious, there isn’t necessarily a way that you can see the movie wrapping up successfully on that tone.

Gleeson’s character is set up to be the “straight man” of the group, though his social awkwardness certainly gives him comedy points. Seeing the movie through his eyes give us a chance to view Frank mythically, then as misunderstood. Fassbender, on the other hand, gives us a surprisingly grounded view of a character as weird as Frank before giving us a view into his world. Mind you, Fassbender is doing this all without ever showing his face — he even wears it in the shower with a plastic bag protecting it — though his character does announce his expression periodically throughout the movie. Just through his physicality, you can witness the journey Frank goes through. It’s remarkable how much he emotes just through his body. More than that, though, he makes Frank more than just his papier-mâché head.

Banksy — another enigmatic artist whose identity has yet to be revealed — once said, “Art should comfort the disturbed and disturb the comfortable.” It’s hard to grasp that quote unless you’re an artist. What screenwriters Jon Ronson and Peter Straughan were able to do was give us a look into the mind of an auteur — the screenplay is based on several musicians including Frank Sidebottom and Daniel Johnston — for better or worse. The first part of the movie, which is as entertaining as they come, lets us in on the better. The final act, the worse. However, you leave the movie with a different understanding of art, mental illness, and what it means to be different. For the disturbed, you will be comforted. For the comfortable, get ready to get disturbed.

★★★★ out of 5

Frank is available to stream on Netflix and for rental on Amazon and iTunes

July 31, 2017
Under the Shadow review — A satisfyingly spooky Iranian ghost story

Under the Shadow gives a unique spin on the ghost story genre by setting it in a time and city where horror movies don’t often take place.

The horror genre was taken by storm in 2014 when Jennifer Kent’s The Babadook debuted to incredible acclaim. It’s deep dive take on the ghost story not only felt fresh and new but it also just affirmed the fact that we are in a golden age of horror. And though Babak Anvari’s Under The Shadow certainly bears a resemblance to Kent’s film — both concern mother and child under assault by a malevolent force — it infuses it with a unique political allegory that just begs the industry to start giving us more horror movies from diverse directors. If not for the sake of exciting voices, then for the unique perspective that we don’t often see in the suburbs of Anytown, USA where most ghost stories take place.

Under the Shadow already takes a bold step in the genre by taking place against the backdrop of 1988 Tehran during the height of the Iran-Iraq war. Iranian society and the Iraqi bombs that seem to endlessly pummel the capital play as much of a role in the film as the monster at the center. Nights with sirens driving families to underground bunkers are a part of daily life as is the tape on the windows preventing them from shattering. And constantly, progressive women like Shideh (Narges Rashidi — her performance is a revelation) are constantly suppressed by their society. The film opens with Shideh being barred from continuing her studies in medical school because of her involvement in leftist political groups. Moments of female oppression are littered throughout the film. When she returns home, she throws out all of her medical books except for a book of terminologies that her deceased mother gave her. Her husband Iraj (Bobby Naderi), a doctor, does his best to assuage her disappointment over medical school, but it seems that he is just another reminder of her failure — she had to put her studies on hold to raise their daughter Dorsa (Avin Manshadi).

Soon after, Iraj is called to the battlefront leaving Shideh — she refused to leave their apartment building to escape to her in-laws’ house — alone with Dorsa. While he’s gone, the missile sirens seem to be going off more frequently sending Shideh and her neighbors into the makeshift bomb shelter in the basement of their apartment building. One day, a missile crashes through the roof of the building and lodges itself in the floor of the apartment above the family, but doesn’t detonate. However, other than fear and shattered windows, the missile may have ushered in something more sinister. As mysterious occurrences become more and more frequent — classic “go bump in the night” phenomenon and a case of a stolen Jane Fonda workout tape — Shideh’s neighbor points to the possibility that a djinn may be responsible. In Middle Eastern culture, a djinn is an evil spirit similar to a demon in Western culture. However, for it to possess a victim, it must steal an item of theirs. So when Dorsa’s doll goes missing, a dark mood takes over the house.

Soon after, families start abandoning the apartment complex to flee to safer cities. However, Shideh stubbornly stays put as one last defiance to her circumstances. But as time goes on and fewer people are adding life to the complex, a sense of dread takes over instead. Anvari uses the building’s dark corridors and home’s dark corners and hallways to create a labyrinth that never truly feels safe. However, Under the Shadow‘s greatest virtue is its atmosphere. Even when nothing is happening, there is tension in the air. In one memorable scene, Shideh does her workout routine — one that she usually does to a Jane Fonda workout tape from the time — in front of the blank television. It’s absent of score or real plot significance. Still, that scene stuck with me because of the feelings it inspires — dread, horror, sadness, desperation. In less than a minute, Anvari gives you an emotional update on the characters without a single line of dialogue. It gives you the sense that he could be a real auteur.

Similarly to Essie Davis’ troubled protagonist at the center of The Babadook, Shideh is a mother who is afraid of her capabilities (or incapabilities) as a mother. However, Anvari adds an extra layer of political allegory. She’s living in a society where women are oppressed and that weight is palpable throughout the movie and that wears on Rashidi’s exceptional performance. Her character’s slow descent into madness is assured and adds to the terror. It’s hard to separate your feelings from hers. When she runs through the street at night to escape the nightmare in her home, you have a sense of relief because she made the decision that you wanted her to make. Of course, that relief is short-lived and again her society abuses her.

Though Under the Shadow is steeped in symbolism, it doesn’t drown under the weight of it. There are clear themes of female oppression, motherhood, and the anxiety of war. But refreshingly, it doesn’t feel self-important or like those themes drive the movie. First and foremost, this is a well-directed horror movie that has just the right mix of atmosphere and old-fashioned scares to delight the mainstream audiences. When you look deeper, though, there are treats for cinephiles to unpack. It’s this balancing act that makes Under the Shadow such a successful movie. Anvari makes the most of every minute of the movie — at 84 minutes, it’s a quick watch — and makes you feel satisfied in the process. Under the Shadow is a perfect example of what can come from giving filmmakers from a diverse background the opportunity to exercise their craft. By just changing the perspective, you get a movie that is more complex and interesting than anything a studio can put out with the same plot and scares. Listen up, Hollywood.

★★★★ out of 5

Under the Shadow is now streaming on Netflix and is available on Digital HD on Amazon!

June 19, 2017
Closet Monster Movie Review — An electric journey of self-discovery

Closet Monster is a unique take on the LGBT coming-of-age genre with a stellar performance by Connor Jessup

The exploration of sexuality is a sub-genre that has emerged from under the glut of young adult coming-of-age stories. From Dee Rees’ confident debut Pariah or Barry Jenkins’ masterpiece Moonlight, the movies that encompass these themes are heartbreaking, but important in portraying stories that so often feel identical. While Stephen Dunn’s Closet Monster doesn’t quite touch the artistic heights set by those two films, his singular style and focused storytelling make it a strong entry into the canon of the gay coming-of-age genre.

There are those moments in the youth of LGBT kids when they realize that the feelings they are having are different from others. Before we even meet him as a teenager, Oscar (Connor Jessup) seems to be having those feelings. However, any exploration he might have been going towards is instantly stopped when he witnesses the brutal attack of a gay teen when he is 10. Just before that, his mother, Brin (Joanne Kelly) divorces his father, Peter (Aaron Abrams), and moves out, which leaves him with his hypermasculine father and his pet hamster Buffy (voiced by Isabella Rossellini) — she occasionally speaks to him and acts as his conscious. We skip years later to 17-year-old Oscar who is changed by the events of his childhood. Without a model relationship in front of him and the constant diminishing of any weakness he shows by his father, Oscar simply retreats into himself.

However, as with many teens, his sexuality comes into question when he forms a crush on Wilder (Aliocha Schneider), his free-wheeling co-worker at a Home Depot type store. As Oscar and Wilder get closer, Oscar’s difficulty of dealing with his feelings, his father, and the stress of trying to get into a special effects makeup school in New York become entangled.

While it feels like Closet Monster is hitting the usual young adult beats, you quickly realize that it has other plans for its young protagonist. Dunn has even admitted that stories like this have been told before, but because it is so personal, that didn’t matter to him. That intimacy is palpable.While Dunn’s screenplay and direction have to be credited with that, Connor Jessup’s performance is simply electric.

With near flawless execution, Jessup builds Oscar with his physicality rather than dialogue. The amount of emotion he’s able to portray with just his face gives us everything we need to know about how he’s feeling in a given moment. The scene in which he meets Wilder is almost devoid of dialogue on Oscar’s part. However, the adolescence-filled sexual confusion is so easily discerned by his physicality and the way he reacts to Wilder. It’s what made Ashton Sanders’ performance in Moonlight so strong.

Closet Monster is a little obvious with its symbolism. From a metal rod representing his internalized fear of his true identity to Buffy being his connection youth and innocence. However, Dunn stylistically pulls off the movie’s themes beautifully. By cementing our point-of-view with Oscar, he allows us to see what he sees and feel what he feels no matter how surreal they get — a talking hamster, the word unfortunately being scrawled on the walls and furniture after he receives a rejection letter from a college. It’s imperative to the movie’s success since it isn’t plot heavy.

For a movie so focused on character, we aren’t really given strong portraits of anyone but Oscar. While, of course, this is a movie about him and his struggle with identity, the people around him and how they affect him are integral to his journey. Since we view the movie from Oscar’s point-of-view in two distinct times, we miss a lot of development from his father, mother, and Gemma (Sofia Banzhaf), his best friend. It makes understanding his actions towards them more difficult.

But this is Oscar’s story. Closet Monster is one of those movies that you watch and understand because it feels so personal. Life doesn’t always work out the way you plan. We don’t get the triumphant happy beats that often bog down movies like this. Instead, we get moments between people, though difficult to watch, that define who we are.

Closet Monster is available for streaming on Netflix or rental on Amazon!

March 1, 2017
Weekend Movie Review — One of the defining movies of queer cinema

In honor of Pride Month, we’re taking a look at one of the best LGBT movies of the decade, Andrew Haigh’s Weekend.

It’s hard to think of queer cinema of this decade without mentioning the film Weekend. Until Moonlight captured the collective consciousness of cinephiles and mainstream audiences alike, the defining film in the LGBT film canon could be traced back to Andrew Haigh’s masterpiece. But why did this small and intimate film with really only two characters take such a high position in the history of queer cinema? Well, in addition to the lack of high-profile gay movies, Haigh shows us a gay relationship from with an understanding of the dynamics of a gay relationship.

Unlike the doomed love stories of the past like Brokeback Mountain or, more recently, Carol, Weekend features a story with no risk other than the one of a missed connection. Russell (Tom Cullen) is the character we view the story from. And his background is one that only LGBT people can really understand. There is an odd limbo between being out and fully accepting your identity. Some people fully accept their identity before coming out to those closest to them. Russell can’t fully accept himself, even when he’s around his closest friends who embrace him — Jonathan Race’s Jamie is a general stand-in for this group. For Russell, much like many other gay men, finds safety and comfort in gay clubs, where he goes after spending time with his “straight friends.”

One night, he runs into Glen (Chris New), an art student. The two men go home together and the next morning after having sex, Glen asks Russell if he can record him talking about their night together for an art project. After, the two trade numbers and go their separate ways. The next day, Russell invites Glen to meet up again. From there, the two strike up a weekend-long conversation that eventually leads to a coming-of-age that both characters sorely needed.

Weekend is a meditation on moments. There are no grand romantic gestures or ridiculous ultimatums. Though, the central conflict of the movie is an impending departure. Its greatest virtue is its realism. So rarely in relationships nowadays we say what we feel. So two men with a mutual attraction that want it to become more won’t explicitly address that feeling. Instead, Haigh hides that development in the small moments — a touch, a look of familiarity or understanding. As the two men see each other more, each sexual encounter become more explicit — their first hookup isn’t shown on screen. It’s Haigh’s way of showing their growing intimacy and perhaps love.

Weekend has often been hailed as a gay romance that isn’t necessarily about being gay. And yes, if you strip away those elements the movie would still be able to get by. However, the sexuality of the characters is ingrained in the story as much as it is ingrained in their identity. As I said before, the character of Russell is struggling with his identity. It’s not until he meets Glen that he is forced to confront his identity. Glen, on the other hand, is frustrated at the heteronormativity in our society and vocalizes that dissatisfaction often and loudly. While Russell fades into the background whenever the topic comes up — even when it’s being spoken about around him he shrinks back into himself — Glen takes it on. It’s what helps both characters grow. Russell faces his identity while Glen realizes that he isn’t beholden to the stereotypes.

In a touching scene later in the film, Glen allows Russell to come out to him — a chance he wasn’t afforded with his parents. It’s a quiet, unassuming scene that is shot without theatrics. However, the emotional impact is palpable. It’s a moment of understanding and unspoken growth. That’s what makes Weekend so effective. Haigh doesn’t need to throw plot or themes in your face. The realistic, conversational dialogue does all the heavy lifting for the movie. Nothing really happens. But, at the same time, everything does.

There have been grander stories and more flashy movies, but I always find myself going back to Weekend. It’s escapist in its own unique way. You can’t help but immerse yourself in Glen and Russell’s conversation the same way that you did with Jesse and Celine in the Before Trilogy. That’s because, in some way, you can see yourself in them. Whether it’s a moment or a feeling. Or maybe a place or a line. Anyone that has fallen in love can see when other people are falling. Weekend lets you witness two people opening up to each other and discovering each other on a level that can only be described as falling. And I swear, you won’t be able to stop smiling about it.

★★★★½ out of 5

Weekend is available on Digital HD on Amazon!

June 13, 2017
I Don’t Feel At Home In This World Anymore review — Deranged in the best possible way

Part screwball comedy, part violent crime movie, I Don’t Feel At Home In This World Anymore is an often hilarious strong debut by Macon Blair

I Don’t Feel At Home In This World Anymore can pretty much be summed up in its whimsical title. It leans on the worst of our society – an ozone killing car, another shooting on the news — while observing it from a sarcastic, cynical viewpoint in our lead character, Ruth (Malanie Lynskey). The movie can really be boiled down to two things: a buddy comedy with elements of Jeremy Saulnier’s Green Room. That’s not surprising considering the film’s writer/director Macon Blair has starred in all three of Saulnier’s movies — Murder Party and Blue Ruin being the other two. Because of his close collaboration with Saulnier, I Don’t Feel At Home In This World Anymore is assured for a debut film.

We meet Ruth on what seems like the epitome of bad days. A giant pickup truck with pitch black exhaust smoke constantly shows up on Ruth’s commute to work. Someone cuts in front of her in line at the grocery store. One of her patients — Ruth is a nursing assistant — tells her to “keep your gigantic monkey dick out of my good pussy” before dying immediately. All of this is made worse when Ruth returns home to find that her house was robbed — her laptop, Grandma’s silver, and antidepressants are among the stolen. However, just like any bad day just seems to get worse, the cop that is assigned the case hints at Ruth committing insurance fraud before letting her know “he’ll get back to her.”

When Ruth is able to track her laptop using her phone, she enlists the help of her obnoxious neighbor Tony (Elijah Wood) — he has a rattail, studies karate, and lets his dog defecate on Ruth’s lawn constantly — to track down the culprits and take the law into her own hands. However, she quickly realizes that the plot is a lot more complicated than she initially thought.

Blair sets a tone that other movies find hard to tamp down. The movie is extremely dark, a lot of the comedy is dark as well, but it has a surprising amount of heart, mostly thanks to Melanie Lynskey’s portrayal of Ruth. On top of that, the stinging commentary on our societal norms is told from a cynical point of view that also has a touch of hope. The first movie that comes to mind when thinking about the shifting tone of this movie is the Coen Brother’s masterpiece, Fargo. Similarly to the plights of Marge Gunderson and Jerry Lundegaard, Ruth and Tony face the darknesses of our world while grasping to find where the good went.

However, narratively the film never takes off the way that Fargo does. It’s a crime thriller and screwball comedy, but the plot never quite excels in either aspect. That’s partially due to the film’s villains played by Jane Levy, David Yow, and Devon Graye. While the actors’ performances are quite good and make the most of what they’re given, their storylines and motivations don’t quite live up to the deeper introspection into our protagonists. Lynskey and Wood make the perfect comic and emotional duo. Lynskey plays up the emotions of everyday frustrations without going over the edge into camp — even when she projectile vomits at the sight of blood for nearly a minute. However, her descent into badassery is completely believable as her experiences throughout the movie shape and harden her until the film’s final climactic minutes. Wood, on the other hand, complements her with his no holds-performance of pure loserdom. At one point, he prays to God before breaking into a house, nearly snapping a man’s arm, and throwing a ninja star at the wall, without so much as a glimpse of insincerity. The combination of the two is what makes the film work.

At a lean 90 minutes, I Don’t Feel At Home In This World Anymore is a quick watch that feels even faster because of Macon Blair’s streamlined script. While at some points it feels like you want more and at others like it could be taken to the editing room, Macon Blair has proven himself to be a storyteller almost up to snuff with his friend Jeremy Saulnier. The final act of the movie, which doesn’t hold back on the violence or laughs, simply affirms the movie’s themes and tone in one of the most satisfying climaxes to a film I have seen this year, but it feels justified. That’s what makes this movie so successful. It’s determined to earn our adoration. Even then, I Don’t Feel At Home In This World Anymore is a profound reminder that as much as the world — line cutters, gas guzzlers, and all — seems to let us down, it’s still ours for the taking.

★★★ out of 5

I Don’t Feel At Home In This World Anymore is available on Netflix!

May 9, 2017
Okja review — A surreal and quirky movie about a super pig

Bright colors, quirky characters, and at the center of it a super pig. Okja is a visual delight but offers something deeper below its surface.

Okja is a super pig. Yes, that’s what they call her species in the eponymous film. This animal, which is double the size of a hippo, slobbers uncontrollably, and has a propensity to fart — sometimes on command — is also a gentle and loyal giant. That’s clear from Okja’s relationship with Mija, a farm girl in Korea who has grown up with Okja from when she was a toddler. It’s the setup for the classic kid and their animal best friend movie that we’ve seen countless times — Charlotte’s Web, Free Willy, etc. However, this is certainly not one of those movies.

At the center of Okja is darker themes that can be summed up in the opening scene. Lucy Mirando (Tilda Swinton), the new CEO of the Mirando Corporation, announces in a bright and flashy presentation in 2007 the company’s newest venture: the super pig. Framed as the next step of meat production, the corporation isn’t holding back any expense in promoting the product — flashy graphics, a room full of press. However, the centerpiece is a 10-year contest that involves the company sending twenty-six of the super pigs to locations throughout the globe to see which farmer raises the best pig.

However, Mija doesn’t seem to understand that the company has darker intentions as its end game. Specifically, that the super pigs are going to slaughtered and eaten. For all the glitz and glamor that the Mirando Corporation has, they are simply covering up that fact that they are the embodiment of corporate greed. Swinton — following up her incredible performance in the director’s last film Snowpiercer — acts as the human stand-in for the company. However, her character’s journey is a lot deeper than that. This campaign is her chance to finally crawl out from under the shadow of her grandfather, father, and menacing twin sister (also played by Swinton), who have all taken the reigns of the company at some point. Her complete lack of empathy for the creatures and Mija stem from money and success blinding her.

The opening act of the film is a surreal study of a human, their companion, and their relationship. Mija and Okja aren’t human and pet. They’re truly best friends. Okja is as loyal and caring for Mija as she is for her. More importantly, though, Okja’s intelligence and compassion are on full display. It shows that there is a soul behind her eyes. However, that all comes crashing down when a caustic television veterinarian (played by Jake Gyllenhaal) comes to retrieve Okja for the media rounds before ultimately becoming just a product in a grocery store.

As the setting shifts from Seoul to New York, we are introduced to the members of the Animal Liberation Front (ALF) — led by Paul Dano, who gives a marvelous performance — a PETA like organization that tries help Mija get Okja back. However, they, like Mirando, have ulterior motives as well. After the first act, which plays a lot like the dreamscapes of a Hayao Miyazaki film, the rest of the movie works best when the ALF or Tilda Swinton is on screen. Both sides are at times morally compromised. However, they also have a humanity that makes you understand the dilemma’s they face. That’s not to say that the movie is constantly bleak or overly serious. In the end, Bong Joon-Ho is a director that finds the humor in even the darkest of topics. For example, one of the members of ALF is constantly fainting because he eats as little as possible to leave the smallest carbon footprint. How far do you go to exemplify your ideals?

However, there are moments when the movie doesn’t work. Specifically, Jake Gyllenhaal’s performance often takes you out of the world. The world that the movie takes place in is surreal, but his performance is on another planet. From his high squeaky voice to his twitchy movements, it’s over-the-top in the exact way a good over-the-top performance shouldn’t be. Compare that to Tilda Swinton’s idiosyncratic antagonist who still makes you feel even in her most overzealous moments. Steven Yuen does great work as well as another ALF member. However, the actor that makes the biggest impact in the film is Ahn Seo-hyun as Mija. So much of the movie relies on your reaction to her character. And she nails every scene.

Even the smaller roles make a huge impact, though. It’s one of the best things about Bong Joon-Ho movies. Everyone from a disgruntled truck driver to Lucy Mirando’s neurotic assistant get a chance to make an impact on the screen that is memorable, and more importantly, adds to the surrealist world the movie takes place in. And for a movie featuring animal cruelty and corporate greed, it’s incredibly funny. But it doesn’t try hard to be. By just being its quirky self, it accomplishes that.

To try and classify Okja would be a disservice to the movie. It’s as one of a kind of a film as they come. And that’s its greatest virtue. For this movie to work, it has to march to the beat of its own drum. That beat is a wonderfully unconventional movie that’s sometimes satire, sometimes dark comedy, but all heart.

★★★★ out of 5

Okja is available for streaming on Netflix!

July 26, 2017