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Justice League Dark (2017)
Another solid addition to DC's Animated Feature Universe
In the wake of the inconsistency of the live-action, universe building marathon, it's refreshing to see a simpler, more straightforward, yet still effectively intriguing story-telling pace set by DC's animated feature titles. JLD continues the trend of it's predecessor, excelling at brief but complete introductions to some of DC's more obscure characters, bringing them out of the shadows. The use of the overly popular Batman is very fitting here and die-hard and new fans should find a bunch to like. Animation is solid, the voice-casting is even better. Admittedly, this kind of animation is not for everyone (it's not on the grand scale of say, Disney). In retrospect, the Suicide Squad film would've benefited from a similar screenplay/storytelling. Hey WB, can we get some of these writers on board with the live action stuff?
La dame dans l'auto avec des lunettes et un fusil (2015)
Fluid yet dull, but with engaging performances
Coherence and sense make a lot of watching any film. Without it, whether from a narrative or thematic standpoint, or both, there's nothing being communicated and thus barely anything worth watching.
That's, for the most part, the case here with this film, which is a remake of the 1970's French film of the same name — appropriating that title and narrative, and trying to explore a deeper 'murk' with the operative of sexual encounters driving the confusion that is suppose to neatly unravel the twists in the plot. However, the sex (why is it always sex?) only stalls the inevitable, underwhelming reveal, spoilers be damned.
At very least — emphasis on the "very" — the performances are still somewhat compelling; Freya Mavor is almost effortlessly charming and instantly watch-able, and I definitely get a feel for her character, almost solely off her performance alone. Also in supporting roles, Benjamin Biolay plays like he's auditioning for David Fincher's next noir thriller and Stacy Martin shows that she can transplant the natural charisma of Young Joe (Nymphomaniac, 2013). All three should be well worth a watch in more fortuitous and ambitious projects in the future.
Jem and the Holograms (2015)
If you're going to watch trash, it should at least look this good
There's effort to watching things that look this good but don't really pan out. In theory, the narrative, like the viewing experience, should, in fact, be effortless. The story of a group of viral sensations turned international superstars, this premise is simple and should play as such. The complexities of sibling-hood be damned, which if you were going to explore, then the beast should be tackled in the writing phase, not when the girls are challenged to play it out in their performances.
Also, seeing 'Jem' in the title reminded me of the mid-2000s UK pop star. This film has nothing to do with her.
Jon M Chu's past movies show gorgeous looking cinema — excellent choices as far as cinematography is concerned, that don't quite add up to great directing ones. I don't mean to speak, like many other critics/cynics/viewers, on knowing how a production works end-to- end. I mean to say here that if you're going to watch something which, for the most part, is a mess, it should at least be watch- able, and from his track record, I credit Chu with that and wish for him more fulfilling projects in his future.
As the film's poster suggests, the future of the stars in this film will get a chance to shine at some point. This just isn't it.
Leviathan (1989)
Intriguing and worthwhile, though fairly formulaic and utterly spoiled by the fourth arc
Let's get he obvious out of the way: Ridley Scott's 'Alien' set the precedence for all films of the sci-fi horror genre, even if the protagonist isn't a monster from the dark reaches of our imagination, I more so mean in the visual aesthetic and tone: lighting, mood, shooting style, set design — anything that bases itself around being both terrifying and off-world, and with a dash (or copious amounts) of thematic human ignorance, owes itself to this film.
This Leviathan (not to be confused with the Russian one from 2014) is one of those perceived Hollywood moments where more of the winning formula equals best for business. Between the mid-70's and late 80's was a time for a cinematic revolution of sorts. You had the first in many juggernaut franchises: Rocky, Star Wars, The Terminator, the aforementioned Alien, as well as singular cinematic classics: The Shining, The Godfather, The Thing (lots of "The's") — RoboCop and Jaws. Particularly of these last two, Leviathan does something quite intuitive in response to the movie market and of that time in cinema: What if we took a rising star (Peter Weller), a good looking cast, and combined three of the best and most successful horror films in the last decade (Alien, The Thing, Jaws).
Well, you get Leviathan, a movie truly of it's time in all sense of that statement. That's not to say the movie is bad, it's actually quite interesting. The pacing is there; the build and anticipation as well as a little trans-governmental conspiratorial paranoia thrown into the mix — because the best intentions of humankind are ultimately, always the biggest bad guy.
However, unlike the films that it shares company with, the reveal of the 'creature' is ultimately underwhelming, more so confusing. It's not fully explained what is it, possibly the closest thing is the Creature from the Black Lagoon, though that already has it's own film (1954). The body horror employed here is interesting in it's premise — it acts like a skin lesion that evolves into full blow leprosy which first kills it's host before birthing the creature life form — but then there's chest bursting, face morphing, tentacle wrapping, all of which feels too familiar.
If you have a rainy Sunday and you feel like some legit scares, or fan service in the form of female scientists in 80's aerobic gear or rocking ascots, then watch this film. It may or may not be worth it, especially for Weller's well (poorly) timed punchline at the very end.
Love (2015)
Skip the nudity and sex for the real meat
There's a moment when the protagonist, American ex pat Murphy, tells his Parisian girlfriend, Alektra, that the police officer understood him and wants to have a beer sometime. This is all after a public altercation fueled by jealousy and alcohol that leaves the audience wanting to dump Murphy as well in that moment.
And yet the policeman actually does share a beer with Murphy later in one of the film's more poignant scenes, sharing understanding as mutual and not simply one way or curtailed by gender stereotypes.
Gaspar Noé's 'Love' is a film that thrives on shock, sentimentality and a relay of connotations. Everything is in a relationship; the characters and the big ideas it looks to tackle. There's a cynicism voiced in this film against extreme, contemporary western views (mainly American), which in a sense liberates the stigmas one might have towards perceived French social norms: love, sexuality, self expression and most importantly tact or manner.
I found myself lulled by the ongoing and over-extended sex scenes, — shot beautifully by the way — rather than anything gratuitous coming from them. It's interesting to note that in both scenes where relationship complications arise and are dealt with, as well as the (make-up) sex, everything in these moments are left to their devices, almost playing out in real time, allowing a greater sense of empathy for the audience, even if what's on the screen is severely perverse and daring, if you happen to be a sexually active, romantically charged human being, then the director seems to take a nod in saying "Hey, this is real life." Letting these moments play out feels more thoughtful than overly intellectualizing them, almost as if to excuse the t&a/c&b, something Lars von Trier felt more necessary in 2013's 'Nymphomaniac', a film which will undoubtedly draw comparisons, though Love shouldn't be mistaken as such; there's no high stakes, money or power play. It's just all a bit complicated and messy. But brutally honest nonetheless.
Murphy can be a little nonredeemable at times, one of the few protagonists in a while worth caring for, but hardly worth rooting for, especially when he's coming in your (the viewer's) face. It's good this movie isn't shot/screened in 3D. Also the characters are at times lost for words... as if there is a complete absence of script. This isn't an all bad thing as it makes the interactions feel more natural, however a repeated cycle of "I hate you!" for about 3 to 5 minutes straight starts to feel like a fill in the gaps exercise.
Overall this film is art/indie cinema when it works best. You feel the director completely and utterly devoted to style and substance without sacrifice on either part. The casting is done well and through all the nudity no single actor or actress is relegated to feeling like they're shooting porn, something I feel a lot of critics and PC audiences will claim in their shallow analysis'.
Mojave (2015)
A lot of (great) moving parts that never quite come together.
Something that looks like a 'film', specifically this term and the aesthetic to which it implies, I feel has come to be expected of contemporary dramas/character studies. Mojave knows it. It looks to tick a lot of these archetypal boxes: jaded, frustrated characters, blatant motifs (the temptation of Christ?), a redemptive narrative, an undertone of despair that never loosens up until the end of the last arc. Yes with all these elements motivating it's narrative, the movie never achieves a sense of coherency; it's Hitchcockian one moment with it's intermittent key score, and then Fincher-esque the next with it's sweeping pans and use of negative space in shots. It's an actor's playground that, as charming and talented as all the individuals are, doesn't leave a lot for the audience to soak in, unless you really, really like angry, shout-y Mark Wahlberg, who is playing quite possibly the closest characterisation to his real life personality in this role. I never fully understood the goal of the protagonist... I guess it had something to do with doing the right thing and his daughter? Too much Tyler Durton syndrome in concepts like these I feel.
Just Jim (2015)
Realisation self-confidence is a strong enough message, even with an under developed psychological sub-plot driving the main narrative.
"I am depressed" from protagonist Jim, especially after the introduction of Emile Hirsch's kitschy cool foil, was probably unnecessary and a bit much. Up to that point, the film uses what it has to build this well balanced psychology: the trauma experienced as a victim of bullying and the subsequent introversion (spoiler free Brother Yee called it from the trailer), which in and of itself can be embraced rather than be seen as a responsive crutch to the act of bullying itself. Roberts never loses sight of this though and rides this one out nicely, even if his character is, at times, overshadowed/muddied by Hirsch's gratuitous performance. Overall, if you're a fan of teenage angst, Gen Y self-conscious, self-depreciative dialogue, and a good eye for shots and rendering, then there's plenty to smile – and laugh with in Just Jim.