Philomena (2013) Reviewed for The Beat Magazine Online

Head on over to The Beat Magazine Online to see what I thought of Philomena (2013), starring Judi Dench as the titular woman searching for her forcibly separated son and Steve Coogan as reporter Martin Sixsmith who helps her in exchange for writing the story:

http://www.thebeatmagazine.ca/index.php/cinema-reviews/1942-philomena-a-simple-story-with-larger-implications

Dallas Buyers Club (2013) Reviewed for The Beat Magazine Online

Head on over to The Beat Magazine Online to see what I thought of "Dallas Buyers Club" (2013), starring Matthew McConaghey as a cowboy who contracts HIV and Jared Leto as a transexual who helps him get treatment to themselves and those who need it:

http://www.thebeatmagazine.ca/index.php/cinema-reviews/1939-dallas-buyers-club-falls-short-of-progressive

About Time (2013) Reviewed for The Beat Magazine Online

Head over to The Beat Magazine Online to see what I thought of "About Time", a romantic comedy about a man who learns he can travel into his own past:

http://www.thebeatmagazine.ca/index.php/cinema-reviews/1924-about-time-as-charmingly-cute-as-its-male-lead

How I Live Now (2013) Reviewed for The Beat Magazine Online

Head over to The Beat Magazine Online to see what I thought of "How I Live Now" (2013), a new film by Kevin Macdonald about an american girl sent to live on the English countryside when World War 3 starts:

http://www.thebeatmagazine.ca/index.php/cinema-reviews/1920-how-i-live-now-speeds-through-its-set-up-to-deliver-a-great-story

Kill Your Darlings (2013) Reviewed for The Beat Magazine Online

Head over to The Beat Magazine Online to see what I thought of "Kill Your Darlings" (2013), the new film about the beginning of The Beat Generation, starring Daniel Radcliffe as Allen Ginsberg:

http://www.thebeatmagazine.ca/index.php/cinema-reviews/1916-kill-your-darlings-is-excellent-but-not-quite-enough

Captain Phillips (2013) Reviewed for The Beat Magazine Online

Head over to The Beat Magazine Online to see what I thought of "Captain Phillips" (2013), a film based on the true story of a ship taken over by Somali pirates:

http://www.thebeatmagazine.ca/index.php/cinema-reviews/1912-captain-phillips-is-high-tension-with-a-great-ending

All Is Lost (2013) Reviewed for The Beat Magazine Online

Head over to The Beat Magazine Online to see what I thought of "All Is Lost" (2013), a new film starring Robert Redford alone at sea when his ship gets damaged:

http://www.thebeatmagazine.ca/index.php/cinema-reviews/1910-all-is-lost-a-deep-tale-of-isolation-and-perseverance

Inequality for All (2013) Reviewed for The Beat Magazine Online

Head on over to The Beat Magazine Online to see what I thought of "Inequality for All" (2013), the new documentary about Robert Reich's views on the American Economy:

http://www.thebeatmagazine.ca/index.php/features-2-5-6/69-beat-featured-stories-2-5-6-category/featured-article-category/1900-inequality-for-all-like-a-really-good-university-lecture

Diana (2013) Reviewed for The Beat Magazine Online

Head on over to The Beat Magazine Online to see what I thought of Diana (2013), the new biopic about Diana, Princess of Wales:

http://www.thebeatmagazine.ca/index.php/featured-posts/1899-lead-story-2013-11-23-diana-a-public-woman-s-private-life

The Skin I Live In (2011)

The Skin I Live In 

(La Piel Que Habito, 2011)                              4/5

Directed by Pedro Almodóvar

Antonio Banderas, Elena Anaya

In this Spanish horror, world-class plastic surgeon Robert Ledgard (Antonio Banderas) has developed damage-resistant synthetic skin. His research is forbidden for further testing for ethical reasons, but unbeknownst to his colleagues Robert has already successfully transplanted the skin onto a human, covering the body of Vera (Elena Anaya), a mysterious woman whom Robert keeps locked in his home.

The plot is somewhat overly melodramatic, but intelligently written so as to be forgivable. At some points the plot is pushed forward lazily, even going so far as to have Robert’s head servant Marilia (Marisa Paredes) sit by a fire and exposit a large mass of plot information. In this particular scene, the visuals become a side-note to Marilia’s long-winded story, which amounts to a verbal crutch with which the film sets up its second half.

Thematically, Almodóvar accomplishes what many horror directors fail to, combining an entertainingly horrifying (in a very Spanish way) story with rich, complex themes. The themes presented are not necessarily new to the genre (revolving mainly around sexuality, gender, and body image), but whereas other horrors might favor entertainment to the point of only including these themes coincidentally, this film actively revolves around its themes, crafting complex patterns and juxtapositions among its central story and supporting plot points.

Visually, there is a refreshing reversal of a typical modern horror which sees a gruesome and disturbing tale emerge from relatively little gore (where many would revolve around depicting torture and bloodshed), instead favouring a focus on depictions of sexuality (where many would include sexuality as secondary to gore, or perhaps even causally linked to bloodshed). The costuming is exceptionally important, as is the makeup and set design, and all of it is meticulously put together to great effect. The cinematography and editing is used in various places to enrich the film’s themes and emotions, including many aspects of voyeurism and separation through a camera lens. 

The performances feature stunning physicality, particularly in the way the characters interact. Anaya is spectacular as the mysteriously troubled Vera, whose interactions with men are intimate but with an intangibly disturbing quality. Standing in front of Banderas, she presses her face up against his with her nose at his mouth, making the entire scene awkward in a wonderfully eerie way. Banderas’ role can perhaps be best summed up with the word “obsessive”, creating an intriguingly determined and creepy “Mad Scientist” type character.

Overall, the film suffers from some issues with lazy plot development, but nothing that cannot be overlooked for the sake of an intriguing story full of eerie characters and exceptionally rich themes.

This review was requested by Jenn Vickers.

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Triangle (2009)

Triangle (2009)                                                  4/5

Directed by Christopher Smith

Melissa George, Michael Dorman

In this horror thriller, Melissa George plays Jess, a single mother to an autistic child (Joshua McIvor). A friend and possible romantic interest named Greg (Michael Dorman) invites Jess to come sailing on his ship, but when a storm capsizes the boat, the people aboard need to take refuge on a passing cruise ship which seems mysteriously abandoned.

The plot is surprisingly clever, weaving an intelligent story with a good amount of twists and turns. The pacing is well executed and the film takes great care to explain any details from earlier on. It does, however, require some patience on the part of the viewer, as a result of said details which are not explained until some time into the film.

Thematically, there are one or two major points made, but depth is set at a lower priority than the admittedly intelligent plot. Motherhood, especially to a child with special needs, is the most apparent theme in the film, but even this requires hindsight after experiencing the entire film at least once.

Visually, the beginning is troublesome, involving a series of semi-coherent sequences split up by title credits on a black screen. This “back-and-forth” style creates a rather frustrating pace for establishing characters and themes. By the film’s end, however, the opening sequence makes far more sense, and is therefore forgivable. Apart from the title credits, the film is exceptionally well shot, both in terms of clarity and artistic flair. One particular sequence involving a skipping record involves some particularly intriguing editing.

The performances are appropriate for the nature of the film. Most characters have a decent level of depth relative to the characters typically found in a horror film. Melissa George plays the lead exceedingly well, demonstrating a character shift while also maintaining a consistent role as the “determined mother”. Michael Dorman plays a more subtle role, not quite reaching the point of a love interest, but appropriately so given that this is meant to be the first time the pair have seen each other outside of Jess’ waitress job. His performance is, in this respect, nicely subdued but still somewhat endearing.

Overall, Christopher Smith delivers a delightfully intelligent and entertaining film, with the added surprise of a cerebral plot that will leave its audience thinking, at least for a little while. Re-watch value seems high on this picture as well.

This review was requested by Drew Izzard.

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Short Term 12 (2013) Reviewed for The Beat Magazine Online

Head on over to The Beat Magazine online to see what I thought of "Short Term 12", a film starring Brie Larson as a staff member at a short term foster care facility:

http://www.thebeatmagazine.ca/index.php/cinema-reviews/1889-short-term-12-a-great-new-film-using-old-techniques

Thanks for Sharing (2012) Reviewed for The Beat Magazine

Head on over to The Beat Magazine online to see what I thought of Thanks for Sharing (2012), a film starring Mark Ruffalo, Tim Robbins, and Josh Gad as members of a sex addiction therapy group:

http://www.thebeatmagazine.ca/index.php/cinema-reviews/1886-thanks-for-sharing-a-delightful-dramedy

Cannibal! The Muscal (1993)

Cannibal! The Musical (1993)                      2.5/5

Directed by Trey Parker

Trey Parker, Toddy Walters

In this early work from the creators of South Park, we hear the story of Alferd Packer, a man who attempted to lead a group of miners through the Rockies during the late 1800’s. As the result of various complications, Alferd ended up the sole survivor, the rest of his group having been killed and eaten. Parker uses the shockingly true tale as the basis for this darkly funny musical.

The plot is ridiculous and over the top, but in the exact way one might expect from Parker and his longtime creative partner Matt Stone. Parker manages to successfully tell an absurd story, while also including several secondary plot points such as Packer’s relationship with his horse Liane. True to Parker’s style, nothing is particularly hard-hitting, and many jokes are somewhere between predictable and overused, but it is entertaining nevertheless.

Thematically, there is little to be found beyond Parker’s usual commentaries on religion and society (featured notably in the town’s desire to see a violent show regardless of justice). What deeper meaning there is comes across clearly and in a satirically funny way, but do not expect to spark any deeper philosophical discussions by watching this.

Visually, it shows both its age and budget (or lack thereof). The cinematography is often quite stiff, holding many shots for an extended period. The costuming and sets, however, are surprisingly impressive. Everyone’s mode of dress is rich in detail and gives a clear sense of the character before they even speak. Some particularly expressive and funny costumes include the filthy band of fur trappers as well as the clearly Japanese “Indians” who make a point of pretending to be Indians.

The performances are at best the typically exaggerated ridiculous type found in Parker and Stone’s work, and at worst they are amateurish and poor. The main cast deliver an entertaining picture full of large outbursts. The smaller roles, however, all feel like actors delivering stiff, mechanical characters. The musical numbers are entertaining in Parker’s signature style, poking fun at the idea of a musical. One surprisingly entertaining performance comes from Jon Hegel as one of the miners named Swan, who sings joyfully about building a snowman as he loses his mind to the harsh conditions the gang of men face.

Overall, the film is purely entertaining without much else going for it. The costuming is well done, and it features the signature Parker/Stone sense of humour, but it is blatantly evident that this is an early attempt from the comedy legends. It is not a great film, but for anyone looking for a little laugh or wanting to discover the roots of the South Park and Baseketball masterminds, this may be one to watch.

This review was requested by James Roberts.

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All the Wrong Reasons (2013) Reviewed for The Beat Magazine

Head on over to The Beat Magazine Online to see what I thought of Cory Monteith's final film, "All the Wrong Reasons".

http://www.thebeatmagazine.ca/index.php/cinema-reviews/1879-all-the-wrong-reasons-a-satisfying-drama-about-coping

Enough Said (2013) Reviewed for The Beat Magazine

After a week's delay on new reviews, you can now see my thoughts on one of James Gandolfini's final roles in Enough Said (2013) over at The Beat Magazine Online.

http://www.thebeatmagazine.ca/index.php/cinema-reviews/1876-enough-said-dating-in-the-age-of-divorce

Rush (2013) Reviewed for The Beat Magazine

Head on over to The Beat Magazine online to see what I thought of Ron Howard's new Formula One Racing film:

http://www.thebeatmagazine.ca/index.php/cinema-reviews/1869-rush-a-fast-paced-racing-thriller

Magic (1978)

Magic (1978)                                                   3.5/5

Directed by Richard Attenborough

Anthony Hopkins, Ann-Margret

In this 70’s horror, magician Corky Withers (Anthony Hopkins) creates a popular stage act by including a foul-mouthed ventriloquist dummy called Fats. However, when his manager Ben Greene (Burgess Meredith) scores him a potential TV pilot, Corky is scared into hiding, going back to his hometown where he finds his high school crush Peggy (Ann-Margret). As his passions for her reignite, tension also mounts due to Corky’s strange relationship with Fats.

The plot is eerie, walking the fine line between psychological and paranormal. As is common for older films (especially, it seems, for the horror genre) the pace is much slower than a modern audience might expect. Some scenes seem unnecessary, while others simply take too long to build tension. Given the time in which it was made, however, these issues are forgivable, especially given the successfully creepy feeling that the entire story achieves.

Thematically, there is an interesting dynamic set up which compares the troubled relationship of Peggy and her husband Duke with the strange relation between Corky and his dummy Fats. The comparison that the film makes is interesting, with a fair amount of depth. Other themes are touched on briefly (Corky’s upbringing is shown in a few vague flashbacks, and Greene makes an interesting statement about the nature of the camera’s objective sight towards the beginning), but seem to be left aside in favour of the time spent in Peggy’s company.

Visually, there are a few intriguing techniques. Most cinematographic flourishes are used to emphasize the relationship of Corky and Fats. One particular scene is a spectacular use of tense stillness, as Corky and Greene sit across from one another in silence. As the camera circles around Corky, it rests behind Fats, replacing Corky’s face with that of Fats. Attenborough makes a few attempts at eye-catching visuals such as this, but for the most part the cinematography is just simply unobtrusive, successfully telling the story without much interruption. One exception is a particularly awkward-looking sex scene, complete with absurdly cliché romance music. The camera focuses on single shots for an extended period as the actors embrace, but in a way that does not come across as particularly erotic nor romantic.

The performances are incredibly uneven, but are at the very least functional. The majority of scenes involve explosive highs which drown out any real subtlety in the acting. At any given time, a character seems to be either getting angry, yelling, or crying. There are a few shining moments, but for the most part the film is highly overacted and altogether melodramatic. These performances work however, in that such explosive personalities build a sense of eerie tension that helps to further the horror aspect of the film. Some of the better moments include the aforementioned silent moment between Corky and Greene (in which Burgess Meredith delivers one of the best performances in the film, incorporating adequate tension with spectacular subtlety), as well as a scene towards the end when Corky argues with Fats in which Anthony Hopkins delivers a spectacular version of a man gone completely insane.

Overall, Magic is an eerie film which walks the line between psychological and paranormal horror. It has a number of issues, including a lengthiness typical of older horror films as well as uneven and altogether melodramatic performances, but it is sure to produce the desired uneasy feeling in its audience, especially for those who share this reviewer’s particular distaste for ventriloquist dummies.

This review was requested by Daniel Turres.

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Heartless (2009)

Heartless (2009)                                                3/5

Directed by Philip Ridley

Jim Sturgess, Clémence Poésy

In this British horror film, photographer Jamie Morgan (Jim Sturgess) shies away from others due to several large birthmarks which cover half of his face and his arm. While out taking photos one evening, he witnesses a group of strange creatures in hoodies attacking someone. As he discovers more about these creatures, he must deal with the consequences of the choices he makes, delving into a horrifically surreal world.

The plot feels very complete, but in a somewhat heavy-handed fashion. Many events seem like unnecessary additions in an attempt to add complexity. Ridley (who also wrote the film) manages to bring all plot elements to a satisfactory conclusion, however, tying everything together despite seeming convoluted at the outset. Every point is accounted for, but it seems that those points are unnecessarily numerous. It is also quite predictable, using a fairly standard story arc, but it does manage to successfully tell the story.

Thematically, there is a great deal of symbolism and richness. Themes of love, death, and beauty are all handled nicely. The script and its execution make for an intelligent subtextual dialogue.

Visually, the effects are nicely suited to the horror genre. The makeup for Jamie’s birthmarks has the perfect amount of subtlety, making them noticeable but not overly grotesque. The cinematography is executed nicely, adding to the rich themes as well as setting the mood of each scene. Lighting also plays a major role in the atmospheric impact of the film. The visuals are hampered, however, by intrusively cliché music at various points, which is particularly frustrating given that other scenes make effective use of silence. In this respect, the sound is uneven.

The performances are spectacular, aside from some pieces of unnecessary dialogue. Small, offhand lines meant to inform the audience of what is happening show up at several points, implying that the audience is incapable of following along otherwise. For example, when one character picks up a set of keys which have a distinctive keychain seen earlier in the film, the character reminds the viewer whose keys they are. Unnecessary dialogue aside, the acting is of a very high quality. Sturgess presents a fully realized character, adopting the idiosyncrasies of a nervous man who tries to hide one side of his face. Clémence Poésy does a wonderful job as Tia, Jamie’s love interest in the film. A special mention goes to Noel Clarke who plays Jamie’s neighbor A.J., injecting the perfect amount of charming, friendly humor into his character.

Overall, this is a decent horror film worth checking out during the Halloween season, particularly for fans of Jim Sturgess. Some unnecessary elements hold it back from being truly great, but with a complete story and thematic depth, it is still a good film.

This review was requested by Liz Patrick.

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Haute Cuisine (2012) Reviewed for The Beat Magazine

http://www.thebeatmagazine.ca/index.php/cinema-reviews/1863-haute-cuisine-a-genuine-story-full-of-sincere-characters

Nine Queens (2000)

Nine Queens (Nueve Reinas, 2000)               3.5/5

Directed by Fabián Bielinsky

Ricardo Darín, Gastón Pauls

In this Argentine Crime film, rookie con artist Juan (Pauls) is found working a job by veteran con artist Marcos (Darín). Seeing an opportunity, he decides to take Juan under his wing. Later that day, Marcos is approached by a former partner with the con of a lifetime - but can Marcos and his new partner pull it off?

The plot is intelligent and moves at a comfortably fast pace. The writing is clever enough to be believable, but rather predictable at certain points. The premise is interesting, and is pulled off nicely, which makes for an entertaining story.

Thematically, the film is fairly simple, sticking to classic con-man themes of trickery, trust, and greed. Bielinsky does not necessarily break new ground, but manages to get his point across in an effective and entertaining way.

Visually, the cinematography plays a major role in setting the scene, both in mood and in pacing. The first scene of the film uses an interesting single-camera sweep through a convenience store, and a later shot is quite striking as the camera spins in circles around two characters. These techniques may not be innovative, but they are well executed and effectively used. The cinematography and editing of the film demonstrate a deep knowledge of pre-existing techniques and how to make proper use thereof. The exception may be that the film sometimes lacks the visual intensity to match what is happening on-screen. Close-ups are rare, not even being used when Marcos threatens to kill someone. This could be an intentional technique to suggest that the threat is idle, but it is not the only point at which what happens and what we see do not match intensities.

The performances are well done, if a little simple. The film calls for a sense of underhanded greed and emotional detachment from Darín, and he delivers quite well. Where he truly comes alive is when the score is at risk, showing convincing panic and constant calculation. Pauls also does an excellent job as the kind hearted Juan, a man who needs to make some cash but is only good at something he is morally conflicted about. A special mention goes to Tomás Fonzi who plays Federico, Marcos’ naive younger brother. Fonzi does an excellent job as the wide-eyed innocent who is perhaps too quick to believe in the goodness of his brother.

Overall, this film is entertaining, and intelligently written. Not much in the film is new or innovative, but what the film does, it does well. If you are a fan of films about con-men pulling “the big score”, this is a worthy choice.

This review was requested by Christian Turres.

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Incendies (2010)

Incendies (2010)                                                4/5

Directed by Denis Villeneuve

Lubna Azabal, Mélissa Désormeaux-Poulin

In this French-Canadian drama, twins Jeanne (Mélissa Désormeaux-Poulin) and Simon (Maxim Gaudette) are each given a task after the death of their mother Nawal (Lubna Azabal): Jeanne must find their father whom they never knew, and Simon must find their brother whom they never even knew existed, to deliver a letter to each of them. The search sees them retracing their mother’s life growing up in a war-torn Middle Eastern country.

The plot is elegant, emotional, and superbly crafted. The character-driven narrative switches between the twins’ search and the mother’s life fluidly. The film is as simple as it is shocking, emotional yet contemplative.

Thematically, the film is well-focused with excellent use of symbolism. The theme of religion is particularly fascinating: it plays a major role in the plot, and yet Nawal herself says early on in the film, “We stand for peace. This is not about religion.” The theme pervades the film, taking the stance that peace should be more important than religion, especially in the face of war and death.

Visually, the film starts with difficulty, involving many shots which linger far past what is necessary, causing the frame to become stagnant. It becomes evident later on, however, that these techniques can be used for dramatic effect. For example, at various points during the film, a conversation will occur, but rather than using a long shot or a typical shot-reverse-shot, only one character will be shown. Early in the film, this seems unnecessary, but when used at a later point, the stylistic choice has proper context and adds dramatic emphasis to the plot as well as the dialogue.

The performances are brilliant, especially from the three main characters. Azabal plays her role with wonderful subtlety, adding dimensions of fear and determination to the strong-willed Nawal. Désormeaux-Poulin and Gaudette play off of one another spectacularly, creating a genuine sense of siblings supporting one another during such a difficult journey. In their individual scenes, the actors also find depth in their characters. Jeanne is strong-willed like her mother, but without the same harrowing life experiences she has a sense of naive exploration which, combined with the determination she also shares with her mother, allows her to push forward with her journey even when facing difficulty. Simon plays as a man who is resistant to the idea of following his mother’s past, not because he does not care, but because he is worried about what troubles he may uncover in her past.

Overall, the film is a moving piece about the trials of war and the search for one’s roots. Despite a lengthy buildup, the payoff is surprising and thought provoking. It is certainly not casual entertainment, but for anyone who enjoys foreign-language films with a strong message and an emotional plot, this film is exceptional.

This review was requested by Mary Vickers.

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Don Jon (2013) Reviewed for The Beat Magazine

My first review for The Beat Magazine is now available; see what I thought of Joseph Gordon-Levitt's directorial debut, Don Jon (2013)!

http://www.thebeatmagazine.ca/index.php/cinema-reviews/1853-don-jon-a-romantic-comedy-for-today-s-sex-obsessed-culture

Gravity (2013)

Gravity (2013)                                                   4/5

Directed by Alfonso Cuarón

Sandra Bullock, George Clooney

In this present day sci-fi, Ryan Stone (Sandra Bullock) and Matt Kowalski (George Clooney) are astronauts out on a repair mission when events cause them to lose contact with Mission Control (voiced by Ed Harris). The team is left adrift in space, trying to find their way home.

The plot is suspenseful, with enough plausibility to keep the audience engaged. The film does, however, rely heavily on external factors to move forward in an exciting way, meaning that it is not terribly character-driven. Problems that arise do so as and when it is convenient to the narrative. Where a film is better off showing characters reacting to a given situation, the film chooses to invent new situations for the characters to react to.

Thematically, the film is rich, if a little obvious. Symbolism, metaphor, and allegory are visible throughout, tying into themes of persistence, isolation, and loss. One particular shot has Stone curled into the fetal position, a cable protruding to symbolize the umbilical cord; such visuals are noticeable at various points, lingering long enough for the audience to understand the significance and contemplate its connections.

Visually, the film is absolutely exquisite. The cinematography involves smooth, fluid movement, and in some ways causes “Space” to take on a character of its own. The special effects work is state of the art, creating dazzling images of Earth. The pacing is brilliantly executed with the speed of camera sweeps and strategically placed cuts. Reflections are also used extensively throughout the film, whether to give a sense of movement as a character spins in circles while floating, or to create a contemplative tableau in a moment of relative ease. 3D is used expertly in the film, subtly enhancing the visuals rather than creating gimmicky moments of cheap thrill. A special mention goes to the interplay between sound and silence, as the subtle yet epic score cuts suddenly to mirror events within the film. The film is perhaps the most realistic depiction of space-sound in a sci-fi, withholding booming explosions where other films may have used them unrealistically.

The performances are exactly what could be expected of the actors, offering comfortable roles for the stars, but not challenging them in any significant way. George Clooney plays a charismatic leader who is able to keep a calm head in the face of chaos, and Sandra Bullock plays the nervous rookie with a tragic past who is determined to fight for survival, even if she loses hope a few times throughout. Both stars play their roles expertly, but perhaps only because this is familiar terrain. It could be said that this is the work of good casting, but it seems more likely that the material is not emotionally challenging enough for such major names. That said, the physicality of their roles is impressive: how much of what the characters are seen doing is CGI and how much is real, this reviewer can’t say for sure, but regardless of the extent to which it is their own doing, it is still very hard, commendable work. The first act of the film, before any serious problems arise, is a light and entertaining introduction to the characters, offering great interplay between not only Bullock and Clooney, but Harris as well. The characters create a fun dialogue that mixes serious work and playful banter. Another crew member named Shariff (voiced by Paul Sharma) is wonderful comic relief, but really only serves as a plot device in the long run of the film.

Overall, the film offers a chilling plot, rich yet somewhat obvious themes, and comfortable performances from seasoned actors. The greatest draw of this film is its phenomenal visuals, from the CGI work to the cinematography, and the sound that accompanies these beautiful images. For this reason, the film is certainly worth seeing, especially while it is still in theatres; for the full effect, it is recommended that you spend the extra money to see it in 3D, as the film takes full advantage of the technology without being overly obnoxious.

The Elephant Man (1980)

The Elephant Man (1980)                            4.5/5

Directed by David Lynch

Anthony Hopkins, John Hurt

In this classic drama which is based on a true story, Dr. Frederick Treves (Anthony Hopkins) discovers the terrible living conditions of carnival freak John Merrick (John Hurt), better known as “The Elephant Man”. In trying to save Merrick from a life of exploitation, however, concerns arise that he has only been taken from one cruel spotlight and cast into another.

The plot of the film is exceptionally rich, yet spectacularly simple. The pace may be somewhat slower than what the current average audience is used to, but perhaps not unintentionally so; the entire film seems to be a celebratory homage to classic black and white films of the 40’s and 50’s. The story, which takes place in Victorian England, is a tragic tale which lends itself perfectly to the conventions of a classical melodrama, but with a modernized (at least to the early 80’s) perspective.

Thematically, the film is rich and complex. The aforementioned slowed pace allows for contemplation and reflection, as the film ponders the nature of humanity, the extent of inhumanity, and the morality of doing a good thing for the wrong reasons. The themes of the film are perfectly encapsulated in Hurt’s most famous line, “I am not an elephant! I am not an animal! I am a human being!”

Visually, the film has all the excellence and signature uniqueness that is to be expected from a David Lynch work. The sense of space and mise-en-scene, as well as the framing and camera movement, are all perfectly executed, creating purpose and emotion wherever it is necessary. Some may find Lynch’s use of montage alienating, especially fading montage which overlays various images for meaningful contrast. Scenes such as these, which occur first at the beginning and then a few times throughout, have a spectacular artistic flair which complements the traditional melodrama. If you are looking for a simple film that doest not warrant much thought, this may not be the film for you, but the film will certainly make you think and, moreover, feel.

The performances are perfectly balanced and exceptionally cast, aided by spectacular writing. Every character has the exact amount of depth as is needed for the quantity of the role. Hopkins shines as Dr. Treves, a sympathetic but conflicted man who worries not only that he brought Merrick to the medical society for personal notoriety, but that Merrick's new placement is simply another spotlight for the upper-class to treat him as a curiosity. John Hurt is absolutely brilliant as well, embodying the tortured soul of Merrick, a man who was born into cruelty and nervously seeks acceptance from others, as well as a desire to simply be treated as a human. The supporting characters, such as Hospital Governor Carr Gomm (John Gielgud) and the Mothershead (Wendy Hiller), are a perfect balance of caring for the fate of Merrick while also posing the question as to whether the hospital is the proper place for him. The wicked characters in the film fulfill their roles perfectly, such as Bytes (Freddie Jones), Merrick’s former “owner” and the man who ran the freak show at which “The Elephant Man” was the greatest attraction, as well as the Night Porter (Michael Elphick) who took money from people in order to bring them to Merrick at the hospital and mistreat him as though he were still a carnival attraction. These characters illicit some of the strongest emotions in the film, playing into a cathartic sense of rage and injustice, and creating a wonderful foil for the lead characters in their tragic sincerity.

Overall, this film is a masterpiece. It may not be the perfect film for everyone, as it is certainly not “light” entertainment; it is, however, a passionate, contemplative, rich film that will illicit the strongest of cathartic emotion from most anyone who gives it the proper respect and thought it deserves.

This review was requested by Daniel Turres.

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The Frozen Ground (2013)

The Frozen Ground (2013)                           2.5/5

Directed by Scott Walker

Nicolas Cage, John Cusack

In this “based on a true story” crime thriller, Alaska State Trooper Jack Halcombe (Nicolas Cage) is on the hunt to stop Robert Hansen (John Cusack), a suspected serial killer. Halcombe works together with Cindy Paulson (Vanessa Hudgens), a girl who managed to escape Hansen, trying to build a strong enough case to bring the man to justice.

The plot is a standard crime procedural, offering little in the way of unique twists or innovation. It seems Walker believed that by basing the film on a true story it would ground the film in reality, thereby making it unique and original, but instead the film is entirely plot-driven, playing as the retelling of a series of events rather than as a group of characters interacting.  That said, the film does a good job of keeping a thrilling pace, moving along intensely even if there is nothing happening that has not already been seen.

Thematically, the film primarily deals with family and death, particularly when Jack and Cindy sit together and discuss their troubled pasts. Unfortunately, the film is far too focused on the format of a standard crime procedural to really delve deep into either subject. As focused as the film is on its plot, it leaves little time to develop a deeper meaning, and any message to be found has already been delivered time and again by other films similar to this one.

Visually, the film opens with a picturesque aerial shot of the Alaskan wilderness, but proceeds to fall into issues of poor blocking and camera movement; As Halcombe speaks to various other officers, often while walking down some hallway or another, the camera movement can be intrusive, as objects obscure the view of the characters seemingly by accident. Other times, turning a corner results in inexplicable quick cuts between several different angles when it would have been much smoother to place the next shot around the corner and cut between the two parts of the hallway. The film recovers somewhere in the second act, however, abandoning the excessive hallways, and manages to offer interesting use of a Point Of View shot as well as a beautifully serene break in the action as Cindy finds a moose wandering through an alley in town.

The performances in the film are impressive, in spite of the fact that the dialogue is very cliché. Cage and Cusack play well as hero and villain, playing their roles exceedingly well, if only because these are roles that have been done by these same actors before. Hudgens lends perhaps the greatest emotional depth to any character in the film, playing the troubled young woman who has endured many hardships in her life on the street. The casting for this film was exceptional, from Cage and Cusack to Hudgens, to minor characters such as Dean Norris, who plays a Police Sergeant rather similar to his character Hank Schrader on the hit television series Breaking Bad. Other notables include Kevin Dunn (Sam Witwicky’s father in the Transformers films by Michael Bay) and rapper 50 Cent, who believably plays a pimp.

Overall, the film suffers a variety of issues, owing mainly to its plot-driven and unoriginal narrative. However, the film is still watchable, and may be the right choice for anyone addicted to crime-procedurals who has exhausted the library of more highly recommended titles.

100 Bloody Acres (2012)

100 Bloody Acres (2012)                                   3/5

Directed by Cameron and Colin Cairnes

Damon Herriman, Angus Sampson

In this Australian horror-comedy, brothers Reg (Damon Herriman) and Lindsay (Angus Sampson) run a successful fertilizer business using a “special” blend of organic materials. While out on a delivery, Reg decides to pick up three stranded tourists, Sophie (Anna McGahan), James (Oliver Ackland), and Wesley (Jamie Kristian), but trouble arises when the trio discover the brothers’ secret ingredient.

The plot is a fairly standard set-up for the genre, but well executed. The writing is clever enough to successfully make such gruesome subject matter come off with a light humorous feel. The film is not terribly suspenseful, as it follows most of the archetypical pattern of a horror-comedy, but the film keeps the viewer entertained with a certain charm.

Thematically, the film is somewhat lacking, although the objective of the film does not seem to be any sort of artistic message; this film is pure entertainment that does not require much deep thought. One could make a case for the theme of loyalty and fidelity, or rather disloyalty and infidelity, as none of the characters really seem to care about one another. The message is contradicted at a few points in the film, however, furthering the impression that the film is not about making a particular statement.

Visually, the film accomplishes what it needs to with one or two artistic flairs. The cinematography effectively conveys the sense of space, be it a cramped and claustrophobic room or a wide open countryside. The film uses various camera and editing techniques for an interesting interpretation of the effects of LSD, and although this too is well executed, it is nothing that has not been done before. The blood and gore effects are particularly well suited to the style of film, using enough realism to come off as gruesome, but not so intrusive as to lose the comedic effect of the overall film. The costuming is also well selected, conveying a general sense of each character immediately as we see them.

The performances in the film are exactly what the film requires. The characters fit their archetypes perfectly, but without much depth. The actors are well cast for their roles, and they deliver exactly what you would expect from such a light film. In this case, the lack of depth is exactly what the film needs to keep itself charmingly entertaining. Herriman does a particularly good job as the naive yet oddly charming Reg, offering perhaps the greatest depth of any character in the film: Reg plays as a man who has a good heart deep down, but is overshadowed by his brother and conflicted by what the pair has done and must do to keep their farm afloat.

Overall, the film is pure entertainment. Witty, charming, and fun, with a gruesome dark-comedy twist. Do not watch this film expecting an artistic, thought provoking piece, but if you are looking for something to make you smile that appeals to a morbid sense of humor, this is definitely a good choice.

The Kings of Summer (2013)

The Kings of Summer (2013)                3.5/5

Directed by Jordan Vogt-Roberts

Nick Robinson, Gabriel Basso

In this teenage “Dramedy”, friends Joe (Nick Robinson) and Patrick (Gabriel Basso of Super 8) decide they are fed up with their home lives and decide to build a house of their own in the woods. Joined by their new and rather quirky friend Biaggio (Moises Arias, who has played in several Disney Channel series such as Hannah Montana), they do just that, enjoying a month of life on their own terms before trouble starts to arise.

The plot of the film is at once simplistic and outlandish, but believable and well written. Despite one or two elements of convenience (such as a flashback that presents an item required to move the plot forward), the writing is clever, involving small details that arise later in a significant way. Most importantly, the plot is character-driven: most, if not all, parts of the film come about as a result of who the characters are, even in the previously mentioned case of convenient flashbacks.

Thematically, the film is focused on a handful of elements such as manhood, relationships, and nature, managing to demonstrate those themes eloquently. Although there may be room for further exploration of the themes, there is a sense of adequate completeness to the message, while leaving room for discussion. Vogt-Roberts and writer Chris Galletta make the smart choice of picking a relatively small number of significant themes, and saying just enough to make them interesting.

Visually, the film excels, both in cinematography and editing. Cinematographer Ross Riege makes intriguing use of slow-motion, as well as interspersed shots wherein the sun plays a significant role, giving the film appropriate moments of contemplation and reflection. The film makes effective use of montage as well, be it the comparison of Joe and his father Frank (Nick Offerman of Parks and Recreation fame), or a series of close-up nature shots. 

The performances in the film are somewhat varied. At times, there seems to be a disconnect between the serious tone of the film and the humorously absurd dialogue. It seems as though Vogt-Roberts is attempting to avoid making the film too farcical (like a Mel Brooks or Monty Python film), but is so intent on avoiding it that the more ridiculous lines are delivered with a confusing tone. Still, the dialogue shines through, sometimes witty or zany, and other times endearing. The cast involves some fairly well-known comedy powerhouses, including Nick Offerman, Megan Mullally, Alison Brie, and Gillian Vigman, who all deliver brilliant performances with an endearing element typical of a “Dramedy”. Particularly spectacular among these roles is Offerman, who has a varied range of hysterical and emotional moments. Of the newer talents in the film, the one to watch is certainly Arias, who delivers an impressive rendering of the strange, loyal, and endearing support character often seen in this style of film. The endearing performance is akin to that of Zach Galifianakis in several of his well-meaning oddball roles, notably as Alan in The Hangover series of films.

Overall, the film is fun, visually intriguing, and intelligent, delivering emotional moments alongside hilarity to make an entertaining story. The film is certainly worth watching, especially to those who enjoy funny and endearing “Dramedies”.

The Bling Ring (2013)

The Bling Ring (2013)                                                                                   2/5

Directed by Sofia Coppola

Israel Broussard, Katie Chang

In this film which is based on a true story, a group of high-school students burglarize the homes of various celebrities and use the money gathered to live a life of excess. Marc (Israel Broussard) is a new student who finds a friend in Rebecca (Katie Chang), a girl who has a penchant for burglary. As the two get bolder in their crimes, they bring along a group of friends as they steal from the rich and famous.

The plot of the film seems promising, but without any major conflicts occurring until near the end, one is never truly in suspense. The film moves forward in a predictable manner, relying perhaps too much on the true story, as no tension arises other than the potential to be caught, and even that is not suspenseful as the film opens with a series of interviews with the characters after being caught; In seeing the end of the film, the only place to derive suspense is the journey there, but the journey there is not interesting enough. Ultimately, the film moves exactly as one would expect, without much cause for surprise.

Thematically, the film seems to focus on the superficiality of the modern day, as well as the celebrity-obsessed culture of contemporary North America. The characters live a life of crime, drugs, and loose morals, without significant consequence for their actions: even after being arrested for their crimes, we see the characters becoming celebrities in their own right, rewarding them for their immoral lifestyle. This message may have had some impact, had one of the characters not stated it outright near the end of the film. In telling the audience what the film is about rather than simply presenting the case, the themes have no real need for elaboration.

Visually, the film has a few interesting shots (particularly during one of the burglaries, in which the entire scene takes place as a single long shot of the entire house), but relies mainly on well-practiced techniques that lie somewhere between standard and overused. Particularly bothersome to see yet again is the “surprise” car accident, shot from the front passenger’s window looking towards the driver’s window, so that headlights become suddenly visible as the vehicle is hit. Otherwise, the film is shot properly, but without much innovation.

The Performances in the film range from uninteresting to ridiculous, though one might say it is not the fault of the actors, but the dialogue they’ve been given. The actors seem to be confined to cliché “teenspeak”, and intentionally so; such is the problem of making a film whose chief concern is superficiality. In trying to convey how shallow the world is, the characters are only allowed to come across as shallow. Particularly disappointing is that Emma Watson has a chance to demonstrate her rather impressive American accent, but it is squandered on dialogue that does not allow for depth of emotion. At some points, the dialogue is shallow to the point where it may actually resemble real discussions of a superficial nature, but that realism seems inappropriate for what should be carefully crafted film dialogue.

Overall, the film is a valiant effort to speak on the superficiality of our culture, but the themes act as a drawback as they do not allow for any sort of depth. This, combined with a story whose presentation lacks tension and cinematography that does not strive for anything exceptional, makes this film watchable, but not terribly interesting.

The Iceman (2012)

The Iceman (2012)                                    3/5

Directed by Ariel Vromen

Michael Shannon, Winona Ryder

In this biopic, we follow the life of Richard Kuklinski (played by Michael Shannon of Boardwalk Empire fame), a notorious hitman who operated between the late 60’s and early 80’s. According to the traditional (if not cliché) text that appears at the end of the film, Kuklinski is “suspected to have killed over 100 people”, all the while hiding his job from his wife (played here by Winona Ryder) and two daughters.

The plot of the film plays out in the standard format of a crime film, involving three acts of origin, rise, and eventual fall. Vromen and Morgan Land, his co-writer on the screenplay, make effective use of a true story to ground the film in reality. Having not read the biographical book on which the film is based, this reviewer cannot speak to the level of creative license used to manipulate or outright change the facts, however one could reasonably expect that not everything shown is strictly true.

Thematically, the film deals with several points such as family and loyalty in a well constructed manner, juxtaposing the life of Kuklinski with that of his employer, Roy Demeo (played by Ray Liotta). On other topics, the film attempts commentary but never entirely explores them; notably, two scenes are loosely connected by Kuklinski’s (or perhaps Vromen’s) views on religion, but then the topic is abandoned. The lack of consistency makes this reviewer think the topic may have been better off untouched, instead focusing the message more on the stronger points that the film tries to make.

Visually, the quality seems inconsistent: at some points, effective cinematography and editing helps to amplify tension or convey chaos, whether through the use of quick low angle shots or rapid jump cuts between what seem to be various takes of the same scene in which Kuklinski is alone in an elevator. At other times, however, shots are cut either too long (causing a car to start pulling away from a curb but stop and never leave, awkwardly sitting behind the protagonist as he slowly walks away) or too short, particularly in a chase scene where the shots switch rapidly between being inside Kuklinski’s car and outside of it, making the scene come across as a confusing mess of vehicles that are far too difficult to follow.

The performances in this film are what really make it worth seeing. With a cast of talented actors, many of whom are recognizable from past work, the film is well cast. Shannon delivers a particularly exceptional performance as Kuklinski, creating a complex character that anchors the film. The entire ensemble of characters are given the appropriate amount of depth: rather than feeling two-dimensional, one senses that these are three-dimensional characters of whom we are only seeing a small part. Particularly interesting are the single-scene performances of Stephen Dorff (Blade, Immortals) and James Franco (Spider-Man, 127 Hours), two recognizable faces who are impressive even in such small roles. Winona Ryder also plays an exceptional part, fitting the role of the unknowing wife to a mass murderer and creating depth of emotion as she has to deal with the consequences of her husband’s actions. Others, such as Ray Liotta, deliver the same high quality performance they do in their long list of previous roles, while others perform surprising but impressive roles, such as David Schwimmer, whose role is a far cry from Ross on the television series Friends.

Overall, the film may not be perfect, with a few aesthetic and thematic inconsistencies, but the well-constructed narrative of a standard crime film combined with the exceptional acting from the numerous talented players makes this film worth seeing, especially to anyone who enjoys crime dramas.