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The Boy (2016)
The doll is idealistic... The grown boy is a mess.
Moodily filmed without a ton of exposition, THE BOY entrances viewers with a life-size doll embodying the spirit of a child who died years before-- his rich parents cling to memories and coddle the doll as if it were a real kid. Yes, Lauren Cohen as nanny does a fine job joking along with the job until it becomes obvious that either the doll walks and plays tricks, or the actual son is still alive and living in the walls of the parents' mansion. Spoiler alert: the latter turns out to be true. Enter a brutish ex-boyfriend and a nerdy grocery-getter and you're in for a predictable yet thrilling climax. What is interesting, is the doll embodies the essence of a true character-- the sweating hairy psycho who's been hiding within the mansion's walls terrorizing people is less a man than a plot device, without any backstory or personality. I guess a sequel is now available? Maybe it has flashbacks. to explain? The theme of this movie puts illusion ahead of facts. It also makes men look kinda sick after puberty.
A Perfect World (1993)
A near-perfect film
Escaped convicts kidnap the young son of a Jehovah's witness and teach him common life lessons while on the run from authorities. Stellar acting and a compelling script keep up the pace until the tragic ending. Minor transgressions include unnecessary homicide by the hero (he could simply have left his partner behind) including a weird shift where he nearly murders a family of helpers. A desire to see the criminal win out against the system may also be viewed as unfit. The ghost of a chance.
It (2017)
It's full of holes and gimmicks
Why this film received any critical acclaim is the only scary thing about IT. And why it has any fan base at all is truly frightening. Aside from a handful of capable child actors, the script makes no logical sense and the CGI frights are so basic and ordinary that BABADOOK looks like an artful masterpiece compared to the dull incomprehensible fluff of IT. To start with, having the clown amputate a 7-year-olds arm is a sick marketing ploy to show how "edgy" the director is... Yet by the movie's ramshackle conclusion any intelligent viewer wonders how every single member of the nerd club from junior high makes it through with barely a scratch, cleverly defeating the clown by "not being afraid" despite the actors jumping and trembling at every cliched movement the clown makes. Aside from some minor scratches, the only injury (a broken arm) is the result of falling through the rotten floorboards of the phoniest haunted house ever put on film -- each terrified teen miraculously escapes the slow-moving clown even before they figure out that It's power is wholly based upon their own fear. Except... Wait... Other people are also "floating" in suspended captivity without being eaten (as the 7-year-old was gorily consumed) because they also must have figured out the secret of being fearless in order to be floating. Add on a few one-dimensional single parents from Hell --that their offspring can murder them without consequence -- and a few missing older folks never explained or explored -- and it's easy to wonder who the villain is. And let's just ignore the bloody bathroom scene that only the teens can see and, miraculously, can clean with soap and water... Even the fabric shower curtain! Why the girl not murdered in that scene despite her quaking fear is beside the point. With an entire town's population connected by a sewer system it's quite a puzzle why the clown keeps chasing after the nerdy kid club instead of eating or "floating" anyone else for over two hours of cinema crapola. What's even weirder is that HBO labels this kid's movie with a R-rated "rape" rating just to make it seem all that much more graphic. Yet there is no rape, only hints at incest or physical abuse. The scene with all the middle-schoolers in their underwear at the quarry is an attempt to show their vulnerability? Or maybe just soft core kiddy porn of them splashing and surreptitiously masturbating while a turtle lurks in the watery depths? This, the most intriguing scene of the film, has no plot point whatsoever. Strangely, though, to sit through the entire film is a bit masochistic in that it's got just enough suspense (due to inarticulate reasons for the clown being active) to keep a viewer annoyed yet hoping for entertainment to somehow happen. It doesn't.
The Tree of Life (2011)
One stars for this three-star bore
Pretentious is an understatement. Whatever the buzz was a few years ago, it's surely died down and thankfully no director has attempted to imitate this overrated "slice of life" monstrosity of pampered movie people. Here's the plot of the second half: Disgruntled boy with an Oedipus complex torments one younger brother and ignores the other while dad's away in China. Mom (Chastain) looks perpetually pained unless she's modeling a nightie. When Dad (Pitt) returns he loses his job and the family moves out of a creepy middle-class house. Meanwhile, ugly dogs frolic and drink mud water. Oh and yeah, how easy to forget that the boy grown up (Penn) is unhappy at his fancy job as he rides in an artsy elevator. Then, after much too much standing around on a heavenly beach looking for the disfigured neighbor, Mom gives her eldest son away to either the earth mother or to a new daughter-in- law -- it's unclear to the point of most audiences no longer caring -- in a bizarre lesbianish oceanfront sequence. The end? Yes, thank goodness. Interspersed with this are plenty of Earth Science sequences and a soundtrack imitative of Kubrik's "2001". Aside from the very beautiful and very skinny actors, and some neat nature imagery, this colossal bore offers nothing new. In fact, it offers nothing new or original. Yawn.
Black Mass (2015)
Overall decent attempt minus the details
Exquisitely rendered period piece with stellar acting. The problem lies in its ad-hoc dramatization of the facts. The book upon which this film is based includes many details that are absent from the movie, as is typical of adaptations; yet here, it's a detriment. Consider for one Whitey Bulger grabbing a prepubescent boy from the neck and forcing him to give the reigning mob boss a blowjob... Is Johnny Depp with the cloud-steel blue contacts "dancing" without knowing the whole story? I'd guess not. In fact, i think that the boy- sex-scene wound up on the cutting room floor. In fact, I thonk that many vital scenes were cut to make the film of- appropriate-length and also legallly-acceptabe in terms of violence and sex that's acceptable by the ratings association. In the vein of films like "Goodfellas," this mob movie is subpar and solid. Yet it's content could've been extraordinary if indeed the scriptwriter had looked beyond the the mob cliché to include its inspiration to the fullest.
Boyhood (2014)
Almost perfect, from concept to release
Linklater has done some amazingly arty things throughout his largely unheralded career as an indie filmmaker. From plot less party triumphs to cartooned dreamscapes, he's tried a vast number of approaches and ideas to rejuvenate and enhance and upend Hollywood cliché. "Boyhood" is arguably his sweetest attempt, and certainly his best in terms of coherence and amicability... it's impossible not to relate to this simple story about an off-beat boy named Mason growing up in suburban America. His sister too is a marvel, especially when hitting her early teens (after which she turns mediocre and takes a backseat to the star, her younger brother. Mason is consistently easy-going throughout the 12 years of filming, almost irritating so until he finds his passion in photography. Technology intrudes and progresses too, but not in a way that jeopardizes the storyline. His dad (Hawke) is an enviable father figure who spoils his kids on the weekends, and his mom (Arquette) shines as a complex mother who's got issues that she never allows to overshadow her life or that of her kids. Seamlessly integrated from start to finish, it's as though all movies are built this way when in fact it's such an original that viewers will likely need to remind themselves that it took over a decade to put this work of genius together. It's one drawback is a heavy hand hammering home a hippy mentality - very few people who live the hippy lifestyle have it so good. That being said, it's definitely worth investing two hours of your life on. The characters become infectious and you wonder how those 12 years went by as quickly and as quietly as life itself.
The Brood (1979)
Old-school intellect in the horror genre
Somewhere between Close Encounters of the Third Kind and Gremlins, this antique gem of a horror movie was released without much fanfare despite a lavish "gory kitchen scene". (Maybe because it was filmed in Canada and it wasn't widely distributed in the USA?) Anyway, this is Cronenberg's breakout movie and it deserves some attention. The inimitable Oliver Reed stars as an alternative psychiatrist working on deep methods for processing buried rage. His star patient (Samantha Eggar in a scenery chewing performance worthy of a look) is a mother with anger issues; when people wind up murdered by tiny assassins it's a good bet that Reed's methodology is the cause. Part intellectual horror, part blood and guts, part psychological mystery, this film should be seen by anyone who seriously studies the genre and also by fans of unusual scary stories. It's a B-grade thriller from start to finish. The child censorship laws of this century would make this film unreleasable now and it's a rare treat to see what was acceptable in films just under 40 years ago. The fact that Cronenberg assumes his audience is intellectually capable of following some fairly intricate dialog and plot complexities is another throwback to a bygone era.
Rock the Kasbah (2015)
Uneven yet entertaining show
Bill Murray almost always charms on screen with edgy comedic performances. (One exception is the much-touted "Groundhog Day," which this watcher thought was as annoying as a repetitive chorus in a pop song, a repetitive chorus in a pop song, as annoying.) But "Rock the Kasbah" is one of Murray's more charming films. In it, he plays a touring music manager who discovers a female daring to vocalize by herself in a cave in Afghanistan -- the law there forbids women from singing, so of course Murray represents her. Alongside this story, which is based on actual events, is a somewhat forced and perfunctory sub-plot involving guns, drugs and extortion; this is contrary to the theme of music saving the world and seems at odds with the theme of gender equality. Otherwise, this movie is a lot of fun. The bonus is Kate Hudson as a hooker who takes a break from her work to assist Murray in representing the Afghan woman. Her best line is "I fuc* like a mousekateer on crack" and the vitality she brings to her performance elipses any damage done by the thoroughly vapid Zooey Deschanel. A peace-train-rockin' soundtrack and sharp cinematography help buoy the uneven and interesting story.
Running with Scissors (2006)
We need more stories like this... sorta.
Quirky gay kid fears his boozer dad and admires his arty mom... until he hits the age of reason and begins to see his life for what it really is: a surprise. At age 14 the protagonist begins dating a 35-year old man who becomes his step-brother -- one of many oddly engaging scenarios in this film which is based on an allegedly true memoir. Trouble is, for all its star-power and meticulous set design, the story lags and drags, becoming more about the memoirist's mother than about the lead character, who gets eclipsed by the zany shuffling of too many eccentric weirdos. As for being funny, it has its moments, but often the actors seem to be trying too hard to make the audience laugh. Kudos to all people involved for taking the story so seriously. And shame on whoever allowed this movie to over-ripen. Trimming 20 minutes from its running time could've probably salvaged it from the depths of mediocrity.
Win Win (2011)
Shaky start leads to triumphant finish
For the first 15 or 20 minutes, this film searches for its footing; several unfunny scenes depict Giamatti as a loser in life, belaboring the point, with seemingly irrelevant slices of life making the viewer wonder where the high school wrestling team fits in. Fortunately the plot takes hold, shortly before the indelible Shaffer appears on screen. And each "bit" beforehand does prove itself integral to the drama as a whole in the end. To avoid spoilers, one tangential question must be posed: why is a 16-year-old homeless ex- wrestler flush with cash? The film never explains why, although Shaffer's tattoos and cigarette- smoking allude to his being a rebel, and probably a competent prostitute prior to his arrival on Goamatti's doorstep, as far as backstory; he certainly has the body and demeanor to profit as a hustler. But this in inconsequential. Overall, the small variegated threads of this script do congeal into a fascinating movie about truth and compassion. Each character slyly evolves from an unlikable caricature to an immensely human character with believable attributes and a solidly placed heart. Yet the film somehow avoids being cliché or predictable. Absolutely a must-see, even if you feel indifferent about teen boy wrestling; the only drawback is emphasis on storyline and characterization rather than emphasis on the game (there are only about 10 minutes of actual mat-footage, and however exciting these minutes may be, the craving for more game-time may disrupt the avid sportsman's enjoyment of this film's other assets). With a handful of Oscar- nominated actors and numerous awards, "Win Win" is likely to win you over.
A Bigger Splash (2015)
Groovy rock'n'roll until it hits the wrong note
An aging rockstar convalesces at a private home on a Greek Island with her sober lover... until the party arrives in the form of her ex-lover and his spoiled daughter. Lushness of behavior and scenery might be another cliché if not for the singer being almost mute; wonky hipster Swinton does a fine job despite having little to say, and fanatical carefree Fiennes gives a weighty performance that strikes a balance. Meanwhile, party guests come and go, most everyone gets naked in the sun, and a fridge full of wine and fresh seafood fuels "neuvo-riche" chatter as the Rolling Stones get a listen on vinyl. Yet despite its artful and intimate approach, this film sells its soul as it slow-dances toward an unlikely plot point that was maybe added at the last minute to appease conventional audiences. All about sex, drugs & rock'n'roll, this exotic vacation is worth taking only if you can forgive its lazy and proletarian denouement.
Nerve (2016)
Teen flick with scruples
Female-driven film about high-schoolers taking dares for money via the darkweb. The soundtrack is sickeningly girlie, yet the beats are there along with the colors. Beautifully shot and capably acted adolescent film about selling out and getting in too deep irrespective of morals and self- worth. How much money would you accept to deny your own tenet? Angst incoporated. At times, the script feels like a prognostication of the future. Yet an emphasis on young women finding a man sends the plot into bubble-gum territory. The novel adaptation by Jessica Sharzer is stellar, and the result on screen resembles an artform. Yet it remains a child's story, albeit heartwrenching and slick, embracing Gothic principles to the point of distrust in society. The cornball finale is nonetheless on-point. Likable and critically dismissable as cotton candy.
Little Men (2016)
Came-of-age already?
Rating this film PG for "smoking" (it includes an adult cigarette smoker) is the biggest travesty here... There's nothing at all offensive in terms of strong language or sexual situations to warrant anything but a G-rating for this already-came- of-age film. A smaller travesty is that the film is obviously an older reworked script, updated with cell phones and gentrification and featuring athletic boys who avoid pools and implausibly keep their shirts on throughout (as is customary in America now to avoid accusations of child pornography - by contrast, the G-rated coming- of-age French film "My Father's Glory" from the 1990s has boys of a similar age in slo-mo full-frontal nudity). If lusty teen sexuality is what a viewer anticipates with a title like "Little Men," look elsewhere. That being said, the resulting movie is a sublimely watchable and brilliantly engaging story about gentrification and the intimate drama that urban renewal causes. Superb acting and a realistic premise should keep most viewers of serious cinema somewhat rapt and definitely impressed. Yet the finale may be something of a let-down to those who expect an intensive resolution instead of a climax that meanders to a halt.
Morgan (2016)
Attempt at thrills that delivers
Maybe a rating of 7 is too high, but this underrated film does deliver on its premise. Yes, it is heavy-handed, and minus a few developments, but overall the movie is worth watching. Kudos to the director for making females look as vicious as males. Also some decent setting-projectiles & story through-lines are apparent despite oversights such as the kitchen or the majority of the enormous house, which is left unexplored an perfunctory. What lacks most is character development for the supporting cast (Jennifer Jason Leigh is wasted, plus Paul Giamatti is under-utilized, especially when his character is murdered and then nothing is said or cleaned up despite his busy schedule!) Also be wary of noticeable plot- holes, such as a lack of reinforcements for Kate Mara's character. Most ultra-violent action scenes do deliver if you like that sort of thing. As compared to "Ex Machina," it's about equal in terms of acting and premise. This film could've easily been a full 2 hours long and avoided its low rating by expounding on abbreviated scenes. Predictable by the end, most viewers will anyway enjoy the ride.