Here it is this week's recap of the reviews Blu-ray/DVD releases, as usual arrange by the grade they received. This week was dominated by lighthearted, comedic, fun-driven flicks. With 2 comedies (although very much distinct in their style) and one superhero film that doesn't lack in funny gags either. From the very raunchy, provocative humor of the Danish fatherhood comedy "Klown", to the elegant, witty, and delightful "Damsels in Distress", and the high profile release of the week "The Avengers" which needs no further introduction. If you are looking for something fun to watch this weekend, this trifecta of film will fit right into your plans.
1. "Damsels in Distress"
Whit Stillman's new work is a story written so artfully, in which not a single line of dialogue is wasted. Embedded with layers and layers of sarcasm, witty gags, and this whimsical mood that make the most irrelevant situations into an event. The trio of protagonist feel like is their mission in life to rescue those who have fallen into depression, and to give purpose to the inferior and purposeless male population on campus. Violet (Greta Gerwig) the leader of the pack fins Lily (Analeigh Tipton), the new member of the group who comes to rattle their ideas. There is dance crazes, soap-embracing rescue missions, and a sweet (yes sweet) approach to depression and romantic sadness. Grade A+.
2. "The Avengers"
One of the two highest grossing, most expected, crowd pleasing, superhero films of the year (the other being The Dark Knight Rises). Joss Whedon built a story that could fit in the complex set of skill of each one of the iconic Marvel figures. With superheroes from all ends of the power spectrum, (experiments, self-built, divine alien gods, trained assassins) the team becomes a mix of egos, talents, and definitions of what being a hero means. The story is not original by any standards, but the approach does make it unique in terms of the humor, and the drama between this band of rejects. There is explosions, CGI monsters, fighting, and yes lighthearted humor. Just in case anyone still needed to be convinced or pushed to watch it. It you haven't yet seen it, or want to watch it again , now you can. Grade A.
3. "Klown"
An outrageous, sexually charged, amoral comedy from an unexpected source: Denmark. This story of a man , Frank (Frank Hvam), who is trying to prove his girlfriend that he can be a good father for the child they are expecting. He decides to take his nephew Bo (Marcuz Jess Petersen) , to a wild adventure with his buddy Casper (Casper Christensen). There is all sorts of wrongness here, drug uses photographic evidence of their sexual deviance, etc. However, there is heart in it, as we see Frank's relationship with Bo develop into a "role model" father-like figure for the kid. The story is shot with the Dogma 95-like realism, being American-friendly in its content but true to the Danish school of filmmaking. A weirdly funny film. Grade B+.
Throughout human history there has always been a intricate fascination for divine beings. Creatures that exceed mere mortal capacities, they are either bound to protect or destroy humanity. Titans, gods, demons, wizards, etc. These fictional inventions served to put to rest anxieties and fears, to let the masses feel like there was an order in the universe, in which the good,divine entities will protect us. In our time, these mythological and epic battles have taken a less serious existence, to become the source for entertainment and the creation of icons in pop culture. Superheroes are modern mythology, human, semi-human, or completely alien beings that have extraordinary stories and usually are conflicted between their superior breed and their human qualities. Therefore, these are complex characters each with their own moral codes and their respective fears and weaknesses. Given the fact that each superhero is such an individualized creation, to bring more than one into a cohesive universe that can accommodate for all their personalities, its an uphill task. This is were Joss Whedon's "The Avengers" could have gone wrong, but it didn't. He was able to craft, alongside Zak Penn, a script that allowed each one of these legends to shine in their own way, and still be part of a united heroic band of misfits. Being true to the nature of comic books, yet adding a healthy dose of comedic relief and sarcasm, giving this multimillion-block buster-smash-hit movie a shine of its own, not solely relying on the impressive CGI and visual effects, but on the heroes themselves.
The plot is not groundbreaking in its format, but it doesn't need to be. There is evil and there is heroes to stop it. The trick is to bring all the side stories, egos, and origins together into this group war. There is the self-made hero, who obtains his powers from his millions and incurable narcissism: Tony Stark/ Iron Man (Robert Downey Jr.). The old fashioned soldier whose power come from a malfunctioning experiment during WWII: Captain America (Chris Evans). Another laboratory created superhuman who channels his anger into a monstrous creature that smashes things: The Hulk (Mark Ruffalo). Then there is the alien god of thunder whose power comes from his divine lineage: Thor (Chris Hemsworth). Finally the two new additions to the franchise, two very well trained human spies who have no other power than experience and physical strength: Black Widow( Scarlett Johansson) and Hawkeye ( Jeremy Renner). To guide this selected group of legendary brutes there is S.H.I.E.L.D's director Nick Fury (Samuel L. Jackson), who is in charge of protecting an otherworldly source or energy called "the Tesseract", when this is taken by Thor's evil brother Loki, who as usual with villains, is trying to control the planet and make all of us civilians into his puppets. However, to our fortune, the Avengers are here to save the planet, each one of them for their own selfish reasons, but still they are the Earth's only hope.
The premise is indeed predictable, the ending is even more predictable, but when is the ending not predictable in a superhero movie? This I don't say to be taken as a weakness in the film, it is just a God-given fact of these type of movies. The real value here is in the packaging, the way Whedon presents these characters and weaves their different paths into a singular storyline. The drama that emerges between the heroes in the first half of the film is excellent. Captain America being indeed the unnamed leader of the pack and imposing his old school views on war and heroism. Such ideas collide with the bane and hilarious Stark, and also with Thor's view of humanity as an undeveloped race. Natasha Romanoff or Black Widow and Hawkeye spark the human/ subtle love story of the film, which I must say at times gets lost in the overwhelming presence of the superhuman members of the team.
The Hulk just steals the show with some sort of slapstick comedic punches, literally. Adding a very cartoonish/childish undertones to the film. Which is indeed a great addition to the film which never takes itself too seriously, even its evildoer Loki (Tom Hiddlestone) lends himself to some peculiar comedy, such as requesting a drink when he is finally defeated. Even in all its joyous and marvelous fun, the film is smart about touching on things like the nature of humanity to destroy itself, and the idea that we need to be governed and submitted to coexist. That maybe we are too much of an irrational race that we need higher powers to rescue us from what we cant fight ourselves. All of these existential enigmas become tangible in the distinct genesis of each Avenger, showing us the range of heroism all humans are capable of.
Visually it is topnotch , which is expected with such an incredibly high budget, over $200 million. The human elements of the sequences blend perfectly with the monumental amount of CGI creatures. I found particularly amusing the long takes that follow all of the Avengers in one moving, continuous shot, being driven by Hawkeye's arrow or Iron Man's trail. This film needs no more marketing or word of mouth than the heroes in it, Marvel has created a separate movie franchise for at least 4 of the major characters, putting them together with this great script is just a no-brainer instant success. If you are that one person in the civilized world that didn't watch this in theaters, or if like most, you want to watch it again, even more than once, this superhero feast is out in Blu-ray/ DVD now for everyone to suppress their perception of reality and belief in the incredible again. Grade A.
Friendship is an essential part of the human existence as we are social beings, dependant on the validation of others, individuals that share our interests and who can relate to our experience. This bond is based on an unspoken mutual contract of trust, loyalty, and simply enjoying being around each other. When a friendship is tested in an environment in which life is constantly at risk, then such friendship becomes a vital weapon to keep up with this lifestyle. What better example than two partners in the police force. Add to this the fact that these two partners work the toughest streets of Los Angeles, and that their lives have been given a price by a dangerous drug cartel. This sort of fraternal relationship is what Jake Gyllenhaal and Michael Pena play in the action-packed, marvelously entertaining, and nerve-racking film "End of Watch", which brings a total 21st century freshness to "cop movies". With a mixture of first person "found footage" style and the classic third person approach, the story feels authentic mostly due to the stunning chemistry and performances of the two leads. The film transcends the crime genre status to become a film about two friends that love each other , and that happen to work risking their lives, and who really only have each other.
Officers Brian Taylor (Gyllenhaal) and Mike Zavala (Pena) are two cops who patrol the most crime infested neighborhoods of LA, they are faced daily with drug dealers, gangs, and the ultra dangerous organized Mexican drug cartels. Officer Taylor is taking a film class in school, and decides to document his everyday "routine", providing us with a privileged view to be right in the middle of the action. Taylor and Zavala unaware of how far things can go, start getting on to the trail of the activities of a dangerous cartel, perhaps bargaining for more that they can handle. As if dealing with junkies, houses burning down, and their romantic lives wasn't enough. Is in this complexities that the story becomes touching and a times very humane and funny. The fact that Zavala is Mexican and his bff/partner Taylor is Caucasian, brings to the table all sorts ridiculous racial stereotypes and comparisons that make the duo even more memorable. Proving that their friendship is grounded on more profound values that can overlook ethnicity or educational level. As their personal lives get more complicated with the arrival of children and marriage, it becomes all the more important for them to keep out of harm. However, it might be too late to play it safe.
This is a great film on many different levels. For the first time in a long, long time I felt tense and at the edge of my sit when the showers of bullets and the action reached its peak. The way the film is shot throws the audience in between the shootings. It doesn't lack in action , chases and violence, but it never feels to exploit this situations for the sake of mere entertainment. These plot points serve to develop a broader spectrum of what the "cop life" can be, not to glorify them or condone them, but to introduced them to us as human. Taylor and Zavala feel exposed, vulnerable, they are cops not superheroes, but they indeed have something special that is not seen among the rest of the police cast, or the criminals, they are friends. One feels like these are really the greatest of pals. They feel real while in the action and while they talk about their off the job problems. Their concerns about love, about children, about what the future holds. Gyllenhaal and Pena are specular, they play their parts with such naturality and ease, it seems as if the camera just captured a slice of life. An interracial bromance that goes deep into a life of service, and trying to keep afloat a normal life. Anna Kendrick is lovely as Taylor's love interest, providing a resting place for the officer's trouble. From start to finish an original piece of filmmaking that is as enjoyable as it is emotionally fulfilling.
Even with the sometimes excessive handheld camera movements, "End of Watch" is one of the best films I've seem this year. Original in its conception and flawlessly acted, it is a mainstream film that brings a new perspective to old scenarios. It is a fantastic combination of giving the audience something they will enjoy and still make a meaningful statement. Writer/ Director David Ayer say in an interview that what he really wanted to do was to make a film about friendship, and if one decodes, strips and rinses off the batches and guns, the film is exactly about that. Two friends. Moving, exhilarating, action-packed, and funny; this diary of a bulletproof friendship is definitely the pick of the week to watch. Out in theaters now. Grade A.
When thinking of foreign cinema, specially European, and specifically Danish films, the first thought that comes to mind is something subversive, abstract, of the realms of art houses. It is hard to, on primary intuition, assume that the most successful film from Denmark in the past year was not a festival revelation from Lars Von Trier, or any other of the Dogma 95 rebels in their current not so rebellious form. Nevertheless, such film keeps up with the tradition of other Danish films such as "The Celebration", or Von Trier's "The Idiots", to present this hyper-realism involving shocking and revealing subjects. In this case the shock value comes from outrageous comedy, explicit sexuality in all its forms, and mean spirited (yet guiltily funny) treatment towards children. This over the top, raunchy comedy explores fatherhood, and manhood in general, in such a crude way that its hard to think there is sensitive subtleties in it, but they are there. This is what the film "Klown" is about.
Inspired on a successful Danish TV series of the same name, in which even Von Trier himself took part, "Klown" tells the story of Frank (Frank Hvam) and his search for "father potential" that his girlfriend seeks in him. Frank is a man in his 30's that still seems to be hostage of his adolescent mentality, and who hasn't fully discover what adulthood, much less fatherhood means to him. His friend Casper (Casper Christensen) is a married , yet adulterous, cheating sleazebag who is determined to enjoy a trip to the countryside to which he often refers to as "The Tour the P***y". When Frank is forced to take care of his young nephew Bo (Marcuz Jess Petersen) , he fails miserably at first, with this, disappointing his pregnant girlfriend. In order to fix things and prove he can be a dad, Frank decides to take Bo along for his trip with Casper. Two selfish, drunk, and sexually deviant men trying to take care of a child in the wild, sound like fertile ground for all sorts of raunchy and absurd situations. Along the way, they do encounter overly welcoming help from females, and a paradise for drug use and sexual pleasures. The jokes here usually involved some sort of ridicule of the male genitalia or the photographic evidence of an out of control night. Yet, under the filthy haze of all this, there is certain vulnerability in Frank and his father-like relationship with Bo.
The film shows a very twisted, but surprisingly charming depiction of male bonding. How this friends, or even Frank and Bo can be totally cruel to each other, but when it counts, they are there for each other. The punchlines have the much expected shock value, and grossness factor. However, they do seem to be too far apart and sort of repetitive. However, the style of filmmaking really sets this film apart from sexually charged American comedies. In "Klown" the situations are never to far off from reality for us not to believe they can happen, and the way the camera involves the audience in the film provides with a more fluid and organic way to engage in the comedy. Frank Hvam has this amazing quality to seem oblivious and naive towards his own disgusting acts and failures, he never seems to be this idiotic by choice. On the contrary, Frank is portrayed as someone kind who perhaps never really got the chance to learn how to be a father or a god man, but he is trying. To make such a distasteful character into someone likable is the films greatest achievement.
I understand that Danish comedy is not on most people's list when it comes to have a goo laugh, but "Klown" will deliver. It will give the audience the disturbing and scatological stuff they crave, but it will deliver such jokes wrapped with a touching story of fatherhood and friendship, even when it turns completely bizarre. As mentioned earlier, the film is not perfect and at times it drags a bit, but overall it is a more thoughtful bachelor comedy (if thoughtful and bachelor can mix) than most. This Danish filthy, guilty pleasure will provide with some awkward laughs right down to the final sequence. Directed by Mikkel Norgaard, the Scandinavian comedy hit "Klown" is out today in Blu-ray/DVD for the American audience to rejoice in its primal and despicable macho hilarity. Grade B+
College campuses are a mixture of high academics, sports, and the troubles of youth. In cinema the most usual approach to presenting stories around the college life is to focus on the drinking, the frat houses, the hookups, and a raunchy comedic tone to all of this. Therefore, when a film shows college life in a romanticized, warm, but still hilarious manner, heads must turn. Whit Stillman's "Damsels in Distress" is a whimsical, witty, pretentiously funny, smart and quotable (yes quotable) film, that shows a very particular set of students. Every line in the script serves a purpose to elevate the ongoing charm and elegance of the story. Totally funny and heartfelt in a classy, and i would dare to say innocent and sweet way. Just a delight of a film that must be seen, and probably re-watched multiple times to catch every subtle punchline and memorable gesture. An extremely smart feel-good film.
The story places us in an college campus, never really telling us exactly what year it is, or where exactly this place is located. This in fact is a positive, it helps you accept the characters without the prejudices of a determined era or our expectations of what people from an specific period of time should be. We meet the 3 original damsels as they approach a candidate to be their new member. The leader being, Violet (Greta Gerwig) a pretentious, arrogant girl, but at heart sweet and a humanitarian of some sort. Then there is Rose (Megalyn Echikunwoke) another intellectual, fashion-driven American girl, who speaks with a British accent and who despises "operator/player" type men. Lastly, there is Heather (Carrie MacLemore) being the naive follower who really seems to be the mid point between Violet and Rose. The new girl in their clique is Lily (Analeigh Tipton), who represents everything that is missing in the other damsels, she is down to earth, honest, and with less idealistic/ self-uplifting goals. The story revolves around the girls trying to help suicidal classmates change their lives , and finding a good male partner who perhaps is "less refined" than them. Someone they can guide and manipulate freely. To achieve these, Violet seems to have radical convictions on emotional intelligence, among them : tap dancing, scent therapy, doughnuts, and dance crazes.
It is a unique approach to a typical story of a group of girls trying to navigate love and growing up. Unlike films in the other side of the spectrum, such as "Mean Girls" or even recent "Bachelorette", which explore this in an overly sexual and scatological way. Stillman creates a piece with period piece dialogue but relevant in subject, and fascinating style. Even the most "barbaric" frat rituals seems innocent and romanticized. Each character so meticulously crafted, coated with eccentricisms and yet engaging. Never over dramatic, or with a really defined plot. It doesn't attempt to tell a completely circular story, but rather to show this beautiful mix of melancholy,hipster vibe, and sweet sadness about love. The jokes are hidden in between the long speeches, and disguised as factual statements from the characters. From the classy invention of a new dance , the "Sambola", to a frat boy unable to identify colors and his search for "knowledge". I admit that some situations are down right ridiculous and absurd, but under the cloud of this universe, they are acceptable.
A wonderfully enjoyable film with which I fell in love. Greta Gerwig is just gorgeously tender and contained, glowing with this passive craziness, she is the soul of the film. One of those rare films with so many good lines and memorable moments it becomes hard to number them or pick them out singularly. An ensemble of adorable characters that really bring something fresh to cinema's depiction of college students. Not the typical mean spirited cliches, but a sort of current nostalgia of what perhaps college should be. The film is just like Violet's idea to send soap to the frat house males. A beautifully wrapped present that once opened, leaves an enduring scent that brings happiness to the psyche. That is exactly what "Damsels in Distress" is. Pure joyous fun. Grade A+
This week's recap of Blu-ray/DVD releases brings a trifecta of great films very different from each other. From a classy, period piece comedy to a brutally entertaining horror reinvention. It also includes a revelatory film about life, love and youth adorned with beautiful imagery. Take a look at this week's picks and form your own opinions on these particularly enjoyable films. As usual, they are arranged by the grade they received and I've included a link to the full review for each one, as well as their respective trailers.
1. "Oslo, August 31st"
A Norwegian story about a man that finds himself lost after trying to recover from addiction. Returning to the city that holds all his memories, past loves, friends and mistakes, is a defining experience. Shot with very subtle and poetic sensitivities, a film that deserves to be analyzed and meditated on. Not an easy films, but very rich in its narrative structure and ability to makes us feel for the main character. Grade A+
Read the full review here
http://selective-vision.blogspot.com/2012/09/oslo-ausgust-31st-therapeutic-tour.html
2. "The Cabin In The Woods"
A film that uses many conventions of the horror genre and reinvents them to create a distinctive mix of comedy and violent terror. It tries to expose the voyeuristic nature of our love for torture films and the imminent punishment of the characters in such films. Cleverly written and hilarious at times this movie offers pure fun for all, and a feast of intelligent references for the horror geeks. A very unexpected gem. Grade A.
Read the full review here
http://selective-vision.blogspot.com/2012/09/the-cabin-in-woods-puppeteering-horror.html
3. "Hysteria"
19th Century female liberation is the subject of this pseudo historic film. Dealing with a very taboo subject involving female sexual insatisfaction , the movie manages to be charming and heartfelt. The cast is humorous in their parts, and keeps the story lighthearted and entertaining. More emotionally complex than historically accurate, it manages to deliver laughs and a couple cool "kinky" facts.
Grade B+.
Read the full review here
http://selective-vision.blogspot.com/2012/09/hysteria-invention-of-mechanical.html
Raunchy, sexual, buddy, comedy films have been mostly concerned with the male experience. Adolescent-like young men only concerned with scoring with "chicks", getting drunk, and maybe at the end find some sort of deep pseudo emotional connection with their buddies. Recently; however, this trend has changed, as the audience becomes more open to see women as capable of such acts. The list of comedies that focus the high school-young adulthood life is endless, even if we just stay within the past 5 years: "Superbad", "Role Models", "The Hangover" saga, "Bridesmaids" etc. High School experiences and traumas dragging into the rest of your life, its a well known American fascination. Those are the forming years more,than academically, in life skills. Drugs, Sex, Bad Relationships, Backstabbing Friends, Bullying, and more irrelevant drama, that for some becomes a defining aspect of who they are. These is what all these films attempt to depict, "Bachelorette" included. The story here tries to convince us that these are more complex characters, with dark pasts, and that in a sense they are just like all of us : flawed. Sadly, we find out that the word "flawed" engulfs the film, and never really lets it go.
As usual, these party crazy, sex loving, reckless groups come in 4. Regan (Kristen Dunst) the smart, controlling, beautiful, yet miserable leader of the pack. Think Regina George from "Mean Girls" but a tad more human. Then we have the actual Bachelorette, Becky (Rebel Wilson) who feels kind of guilty for being the first one to marry being the "less good looking". There is druggie, one-night-stander Gena (Lizzy Caplan) and airhead fashionista Katie (Isla Fisher). They are reunited for Becky's wedding in New York, which is sure to unearth some messed up issues among the four, involving, but not limited to, abortion, bulimia, suicide attempts, and humiliation. I know, some heavy stuff for a comedy film that takes place over one night. Faced with the burden of a destroyed wedding dress they must fix, and a quartet of male counterparts that are as lost as the gals, these damaged she-wolf pack will try to make it to the ceremony with their dignities still usable.
In such a short spam of time, we are told so many of their secrets and failed dreams. Hardcore unresolved drama mixed in with the jokes. It just doesn't seem right because we never really care for any of the many sides stories. Instead of feeling like a random night that arises some issues (not every issue in their past) , it feels as if a melodramatic series got packed into 90 minutes. Some of the actors seem to be playing a consistent version of who they always play. Overly sexual tomboyish Lizzy Caplan, or the chunky but funny, good girl that Rebel Wilson plays here once more. The only performance that rings original and enjoyable is the bitchy, megalomaniac, Regan played by Kristen Dunst. She is in fact the life line of the film. A very comedic and original character as we have not seen Dunst before. She is indeed the leader and the one that in a sense knows the flaws and tribulations of the other B-faces (as the group used to call each other in high school). Reegan is jealous, vicious, and mean, but under it, she actually gives a damn about these group of screw-ups.
There is a few really funny moments, most of them come from Kristen Dunst lines and witty statements. The script fails to cohesively marry the comedy with this heartfelt drama under it. It never rings true, neither extremely funny nor moving. The ending is, to say the list, predictable. Falling into too many cliches such as corny speeches, the acceptance and forgiveness of their failures, and a "happy ever after" party with dancing included to save the day. Nothing special. A film that will be forgotten or eternally compared the the superior "Bridesmaids" or even to "Mean Girls". If you are a fan of Kristen Dunts then you will enjoy it; otherwise, well skip this party. As mentioned before only packs a couple laughs, if there is nothing there in your agenda that will provide you with more fun, then turn off your standards for great comedy and watch this. "Bachelorette" is now out in theaters and in VOD. Grade C.
As years go by and the fame and stature of an actor grows, it becomes harder and harder to detach the stardom quality from the character he/she is playing on screen. This makes it difficult to really see the character from what is presented on the story and forget the glamorous baggage the performer carries. Sometimes films rely heavily on the mass appeal of a star, or they offer little room for the actors to try something new and exciting.This becomes the source of forced typecasting. Then all of a sudden a story comes along that exploits the talents of its well known cast, but fortunately provides them with layers of emotional depth. This is what Nicholas Jarecki's "Arbitrage" offer Richard Gere, who becomes a man with many mind bugling untied knots and facets. A very Hollywoodesque film in its conception and structure, but nonetheless, gripping and emotionally charged. In a story that involves intangibly robust sums of money, the human error and the personal lives of the players become crucial, money is just the driving force for all the family drama.
Robert Miller (Gere) is a millionaire in financial trouble, desperate to sell his company before the facade of success falls apart. His family seems ordinary (for a man in his position), and as soon as this economic misstep is over everything will go back to normal. Well is not so simple. Miller is involved with a young french curator, and when and accident makes him a involuntary murderer, the story tangles up radically. His business trouble now becomes dependant on his issues with the law. Such issues, rely on a single witness, Nate Parker as Jimmy Grant, who offers no other warranty than blind trust. Adding to this is the growing suspicion from his daughter Brooke (Brit Marling) and relentless detective Michel Bryer (Tim Roth). With all this side stories all coming back to one source, Miller himself, an array of moral questions arise. Should one wish for Miller to get caught? or for him to walk free? What is more harmful, the truth or the lack of it? What is Miller's biggest crime? Murder? Fraud? or his daughter's broken heart? Most of all, is there a right answer to any of these concerns?
The films is grounded on the idea that once you are at this ideal level of success and accomplishment, then the crippling blows must come from a different perspective. They will come from the data that cant be tempered with or sold: irrational human emotions. Although Miller's biggest problem appears to have dollar signs, we are shown a much more complex individual. Someone who carries the weight of dozens of lives on his shoulders, and whose mistakes create a ripple effect that can hurt anyone involved with him. He has thousands of masks that he interchanges as the situation requires.At the end we see how those closer to him have been pushed into wearing these masks in order to protect themselves from his consuming lies. Miller is constantly faced with the irrelevance of money once it forces people to overlook their morality and priorities in life. Therefore, best scenes in the film are those moments when Miller unveils himself in front of his daughter and wife, when all walls can come down and truth finally sees the light. It is eyeopening to hear how miller sees money as an omnipotent entity capable of giving it all and simultaneously ravaging it. There is never an apologetic moment for him, he is set out to fix this madness by any means necessary. However, when the calculating person confronts the family man the path its not so clear.
"Arbitrage" is unexpectedly satisfying. Very true to its title, the assets in Robert Miller's world are at a continuous fight between what can be sold, stolen, or bought. Whether is love, forgiveness or an alibi, money is the only conceivable answer for him. Richard Gere is here at his best, playing many shades of the same character at once. In a smaller, but superb role, Susan Sarandon provides a necessary final punch just so that our "hero" doesn't think he got away completely. I was honestly not expecting much of this film, as from the preview it seems like one more "rich people drama", but once the layers started to peel I was engaged. If there was ever a reasonable argument to watch a film for the starts in it, this is it. Directed by Nicholas Jarecki the film is now out in theaters. Grade A.
Every film genre has its own particular conventions, those qualities that make it a category of its own. Once we accept this, we know that no matter how original a story is, if it falls into an specific genre, it is limited by certain parameters. Horror, more than other genres, uses very repetitive and cliched narrative devices and story lines that, for the most part, aim to satisfy the sadistic voyeurism of its viewers. In recent memory the trend in horror films has been to increase the brutality and shock value of each new film. By doing so they try to ignite interest in the audience maybe by showing a new torture device, or a more vicious and depraved killer. Whatever it is they try to present as refreshing, it always has to involve youth, punishment, and even certain specific characters such as a jock, a virgin and a its counterpart the "whore". These teenagers will engage in casual sex and drunkenness, they might take a wrong turn on a desolated road, or maybe play with the occult. Regardless of how they get there, the end result is always their imminent death.
Here is where "The Cabin In The Woods" comes in to flip these conventions upside down, throw them at your face, make fun of them, makes us laugh, and indeed even scare us a bit. The story written by Drew Goddard and Joss Whedon, and directed by the former, is a horror comedy that plays with and controls everything you expect from a horror film, but cleverly uses it to be inventive. From the opening sequence when we see Richard (Richard Jerkins) and Steve (Bradley Whitford) in an factory/warehouse environment, where they seem to be running very normal operations for a regular company. We encounter witty dark comedy and a plot that it is as surreal as it is unique. We are introduced to a group of kids on their way to a weekend getaway in the woods. One of them Dana (Kristen Connolly) is the smart, sensitive girl who provides the story with the virginal driving force. Also noteworthy, Chris Hemsworth who plays Curt, the athlete who seems to be not so much of a typical alpha male jock. This two settings connect as it is revealed that this 5 youngsters are part of a virtual reality ritual, completely manipulated by this "agency" in order to pay tribute to certain otherworldly entity. Every aspect of the world around them is rigged by Jerkins and his team. Little details such as temperature and light are engineered to induce teenage promiscuity, in order to get what is "expected" of the victims, even if is not really who they are.
Every horrifying creature, every phobia or paranormal scenario are part of a parade of nightmares from which involuntarily these kids must choose a way to die. The film in a sense tries to give slasher movies,or even the entire horror genre, a purpose. This premise of knowing that everything we've ever feared is controlled is both soothing and terrifying. In wants us believe that nothing ever happens by chance, that it is all part of these big murderous reality show with extremely peculiar rules. Even with this complex concept, the film never stops being stunningly funny. I'm talking about laugh-out-loud comedy, which is very difficult to imagine in a movie like this, but its there. The story is a mind game intelligently crafted, making references to cult horror films, to science fiction universes, and still staying self-contained and true to its mix-genre sensibilities. A strange combination of uber most mass appeal gore and refined writing for viewers that don't enjoy torture porn for the sake of brutal exploitation.
The scares here are at a more intellectual level. The way this "agency" is desensitized with the lives of the victims, seeing them as simple prey is troubling. It aspires to demystifies the reasons why we love to see people suffer on screen in escalating more inhumane ways. Horror films exist to live out obscure fantasies and in a sense be in danger yet in control. That is what "The Cabin In The Woods" is, it represents horror itself by taking in all we thought we knew and exposing it. The story falls a bit short in its resolution taking the easy way out, but by that point the story is just too good for it to be a big issue. Even the unexpected Sigourney Weaver appearance brings something to the table in terms of completing this macabre puzzle. A film to laugh, to be scared, and to analyze. A "win win" situation in my book. "The Cabin In The Woods" is out now in Blu-ray and DVD. Grade A.
Certain subjects are still difficult to present in a film even in this day and age. Especially when it comes to sexuality, female sexuality that is, which is still seen by many as taboo, and as a deviant endeavor in the shadow of a still mostly men-driven society. Therefore, to present the story around the invention of the vibrator in a classy, tactful, and engaging way, is an achievement of its own. Moreover, to treat the subject matter in a comedic but still, in a sense, innocent manner, is delightful. "Hysteria" is a period piece comedy that follows the 19th century treatment of women's mood swings and emotionally discomfort, which diagnosis gives title to this film. Right of the bat the film is charming and truly funny. Using this pseudo historic tale to send a message about how times change, and how things that once might have seem progressive are now run of the mill, accepted, and even routinary.
In "Hysteria", Dr. Mortimer Granville (Hugh Dancy) is tired of feeling like his medical expertise is misused, until he stumbles upon a one of a kind practitioner. Dr. Robert Dalrymple (Jonathan Pryce), dedicated to treat hysteria among bourgeois women who pay to be "massaged" until their troubles are gone, at least for a few days. Since the workload seems to be getting heavy for a not so young Dr. Dalrymple, the charming Mortimer is up for the challenge of satisfying all the rich ladies in London. In the midst of a constant coming and going of woman seeking genital relief, Dr. Granville falls for the Dalrymple girls. The Dr.'s daughters are complete opposites. At first interested in the most refined of them Emily (Felicity Jones), Granville realizes with time that his true love is the altruistic and feminist Charlotte (Maggie Gyllenhaal). After having disappointed his mentor because of his inability to physically keep up with all their patients, Granville with the help of his electricity-obsessed pal Lord Edmund (Rupert Everett) comes up with an invention that would change intimate pleasure forever. This rudimentary sex toy will become Granville's salvation and his path to winning Charlotte's wild heart.
The film is pure joy from beginning to end. Regardless of its theme, the story and its characters never take themselves too seriously. Nevertheless, it uses this easy going facade to cover its bigger ideas. The invention of the vibrator meant more that just mechanized orgasms. It marked a big step in female liberation, giving them the freedom to embrace their sexuality, and have a say over their bodies. The film has many gags that aim to confront us with what is now considered essential, such as the telephone, and how those staples of our day were once seen as impractical. In the same realm was the possibility of women going to university or voting. "Hysteria" uses this hysterical sexual treatment (no pun intended) as a vehicle to speak about the constant need for change and evolution. Hugh Dancy is phenomenal, engaging and kindhearted.Yet he is divided between what he thinks is good in a woman and what he really wants. His chemistry with Ms. Gyllenhaal draws you into the story, even if we all know too well the outcome of their romantic tale.
Not too concerned with historical accuracy, "Hysteria" still manages to bring some facts to the light for those interested in the origins of home use sexual devices. The only "but" to this very entertaining piece, its the recurrence of many costume drama cliches, some of them I understand unavoidable. Thus making some of the lead characters lack depth and making the supporting cast a bit to much like caricatures (e.g. the prostitute). Even with all its period glamour and comedic overtones, the story is interesting, the humor is there, the romance works, it is all in all a good time. Directed by Tanya Wexler, "Hysteria" is out on Blu-ray and DVD tomorrow. Grade B+.
Cinematic coming age is usually a mix of teenage angst, maybe a road trip, a bad (or perhaps despicable) relationship with most authority figures, sex, drugs and bad decisions. "Little Birds" is a film that perhaps aims to be more than this by means of its form rather than its content. Rich in beautiful and eerie vistas of the Salton Sea and the painful boredom of life there. The audience is told many times about the hardships of life, about the cruelty of the world, but the story that tries to hold such broad statements is thin and bland most of the time. The film relies heavily of how many dangerously innocent bad choices Juno Temple as "Lily" can provide. The "little birds" that take flight for the big city are bound to encounter very predictable scenarios that will show them how scary adulthood is when you have no purpose in life.
We are presented with Lily (Juno Temple) and her so-called best friend Alison (Kate Panabaker). These teenage girls are typical opposites that attract. Lily seems to have some deep and hidden emotional issues; therefore, she is angry at the world, and hates being treated as a kid, hence the fact that she is indeed like most teenagers. Alison in the other hand is a sweet girl with her feet on the ground, she is a hardworking, caring and loving daughter to her absent minded father. Together they pass the time trying to figure out what growing up is all about. When they meet a group of rebellious teenage boys, who make themselves noticeable as they drink and vandalized stuff, Lily falls for one of them and decides she is going to leave town to follow him in LA. Alison, of course, hesitates but follows, only to find out they should have stayed home(no surprise there). Robberies, underage drinking, perverts and murder are in store for this two rural teens as they are faced with this mad, mad world. At least that's what the story pretends to tell us.
The film suffers from a beautiful soullessness. A typical case of luxurious images with no substance. Trying to be edgy and original while presenting an all too known plot. Writer/Director Elgin James tries fiercely to push this idea of duality and completeness through the story. Of how Lily and Ali need each other. How we should not blame Lily for being so inconsiderate to the people around her, with the sole argument that she is a teenage girl, she never really gives us a reason to care for her besides trying to be charming. The adults in the film are, for all intents and purposes, useless. They seem to be as lost as the kids, perhaps that is the only valid argument the film presents. No one completely stops growing up, and life is an ongoing lesson. The way it tries to convey this message is what fails. The performances are good, we believe these girls are as they are presented. Juno Temple seems to have gotten down the part of the naive but precocious country teenager, as this seems to be a continuation of her role in "Killer Joe" earlier this year.
The existential questions posed on this story are too much for it. Very heavy-handed in terms of its aims to teach the audience something about maturing in a selfish world, in which only the strong ones survive. Lily and Ali end up scarred, both physically and emotionally, but this "injuries" are supposed to make a deep change in their life for the better. I really doubt it does. The cinematography, like i mentioned, is great, the performances are good, but the film as a cohesive and unified piece is forgettable. "Little Birds" is out now in theaters for you to catch if causeless rebellion is your thing. Grade C.
Rarely a film comes along that seems to represent a generation. A film that seems to capture the escape of youth and the reality of human life in modern society, and doing so in such a beautiful, organic and stunningly poetic manner. "Oslo, August 31st" is a Norwegian film that will linger in your mind for a long time, the dialogue, the scenery, the tender moments of a "failed" soul that seems to try to hold to something real. The simplicity of the premise is captivating, yet, if it wouldn't be so wonderfully written, it would seem totally unrealistic because of the amount of events that occur in one day. However, all these encounters seem totally feasible and unprovoked.
The film tells the story of Anders (Anders Danielsen Lie), who is a recently cleaned drug addict who is given a day out from his rehab facility to attend a job interview. This implies he will be back to his home city of Oslo, where everyone from his past still lives. Throughout one day we see Anders visit his old friend Thomas (Hans Olav Brenner), then attend the interview, then a lunch date to which his sister doesn't show up, then a night of drinking and catching up with old friends. All of these indeed seem not out of the ordinary, but the conversations he has , and the way they are presented bring this film to the level of visual poetry. A mixture of a love letter to the city of Oslo and a close look at broken promises, failed plans, the longing for redemption, and the brutal confrontation with the past and the wrong steps taken in it.
Anders shows such great acting qualities, always at the verge of breaking down yet holding some sort of pride to what he is. He tells stories of how his parents brought him up, lost friends, and the absence of love. There is beautiful shots in the film, it has some sort of resemblance to experimental pieces, visually abstract at times, playing with sight and perception. Sometimes following random people that walk by to show the mundane nature of existence. At times giving us a false and eerie sense of hope, trying to convince us that perhaps not everything is lost for Anders, or even for ourselves. Then comes the past and shatters that thin layer of optimism and slaps us in the face with a mixture of sadness and beauty. Its hard to take it all at once, to seem go through this ordeal. So profound yet connected to reality.
This is just a generation-defining film. Whether is Oslo, Los Angeles or Tokyo. The emptiness of youth is widespread in modern, capitalist societies. This common experience of wanting to be everything, of changing the world, yet still being destructively narcissistic and entitled. Living life as if the world must accept our failures and help us get another chance even if we are bound to fuck that up too. Anders knows this, and strolls across a city that encapsulates his life. The drugs, the love affairs, the vanished writing career, and bits and pieces of a family that is now gone. I would dare to call this a perfect film. Every encounter, every line recited, every wordless image and the abstract touches paint a picture of how immensely irrelevant a single day can be, or how vastly miraculous living another day should be.
Not a film with big names, or exciting twists, or perhaps too nihilist for most. Nevertheless, if you are up for something originally crafted and that will ask some soul searching, you might just love this film too. Directed by Joachim Trier, "Oslo, August 31st" has been revered around the world, no surprise there, and its hitting shelves this upcoming Tuesday on DVD. Grade A+
If you are looking for something to watch at home this weekend, here is a recap of the 4 films reviewed out on Blu-ray and DVD this week. I have arranged them according to the grade they received. There is something for everyone here as long as you are willing to check out some off-the-radar films. If you are interested in any of them specifically each have their own review here in Selective Vision. I've attached the links to those review as well.
1. "The Loved Ones": If horror is your thing this is a great example of how that genre can still surprise us. The story focuses on Lola an isolated and abnormal (to say the least) teenager who always gets the boys she wants, by any means necessary. Lots of gore but with a healthy dose of satire and even a side love story. Grade A-
2. "Where Do We Go Now?" : A Lebanese comedy with a message. In a village dived between Christians and Muslims, the women must try to prevent their men from killing each other by hiding what goes on in the outside world. Very funny and inventive, a touching and memorable film, with some flaws but still worth watching. Grade B+
3. "Elles" : Juliette Binoche is a bourgeoisie journalist who is infatuated with the stories of two young students who use prostitution as their way to pay for school. Bored with her own life the conversations with these women start affecting how she relates to the men in her life. A few sex scenes, artsy, but lacks a bit of heart. Still Binoche is good as always. Side note: this film has just been added to Watch Instantly on Netflix, so if you want to watch it risk free or just give it a chance now its easier. Grade C.
4. "Snow White And The Huntsman" : This is the film with the highest profile on the list, with popular young starts, and A-listers as Theron, but still is bland and cliched. The story you already new just with not so great CGI and a big budget. The highlight is Charlize Theron who gives a one of a kind performance as Queen Ravenna. If you must watched it is out now. Grade C-
Here we have yet another adaptation of the classic fairytale. The film, directed by Rupert Sanders, includes all the expected characters as in the original story. We have our princess, the evil queen, a huntsman (of course), dwarfs, and the occasional monster. The fact that all the cliches are here is not the problem, one goes into a film like this with some preconceptions of what it is about to be shown. However, the point of a "reinvention" is in fact to bring something new to the classic, to create a new and interesting approach using the limitations of such story. At this, the film fails miserably.
Probably a summary of the plot is unnecessary here but I will make as short as possible. In a medieval kingdom there was once a great king and queen. They had a beautiful daughter (Snow White), then the queen dies. When the kingdom is under siege a mysterious woman (Charlize Theron) appears, she kills the king and takes over the land. She locks up the princess for years, when she finally gets the chance, she escapes. She embarks into journey to find the soldiers and allies her father once had, along the way she encounters an array of characters. In the midst of this, Snow White (Kristen Stewart) kind of falls for the huntsman (Chris Hemsworth) that originally wanted to kill her. Then they save the kingdom. The End. Sounded boring, generic and like something you have seen before? Well it is.
Over 2 hours long, the film attempts to survive relying on the star power of Stewart (thanks to her "Twilight" role) and Hemsworth (the beloved Thor), but this two are not big enough to carry the kingdom on their shoulders. Stewart acting is very similar to... well, anything she has ever done. She is inexpressive and never really seems to present herself as likable, charming or human. Everyone else in the cast is efficient at performing roles that really don't add much to the story, except for giving some repetitive obstacles to the heroine. On the bright side, and this is what saves the film, in my opinion, from a worse grade, Charlize Theron really pulls it off as Queen Ravenna.
Her character is the most engaging part of this film. She has a back story full of sadness, and a reason to be this evil: a curse that marked her destiny. In a way she is the rags to riches underdog. Theron really takes the character to another level. A mix of maniacal and desperate behavior trying to save herself from the real evil in the film: the lack of BEAUTY. This performance really makes you sort of rule for her, wishing that the film was actually more about her story. Her entire persona, from the very detailed dresses and crowns she wears to her extravagant baths, help the film not sink into the dark forest.
The production of the film is proficient, as would be expected in a project with a gigantic budget, even in that regard, there are some incongruousness. The CGI is at best weird,some of the creatures and animals seem too cartoon-like and don't really blend well with the live action elements of the film. There is also a couple of weird jokes in there that never seem to find their right tone. The action sequences are limited,and there is this pseudo-Lord of The Rings vibe that never even gets close to the real deal. If you still want to see this, maybe at least for Charlize Theron, the film is now out in Blu-ray/DVD. Grade C- (Ms. Theron save it from a "D")
Sometimes with foreign films the humor gets lost in translation, because humor is such an intricate part of culture and how a society experiences life. The Lebanese film "Where Do We Go Now?" overcomes this by means of a heartfelt story of love, coexistence, and tolerance. The film is genuinely comedic and engaging to say the least. The plot touches on big issues such as the religious conflicts in the Middle East and the role of women in these societies. Directed and starring Nadine Labaki, the film really focuses on the feminine side of the story and how they are able to find the things that unite their village in the midst of great animosity.
The story takes place in a remote village in Lebanon, a village in which both Christians and Muslims live together. When the news of a religious conflict taking place in other sites of the country arrive, the women in this town make it their mission to keep the men oblivious in order to prevent a bloodbath. The situations and tactics the women use to distract their husbands and sons are really imaginative and certainly hilarious. Hiring Ukrainian exotic dancers to live among the villagers for a week, faking a miraculous divine encounter, and even drugging them so they wont let their raging testosterone take the best of them. An important story within the film, is the Romeo and Juliet-like relationship between Amale (Nadine) who is a Christian and Rabih (Julian Farhat) a Muslim himself. They represent this ideal that love is blind and can overcome even something as profound as a religious conflict. There is indeed drama in the film, very heartbreaking moments that show the terrible things people do in the name of God. This atrocities can shake the faith of even the most devoted individuals, but in the end it shows that sometimes loving our neighbor is more essential to our survival than any religious denomination.
Female empowerment becomes the bearing flag of Nadine Labaki's story. This feminist approach to the issues in this village tends to, at times, make the men in the story look like simple minded creatures. They are easily seduced by women with few clothes and some good food.Perhaps the joke is on us because it presents us with the barbaric code of rules by which most of the masculine population lives by. Having said this, if the men in the village were not portrayed as so, the film would lose its campy aura. The women here are mothers, business owners, community leaders, and more than anything friends. They carry the weight of the conflict outside, so it wont affect their loved ones and that its admirable. The film; however, has a big flaw. There are a couple musical numbers in the film that seem out of place, disjointed with the tone of the overall film. They are comedic, but they make the film seem some sort of stew that has elements of many genres than don't seem to blend good together.
Overall, the film its very enjoyable. There is truth and heart in the story. The cast is great, and as in any good ensemble piece, the chemistry is there between all the characters. I don't believe Labaki is trying to answer all questions about religious conflicts or the role of women in these. Nevertheless, her approach at least gets you to, in a fun and entertaining way, think about what really matters in our earthly and ephemeral lives. "Where Do We Go Now?" is out now in Blu-ray and DVD. Grade B+
