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Sweeney Todd: The Demon Barber of Fleet Street (2007)
One of Johnny Deep's best performance.
While I've never been a die-hard fan of musicals, especially those with a theatrical flair, something about Tim Burton's 2007 film 'Sweeney Todd: The Demon Barber of Fleet Street' sets it apart. Thanks to its unique elements and Burton's signature style, it's one of the few musicals I've genuinely enjoyed.
What can I say about this movie that has yet to be said? Johhny Depp is incredible in this, and his performance is so magnetic you can't help but feel the energy he resonates on screen. I sometimes wanted the movie to cut back to him whenever it focused on Jamie Campbell Bower's Anthony character. Don't get me wrong, he's not bad in this, but this movie belongs to Johhny and, secondly, Queen Helena Bonham Carter. These two make this movie. They carry it on their backs. The rest of the cast is fantastic, including the late Alan Rickman.
While the film has many strengths, I must admit that I found the love story between Anthony and Johanna a bit underwhelming. It seemed to lack the depth and substance that I was hoping for, and I found myself less engaged whenever the film focused on their story.
The movie looks great, and the visuals pop alongside London's vivid and gloomy backdrop. The costume design by Colleen Atwood is excellent, and the score and music are captivating. I enjoyed this movie and its twist in the third act (although predictable).
I recommend this to anyone who enjoys Tim Burton, the cast, or musicals. This film is a treat for all enthusiasts, and it's a must-watch for those who appreciate the unique blend of Burton's style and the musical genre.
Cheap Thrills (2013)
An unexpected wild ride.
"Cheap Thrills" is a movie that caught me off guard the first time I watched it, and it continues to surprise me with its unexpected elements. This time, I watched it with my girlfriend, and witnessing her react to the fun twists and turns was truly rewarding. I believe "Cheap Thrills" is an unfairly overlooked film and should be celebrated for its unique story, direction, cast, and mind-blowing third act.
Pat Healey, a master of his craft, consistently delivers outstanding performances. Ethan Embry, Sara Paxton, and David Koechner also shine in their roles. Despite the minimal backstory for some characters, the writing by David Chirchirillo and Trent Haaga is effective in bringing them to life.
"Cheap Thrills" is not your typical horror movie, but it does deliver some heart-pounding moments. It's more accurately described as a dark comedy, a genre it excels in. Both my girlfriend and I were captivated by it, and I would highly recommend it to fans of films like '13 Sins' and 'Would You Rather '.
Longlegs (2024)
Silence of the Lambs meets Zodiac and Seven.
With "Longlegs," it's evident that the devil lies in the details. Writer/Director Osgood Perkins has masterfully crafted a somber and evocative film that not only left me pondering the fates of its characters, world, and story, but also engaged me in a thought-provoking journey. It's a movie that truly sticks with you after the ending credits roll, and while I enjoyed the experience it brought my girlfriend and me, I'm unsure of how I feel about the film's third act after viewing it twice.
Mr. Perkins has always had an infinity for the monsters that hide in the dark - particularly Satan. His first film, "The Black Coat's Daughter," a psychological horror film, gave us a small taste of what was to come; his follow-up, "I Am the Pretty Thing That Lives in the House," a moody gothic ghost story, continued to build on his penchant for the occult. In 2020, he directed 'Gretel and Hansel,' a dark reimagining of the classic fairy tale. With "Longlegs," everything comes full circle with a gut punch.
Nicolas Cage and Maika Monroe are fantastic - Cage delivers a tour de force performance that rivals his recent work. Alicia Witt is great, and the rest of the cast delivers what's asked of them powerfully.
The movie is a visual treat; everything about it, from the cinematography to the set design, works well for me, except for the ending explanation. It's not a bad ending; I don't think it fits the story overall.
This is a solid fifth entry from Mr. Perkins, Cage, and Monroe, and I highly recommend it. If you're a fan of thought-provoking films with fantastic performances, this is a must-watch.
The Union (2024)
Why?
It's another Netflix dud. Their catalog now feels filled with more brainless, dull, and uninspired films-mindless content for us to keep consuming. I don't know about you, but I'm tired of it. Now, some exceptions are reasonable, and then some are great. But that's just my opinion. With their latest outing, "The Union," I think they have finally started to stop caring about plot, characters, tone, direction, action... etc.
Written by Joe Barton and David Guggenheim and directed by Julian Farino, 'The Union' is a film that lacks coherence. The characters' actions seem to have no logical basis, and the plot is equally nonsensical. The writing lacks the energy and excitement that could have made the movie more engaging. Even the visual aspects of the movie are disappointing, with visible green screens and poorly choreographed action scenes.
Mark Wahlberg and Halle Berry's lack of chemistry is palpable. Despite playing childhood sweethearts who reunite after 25 years, their interactions feel forced and unnatural. Their banter is uninspired, and their characters lack any memorable qualities. J. K. Simmons, on the other hand, brings a cynical wit that is somewhat enjoyable. However, the rest of the cast, including Mike Colter, is so forgettable that their characters are not even worth mentioning.
A lousy movie is not worth recommending.
The Killer (2024)
Michael Fassbender did it better.
Let me begin by saying that I approached the 2024 remake of "The Killer" With an open mind, despite not having seen the 1989 original. I chose to do so to avoid any preconceived comparisons, and I found that this decision enhanced my viewing experience, making it more enjoyable.
"The Killer" 2024 isn't terrible but isn't great. The script is highly inconsistent in tone and narrative. At times, it wants to be a revenge thriller and a film noir all blended, but both subjects sadly never come together in the end. The action is decent but feels hollow compared to films like "John Wick," "Sisu," and "Nobody" to name a few. Nathalie Emmanuel tries her best to elevate the material given (and she's excellent); her character, however, is inconsistent in her motivations - especially when she makes a life-changing decision later in the film. This decision feels weird, and the sacrifice she makes feels unearned. Omar Sy is fun and charming, Diana Silvers and Sam Worthington are fine, but their roles are so underdeveloped any actor could have played them. Not to mention, Sam Worthington has a terrible Irish accent that breaks consistently. Earlier this year, he also had a British accent in the Kevin Hart ensemble "Lift" - another movie dud.
Ultimately, I would recommend this film to those who appreciate the work of John Woo. If you're a fan of his unique style and want to complete your collection, this 2024 version of "The Killer" is a decent addition.
Jackpot! (2024)
John Cena strikes again!
The concept of the movie is intriguing. Imagine if 2013's "The Purge" was a comedy, a different take on the finished product we got. While the idea is fun, its execution could have been a little better. The script written by Rob Yescombe (Outside the Wire) is dragged down at times by clunky dialogue, an inconsistent tone, and some unfunny jokes that never truly elevate the story.
I'm not the biggest fan of Awkwafina, but I liked her in this movie (except for the times she's clearly improving). I like her backstory and her relationship with John Cena (who is probably the best part of the movie). The rest of the cast is fun, but some minor characters receive more screen time than needed, which is a deliberate choice to add depth to the story and the world of the movie.
The humor doesn't always work, but when it does, I laugh. I'm a simple man. As for the action sequences, they are well-choreographed and intense and add a thrilling element to the movie. They work well and complement the humor well. Director Paul Feig has done this before with 2015's "Spy".
Overall, it's a fun movie that I recommend for a light-hearted, entertaining watch.
Incoming (2024)
A solid coming-of-age story.
For as long as I can remember, there have been a handful of coming-of-age adolescent comedies. Some are memorable, others not so much; however, you would be hard-pressed to find a more popular raunchy comedy than 2007's Superbad. It's a film so ingrained in pop culture. It overtook classics like 1982's Fast Times at Ridgemont High or 1984's Revenge of the Nerds. Before Superbad, the millennial generation grew up with 1999's American Pie. With "Incoming," Directors/Writers Dave Chernin and John Chernin aim to bring you the Gen Z update of coming-of-age movies.
While the argument certainly can be made that "Incoming" is reminiscent of "Superbad," I would hardly call it a knockoff or updated version of that film. There are similarities, but both films have different approaches to handling the core cast (Mason Thames, Ramon Reed, Raphael Alejandro, and Bardia Seiri). They have different goals and wants than the boys in "Superbad." Although not entirely original, I found it fun and often laughed at the numerous jokes throughout the film.
The cast of 'Incoming' is truly exceptional, with each member bringing their own unique energy to the film. Their chemistry is palpable, and Bobby Cannavale's performance is particularly noteworthy. I highly recommend 'Incoming' to anyone looking for a fun time and a few solid laughs.
Trap (2024)
If he wanted to make a concert film for his daughter why didn't do that?
M. Night Shyamalan's most recent production is not substandard, but it fails to achieve greatness. I perceive it to occupy a mediocre position, akin to some of his prior works, such as "The Visit," "Old," and "Lady in the Water." Analogous to most of Shyamalan's works, the film boasts an engaging premise, a proficient cast, commendable cinematography, and a captivating musical accompaniment. However, "Trap" is marred by the shortcomings that I disfavor in his films, namely, inept dialogue, deficient acting, narrative inconsistencies, gratuitous cameo appearances, and an inclination towards excessive explication.
While my girlfriend and I enjoyed our experience, the overall impression left us anticipating more. Additionally, I am perplexed by the decision to cast his daughter, given her limited acting prowess.
Alien: Romulus (2024)
A new welcomed addition to the Franchise.
The film was thoroughly enjoyable. My partner and I had a wonderful time watching it on IMAX. And it lived up to our expectations. Fede Álvarez and co-screenwriter Rodo Sayagues have created a masterful, entertaining, and audience-pleasing new addition to the genre. While it doesn't revolutionize the genre, it certainly allows for its continued progression.
I hope Disney can approach this Franchise like Sam Raimi and Bruce Campbell are treating The Evil Dead Series. Allow a new director to come in and pitch a new story and setting. I would love a new Alien movie every few years or so am I right?
Bad Boys: Ride or Die (2024)
Another triumph!
In my professional opinion, the "Bad Boys" franchise has achieved a level of success comparable to the "Fast and Furious" franchise. While some may perceive this comparison as a criticism, I intend it as a sincere compliment. The escapades of Mike and Marcus continue to entertain audiences, although Marcus's character (portrayed by Martin Lawrence) occasionally exhibits repetitive tendencies. Similar to Detective Lowery (played by Will Smith), I believe the writers could dedicate more effort to developing Marcus's backstory and providing him with more substantial screen time beyond his family dynamics. Nevertheless, it is commendable that the film consistently emphasizes Marcus's primary role as a devoted husband and father. The writers also introduce a new element to Mike's character, albeit somewhat predictably and at a relatively late stage in the franchise considering his past experiences. Despite this, I found it to be a welcome addition. Overall, my companion and I thoroughly enjoyed the film, experiencing both laughter and emotional moments. In conclusion, I consider it a successful cinematic experience.
A Quiet Place: Day One (2024)
A solid prequel.
As a seasoned enthusiast of this franchise, I was delighted by "Day One." Understandably, many shared my initial reservations, particularly given the absence of John Krasinski's involvement. Nevertheless, writer/director Michael Sarnoski, renowned for his 2021 film Pig, successfully expands upon the established lore, presenting a poignant and fulfilling narrative. I particularly admired Lupita and Frodo the cat, while Joseph Quinn's performance and the story's conclusion left a lasting impression.
I think anyone interested should watch this movie in my humble opinion. I welcome another one!!!
The Ticket (2016)
The Ticket Review -
We all ask ourselves if given the chance would we reach out and grab that lottery ticket if given to us? The idea of everything being handed to us after enduring for so long. Ido Fluk and Sharon Mashihi understand this and perhaps manipulate this into greed and lust - Perhaps? "The Ticket" presents this question, but like most thought provoking questions - This film has no answer for you.
Directed Ido Fluk, from a script written by Fluk and Sharon Mashihi. "The Ticket" stars Dan Stevens (The Guest) as James, a man blind from youth, with a comfortable life with his wife Sam (Malin Åkerman) and son Jonah (Skylar Gaertner). One day he regains his vision discovering he's not happy or contempt with his life - grabbing a promotion at work, leaves his wife for Jessica (Kerry Bishé) an employee where he works, and mistreating his friend Bob (Oliver Platt) one of James's blind co- workers.
Dan Stevens as always is fierce and enigmatic as James. Stevens is careful not to have you sympathize with James and the choices he makes along the way - But to ponder on each choice and wonder what's driving him. See, like each character in "The Ticket" (And there aren't many) they all have something driving them - something they want. Sam is fine and happy with going dancing, rather than an eloquent restaurant. She's also tired and Malin shows this beautifully. James, however, wants more, and Stevens never slows down giving us a moment to blame James for his choices.
Director Ido Flunk beautifully directs, with a unique visual flare centering around James's point of view. Where the film falls would be the predictability of its plot and lack of motivation for its characters.
"The Ticket" is a well made film with a deeply moving performance from Stevens.
Aftermath (2017)
Aftermath Review -
Unlike most emotions we face, Grief is perhaps the one rational emotion we can't control or fathom. Hollywood at times understands this - "The Babadook", "Things we lost in the Fire", "Solaris" are all extremely well-written examples of this - But with "Aftermath" it remains unclear at times.
Directed by Elliott Lester (Nightingale) and written by Javier Gullón (Enemy) "Aftermath" tells the story of Roman (Arnold Schwarzenegger) who upon arrival at the airport to greet his wife and pregnant daughter; is told of their passing in a plane crash. Roman understandably unstable and frustrated blames Jake (Scoot McNairy), the air traffic controller on duty the night of the crash.
Schwarzenegger and McNairy are great in their respected roles, carrying the weight of this already dire and often downbeat film. And yet that's all that can be said for the two - Screenwriter Javier Gullón never truly breathes life into these characters, we only know what he wants us to see. And for that "Aftermath" suffers, it tries to balance too much without providing any real substance or weight for us to feel. We see the turmoil and isolation McNairy feels, we feel for him, even more, when he has to change his name just to protect himself and his family. Director Elliott Lester captures this beautifully in an opening introduction into James's life, just before the crash - And it's terrifying to see how quickly life can change for you an instant.
And not only McNairy, but his wife played by Maggie Grace, and Schwarzenegger are exceptional and propel the story when it sometimes stumbles behind lazy camera frames or decent cinematography by Pieter Vermeer. Edited with bizarre and untimely transitions by Nicholas Wayman-Harris, "Aftermath" fails to give us a story worth of the real- life event it's based on.
Get the Girl (2017)
Get the Girl Review
There are so many movie's today that rely heavily on a gimmick to impress - As an audience we want something new, and from time to time we'll gladly take something old as long as it inventive in some form. With Director Eric England's (Contracted) "Get the Girl", we may not get anything new - but we do get a fun paced thriller packed with twists you might see coming and characters that even Tarantino himself might take a nod.
"Get the Girl" starts with a simple premise - A wealthy young man (Justin Dobies) falls in love with a girl (Elizabeth Whitson). Love at first sight, allegedly. Only thing is - she doesn't know he exist, despite the fact that he comes each night during her shift - Just to see her! He's then manipulated by Patrick (Noah Segan) into a fake kidnapping in order to win her affection. Of course things go horribly wrong all around the board.
Eric England crafts a fun story with a few thrills and perhaps a few unseen twists and turns along the way to keep you busy. Our proposed hero - Clarence is rather dull and timid, with constant voice overs that remind you of Jessie Eisenberg's "Zombieland". The real hero of this story and perhaps fun character to stay with throughout the 1h 27 mark is Adi Shankar as KJ - Adi Shankar is hilariously brilliant in every scene he's in, you'll probably wish he had more to do though. Noah Segan (Looper) is also very good.
Overall this is a movie worth watching, despite a formula you've probably seen one to many times before.
The Assignment (2016)
The Assignment Review
"I wouldn't make a movie that would hurt transgender people," Some of them have had a tough time of it, and the last thing I want to do is make anyone's road harder. But look, I understand the concern. Is it lurid? Yes. Is it lowbrow? Well, maybe. Is it offensive? No. I'm just trying to honor the B movies that we grew up with."
Perhaps Walter Hill thought when making "The Assignment" that this would be his recovery road - after the disastrous results of his last film (which was in 2012) "Bullet to the Head". A movie that at least attempted to be a B action thriller. Here with his latest film, Hill makes the mistake of creating an argument, rather than a point for all of it.
Dr. Rachel Kay (Sigourney Weaver) is a rogue doctor with a weird vision of a better world after losing her brother to a contract killer Frank Kitchen (Michelle Rodriguez). In an experiment to assess how much physical identity matters, Kay performs a sex-change operation on Kitchen to have him start over. And thus a revenge thriller is reputedly thrust in motion - but even that it fails to maintain. Hill and co-writer Denis Hamill understand the eccentricity of this story. Never once do they try to render Frank a human being, involuntarily subjected to gender reassignment surgery. Perhaps this is one of many unabashed flaws with "The Assignment". It tries to justify itself by saying it has nothing to do with gender reassignment, giving us a shoddy plot doused incomparably with poor direction, but that still can't make up for the disrespect it shows to the transgender community.
Frank (Rodriguez), never fully regards this or gives it a thought. Instead of giving us a thought provoking scene or moment of lucidity - Hill and Hamill evade this with lazy writing and poor dialogue. Michelle Rodriguez is fine. But that's all that can be said when viewing her performance, A scene in which she removes the bandages to see... ta-da! Michelle, beautiful and radiant. No scars or bruises. The film even tries to prove to us that she's a man by showing her wear a fake genital.
Did I mention this film has a villain? Yes, in the likes of Sigourney Weaver - "The Doctor", another character whose personality is also complex. She wants to change the world, one patient at a time while condescendingly ridiculing others with her knowledge of Shakespeare and Edgar Allan Poe - the only two credits that boost her intellect by this movie's standards. Her belief behind doing this is simple - She believes Frank will be liberated from his crimes, that living in the body of a woman is perhaps enough punishment as it for her - having spent much of her life scorned by men, now to be unmannerly asked by her doctor (Tony Shalhoub) a man, if the cause for this behavior is lack of sex. Not only does this demonstrate the cause for her actions, but gives a message of Misogyny.
Cinematographer James Liston acting probably on behalf of Hill, provides little to look at. Each scene feels like were in the same room with perhaps little work done to distract us. Hill, directs with mediocre use of the camera, never fully utilizing it. Editor Phil Norden once again probably acting on Hill's request gives us a cheap comic book gimmick ripped straight from "Sin City" and "Kick Ass".
I don't speak for anyone nor could I, but in my personal opinion "The Assignment" is an offensive, trans-phobic, insulting and idiotic movie. This film not only exploits the transgender community but also shines light on derogatory beliefs.
A Cure for Wellness (2016)
'A Cure for Wellness' Review: An ambitious take on society's health care plan.
An ambitious young executive is sent to retrieve his company's CEO from an idyllic but mysterious "wellness center" at a remote location in the Swiss Alps but soon suspects that the spa's treatments are not what they seem. This is perhaps all you need to know about "A Cure for Wellness", Director Gore Verbinski ("Rango", "The Lone Ranger") and Screenwriter Justin Haythe, ("Snitch") enshroud this original idea in so much secrecy, that even the marketing behind this film ask the very question we're all dying to know - What's the cure for wellness?
Dane DeHaan stars as Lockhart (whose first name is never revealed) a cold and morally ambiguous character dealing with childhood trauma. Lockhart, who is insufferable to watch for a run time of 146 minutes, is meant to be unlikable to us. With each decision he makes, we take two steps back behind him knowing the lingering danger that awaits him. And to be fair, it's not like the movie doesn't attempt to warn him - On the way to the Swiss Alps, he is told by his driver the story of the "wellness center" and it's origins, again he is later told the same story but with a few more details sprinkled in for good measure. Verbinski and Haythe keenly leave clues within each scene for us to follow, even if it gets muddled along the way.
Perhaps, this is one of the film's biggest flaws. Although handsomely made and crafted, it falters when it's time to scare or shock us. Each scene feels like a foreboding puzzle, trying to connect with very little help from its central players, leading to a third act twist that while maybe surprising, will leave others unsatisfied.
The score by Benjamin Wallfisch hauntingly ushers in the ambiance of the film, with lurid and gray Cinematography thanks to Bojan Bazelli. "A Cure for Wellness" is not a perfect film, but it's a film you should admire and respect for what it tried to do. Verbinski and Haythe pushed limits with this story that although not entirely original (see: "Shutter Island" or "The Shinning") challenged us with a disquieting and thought-provoking story. "A Cure for Wellness might just be destined for cult status in the following years.
Split (2016)
Split
Alfred Hitchcock has being cited today as the "Master of Suspense". A creative genius and tour de force within Hollywood. With a 50-year legacy under his belt, he inadvertently pioneered the way for filmmakers like M. Night Shyamalan - Although imagine if "Split" was released in 1960, the year of another classic "twist", the year of "Psycho".
See, during the release of "Psycho", Hitchcock made a lot of shocking requests - forcing his crew, and actors into secrecy, creating faking promotional posters citing "heart attacks" upon watching, he even went as far as instructing theater owners not to let people in after the film began, which was strongly enforced. If "Split" had this marketing behind it, it could have potentially become the year's most talked about film, perhaps decade. Although I feel I must say "Split" is truly one of Shyamalan's best in a long time, and certainly movie fans and critics alike will leave the theater "Split" - Pun intended.
Three girls (Anya Taylor-Joy, Haley Lu Richardson, and Jessica Sula) are kidnapped by a man named Kevin (James McAvoy) with dissociative identity disorder, who has 23 prominent personalities, each with peculiar or dangerous idiosyncrasies, who intends to prepare the girls for the arrival of "The Beast".
Anya Taylor-Joy ("The Witch") plays Casey Cooke. Once again captivating in a role that doesn't require much of her. Now I should be honest and say, unlike the other two victims, Casey is strong willed and smart with the choices she makes. But her overall arc is something of a mystery until the final act. Stoic and timid, for the first two acts of the film, her eyes speak volumes, holding her own against McAvoy's Kevin. A creative choice on Shyamalan's part, as Anya plays her with caution, allowing you to perhaps doubt her intentions in the end game.
Haley Lu Richardson ("The Edge of Seventeen" and Jessica Sula ("Recovery Road") portray Claire and Marcia, who unlike Casey, impulsively plot their escape within each scene. Both actresses are fine in their respected roles but like "Marion Crane" in "Psycho", Shyamalan chooses not to flesh them out or focus the story on them.
Betty Buckley ("The Happening") returning for another go-around with Shyamalan playing Dr. Karen Fletcher, a psychologist who attempts to help Kevin. Her devotion and love to her patients, Kevin, in particular, is earnest and loving, as she truly wants nothing more than to help and understand (D.I.D.).
James McAvoy ("X-Men: Apocalypse") as Kevin is perhaps given the best role of his career (If you count "Filth", "Atonement", and "Trance") as the Scottish actor not only manipulates 23 different voices, four whom in particular are fully developed, he vigorously changes and manipulates his body - Distinguishing all 23 personalities, including the arrival of a "24th personality".
Shyamalan who wrote and directed has cited this as one of the hardest films to make in his career. With 2015's "The Visit", Shyamalan has expressed interest in focusing on movies he wants to make, with a smaller budget and shroud of secrecy Shyamalan may be back in his wheelhouse.
Despite the success of the film, it has received backlash and criticism for Shyamalan's beliefs in (D.I.D.) "Split" unlike his previous movies will raise intentional questions, forming more theories for Shyamalan to embrace over time.
The Autopsy of Jane Doe (2016)
The Autopsy of Jane Doe
After the police discover a corpse in a shallow grave, they take it to father-and-son coroners Austin and Tommy Tilden. During their invasive examination, the duo comes into realization that they are dealing with something supernatural.
The Autopsy of Jane Doe - Was a visual treat to enjoy. I think if you are a fan of well paced films you will enjoy this one. Although it's being treated as a horror film - Which is not a problem unless you generalize this as the overall genre for this movie - Its more of a Suspense Thriller/Drama/Horror. This is not something I feel needs to be clarified, but understood as the film envelops all three entities.
Emile Hirsch and Brian Cox are excellent as father-and-son coroners Austin and Tommy Tilden. One particular moment in the film allows the actors to reflect and truly shine in their respected roles.
André Øvredal (Trollhunter) directs this close quartered film with limited room for our actors to breathe once the tension unfolds - He makes great use of this tension by placing the camera in dark areas allowing us to truly feel the weight of the actors.
Screenwriters Ian Goldberg and Richard Naing craft a smart and well paced story with a few false scares, and flat third act leaving us yearning for more.
Overall, this is a movie that deserves and requires your time :)
Dog Eat Dog (2016)
Dog Eat Dog
Paul Schrader: 'I've made some important films. 'Dog Eat Dog is not one of them'. Sad but true for Director/Writer Paul Schrader - A man with a career of 20 films, among them Taxi and Raging Bull - His career as a director remains unseen by his work as a screenwriter for Martin Scorsese - A legacy we will always remember him for - With Dog Eat Dog, Schrader tries to remind us that he is still relevant in the world - Ignoring one small fact - Everyone in this day and age can and will judge you harshly, no matter the reputation. Stylized as a low-budget Neo-noir crime caper with the talents of Nicolas Cage, Willem Dafoe and Schrader himself taking on a role, respectfully making comparisons to Quentin Tarantino's earlier films - With heavy-handed dialogue, harsh and senseless barbarity and a convoluted plot not worth following to its third act - Which is based on the novel of the same name by Edward Bunker.
Troy (Nicolas Cage), Mad Dog (Willem Dafoe), and Diesel (Christopher Matthew Cook) are a couple of goofball criminals, all with clichéd traits - Troy (The Straight-Man), Mad Dog (The Loose Cannon), and Diesel (The Muscle), tired of small end jobs they decide to pull off one last big score - Which involves kidnapping the baby of a rival mobster. But like most crime caper films, this goes awry and they are forced to fend for themselves - From the mob and now police following an anonymous tip.
On first glance, one can say that Schrader relates to the author himself - Edward Bunker. Both men looking for redemption, seeking a story that will ignite the spark they once had - For Schrader Dog Eat Dog should've been that story - After the disastrous events of his previous film, also starring Cage - 'Dying of the Light', unhappy with the film's re-cut, Schrader, and Cage publicly dismissed the film.
A similar theme about loss and redemption - A recurring theme for Schrader as he demonstrates it throughout his career as-a screenwriter.
Screenwriter, Matthew Wilder (Your Name Here) writes from a jarring and lurid place - depicting a dark Americana - Which is fine if used effectively. The idea of Troy, Cage's character - A movie buff with delusions of being a Humphrey Bogart lookalike is a small moment that stands out, adding more layers to a none the less complicated character.
In part, Nicolas Cage as Troy is subdued and less comical as we'd expect from a Nicolas Cage performance - Willem Dafoe as Mad Dog is fine and yet misunderstood - A man yearning for love and friendship, yet afraid to admit it. Christopher Matthew Cook as Diesel is less intriguing, as he stumbles with stoic and apprehensive tendencies.
Cinematographer Alexander Dynan never really shows us anything new to take in or marvel at besides the story itself - Perhaps in part to the editing by Ben Rodriguez Jr., who provides quick and fast paced editing.
Dog Eat Dog may inspire some with its unique flare or visuals - Fast and quick insert cuts - Or its simplistic story, whatever the reason only time will tell if we remember this as Paul Schrader film.
The Monster (2016)
The Monster
As children, we often have irrational fears of things we have not being given a proper introduction to - We are told numerous stories, some still ignoring the lingering question we harbor deep within - Our Monsters Real? - Or an allegory of our very existence? This idea is effectively used in recent films such as, 'The Babadook', 'It Follows', 'The Witch' and 'Under the Shadow'. Director Bryan Bertino ('The Strangers') shares a similar notion of this with 'The Monster'.
Kathy (Zoe Kazan) a divorced alcoholic and inexperienced mother is taking her young and mature of age daughter, Lizzy (Ella Ballentine), to permanently relocate with Lizzy's father. While driving at night through a remote, rain-lashed forest, Kathy crashes into a wolf, which wrecks their car leaving them stranded for help - Waiting for a tow truck and ambulance. From here on, questions are raised - Where did the wolf come from? What was it running from? Where'd it get those deep cuts on its body? Or where did the body disappear too? Strangely these questions are not justifiably asked by Kathy, but by Lizzy.
The only voice of reason!
Ella Ballentine is the standout here - reminiscent of a young Reese Witherspoon. Inquisitive, timid, fearful and courageously carrying the weight of 'The Monster', as she has spent much of her youth taking care of herself - and her mother - Through flashbacks provided. One in particular truly showing her acting chops. Zoe Kazan also great as Kathy tries to maintain her sobriety while navigating and understanding the needs of her daughter - Yes an overused device in Hollywood - But effective still none the less.
Scott Speedman shows us halfway through the movie with little to say or do, perhaps a favor to Bertino, whom he directed in 'The Strangers'.
Cinematographer Julie Kirkwood offers very little to appreciate here - With Bertino not fully utilizing her until the third act - With a beautiful shot of the enclosed woods. The monster itself plays a minor role - As the full look of it seems rather cheap.
Overall 'The Monster' may not hold up well with most allegory horror films, but it will stand on its own merit for Ella Ballentine - As she comes face to face with the monster - Or are understanding of what it means to let go and grow up - Afterall monsters are only what we make of them.
King Cobra (2016)
King Cobra: The unvaried sequel to Boogie Nights
"I like to think that I'm gay in my art and straight in my life - James Franco.
In another recent missed opportunity James Franco proves once more that he is talented but highly pretentious when it comes to his craft. With recent films like - Milk, Howl, Wild Horses and most recently I am Michael; Franco again argues that he is shaping his view of what he considers art - His directorial work is more of the same, contemporary period literature that sometimes never translates well to the screen. In King Cobra, we see the same results all too familiar by now.
Sean Lockhart (Garrett Clayton) decides to meet with gay porn producer Stephen (Christian Slater) in the hopes of becoming a star within the industry. Stephen instantly believes Sean has the makings of a star and soon begin to work together producing videos under the pseudonym "Brent Corrigan" - Quickly rising to fame Stephen takes complete ownership of Sean not allowing to him to leave or work freely with others - Or raise his pay.
Meanwhile, two aspiring porn producers Joe (James Franco) and Harlow (Keegan Allen) in debt try to produce a film with the rising Bret Corrigan, only to be stopped by Stephen; who wants 80% of the profits made.
Director Justin Kelly (I am Michael) once again struggles on two themes - who is this movie for ? - And what this movie is about ? - with a similar theme related back to I am Michael about the struggles of homosexuality and what it means to be a gay man - or how it feels to find acceptance from your loved ones - this is briefly touched on, but not strong enough to make us care or connect with anyone in this film.
To his credit, Kelly who also wrote the screenplay tries to craft a story leading to the incident we already know is coming - Establishing the motives and reasoning behind Sean's decision to later venture off on his own - the end of his partnership with King Cobra - and perhaps a message about the industry itself. With all this juggled, King Cobra falls under the weight of being just another "based on a true story".
For his role, Garret Clayton plays it slow and naive. A deer in headlights unsure of his prospects and goals. Christian Slater also good does his own interpretation of his character, playing him with aggression and lust. James Franco is fine in his role, but ultimately feels and still looks like James Franco playing a part - with Keegan Allen being the standout of the film.
King Cobra is a darkly entertaining exploit that although retains the true story element - would rather have style over substance.
The Girl on the Train (2016)
'The Girl on the Train' - A shocking exploit.
It's been two years now since David Fincher and Gillian Flynn gave us "Gone Girl" - An unconventional; lured and surprisingly entertaining thriller - Based on the best-selling novel. The hopes were probably raised a bit too high with The Girl on the Train - A new thriller by Tate Taylor (Get on Up ), written by Erin Cressida Wilson (Men, Women & Children) based also on the best-selling novel of the same name by Paula Hawkins.
Rachael (Emily Blunt) is an alcoholic with depression who divorced her husband Tom (Justin Theroux), after catching him cheating on her with their real estate agent, a beautiful blonde named Anna (Rebecca Ferguson) whom he later marries and moves into the home Rachael decorated.
Free-Fall two years later and Rachael now spends her days commuting on a train; where she often stalks Tom, Anna, and their new-born daughter Evie. During her trips, Rachael becomes fascinated with Tom's neighbors, Scott (Luke Evans) and Megan (Haley Bennett), a young couple Rachael believes to have the perfect marriage. A marriage she tries to live vicariously.
Also - Megan coincidentally happens to be Evie's nanny. Another one of the films McGuffins.
In reality, what Rachael believes to be a perfect marriage is not - Scott is aggressive and controlling, while Megan is detached and unfaithful, maintaining affairs between numerous men, including her psychiatrist, Dr. Kamal Abdic (Édgar Ramírez).
Director Tate Taylor tries to break new territory with this yawn of a movie but often fails with lurid cinematography and slow-paced editing that feels as if he watched Marc Foster's "Stay" a thousand times. Perhaps this was a movie out of his depth - given his recent credentials - "Pretty Ugly People", and "The Help"; this feels like a miscast.
Emily Blunt gives a fine performance while maintaining a balance of emotional insecurity and fear. Blunt being the titled star is virtually given more to do than her female counterparts. Frequent collaborator Allison Janney shows up when needed, but leaves us yearning for more of her disbelief of Blunt. Rebecca Ferguson coming strong off of "Mission Impossible: Rogue Nation" is given little to do or say - as the clichéd housewife.
Justin Theroux, Luke Evans and Édgar Ramírez are all fine actors; and yet they themselves play unvaried and overstated characters.
Screenwriter - Erin Cressida Wilson never gives us a moment to fully embrace or regard how or what these characters are feeling - Wilson writes them as if they were palpable to us - Providing us with a purposeful unstructured narrative - Flashing back to different times within each character's arc - This never becomes hard to follow or comprehend, as the film feels like a novel itself cutting between Rachael, Anna, and Megan's point of view - Providing us with enough information pertaining to the plot - We never fully care or feel anything, even after the inciting incident occurs. Ludicrous plot plots begin to kick in - As Rachael tries to find worth in her life by solving Megan's case on her own - Involving a scene where she visits Megan's psychiatrist.
The Girl on the Train tries to heavily to be original and shock you with its too many twists and turns; and unreliable red herrings. But by the time we reach the dramatic reveal - We either care or don't for the resolution - Which in the end leaves us asking more questions - And wondering is this 112-minute movie should be featured as a Lifetime movie instead.
Marauders (2016)
"How Do Movies Like This Get Made?"
It's 1:30 A.M. and I am searching for my follow up movie after watching one already. I have no selected movie or genre in mind. Just a movie that will hopefully entertain and leave me with something to talk about. Well after watching "Marauders" I found that I have little to say, unfortunately. To quote a line from critic Brian Tallerico of the Roger Ebert.com - How do movies like "Marauders" get made? How I wished I read this review before I embarked on a 1 hour & 47-minute movie about an elite group of untraceable bank robbers who are pursued by a headstrong and grief-stricken FBI Agent, Who uncovers a hidden agenda behind the robberies.
Directed by Steven C. Miller, Never heard of him well he has quite the list of films you will also probably hate. Not to mention he gave us another Bruce Wills film from last year "Extraction". His direction is muddled and flashy with slow montage shots of people walking in the rain, running or fighting. We also have an updated version of "Heat" with bank robbers who have Siri-like gadgets with prerecorded messages that speak for them - Smart but ineffective in pacing. The robbery scenes are so pretentious and over the top, it's practically begging for you to look at what it has to offer. In some small way Miller believed this would astound us; seeing a robber use an app to rob a bank.
The Cinematography by Brandon Cox is also flashy at times when dealing with different set locations. It feels as if this were story-boarded heavily so we could no the difference within each scene. Ryan Dodson does a decent job with the score of the film. But the truth frustration should go to screenwriters Michael Cody & Chris Sivertson (Sivertson wrote "All Cheerleaders Die"). The pacing is rushed along with the dialogue that feels as if they watched "Heat" along with "Takers" for inspiration. What starts as a simple bank robbery undergoes a political agenda with intricate details that require you to care about the process it takes to solve it, But that's just it - Once you get to the third act where it all comes together you could care less considering you probably stopped thirty minutes in.
Bruce Wills who is underutilized here gives nothing to his performance but a smug smile and a few sharp remarks towards our lead actor - Christopher Meloni. Meloni shrugging off "I am Wrath" tries to deliver the role of a still grieving husband; while trying to walk the path of a good man, Is boggled down by his overacting in each scene. His grief never resonates with me even after knowing what caused it, due to the fact how quick and unabashed it's thrown in. Dave Bautista ("Spectre") is the comic relief of the film, and you will welcome it. Adrian Grenier ("Entourage") and Johnathon Schaech ("Vice") are fine in their roles.
Upon writing this I realized it all goes back to a simple question -
"How do movies like this get made?"
Viral (2016)
Welcome to "Viral"
It has come to my attention that Hollywood loves a good epidemic to shake us at our core. With recent film like "Blindness", "Contagion", "Maggie" and "The Bay" being just a small few to name, they really allow us to fantasize and view what could become of earth if an epidemic overtook us.
"Viral" is another film to add to your collection of "Disease Outbreak Films".
Emma (Sofia Black D'Elia, "The Night Of") is a new fish in a small pond. Starting a new school and moving to a new house all at once makes her shy and nervous, unlike her big sister Stacey (Analeigh Tipton, "Two Night Stand") who rather live freely and outspoken. When a virus mysteriously breaks out, trapping their mother at the airport. Their father (Michael Kelly, "Secret in Their Eyes") is forced to go get her; trapping himself in the progress. Emma and Stacey must now deal with fending for themselves and surviving this unknown virus.
Screenwriters Christopher B. Landon ("Scouts Guide to the Zombie Apocalypse") and Barbara Marshall craft a small and tight knit script that offers some scares at times but overall lacks in momentum and storytelling unlike its aforementioned "Disease Outbreak Films". This would rather focus on the characters of the story than the disease itself, Which is fine if and only if you balance the two. Landon and Marshall would rather us pay attention to Emma and how she is affected by the virus that is rapidly changing those around her. But with Emma not being a strong character, to begin with, or lacking emotional gravitas I found myself not caring about the difficult choices she had to make throughout the film. Now don't get me wrong, she is a very confident, smart and likable character. It's just her actions make less sense as the film progress leaving us - the audience to wonder what we might have done differently in her situation.
And this is the real reason why this film suffers its setbacks. If it had been released first before any outbreak film or tried to adapt or acquire new details to this ever growing genre we would have embraced and welcomed it. But because we've seen this countless times, Nothing is new to us. Which is why I found myself wanting the film to pick a side to land on. Landon and Marshall are not so much at fault here - They do create interesting and likable characters and establish a backstory that shapes the reason why our two leads find themselves in this predicament.
Directors Henry Joost & Ariel Schulman ("Catfish" and "Nerve") feed off tension and unease as they follow the little details of this virus. After the success of "Catfish", "Paranormal Activity 3", and "Paranormal Activity 4", coincidentally both written by Landon. They have an eye for found footage horror, which maybe this could have been - I think we're all happy it's not.
"Viral" is a new addition to our list of "Disease Outbreak Films", Sadly I don't think it will make our list of "Best Outbreak Films".
Nerve (2016)
Emma Roberts and Dave Franco play an updated version of "Simon Says"
Simon Says (or Simple Simon Says) is a child's game issuing simple instructions. Harmless and fun at first, but as the game progresses one player might dare you to do the unthinkable and of course the choice would be up to you to accept or decline it. Life was simple then when we had games like this or board games children enjoyed wanting to play. Now in this day and age technology is our newest friend. This and much more are the overall themes behind "Nerve." High school senior Venus Delmonico "Vee" feels withdrawn and cautious about her choices in life. It doesn't help that she got accepted to go to CalArts but after the unexpected death of her older brother she has become her mother's (Juliette Lewis, offering little to the story) top priority, afraid of her venturing out. Once dared by her best friend Sydney (Emily Meade of "Money Monster") to try Nerve: an online reality video game of objective-focused "truth or dare" where people either enlist online as "players" or pay to watch as "watchers". Vee along with fellow player Ian (Dave Franco of "Now You See Me 2"), are caught into deadly objectives, with their identity taken and victory being the escape. Directed by Henry Joost and Ariel Schulman ("Catfish") "Nerve" paints a picture of the world we live in now, from the film's opening montage showing Vee's daily schedule from "Spotify to Facebook", Joost and Schulman raise questions on Privacy concerns, Illegal downloading, Unnecessary apps and more. But sadly that's all it manages to achieve; questions we are ourselves already have answers to or want answers to. Especially during the third act where the hidden agenda is revealed. Screenwriter Jessica Sharzer ("American Horror Story", adapting from a novel written by Jeanne Ryan) weaves together an interesting story with two likable leads. The chemistry between Roberts and Franco really carry the movie for its runtime, as Roberts fragile and cautious nature sub comes to Franco's alluring and charismatic appeal. Cinematographer Michael Simmonds illuminates the city with vibrant and lush neon lights taking a chapter from "The Neon Demon". A scene in particular in which Vee has to help be Ian's eyes as he drives at 60 Mbps blindfolded is frightening and yet beautiful thanks in addition to music by Rob Simonsen. "Nerve" might not be the best example of how the technology we use influences our daily lives, but it certainly will entertain with each dare.