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.

Have a film you would like to see reviewed?

Contact me at tvatthemovies@gmail.com

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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Contact me at tvatthemovies@gmail.com

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