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Marital Fidelity Creaks in Powerfully-Acted ‘WILDLIFE’

Carey Mulligan has been confidently constructing a tasteful resume since her auspicious breakout in 2009’s An Education. She’s worked alongside Leonardo DiCaprio, Ryan Gosling, Michael Fassbender and under the lenses of the great Coen Brothers and Steve McQueen. But never has her light shined brighter than as an unfaithful wife in Paul Dano’s always low-broiling, sometimes crushing debut Wildlife. Read More

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Out in Theaters: ‘THE SISTERS BROTHERS’

Manifest destiny makes no promises of prosperity. Those seeking riches in the wild, wild west were treated to the same pittance of dumb luck and social hierarchy that they were long familiar in the eastern shores. What distinguished the far reaches of the American West in the mid-1800s was the fierce cascade of violence that hung over the land like a raging conflagration and the profit one could seek by exacting that violence. Bounty hunters and criminals pocked the far-flung towns, trading human lives for riches. This is where we meet The Sisters BrothersRead More

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Out in Theaters: ‘STRONGER’

Outside of the inclusion of a deadbeat protagonist, there’s not much to distinguish Stronger as a David Gordon Green effort. The director behind such mumblecore indie fare as Prince Avalanche and Joe (the former of which I detested, the later proved a borderline-excellent showcase for Nic Cage)  and comedy zingers the likes of Pineapple Express and the Kenny Powers-led Eastbound and Down (I’m a big enough fan of both) has decided to lens the Boston Marathon Bombing through the eyes of one of its victims and the result, though finely acted, is a mixed bag of emotional highs and lows at best and opportunistic at worst. Surely it’s not the shmuck bait of Charlie Sheen’s 9/11 but there is very little to justify its existence beyond Hollywood capitalizing on tragedy and you feel that in almost every second of Stronger.  Read More

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Out in Theaters: ‘LIFE’

Life is deja vu. Not life itself mind you – let’s say that debate for the existentialist philosophers – but Life, the hacky, trashy alien thriller from director Daniel Espinosa. From a distance, the trailers for the film suggested a film that borrowed heavily from Ridley Scott’s treasured Alien but we’re all smart enough to know that trailers are just marketing tools, often constructed to stimulate nostalgia nodules to sell a product to audiences. So imagine my shock when Life was quite literally nothing less than a watered-down, unimaginative, worthless thieving of one of my favorite films of all time. Seriously, how in the actual fuck is this happening? Let’s examine. Read More

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Out in Theaters: ‘NOCTURNAL ANIMALS’

In 2009, Austin, Texas native and noted fashion designer Tom Ford made his feature film debut with A Single Man. A delirious and stunningly photographed vision quest through loss and grief, A Single Man defined Ford as a filmmaker whose haute couture background greatly influenced his aesthetic and in turn his very process. Earning a Best Actor nomination for Colin Firth, A Single Man also established Ford as an actor’s director and helped in turn attract the likes of two of Hollywood’s finest, Jake Gyllenhaal and Amy Adams, for his latest feature, Nocturnal Animals. Read More

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Out in Theaters: ‘DEMOLITION’

Life has a tendency to zip forward on a single, amusement ride track until something or someone comes barreling out of the shadows of entropy to buck your stated momentum and set you serendipitously down a new path. 17th century physicist Isaac Newton described the phenomenon in which colliding forces impress upon one another an equal and opposite reaction in his famous Third Law, which describes both why someone struck by a moving vehicle would find their chest caved in and someone catching a bad edge going a cool 30 mph on decade old skis would find their wrist contorted in all kinds of wrong directions. Read More

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SXSW ’16 Review: ‘DEMOLITION’

Life has a tendency to zip forward on a single, amusement ride track until something or someone comes barreling out of the shadows of entropy to buck your stated momentum and set you serendipitously down a new path. 17th century physicist Isaac Newton described the phenomenon in which colliding forces impress upon one another an equal and opposite reaction in his famous Third Law, which describes both why someone struck by a moving vehicle would find their chest caved in and someone catching a bad edge going a cool 30 mph on decade old skis would find their wrist contorted in all kinds of wrong directions. Read More

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Out in Theaters: ‘EVEREST’

Human beings simply aren’t built to function at the cruising altitude of a 747. At 29,000 feet, you body is literally dying. Lack of oxygen becomes a toxic, poisoning the brain and forcing your body to shut down non-vital organs. At such heights, it’s near impossible to breathe without a tank of O. Beholding Everest on a proper IMAX screen, I too found myself gasping for air. It’s literally breathtaking. Read More

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Out in Theaters: SOUTHPAW

It’s been since 2001’s Training Day that Antoine Fuqua has delivered a true knockout. Southpaw is no exception. The Pittsburg-born director has faced no challenges scraping together talent; amassing casts and crews that regularly featured A-listers at the top of their game, screenwriters on the fast track to success, composers in highest demand. He also hasn’t been treated to a movie falling on the fresh side of the spectrum since 2001. Sure, The Equalizer eeked by on Denzel Washington’s cool, collected killing spree antics but critics (and audiences) knew that Fuqua’s product was less than perfect. And this gets us to Southpaw, a film that’s definitively less than perfect. Read More

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Out in Theaters: NIGHTCRAWLER

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With a name as innocuous as Louis Bloom, you wouldn’t initially suspect the lead character of Nightcrawler to be so dangerous. But the virulent Lou is the kind of guy who dissolves into shadows; who feeds vampirically in the darkness. He’s not a villain so much as a force of nature. Silent but deadly. His politeness is alarming, starkly juxtaposed by the edgy vibration of his piercing, bulbous eyes. His word choice; precise as a bone saw. His demeanor; direct but detached. Like a drone. He’s a bug-eyed Terminator sans the metallic endoskeleton; a top-knotted Patrick Bateman without the 401K. In the role, Jake Gyllenhaal is angelic. He’s equally demonic. He’s perfect mopping up uncomfortable silences, guttural laughs and wry grins like a janitor in a milking cow factory.

Caught in the high beams of a night patrolman, Lou materializes from the shadows like an apparition. A ghoulish grin masking his face. He notes his trespassing is accidental. He also notes the pricy hunk of watch adorning the wrist of the Paul Blart eying him with petulant suspicion. The next scene, it’s Lou wearing the watch.

Throughout the film, Lou’s facial expressions percolate with a kind of serpentine other-worldliness. As if his tongue could dart from his mouth at any moment to nip at the night air. It doesn’t. He remains squarely within the realm of the human. No matter how inhumane he is. A testament to Dan Gilroy‘s narrow degree of restraint and Gyllenhaal’s tightrope-walking ability.

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When we meet Lou, he’s a drifter; fencing fences and manhole covers. Begging for jobs with an armory of interview-friendly terminology and all the manicured motions of a “respectable” human being. At a car crash, he yanks his beatermobile to the shoulder to observe its burny grotesqueries and runs into Joe Loder, a TV news freelancer who roams the nights to capture domestic implosions on film. Loder (Bill Paxton) says the job is hell. The next scene, Lou has camera in tow, hunting down the next suburban calamity. It isn’t long before he’s whipping up his own crime scenes and hiring a slacky intern (Riz Ahmed).

In his junker motorcade of journalistic un-tegrity, Lou rips a hole through the banality of the LA night, hunting down the next big tragedy like a slobbering machine, manipulating it when need be and selling it off to the news producer running the graveyard shift, Nina (Rene Russo). Camcorders are his business cards. Bloody car crashes his boardrooms. Murdered families, the money shot coup de grâce to end a good night on.

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Nina knows the business is blood sport. Local news is nothing but modern day gladiatorial work. She’s titillated by promises of gory plane crashes. B&E’s are her bee’s knees. She wets herself over triple homicides. Russo holds the performance together by the skin of her teeth, refusing to reveal weakness behind that modernized beehive and liberal thrashing of makeup. As the tension mounts between Lou and Nina, a new dynamic takes shape: one that’s uproariously creepy and carnally delicious. Watching Lou sic Nina is watching the hungry wolf lick his chops before he preys.

Piggybacking on my earlier Patrick Bateman comparison, Nightcrawler deals in a similar brand of corporate black humor as American Psycho, taking aim at the blanket sensationalization of news and, to a lesser degree, our woeful economic state. It’s wickedly funny in a deadpan, threatening kind of way – like Nick Nolte – with Gyllenhaal’s knockout performance informing the laughs like a conductor with a rosewood baton. He is the slaughterer of the lamb, we the vultures come to pick the bones. And if you’re anything like me, you’ll eat up the meaty sarcasm like roast beef on Christmas.

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To see the transformation of the shmuck with the Wall Street name from lowly drifter to certifiable media mogul is enough reason to see the film, even though it drags along some basic fixer-uppers that stick out uncomfortably. James Newton Howard‘s score – the man responsible for music-ing such clunkers as Maleficent, Parkland, After Earth, Snow White and the Huntsman, Green Lantern, The Green Hornet, The Tourist and more – often feels out of place, as if it were teleported in from an entirely different movie from an entirely different genre. Howard was scoring a straight thriller as we watched a brutally dark comedy unfold. It’s never in junction with the piece so much as it detracts from it with blast after blast of heavy-handed straightforwardness and a tonal lack of understanding the subtle transformations of character. Were Trent Reznor or Cliff Martinez behind the music, it would have stood out that much more.

Further, the film lacks an entirely solid starting and finishing point. The meat in between is so tender, so perfect, but it kind of drifts in and drifts out without the slap in the face that I both wanted and expected. Come on, punch me. I can handle it. But I guess it makes metaphorical sense for a movie of this nature to creep in and creep out without warning. If not for those few minor miscalculations, Nightcrawler could have driven itself into a sheer state of perfection.

A nightcrawler, not to be confused with the blue Russian teleport from the X-Men comics, is a bottom feeder. A succubus. A drive by job with a camera. They find you in your weakest moments – battered, bloodied and broken – and display it for the world to see. There’s no scruples in the line of work; no lines. It’s a brawl. A exploitative, invasive, harrowing brawl. And the public eats it up like pigs at the stye. They feed on it like vampires. They need it. The supply and demand chain is self-fulfilling. The watchers become the watched. Karma’s a bitch. Nightcrawler finds its target audience like a lumpy tumor, poking it and prodding it with the precision of a surgeon. It’s often equally as brilliant. Lou likes to say that if you’re seeing him, it’s the worst day of your life. Quite the opposite can be said about this film.

A

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