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Weekly Review 36: HUNT, PROPHET, O BROTHER, LAURENCE

On the march to the end of the season, with only four more major releases to go for 2013, I crossed two big ticket items off the list with The Hobbit: The Desolation of Smaug offering just the brand of disappointment I was crossing my fingers against and Inside Llewyn Davis which has been growing on me all week since seeing it. But the really miraculous part of this week is how much great cinema I’ve seen at home. I can’t remember watching a string of films this solid in a long, long time and I’m a happy camper for it. I guess that’s what happens when you sign up for Netflix disks and pop on a collection of films you’ve been waiting to see. So let’s hop into all the goodies I watched at home.

THE HUNT (2013)

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A ceaselessly powerful movie that’ll have you in fits of frustration, The Hunt is anchored by yet another career-defining performance from the always brilliant Mads Mikkelsen. It’s surely not the most accessible film of the year – it’s a Danish film about allegations of child molestation – but it explores victim psychology and crowd mentality with gripping truth. As school teacher Lucas (Mikkelsen) is accused of abusing one of his students, who so happens to be his best friend’s meek, doll-nosed daughter, we’re the only ones who know his innocence and see the town explode around him, acting against him at first with social rejection and later, violence. As things escalate and Lucas becomes an outright pariah, you’ll want to scream at the television.  But every time you want to point the finger at someone or other, you find yourself slipping into their mindset and understanding where they’re coming from. In an impossible situation such as this, it all comes down to what we’re willing to believe and who you’re willing to trust.

A-

A PROPHET (2009)

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Jacques Audiard‘s tale of a young French-Arab man rise inside the ranks of a prison mob is brimming with intrigue and stands as a sort of European Good Fellas. A gradual rise of power the likes of A Prophet will surely bring a slew of comparisons to Scorsese’s wok and for good reason. Audiard captures a similarly telescopic broadcast of a life, filtered down into a two-hour-plus film but still feels complete and massive. But he distinguishes his own style in the many off-kilter camera moves, intoxicating fuzzy screenshots, the use of language as a chess piece, all the while dividing the film up into succinct chapters that usually revolve around the introduction of a new character. Aided by an epic breakout from Tahar Rahim, A Prophet is a confidently made mobster movie that stands amongst the best.

A

O BROTHER WHERE ART THOU (2000)

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I’m almost ashamed to say that I have never sat down and watched the entirety of O Brother Where Art Thou but it feels good to get it off my chest. Thankfully, it lived up to the high praise I’ve heard sung by hipsters and movie critics at large. Once again giving a story, which is a straggly update on Homer’s ‘The Odyssey’, a whole new set of legs than any of their previous work, the Coens continue a string of encyclopedic work that knows no bounds and dares journey into just about any territory they please. The hypnotic music, literary references, and band of stooges all help to carve a niche film the likes of none other that is easily recommended to just about anyone interested in music, comedy, or antiquity.

A

LAURENCE ANYWAYS (2013)

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If you’re going to see one three-hour French-language film about star crossed lovers acclimating to a sexual identity crisis this year make it Laurence Anyways. First of all, you’ll sound so much more sophisticated when you one up all those wanna be know it alls babbling over Blue is the Warmest Color. Secondly, it’s a better film. With staggering performances from its two leads, decadent set and costume design, a throbbing score, and zesty direction, Laurence Anyways reaches emotional highs and blistering lows that only something this real and yet surreal could accomplish.

B+

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Weekly Review 35: RAID, BYZANTIUM, GRABBERS, ELECTION, [REC], GUFFMAN


This past (two) week cycle saw me frequenting the theater for some much needed fall redemption. After a summer filled with lackluster blockbusters, it’s great to really chew into some of the finest the year has to offer, a commonplace trend of the December month. After loving Disney’s Frozen, being rather disappointed in Mandela: Long Walk to Freedom, and being blown away by Out of the Furnace, I also got a chance to see a few of my most anticipated of the year in Her, American Hustle, and Saving Mr. Banks, reviews of all to come out this week.

At home, the biting cold of December forced me inside to do a lot of in-bed watching, which is as you know, the hardest part of this job. I caught up on a couple new guys, Byzantium & Grabbers, but also took a look at a number of films that I’d been meaning to watch forever, The Raid, [Rec], Waiting for Guffman, and slipped in Election, which I hadn’t seen for at least ten years. Now down to what I thought of them…

THE RAID: REDEMPTION (2011)

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An immensely enjoyable actioner that is sure to divide audiences right down the gender line, The Raid is kung fu at its most thrilling. The bone-breaking fight sequences are masterfully choreographed and it zips along from one clever shootout to another, making you all but apathetic to the fact that that film doesn’t really have a plot or characters. Even so, your blood will boil hot and you’ll be glued to the screen awaiting the next bit of “Aww snap”-inducing violence. Even though it’s a dumb movie to its core, The Raid is action movies at their most basic and most fun.

B+

BYZANTIUM (2013)

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Yet another vampire movie that tries to replace glitter with guile, Byzantium is an uncommonly artsy beast that fails to go above and beyond expectation. A pair of fine performances from Gemma Arterton and Saoirse Ronan help to legitimize the derivative story but their acting alone can’t really save it from disengaging directing. Like Neil Jordan‘s last foray into the vampiric (Interview With a Vampire), Byzantium is slow building and more focused on mood than plot beats. This fact is both a gift and a curse but ultimately ends up being the final nail in its own coffin. Although Arteton bears all, it’s ultimately a forgettable experience that’s just another “artsy” vampire movie.

C-

GRABBERS (2013)

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What better place to stage an alien invasion movie where the aliens are intolerant to drunk people than in Ireland? Grabbers, named for the tentacle-laden monsters of the film, does exactly that. The acting is fun (especially once everyone decides to be perpetually hammered) and the monsters are taken fairly seriously, making this an easy suggestion for creature-feature lovers. But good fun and a silly premise aren’t enough to heighten Grabbers into must-see recommendation territory. However, it is ripe to be turned into a full blown drinking game.

C+

ELECTION (1999)

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One of Alexander Payne‘s earlier works about Nebraska sees an acclaimed teacher and a brown-nosing student square off against each other. Although often hailed as one of his greatest works (and squarely in the ranks of cult classics) Election lacks the sophistication of Payne’s later efforts. The characters are smartly drawn and early performances from Matthew Broderick and Reese Witherspoon are right on the money but there’s just far too much voice over that acts as the sole agent propelling the story forward to really applaud the story as a whole. Payne does show off some flair with the camera and uses a number of visually interesting framing choices but, by and large, it’s not his greatest work.

C+

[REC] (2007)

An often terrifying Spanish horror movie that employed found footage before it was such a phenomenon, [Rec] is claustrophobically menacing. While following a crew of firemen for an after-hours series, reporter Ángela Vidal is quarantined in an apartment building with the residents, some of who are showing signs of an aggravated disease. Not quite a zombie movie but, hen again, pretty much a zombie movie, [Rec] isn’t the most original of concepts but uses their limited resources to great result. The final sequence in the dark is as unnerving as any great horror scene and you’ll be sure to be peeking around corners for the next few nights after watching.

B-

WAITING FOR GUFFMAN (1996)

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A fan favorite of Christopher Guest‘s, Waiting for Guffman takes on community theater and lambasts it in typical Guest style. While it lacks the one-liners of Spinal Tap!, and Best in Show, all the regulars are there in Eugene Levy, Catherine O’Hara, Fred Willard, Eugene Levy, and Parker Posey but their chemistry isn’t quite as zingy as we’ve come to expect. Guest’s uncommon brand of mockumentary is usually rife with arresting, bottom of the gut laughter but Waiting for Guffman doesn’t pack the nonstop comic punch of Guest’s greater works. Having said that, it’s still funnier than 90% of the other comedies out there.

B

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Weekly Review 34: MILLERS, R.I.P.D., EUROPA, WHITE, LEAVING


This week I set out to catch up with some of the early releases of 2013 that I missed and, surprise, surprise, was very underwhelmed. Not that I was expecting much revelatory from films like R.I.P.D. and White House Down but I was expecting at least a degree of fun that was largely absent. I also dipped into one of the Coen Bros earlier works, Millers Crossing, and was overjoyed that I did, as the film is, who would have thought, excellent. In theaters, I saw the slightly underwhelming Hunger Games: Catching Fire while Vince Vaughn‘s latest, Delivery Man, (for which Kyle wrote our review) managed to impress me more than I thought it would. I also published a review of Alexander Payne‘s excellent Nebraska. But for now, let’s get down to the nitty gritty and weekly review like we mean business.

 

MILLERS CROSSING (1990)

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The third film from the Coen Bros is a slippery web of double and triple crossings that always feel intricate but never contrived. It’s meant to keep you guessing and on your toes and succeeds greatly in accomplishing this goal. While it’s mostly a talker, there are explosive moments of visually astounding violence (Leo’s opera-backed Tommy gun sequence is simply incredibly). Backed by star making performances for John Turturro and Marcia Gay Harden, Millers Crossing isn’t a movie that sets out to confuse or confound you, it just always happens to be one step ahead, daring you to keep up.  

A-

R.I.P.D. (2013)

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As far as I can tell, Mary Louise Parker and Ryan Reynolds are two of the most obnoxious and least believable people in Hollywood. Their noxious parts in this cluster bomb of a movie that sees deceased police officers hunting down the undead on Earth only cements this fact. The only entertaining moments come courtesy of Jeff Bridges returning to Roster Cockburn – although here his affectation gives diminishing return – especially since he is saddled with choppy dialogue that can only fly on a comic book page. R.I.P.D. seems to intentionally go out of its way to be stupid – dumbed down to the most base of levels. At least it’s a relatively short affair.

D+

EUROPA REPORT (2013)

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Too stripped down for its own good, Europa Report tries to be inventive but is largely by the numbers. As a crew of specialists searching for the twinkle of life on a distant Saturn moon, they encounter events beyond their control that start to thin their numbers. Using the ever so popular found footage framework, tension runs high but bumps in the night are mostly lacking and the eventual dwindling of their ranks plays like many other by-the-books survival films . As their roster dwindles, so does the hope of something revelatory. Packed with a lineup of faces who you can’t quite put a name to, there’s certainly lots of under-valued talent here, although it’s only occasionally put to good use. Ultimately, Europa Report is a good effort with a minor payout but isn’t entirely worth the trip.

C

WHITE HOUSE DOWN (2013)

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A bunch of nonsense involving a wanna-be secret service played by C-Tats mostly in a wife beater and a street smart president rocking Air Jordans and the presidential know how of someone who’s watch CNN a few times. For all the gobbledygook us vs. them dialogue, mess of explosions, and shoe-horned shoot outs, the excitement in White House Down is too sculpted and junky to elicit moments of actual tension. Rather, we know full well the adrenaline-seeking rouse explosion king Roland Emmerich is trying to pull, and let’s just say he doesn’t quite have the same knack for it that he did in the 90s. As the second terrorists attack the White House film of the year (the Gerard Butler led Olympus Has Fallen was the other), it was the more expensive (by a large margin), less profitable, and all around worse film. Worst of all, it’s over two-hours and ten minutes that all amount to a total waste of your time.

D

LEAVING LAS VEGAS (1995)

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I would direct all who say that Nicholas Cage can’t act to Leaving Las Vegas, this film in which he deservingly won Best Actor playing a volatile drunk slowly committing suicide through booze. It’s pretty much a nightmare watching these desperate people in this desperate town, especially when love and feelings get tackled in. You know it’s not going to end well but the trip spiraling downwards is anchored by fantastic performances from Cage and Elisabeth Shue, who plays his new hooker girlfriend with a heart of gold, Sera. Anything but a fun movie, Leaving Las Vegas is a certainly challenge to watch and teaches you that dating an alcoholic isn’t far from babysitting a 160 pound man. You certainly won’t feel great about yourself after seeing it, but it’s packed with enough caustic body horror to leave a mental scar for even the most hardened of viewers…if you’re into that.

B

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Weekly Review 33: AFTER, FILM, HOST, STUFF, IMPOSTER, THELMA


I managed to get a lot of home watching in this week as there wasn’t a ton of screenings I had to attend with The Book Thief being the only film I saw in theaters, and while it had a lot going for it, was ultimately let down by clumsy melodrama. I also published my full review for Blue is the Warmest Color, which I had a lot of problems with, and Kyle wrote up a review for The Best Man Holiday, which he had a lot of problems with. Today brought a screening of The Hunger Games: Catching Fire, which I’ll probably review by tomorrow, and this week also holds Vince Vaughn‘s Delivery Man, the Jason Statham vs. James Franco actioner Homefront, and Disney‘s Frozen, which everyone has just been loving. But let’s get down to business and do some weekly reviewing.

 

THE HOST (2006)

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Firstly no, not the Stephenie Meyer book, the much, much better 2006 South Korean film. A monster movie that isn’t really a monster movie, The Host revels in its hazy political metaphors of totalitarian government. No matter how fake the slimy creature from Seoul’s Han River might look, his computer generated presence is still a well laid MacGuffin to probe state’s interference and the needs of the many outweighing the needs of the few. Gripping and smart from start to finish, The Host is monster movie making at its most thoughtful and sly. Also, no Stephenie Meyer.

B+

THIS FILM IS NOT YET RATED (2006)

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Chartering just how screwy the MPAA is when passing judgement on films’ ratings, Kirby Dick‘s documentary points a lot of fingers and raises a lot of good points, but could have been crunched down into a shorter, tighter doc. However interesting the topic – to some – a documentary needs to preserve a sense of urgency of knowledge and This Film is Not Yet Rated wastes a large portion of its screen time lingering too long with a batty PI and false tension. 

C-

THE STUFF (1982)

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Horrid acting, terrible directing, and dimwitted metaphors that beat you over the head at every turn, there is nothing of substance in The Stuff. The only thing likely to stick with you after it wraps are the catchy jingles (but it’s not like you want any more jingles bopping around your skull.)

F

THELMA AND LOUISE (1991)

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I finally got around to watching one of Ridley Scott‘s most beloved films and can certainly recognize why it gets so much of said love. This is the undercover feminism movie that sees women’s empowerment as something to be celebrated, not just something to be talked to death. As two woman turn away from their domestic prisons, they discover something within themselves that, now free, can never be caged again. The film has a few issues in terms of character development vs. established timeline but nothing so bad as to muddle the overall impact. Witnessing these women’s decent into lawlessness is one of the more fun, and more meaningful, experiences of domestication gone awry.

B+

THE IMPOSTER (2012)

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A soaring documentary bubbling over with so much unthinkable insanity that you couldn’t have made up anything more wacky. A true stranger than fiction tale, The Imposter‘s success isn’t necessarily a result of perfect – or even great – filmmaking so much as it is a stunning story culled from an absolutely gripping topic. What’s more is that it leaves you craving more details, shocked and amazed at these true events and wanting to take part in the investigation yourself. Going into it blind is absolutely essential so learn as little as you can before watching. If you do, you’ll be hard pressed to find a more gripping, edge-of-your-seat film –  documentary or otherwise. 

A+

AFTER EARTH (2013)

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Earth to Will Smith. Your career is dying. Abort acting with your child. Repeat: abort! In After Earth, the rockstar Smith of the 1980s seems to have shriveled up and disappeared and in his place is an aging surly stone of a man intent on exclusively working with his children. While there was a certain cutesiness to that chemistry in Pursuit of Happyness, it has gotten the better of him here. Jayden Smith‘s mildewed acting is as transparent as it is hollow. His bratty face-crunching acting style is more disastrous than M. Night‘s career -which at this point is so in the hole it’ll never imaginably see the light of day again. Just stale from front to back, there is not a modicum of joy to be found in this crash landing of a movie.

F

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Weekly Review 32: IN A WORLD, DEAR ZACHARY, SOMM, 21 AND OVER


After an extremely busy week at the theater that saw reviews for Thor: The Dark WorldDiana, and Dallas Buyers Club and screenings of Nebraska and Philomena – which I’ll write about next week – I got busy with some more at-home viewings, catching up with a couple of flicks from 2013 that had previously swooped under my radar. I would certainly gush about the two documentaries – SOMM and Dear Zachary – that I encountered but the two traditional feature films – 21 and Over and In a World – left something to be desired. Take a stroll down movie watching lane with this week’s edition of Weekly Review.

 

IN A WORLD (2013)

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Lake Bell‘s directorial debut is a well of indie potential that never quite finds its footing. The resulting dramedy – as if we really need another movie that fits the “dramedy” bill – is sloppy but mildly entertaining, even though it has this strange feeling that the fun was intentionally capped at 7. Laced with many B-list comedy stars, In a World rewards those plugged into film geekery with its wacky premise following a battle to become the next big thing in trailer voice over work. Demetri Martin, Jeff Corddry, Ken Marino, and a barely used Jeff Garlin all feel squandered, as if Bell didn’t want anyone to shine more than her and underwrote their characters and left any improvisation strokes of comic gold on the cutting room floor. There’s certainly many elements to like and Bell’s unkempt VO laggard is a great – dare I say feminist – turn of counterculture to an industry dominated by men but, ultimately, the ratio of laughs to mere smiles make this comedy a venture not worth pursuing.

C

DEAR ZACHARY (2008)

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Amateur filmmaking and (un)happy accidents turn what could have been a minor pet project into an often unruly and always devastating documentary. Originally meant to commemorate the loss of Andrew Bagby – an at-home filmmaker/aspiring doctor who has murdered at the hands of a jealous girlfriend – this documentary shifted focus with news that his murderer was pregnant with his child. As a letter to a son about his father, Dear Zachary transforms into a whole different beast entirely. Reality tends to be more shocking and messy than fiction and the events that take place throughout this film serve as unholy proof of that fact. As much a peepshow into the failings of the justice system as a degradation of a murderer let off the hook, her name is Shirley Turner, Dear Zachary is a devastating documentary of the highest degree.

B+

SOMM (2013)

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Taking a peek into the little known world of sommeliers, SOMM shows us just how little we know about wine and to what lengths some will go to be called “a master.” Despite any initial reaction urging you to jump up and yell “Bullshit!”, these gurus of grape knowledge must learn about every imagine facet of the wine making process – from grape varietals to dirt to regions, subregions, and villages – to even stand a chance at the impenetrable master sommelier test for which they are studying. Giving us a new perspective on a beverage as old as time, SOMM showcases devotion and persistent in the most unexpected of professions. The film stutters in moments and feels like it could have shaved off certain elements but for making us believe that a test about wine might just be much harder than passing the bar exam, filmmaker Jason Wise deserves a big glass of wine and a respectful nod.

B

21 AND OVER (2013)

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There’s little to like in this cliche-ridden college movie that’s smothered in familiar tropes like cold gravy on a hard biscuit. Taking each and every familiar path we’ve seen so many times before, 21 and Over lacks anything distinct and is unable to summon a single laughter during its 93 minute runtime. For so short a film, it quickly overstays its welcome and only just barely glides by on the easy charm of star Miles Teller. Even the cursory gross out gags are inessential, mere distasteful moments tacked on as a last ditch effort that the film isn’t completely forgotten.

D

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Weekly Review 30: MANIAC, PARANORMAL ACTIVITY 3, THE SHINING

My horror-at-home trend continues as three more join the cult of Weekly Review. While Maniac and Paranormal Activity 2 failed to really excite the terror within me, a massive theatrical viewing of The Shining served as the easy highlight in a week that also involved screenings of The Counselor, Diana, Last Vegas, Blue is the Warmest Color, and 12 Years a Slave.

MANIAC (2013)

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After hearing relatively poor things, I decided to give this film a chance because it was on Netflix Instant and had nothing better to do. Although seriously flawed, I certainly found things to like about it and it was an acceptable hour-and-a-half of gory tension. Maniac depends on an uncommon POV conceit that gives the film a bit of unique character but also provides for some of its more embarrassing moments. Moments where Elijah Wood narrates aloud to himself are simply laughable, particularly when he is typing on a “Find Singles Online” type of site and reading aloud to himself like a self-editing elementary-schooler, but the chuckles halt abruptly as scalps start popping off and the blood flows like thick strawberry syrup. As a frothy slasher flick, the gory goods help bandage the less flattering elements, making it watchable, especially for this time of year, in spite of its serious issues.

C-

PARANORMAL ACTIVITY 3 (2011)

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While it packs more scares and less predictability than the second installment in the franchise, Paranormal Activity 3 still doesn’t manage to capture the first-time surprise of the original film. This time around though, we’re introduced to some new elements that bump up the intrigue and works in a cliffhanger that actually legitimizes a next chapter but the writing is on the wall. There’s an inescapable sensation of property being wrung for all its worth with this franchise, but that hoodwinking business is kept mostly at bay by a perpetual sensation of unease. I guess I’ll end up watching the fourth.

C+

THE SHINING (1980)

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While Weekly Review typically only covers films that I’ve seen at home, for the first time, my theatrical viewing of The Shining was simply too good not to mention. Viewed at the stunning Cinerama Theater here in Seattle, it was entirely terrifying to hear The Shining‘s haunting, screechy score blast from the surround sound speaker setup, making for an audio assault that completely envelopes the audience with panic and dread. Take that intrusive, stressful score and add it to Stanley Kubrick‘s precisely woozy camerawork and Jack Nicholson‘s eyebrow-dominated face nearly 70-feet wide, grinning like a mad man or dead-eyed and equally terrifying, you better believe it was one of the finest viewing experiences in theaters I can recall. To date, this is still my favorite horror movie as well as one of my favorite films.

A+

What’d you see this week? Leave your own reviews in the comments below!

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Weekly Review 29: THE CROW, PARANORMAL ACTIVITY 2, GOMORRAH, THE MIST

After a full week at the theater that resulted in reviews for Wadjda, Carrie, All is Lost, Kill Your Darlings, and The Fifth Estate, I took to catching up with some Halloween-themed movies at home. After taking the next step into the Paranormal franchise, I delved into Alex Proyas The Crow, the Italian mob movie Gomorrah, and Frank Darabont‘s fantastic creature feature The Mist. Join us for Weekly Review.

The Crow

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Predictable as all hell, The Crow is a dark vigilante tale whitewashed with major chord symphonics and a laughable lead in Brandon Lee. When he rises from the dead a year after he and his wife are violently murdered, Eric Draven transforms into The Crow, a face-painted vigilante, to exact revenge… and shred some gnarly rooftop solos on his jet black Stratocaster. Sadled with 90s standards like a moustachioed black cop and a smart ass streetkid on a skateboard, The Crow is all sorts of the wrong kind of dated.  Killed by a live round during filming, this was Lee’s (son of Bruce Lee) first major outing as a certified lead. Although none can deny that his passing is a shame, he brings new meaning to the phrase “he couldn’t act to save his life.”

D+

Paranormal Activity 2

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Building off the slow-burn premise utilized in Paranormal Activity, this simpleton sequel deploys similar tactics to lessening effect. While keeping it all in the family works to immediately solidify the interest of those who bought into the tall-tale-as-fact tactic of the first installment, the repetitive shots of nothing happening build a false tension that is more cumbersome than legitimately suspenseful. We’re awaiting a swinging door, anticipating a falling pot, wondering what’s going on in the pool and that’s not really what scares are about. As someone who is frequently startled by movies of this nature, I found myself more bored than frightened by its gruelingly slow pace and completely put off by its lazy (even by found footage standards) use of the selfsame angles over and over again. While not a shot-for-shot remake of the first, it explores similarly eerie material that totally fails to illicit the same effect the second time around.

C-

Gomorrah

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The next time you’re in Italy and someone tells you they’re in the waste management business, watch your ass. At least that’s what Gomorrah tells you. But with filmmaking that is decidedly European, Gomorrah often feels cold and clinical, with no central characters to latch onto and many complex allegiances that may have you piecing together who’s working with who. By taking a more bird’s eye view of the mob situation in Italy, Matteo Garrone is able to cover a lot of territory and cut to the heart of not just one problem but the many microcosms that splinter off from that problem. At times, it feels scatterbrained and too wide-ranging to cement our attention but the sheer breadth of the tale is ambitious, albeit to a fault.

C

The Mist

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About five years ago, I watched the first twenty minutes of this film and turned it off thinking that it was just more of the same. I couldn’t have been more wrong. While the monsters that lay the groundwork for the grocery store story of survival aren’t mind-bendingly inventive, the story of slipping humanity and the mental cost of the apocalypse is. As the movie heats up, the stakes grow larger and larger, building to a jaw-dropping finale with scarring potential. A fact that’s not too much of a surprise when you remember that director Frank Darabont was responsible for such stunners as The Shawshank Redemption and The Green Mile. The Mist is an unforgettable, instant horror classic.

B+

What’d you see this week? Leave your own reviews in the comments below!

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Weekly Review 28: ABRAHAM LINCOLN: VAMPIRE HUNTER, OCEAN'S TWELVE, DOG POUND, MOVIE 43, LIFE IS BEAUTIFUL

However inconsistent Weekly Review might be at this point, I’m trying to revitize it…especially since I’m sick at home and have nothing better to do. In the theater this week, I relished the much awaited fall season with screenings of the excellent Dallas Buyers Club and Captain Phillips. Fluffy popcorn flicks (Ocean’s Twelve, Abraham Lincoln: Vampire Hunter) met with serious dramas (Dog Pound, Life is Beautiful) and big name sketch comedy (Movie 43) and I ended up doling out the very rare, very elusive A+. Find out what grabbed the most coveted grade in this week’s edition of Weekly Review.

Ocean’s Twelve (2003)

Like the bachelor too interested in being suave to realize that that he has dirtied toilet paper stuck to the sole of his show, Ocean’s Twelve is all frills with little of substance making the wheels turn. Unlike the well-oiled machine that was the original Ocean’s film, this one clomps from one plot point to another either not realizing or not caring that it stomps on any sense of cohesion that precedes the scene that we’re in. Too caught up trying to pull a number on its audience, Ocean’s Twelve fails to satisfy those trying to connect the dots as they plot towards a hurried and pale-brained conclusion. All the stars that lend their talent to this massive ensemble still work their tempestuous charm and Steven Soderberg‘s eye for framing is consistently satisfying but they are just wind up as buttercream icing on a rotten cake.  

C-

Dog Pound (2010)

Although some of the characters are sketched a little thin and the ten-dollar guitar score is dependably awful in this Canadian drama about an American juvenile detection center, the narrative is occasionally gripping and always cloaked in thoughtful sentiment. Beginning with the origin of how three new inmates earned their incarcerations, Dog Pound proceeds to examines prison politics from a perspective of lost youth, revealing that no matter what age, prison is hell. Here emotional breakthroughs are as rare as fleeting moments of peace, leaving everyone as a shade of a monster. As a Canadian production laser-focused on American dealings, it can’t escape its own heavy-handed judgement-doling nor will it debunk any common understandings of the U.S. penitentiary system.

C+

Abraham Lincoln: Vampire Hunter (2012)

In a world where the existence of vampires has dictated real world events for centuries, Abraham Lincoln is not only the 16th president of the United States but an axe-wielding scourge of the undead. Sepia tone aside, the aesthetic palette used to tell the story used confuses inconsistency for irony. Over-saturated but thrifty CGI in the big spectacle shots take away from director Timur Bekmambetov‘s otherwise nifty stunt work. A fat-lipped script leads clunky storytelling and pigeon-toed acting to an ineffective adventure story that provides one big step in the wrong direction after Bekmambetov’s exciting big debut, Wanted. For some inexplicable reason, the people here – from the actors to the composer – seem to actually be taking themselves seriously. I guess it turns out that history and vampires don’t blend after all (at least outside of those bestselling books.)

D

Life is Beautiful (1997)

What starts as a quirky, colorful Italian comedy reminiscent of Charlie Chaplin‘s “tramp as talkie” changes gears to become one of the most slyly devastating films of all time. Director Roberto Benigni stars as Guido, an unassuming vagabond champion. He spends the first chapter of the film courting the apple of his eye; a well-to-do beauty known to him only as “princess”. Always one to manipulate souring circumstances to his best advantage, Guido charms his Dora (Nicoletta Braschi) with false serendipity and an uncompromising heart of gold. As their affection for one another grows, so do the antisemitic undertones occupying the political scape closing tighter around them. When WWII breaks out a few years later, Guido’s family is sent packing to an Nazi death camp. Wanting to shield his young son from the true unblinking horror of their situation, Guido convinces him that the whole thing is an elaborate game. Holocaust films are devastating by nature but Benigni’s vision of blind hope brings new meaning to heartbreak. An astounding, towering feat of acting and directing, Benigni finds humor in hopelessness, beauty in bleakness.

A+

Movie 43 (2013)

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Essentially SNL with big name stars – if SNL had more of an obsessive focus on ball sacks – Movie 43 is a menagerie of bizarro sketch comedy inlaid with some high highs and really, really low lows. Liev Schreiber and Naomi Watts share a twisted homeschooling bit that manages to cull some hearty laughs while real life husband and wife Chris Pratt and Anna Farris “poop on me” scene is painfully unamusing and eyebrow-raisingly childish to boot. But the clunker king of these shorts is the mid credits “Bezel the cat” video with Josh Duhamel and Elizabeth Banks. The scene is truly an embarrassment for all involved. As an entire piece, Movie 43 is boldly scatological, racist, sexist, and purely disgusting but lazy execution and   an elevator of comedic quality really do make it a bad film. And good god did it leave on a poor note.

D-

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