Some said it couldn’t be done but goddamnit, I did it. 40 films single-handedly seen by this one naive film critic. I’ve all but overdosed on cinema. I’m obese on art films. I’m constipated by having seen films from the US, the UK, Spain, Nigeria, Ethiopia, Norway, Australia, Hong Kong, Chile, South Korea, Canada, France, Ireland, South Africa, Greece, and Poland; my pipes all clogged by the sheer amount of celluloid spun out in movie after movie. The short of it: it was a haul.

Nonetheless, SIFForty held riches to be discovered, films both foreign and domestic that I’m a better person for having seen. Amongst the truly excellent: 10,000 KM, The Skeleton Twins, The One I Love, The Internet’s Own Boy, Venus in Furs, Frank, In Order of Disappearance, The Trip to Italy, Night Moves, Intuders, Happy Christmas and To Kill a Man. Each packing a throttling punch that has lingered with me and joins the ranks of some of the best cinema of the year. On the other side of the film, SIFForty also packed saddle-bags brimming with cinematic turds including some of the worst movies I’ve seen this year; true wretches whose sitting through is an experience in pennant masochism. From the ungodly awful Firestorm to the wrecklessly hopeless Standing Aside Watching, the defunct Leading Lady to the clueless Willow Creek, they were just so, so bad. But all are topped by They Came Together – a rom-com spoof of the lowest breed – and Another – a pathetically made B-movie. Please people, don’t bother with these films.

As for the rest, feel free to dive right in and swim in the waters of 40 micro-reviews. Bask in the glory of knowing what to look forward to and the keen knowledge that you’ll know what to avoid. An article 40 days in the making, welcome to 40 for SIFForty.

Fight Church

dir. Daniel Junge, Bryan Storkel (USA)

Christians may preach turning the cheek but this bunch is all about turning said cheek to a bloody pulp. Following a group of otherwise devout pastors who prove their devotion to Him cage-style, Daniel Junge and Bryan Storkel‘s documentary offers a peek into a fascinating world that you would have never suspected exists but fails to cement a sense of imminent purpose beyond surface-level intrigue. Probably would work better as a short than full length doc. (C)

Hellion

dir. Kat Candler star. Aaron Paul, Josh Wiggins, Juliette Lewis (USA)

Aaron Paul (Breaking Bad) stars as newly widowed father Hollis to exuberant (in a fire-starting sort of way) sons Jacob (off-to-a-strong-start newcomer Josh Wiggins) and younger, innocent but corruptible Wes. Ships turns towards rocky shoals as the pitfalls of young fraternity sail towards bleak recompense and ultimate tragedy. There’s enough heartbreak in Kat Candler‘s cheerless drama to go around and soulful performances to match, with this dusty no-man’s land of bum-fuck wherever offering a poignant peek into the languor of plain’s living, with all its scuzzy fruitlessness and paths towards damnation. (C+)

JIMI: All is By My Side

dir. John Ridley star. Andre 3000, Imogen Poots, Hayley Atwell, Burn Gorman, Ruth Negga (UK)

A thoughtful mess but a mess nonetheless with Andre 300 laying down an unexpectedly solid turn as the pre-Woodstock Hendrix. His take feels closer to imitation than anything but it’s certainly outside the customary league of rappers-turned-actors one might expect. Director/writer John Ridley paints a picture of un-famous (and slightly infamous) Jimi with a rounded view, giving us a glimpse of a performer who few knew and may not have even known himself, but the faulty editing seeks to sabotage the movie at every turn. (C)

Zip Zap and the Marble Gang

dir. Oskar Santos star. Javier Gutiérrez, Raúl Rivas, Daniel Cerezo, Claudia Vega, Fran García, Marcos Ruiz (Spain)

Familiar even in a foreign language (it’s Spanish), this child-lead romp is formulaic but still largely charmed. The premise follows a group of social outcasts who band together at a tortuous summer school to reclaim the lost treasure of the school’s misunderstood founder. It’s kinship to Goonies and Harry Potter means a readily consumable family feature but it lacks the magic and awe-striking wonder of a great adventure movie. (C)

Cannibal (Caníbal)

dir. Manuel Martín Cuenca star. Antonio de la Torre, Olimpia Melinte, Delphine Tempels (Spain)

Carlos leads a double life: one as an upstanding citizen/fashion-forward tailor, the other as a connoisseur of human flesh. When the sister of one of his victims nervously rolls into town, Carlos accidentally becomes coiled with her search and discovers a new range of emotions: ones that don’t start and end in his stomach. Manuel Martín Cuenca‘s slow building and deliberate pacing adds depth to Antonio de la Torre‘s somber shade of monster but his film, though unflinching, still lacks a central tension: of exposure, imprisonment, or worse. (C)

The Double

dir. Richard Ayoade star. Jesse Eisenberg, Mia Wasikowska, Wallace Shawn, Noah Taylor (UK)

If Terry Gilliam had made Fight Club, it probably would have looked a lot like Richard Ayoade‘s The Double. Set in a steampunk dystopian tomorrowland, Jesse Eisenberg lays down august double duty, first as Simon James, a meek, nay spineless, employee in a dungy, Orwellian basement cubicle maze. When James Simon, his carbon copy in the looks department but his exact social opposite – James is an exceedingly debonair social-climber – moves in, Simon’s small world is irrevocably jolted. Grubby set design and hallucinatory foley work, set against the motif of closing doors and characteristic-less cultural nowhere, aid Ayoade’s prevailing sense of cautious pessimism in this thrilling, darkly comedic romp. (B-)

Another

dir. Jason Bognacki star. Ana Paula Redding, Leone Sergio Bognacki, David Landry, Maria Olsen (USA)

Cheap-looking even by independent movie standards, this cultish schlock stars some of the worst performances this side of day time cable (Ana Paula Redding, *shutters*). With acting this ham-fisted and downright embarrassing, watching Another is an exercise is intelligence bludgeoning. Jason Bognacki‘s direction is comprised of shaky cam after-FX and inexplicably fuzziness that clouds our view of the “horror” onscreen, as if he’d taken cues from a pirated Bourne DVD. It’s a sad pile of crud that should be walked out on; a joker’s stain on SIFF’s lineup. (F)

Time Lapse

dir. Bradley King star. Danielle Panabaker, Matt O’Leary, George Finn, Amin Joseph, Jason Spisak (USA)

Bradley King‘s mildly thought-provoking indie sci-fi swims around in the lazy river that is time. But Time Lapse – which sees a camera that takes pictures 24-hours in the future – is undercut by weak performances across the board. There’s a provocative allure to King’s examination of determinism versus free will at play but they’re never mined to satisfactory results. Instead, the real marvel of his deux ex machina is left to dry out like reagent on a Polaroid. For a movie that’s all about time, it’s only partially worthy of yours. (C)

Half of a Yellow Sun

dir. Bibi Bandele star. Thandie Newton, Chiwetel Ejiofor, John Boyega, Anika Noni Rose (Nigeria, UK)

Half of a Yellow Sun features strong performances from Thandie Newton and Chiwetel Ejioforj but after the first hour, it unexplainably loses momentum, and curls into a deep sag in the later third act. A love square between two Nigerian sisters schooled in England, who are dead set on becoming arbiters of social change, occupies the forefront of this saga that also sees the Nigerian civil war ripping their world to shreads, and subsequent creation and deconstruction of Biafra. Occassionally powerful but unsatisfying in structure. (C+)

Mirage Men

dir. John Lundberg, Roland Denning, Kypros Kyprianou, Mark Pilkington (UK)

An engaging info-fest that posits a.) aliens exist b.) the US government funded a mild to large-scale disinformation campaign to intentionally mislead UFO researchers. Richard Doty, the former Air Force largely responsible for feeding falsified documents to UFO “expert” Paul Bennewitz – until he snapped into full blown psychosis – comes forward and is our (somewhat unreliable) guide through the proceedings. The triple directing team captures a wide range of testimony on the subject but barely have any video to play with, making Mirage Men a disappointingly “tell, don’t show” experience. (C)

The Trip to Italy

dir. Michael Winterbottom star. Rob Brydon, Steve Coogan, Marta Barrio (UK)

Rob Brydon and Steven Coogan leave foggy, fried North England behind for the breathtaking Italian coast where they wine, dine, and goof their way through a dream trip (one that inspires deep pangs of jealousy from this critic). The naturalistic hyper-reality they craft thrives on the weathered chemistry between the two stars. Their old-as-they-are relationship paves the way for improvisation prowess so organic its feels more like second natural than performance. More impressions, absolutely stunning vistas, Alanis Morissette’s croon, lazily waxing on life and pasta, pasta, pasta gives intrepid life to The Trip to Italy. (B)

Starred Up

dir. Jack Mackenzie star. Jack O’Connell, Ben Mendelsohn, Rupert Friend (UK)

A violent and volatile teen, Eric Love, enters a maximum security English prison where the wrong word or glance can end with a cut throat. Rather than submit to his surroundings, Eric thrashes like a caged animal; an unpredictable bombshell armed to blow. Rupert Friend, Ben Mendelsohn and David Ajala ably fill out the supporting cast but it’s star Jack O’Connell who burns brightest; his portrayal of Eric is unblinking and – even behind such thick callous – heartily tragic. While some plot threads are left dangling, the potent performances and probing examination of dehumanizing prison ethos makes Starred Up more than a worthy trip to hell and back. (B-)

Difret

dir. Zeresenay Berhane Mehari star. Meron Getnet, Tizita Hagere (Ethiopia)

Difret, or Ethiopia Kidnap Weddings: SVU, beams a chilling political reality where tradition clashes with human rights, courts with all-male elder tribunals. A young girl, Hirut, is kidnapped by a gaggle of men on horseback, locked up and raped before escaping and killing the captor intent on marrying her. Difret, which loosely translates to “raped”, then sees a politic system condemning this child to death and the human rights lawyer who come to her aid. The performances impress but Mehari’s amateur hand leaves much to be desired in the directing department. Hirut’s story will have you up in arms but the story is disappointingly one-sided. (C)

The Fault in Our Stars

dir. Josh Boone star. Shailene Woodley, Ansel Elgort, Nat Wolff, Willem Dafoe, Laura Dern (USA)

Charmed performances can’t overcome the schmaltzy, melodramatic cancer porn that is The Fault in Our Stars. Pegged as a weepy drama, Josh Boone‘s film is ready to serve up tragedy by the ladle-full. Willem Dafoe stops by for a show-stopping scene but it’s Shailene Woodley and Ansel Elgort who keep us grounded in this otherwise-borrowed Walk To Remember path. It is however decidedly better than its leads’ previous project: Divergent. Stars is not outright bad so much as fundamentally flawed. (C-)

The Skeleton Twins

dir. Craig Robinson star. Bill Hader, Kristen Wiig, Luke Wilson, Ty Burrell (USA)

Bill Hader just had his coming out party. He may not be gay, but he’s a star. The Skeleton Twins is unabashedly entertaining; a darkly comic, tactfully told dramedy that probes the darkest of places with the funniest of people. Kristen Wiig and Luke Wilson join Hader to round out a cast of unsung heroes taking the spotlight, each firmly on their mark and spontaneously hilarious throughout. For a film that circles suicide, it is the funniest of the year (so far) and the cast’s effortless deadpan will have you in absolute, ROFL stitches. (A-)

In Order of Disappearance (Kraftidioten)

dir. Hans Petter Moland star. Stellan Skarsgård, Kristofer Hivju, Bruno Ganz, Peter Andersson (Norway)

Kraftidioten (or In Order of Disappearance) is a Norwegian black comedy that sees a snowplow man/upstanding citizen take justice into his own hands after his son is wrongfully murdered. Featuring a standout performance from the multilingual Stellan Skarsgård, this wintry take on everyman vengeance mixes doses of bleak internal battles in with blood-stained snow and murderous vegans for a darkly satisfying product, further improved by ponderous cinematography and unexpected giggles. Even though the second act loses the adroit pacing of the first, it all adds up to something sickly sweet. (B+)

Willow Creek

dir. Bob Goldthwait star. Alexie Gilmore, Bryce Johnson (USA)

There’s a really strong long-form scene in the midst of Willow Creek, much filler surrounding it and a wholly unsatisfying and unintelligible ending. What ought to be provocatively minimalism isn’t as this lo-fi horror borrows heavily from the book of Blair Witch, but without the novelty of being there first, Bob Goldthwait has little to add to the genre. More padding than substance, Willow Creek is overstuffed with the kind of fruitless scenes that make found footage so grating and lethargic and is only worthwhile for diehard horror/Sasquatch fans. (D+)

Mystery Road

dir. Ivan Sen star. Aaron Pedersen, Hugo Weaving, Ryan Kwanten, Tama Walton (Australia)

Ivan Sen‘s painterly cinematography, marked by brilliant orange sunrises and sweeping casts into endless flatlands, sets the tone for this Australian thinker’s thriller. With a Coen Bros meets Sergio Leone feel to it, Mystery Road is pretty much No Outback for Young Aborigine Ladies, a dark drama that manages to sneak muted undercurrents of racial aggression amongst its larger themes of derelict duty and parental responsibility. Restrained performances from Aaron Pederson and the like set against a manic Hugo Weaving makes for a nice dichotomy of character in a film well worth your time. (B-)

Firestorm (Fung Bou)

dir. Alen Yuen star. Chen Yao, Ka Tung Lam, Andy Lau, Michael Wong (Hong Kong)

Senselessly expensive – especially by Hong Kong standards – overly-stylized and utterly meaningless, Firestorm is a high-gloss crime actioner that throws the kitchen sink in each of its tactless proceedings. With as many explosions as budgetarily possible and a hero who’s more Robocop than anything resembling a living breathing human, this flunky action movie is derivative, laughable and ceaselessly dumb – a combo that actually works in its favor a small fraction of the time. Nevertheless, it should be actively avoided. (D)

10,000 KM

dir. Carlos Marques-Marcet star. Natalia Tena, David Verdaguer (Spain)

Anyone who’s lived through a long distance relationship will find alarming truth in 10,000KM, a bittersweet romance stunningly directed by Carlos Marques-Marcet and brilliantly acted by Natalia Tena (Game of Thrones) and David Verdaguer. In truly all accords, it’s a phenomenal film; real, honest, emotional and poised to hit the nerve of lovers living through the e-generation. How people helplessly grow apart with distance is approached from nearly every angle to create an unfathomable experience so intimate, personal and gutting that you’ll be as wrecked as the star-crossed lovers when all is said and done. (A)

Obvious Child

dir. Gillian Robespierre star. Jenny Slate, Jake Lacy, Gaby Hoffmann, Gabe Liedman (USA)

Gaby Hoffman is dumped, fired and knocked up in the short span of a few weeks. As a stand-up comedian, she takes to the brick-walled stage to bear her scruffy soul to the captive audience of the club she frequents, armed with uncouth non-sequitors and filthy vaginal humor that’ll have some men (and even women) squirming in their seats. Hoffman’s decidedly feminist brand of humor is not unlike the highly trending small-chick-in-the-big-city of HBO’s Girls and its offspring, but her erratic raunch keeps affairs airy and laugh-heavy. (B-)

To Kill a Man (Matar a un hombre)

dir. Alejandro Fernández Almendras star. Daniel Antivilo, Daniel Candia, Ariel Mateluna, Alejandra Yañez (Chile)

Kubrickian in style and score – with hauntingly symmetrical shots and eerie, creeping soundscapes – To Kill a Man is grippingly adept at manufacturing tension. When a neighborhood terror won’t leave his family alone, feeble everyman Jorge must weigh the social and psychological consequences of taking matters into his own hands. Almendras’ understated film is a thoughtful and poetic piece, achieved slowly and with great care, that never skimps on honest emotional reflection to get to the heart of this chilling true tale. (B+)

Night Moves

dir. Kelly Reichardt star. Jesse Eisenberg, Dakota Fanning, Peter Sarsgaard, Alia Shawkat (USA)

A quiet, moody thriller that sees a band of three ecoterrorists – though I don’t think they’d take to that moniker – plot to take out a dam and the consequences that follow. At times appearing overindulgent in its environmentalist mindset, the well-defined classical three-act structure unravels into an open-ended nightmare that has destroyed its own political prejudices by the time the credits rolls. Night Moves is The East meets Taxi Driver with Jesse Eisenberg offering a haunted lead performance amidst a welcome return to form for the elder Fanning. (B)

The Internet’s Own Boy: The Story of Aaron Swartz

dir. Brian Knappenberger (USA)

An excellent documentary focused on Aaron Swartz, an internet whizkid who gave key notes speeches along Harvard professors at only 12 before ending his own life at 25. Knappenberger’s stirring doc amounts to a serious indictment of a disharmonious America that values corporations over citizens and censorship over progress. In a society domineered by dishonesty and boundless enterprising, Swartz’s quest for something more amounts to a unwavering picture of corruption in our country’s prix-fixe adage of “be the best you can be.” (B+)

Canopy

dir. Aaron Wilson star. Khan Chittenden, Mo Tzu-Yi (Australia)

An aggressively tedious concept film that sees an Australian pilot attempting to survive when shot down over enemy lines in 1942 Singapore. A total lack of momentum makes Canopy an aggravating, if not admirably shot, experience in positively bland, thanklessly simplistic filmmaking. The chirping sound design is like a setting on an Oasis Dream Machine (albeit interrupted by blips of gunfire) and coupled with the fact that the film is essentially dialogue free, Canopy is a snooze fest; a stressed cacophony of too little, too late. Though Aaron Wilson tries to put you into the midst of things, he’s more likely to put you to sleep. (D+)

Intruders

dir. Non Young-seok star. Jun Suk-ho, Oh Tae-kyung (South Korea)

With a title that works on many levels, Intruders is a Hitchcockian thriller by way of South Korea. A screenwriter tries to find recluse in a snowy off-the-beaten-path village but winds up with far more than he bargained for in this strange, exciting thrill ride. Though there are some technical snags – mostly born of budgetary constraints (Non Young-seok sorely needed a better indoor camera) – the festering story is a novelty of old and new, East meets West and with its nail-biting final act, will keep you guessing and on the edge of your seat until the closing moments. (B)

The Babadook

dir. Jennifer Kent star. Essie Davis, Noah Wiseman, Daniel Henshall, Hayley McElhinney (Australia)

An eerie children’s pop-up book warns that once you’ve seen the Babadook, you’ll wish you were dead. Thankfully, that’s not true of the film itself. This Australian ghost tale circles the real life impossibility of single parent child-rearing in a film that’s part Home Alone and part The Shining. Babadook is a frugal little haunter that makes smart use of its minimalist means and wrings a borderline outstanding (or at least compelling unselfconscious) performance from its young actor, Noah Wiseman. (C+)

Happy Christmas

dir. Joe Swanberg star. Anna Kendrick, Melanie Lynskey, Mark Webber, Lena Dunham, Joe Swanberg (USA)

Joe Swanberg returns to his meandering, improvisational ways in a comedy/drama about a new family unit celebrating their second Christmas, which is promptly crashed by recently dumped and perennially immature sister Jenny. Jenny (the irresistibly lovable Anna Kendrick) is a fly-by-the-seat-of-her-pant’s kinda girl and Kendrick’s hopelessly awkward antics marry perfectly to Swanberg’s trackless filmmaking. His wandering style allows this grounded story of family fuck-ups to highlight the little things in life (babies cackling and dogs chewin’ on bones) and is a fully worthy successor to last year’s borderline commercial Drinking Buddies. (B)

Frank

dir. Leonard Abrahams star. Michael Fassbender, Domhnall Gleeson, Maggie Gyllenhaal, Scoot McNairy (UK)

With a big, fake head and a Jim Morrison-like access to lyrical poetry, Frank (Michael Fassbender) is as talented as he is prophetic, and potentially disturbed. Joe (Domhnall Gleeson), a talentless hack of a musician, wants to take advantage of Frank’s art; to transform it into a social media-friendly commodity. As Frank attempts to find his magnus opus, Joe dopily tries to package and sell it; a searing metaphor for Gen-X self-inflation en masse. Efficiently experimental, at times sermonist, and always outlandish, Frank is a powerful meditation on mental disease, commercialism and art, and all the brightly lit areas where they intersect. Frank also proves Fassbender can act like no other through a Papier Mâché helmet. (B)

The Grand Seduction

dir. Don McKellar star. Brendan Gleeson, Taylor Kitsch, Gordon Pinsent, Matt Watts (Canada)

This delightfully moonstruck feature boasts Brendan Gleeson‘s comedian muscles and Taylor Kitsch‘s shtick (which, yes, is an anagram of Kitsch) for being the likable bad boy (Dr. Bad Boy here.) When their once-proud fishing harbor dries up, Murray’s (Gleeson) only way to ween the town off the welfare checks is to secure a doctor in order to legitimize a bid for an oil repurposing facility. To do so, he and the town’s people unite to spy on Kitsch’s Dr. Lewis, transforming the town around them into Lewis’s own personal fantasyland. The gimmick is cute (without being too syrupy) and at times touching, reminiscent in tone to last year’s equally cheery/droll Philomena, and is an easy recommendation for the masses of moms and pops looking for a feel-gooder. (B-)

Venus in Fur (La Vénus à la fourrure)

dir. Roman Polanski star. Emmanuelle Seigner, Mathieu Amalric (France)

As much a showcase for its two authoritative leads as it is an illustration of the power of theater, Venus in Fur continues Roman Polanski‘s streak of adapting plays in fearlessly simple terms. While Carnage felt a little forced in its translation to the screen, Furs works wonderfully and the adroit performances matched with the clever subjugation of gender roles present in David Ives‘s drama gives this pre-turn-of-the-century, play-within-a-play, dominatrix tale one to not soon forget. (B+)

Gold

dir. Niall Heer star. Maisie Williams, James Nesbitt, David Wilmont, Kerry Condon (Ireland)

An ironically named film – even Silver or Bronze would seem somewhat an overstatement – Gold sends up the sports movie by mixing heavy themes and messy family drama amidst the quest for first place. Abbie (Game of Throne‘s Maisie Williams) is pressured by her (adoptive) father Frank, a mustache of a PE teacher, to win win win, so turns to performance enhancing drugs to improve her times, just as her real dad, Ray, enters the picture for the first time in 12 years. While it’s nice to see Williams in a leading role (and she’s never the problem), the resolution comes up short, as does some of the connective tissue getting us from point A to point B. As such, Gold is a film with high aspirations that only periodically hits its mark. (C)

Leading Lady

dir. Henk Pretorius star. Gil Bellows, Katie McGrath, Brumilda van Rensburg, Bok van Blerk, Eduan van Jaarsveldt (South Africa)

NOTE: Last year I missed Fanie Fourie’s Lobola which, to my surprise, went on to win the SIFF Audience Award, so my anticipation of Leading Lady (and its inclusion as a shot in the dark pick on my 25 Must Sees of SIFForty list) was mostly to see what director Henk Pretorius had in store. What I witnessed has shaken my faith in foreign film. Frequent abysmal acting populates this cliche fish-out-of-water saga of a precocious actress who heads to South Africa to research a role – a place distressingly drawn as the land of the noble savage (the phrase “adorably primitive” is thrown in). Utterly suffocated by upbeat musical cues, this is the movie equivalent of going to Africa for a week, building a shanty library and believing you’ve reached spiritual enlightenment. It’s racist, sexist, and xenophobic on top of its even worse offensive of being boring, predictable and just all around stupid. (D-)

Tom at the Farm

dir. Xavier Dolan star. Xavier Dolan, Pierre-Yves Cardinal, Lise Roy, Évelyne Brochu, Manuel Tadros (Canada)

A psychosexual genre flick that sees Dolan use his ferociously queer eye for something that doesn’t entirely add up to the tense and sexy (in a masochistic, bondagey kinda way) picture he’s trying to paint. Tom’s a gay Canadian man grieving his lover’s death but unable to tell the family of the man he’s lost the truth of their relationship. Whilst visiting, Tom falls under the spell of his would-be brother-in-law’s threatening ways, unconscious of his growing Stockholm Syndrome. But the transformation that plays out feels too forced for something that ought to be more organic and free-range. (C+)

Grand Central

dir. Rebecca Ziotowski star. Tahar Rahim, Lea Seydoux (France)

Rebecca Ziotowski spells out a slow-moving tale of woebegone happenstance in Grand Central; an economical, downbeat drama in which unskilled worker Gary (Tahar Rahim) lands a job at a nuclear power plant and begins an affair with Karole (Léa Seydoux), one of his co-workers and wife of his superior. The downtrodden narrative shows an unseen side of middle class drudgery and features stinging performances from the abundantly talented cast but its overtly contemplative movement makes Grand a stuffy and borderline pretentious experience. (C-)

The One I Love

dir. Charlie McDowell star. Mark Duplass, Elizabeth Moss, Ted Danson (USA)

Like stepping into a long-form Twilight Zone episode, The One I Love explores whether we would trade out our loved ones for more idyllic versions. Mark Duplass and Elizabeth Moss occupy the entirety of the film (with a brief appearance from Ted Danson) with palpable magnetism, fleshing out two sides of the same coin: the bumbing and the suave; the bitchy and the demure. The mechanisms are left intentionally vague so that our focus is left on the characters, and not the how or the why of it all. This thirty little indie film might not fix easily into a box but that’s what makes it all the more special. (B+)

Standing Aside Watching (Na Kathesai Kai Na Koitas)

dir. Giorgos Servetas star. Marina Symeou, Marianthi Pantelopoulou, Nikos Georgakis (Greece)

This Greek pseudo-tragedy thinks it blends elements of feminism in a bowl of misogyny but winds up a fallen soufflé of smut; a concoction of hopelessness and gray scenery that reads snuff film. Just when you think the film might barrel into a satisfying direction of minxy revenge, Servetas’ film succumbs to more violence against women and more senseless sentences carried out by the meat-headed minds of men. An unpleasant and dark experience not worthy of embarking on. (D)

How to Train Your Dragon 2

dir. Dean DuBlois star. Jay Baruchel, Gerald Butler, Cate Blanchett, Craig Robinson, Djimon Hounsou (USA)

Soaring nearly as high as its predecessor, How to Train Your Dragon 2 represents the best that animation has to offer. With Roger Deakins serving as a visual consultant, the film looks goddamn brilliant with Dreamworks ushering in a new gold standard for animated features in era of post-Pixar brilliance. And while most (if not all) of the comic beats fall on deaf ears (and ought to have been cut entirely), Dragon’s heart is so big and worn so proudly on its sleeve that you’ll have to be a monster to not erupt in tears on multiple occasions in this undeniably excellent yarn on a man’s maturing relationship with his beast. (A)

Life Feels Good (Chce Sie Zyc)

dir. Maciej Pieprzyca star. Dawid Ogrodnik, Dorota Kolak, Arkadiusz Jakubik, Helena Sujecka (Poland)

Taking a page from the book of My Left Foot, Life Feels Good explores similar territory as a young man suffering from cerebral palsy tries, but fails, to communicate with the world. While Left Foot showed the immeasurable progress of a boy once thought to be a dullard, Life Feels Good is more about the institutional fallacies that circle mental disorders; the metaphysical prison that is disability juxtaposed against the physical prison that is a mental hospital. In Dawid Ogrodnik‘s stirring, wordless performance, we feel just how tortuous being trapped inside yourself would be and how damning the world around you can be. (B-)

They Came Together

dir. David Wain star. Amy Poehler, Paul Rudd, Cobie Smulders, Bill Hader (USA)

Don’t get me wrong, Amy Poehler and Paul Rudd make for a charming duo. Nevertheless They Came Together is a rom-com spoof in the same witless vein of Jason Friedman and Aaron Seltzer (The Starving Games, Meet the Spartans). Accordingly, it’s somewhat shocking to see Wet Hot American Summer‘s David Wain attached as director and helmer of this jokeless torpedo. His lambasting efforts are futile, his hammy parody a complete wash. While Wain’s conceit appears to be grounded in an attempt to skewer the genre instead of merely recreating pop cultural references, it works like a montage of dead baby jokes and there’s ultimately nothing differentiating this from Scary Movie 6, Epic Movie or Vampires Suck. They Came Together joins the great American tradition of not knowing comedy from an asshole. (F)

————————————————————————————————————

To break it down by grades (from best to worst):

10,000 KM (A)
How to Train Your Dragon 2 (A)
The Skeleton Twins (A-)
The One I Love (B+)
The Internet’s Own Boy (B+)
Venus in Furs (B+)
In Order of Disappearance (B+)
To Kill a Man (B+)
Frank (B)
The Trip to Italy (B)
Night Moves (B)
Intruders (B)
Happy Christmas (B)
Obvious Child (B-)
Starred Up (B-)
The Grand Seduction (B-)
Mystery Road (B-)
The Double (B-)
Life Feels Good (B-)
The Babadook (C+)
Tom at the Farm (C+)
Hellion (C+)
Half of a Yellow Sun (C+)
Cannibal (C)
Time Lapse (C)
Zip Zap and the Marble Gang (C)
Fight Church (C)
JIMI: All is By My Side (C)
Gold (C)
Mirage Men (C)
Difret (C)
The Fault in Our Stars (C-)
Grand Central (C-)
Canopy (D+)
Willow Creek (D+)
Firestorm (D)
Standing Aside Watching (D)
Leading Lady (D-)
They Came Together (F)
Another (F)