From the moment I saw the trailer I had a sense for what this film was going to try to be. It’s a rare case of a trailer being true to the tone of the finished product. What you get in this film is a very uneasy balance between horror elements and attempts at humor and self-parody. Essentially, it tries to be The Brady Bunch films, which are true to the tone and spirit of the show but poke fun at the show too.

What makes this different and not as successful is a disharmony in tone. It goes from a facsimile of a horror scene to forced humor. I should’ve counted attempted jokes for the percentage of success was very low. I literally laughed out loud thrice, once was a suggestive joke David (Gully McGrath) made about Carolyn (Chloe Grace Moretz). With the Brady films clearly it was always silly. How this would’ve worked better is either of two ways: One, be the kind of over-the-top horror the show was, which is humorous to some, or two, play it straight dramatically and tongue-in-cheek comedically. Instead, you could feel the gears shift and the sudden impetus “Must try and be funny now.” It’s one of the more forced comedies I’ve ever seen in that regard.

There are many Tim Burton movies I have loved. I am among the many who still have enough fondness for much of his work such that I will still come to see what he’s done. However, I’m not really angered by this turn so much as disappointed. Granted it’s not an original piece but I thought Dark Shadows and Tim Burton, what could possibly go wrong? The following did: The complete lack of tonal cohesion, the near glacial movement of the plot when there’s not an over-abundance of things going on, the thinness and simplification of characters.

Why is this one frustrating and not infuriating? I did like the performances for the the most part. Again, this is divorcing expectation and examining the actual content. However, it comes down to the milieu within which the players played. When the film is straight-up gothic-style horror it’s rather breathtaking. Those moments are few and far between but it shows the potential of the narrative had there been a sort of balance or reversal of tone.

Johnny Depp, who in his now long renaissance, is at times too big and too much the center of attention in certain films does well here. His Barnabas Collins is his own and I don’t begrudge him that, I just feel the performance would’ve been augmented further in a tale more worthy such an awesome vampire. For even in this rendition Barnabas deserves better.

Touching upon the Brady Bunch notion again there is the fish out of water aspect; the concept of the Brady films was that it was the 1990s and they were very much still stuck in the 1970s, while here Barnabas was in the 1970s after being interred in 1752. It plays the fish out of water but the film tries so hard with musical cues, other pop culture references and an Alice Cooper performance that is not up to his “Feed My Frankenstein” in Wayne’s World 20 years ago; that they just become tired, then trite and finally bothersome. We get it, it’s the 70s. Moving on.

Contrary to divorce where it’s only the children who suffer in a movie that’s bad it’s really only the kids who leave unscathed: Chloe Moretz doesn’t really have a lot to do here but shows a more mature side of her persona, which is easing and accelerating her transition from in-demand child actress to eventual A-List leading lady. Gully McGrath in sparing moments plays one of the more rounded characters in the film and shows a glimpse of his talent. Bella Heatcote, though not a child actress, is new talent who likely has much more to show in a more rounded role.

An example of a wasted, underdeveloped character in this film is that of Willie Loomis. Aside from being a weirdo his only other functions are being a stooge and a driver. Wonderful, really needed the new Freddy Kreuger for that part.

Partially to expiate the film its slowly moving, thin plot there’s some randomness thrown into the end of the film, which while are hat tips to the show are also slightly foreshadowed and only serve to prolong the cacophonous silliness that is the climax.

In the end, whether I agreed with it in principle or not, Dark Shadows made an attempt to do something different and it failed there also.

4/10

Now, I’ve finally viewed some examples:

First, a New Wave-inspired tale…

Next, his first mob tale…

Some have lumped this film in with things like Battle: Los Angeles. While I did like that film (quite a bit) I did not like this one. I will avoid a comparative analysis but I believe the three biggest differences are that the former film had better performances; a simpler, swifter story-line; and is more proficient technically.

This film means well in a lot of regards, but it spends so much time at the beginning trying to establish Alex Hopper (Taylor Kitsch), his relationship (Both with older brother and girlfriend) and even creates a set-piece in part to establish a rivalry between him and Nagata (Tadanobu Asano). What’s wrong with that? Inherently, nothing. However, it’s too much time and it forestalls the inevitable, especially when the inevitable too gets drawn out.

The need to do all this expository work might be a condemnation of the Armageddon-alien attack motif if you think about it. It’s so tired that by the implication alone the motif no longer compels an audience to feel. It’s helpful that less motivation is needed for the aliens so more time is spent on the humans, but that time is misspent. The other issue is that less time is spent building character once the attack starts. The film likely works better with just vital pieces of information disseminated beforehand then allowing details to unfold during the battle.

The developing of character is an issue, but combine that with the fact that some performances are just inept and things get harder to handle. A lot of the the ineptitude is in casting. Rihanna may be many things: beautiful, a talented singer, dancer, but an actress is not amongst those things she is. She’s never believable or compelling and perhaps most annoyingly the script, direction and/or editing insists upon her. Her character’s commentary is required in nearly all situations and she’s deployed in any and all situations, if only to create drama about whether or not she can get back to her actual post. It’s the kind of role Michelle Rodriguez could play in her sleep, alas she does not, sadly.

I’ve mentioned in the past that I try to go into a film as close to a blank slate as I can. Therefore, I did not realize beforehand there were actual veterans in the cast. It became very evident quickly.The usage of veterans in the film while commendable produces mixed results. Clearly, as an American I understand and appreciate the efforts and sacrifices of the armed forces. However, this is a film about aliens and it’s plausibility is dubious so actors are needed to make it somewhat believable. As a gesture it’s fantastic, and the older veterans are hilarious when given a line of comic relief, the key is the roles are small in those cases, and they’re doing what they did; helping on the ship. The involvement of Gregory D. Gadson in a larger capacity is an issue because his role is big. Granted he doesn’t get a lot of help from the story or dialogue, but all the more reason to have someone who can try and wring something out of it.

The dialogue features its share of ill-timed lines such as “I’ve got a bad feeling about this” when things are already rather cataclysmic even in their bubble, and clichéd lines that you’ve heard in too many action and sci-fi movies.

Much of the battle is frankly rather uninteresting and not very dramatically conveyed. As a matter of fact, it’s in cameo moments later on that few of the compelling moments. Aside from that most of the other intrigue, if you can really call it that, comes when the film actually most closely resembles the board game. There’s a sequence where the ship has lost radar capabilities and they use water displacement data from buoys to gauge where the enemy is and try to time their launches to hit coordinates designated by letters and numbers.

The aliens are also an issue. Almost any film needs to create aliens that are vastly superior and are on the brink of annihilating the planet, but then some flaw inherent in them makes itself known that we exploit or become the beneficiaries of by sheer luck, this likely dates back to War of the World in novel form. Here there’s a scan interface, which we are privy to in alien POV and when biological entities are found they are not assaulted directly, yet battleships and skyscrapers full of thousands of people get blown up. Combine that with the fact that all indications are this is an invasion and attempt at conquest then this really doesn’t make sense. The technology also stinks, and they’re aliens! Example: Any one with any foreign substance on their body to aid them in a physical task (eyeglasses, prosthetic legs) is unrecognizable as man or machine to these aliens.

Now, I went on and on about the aliens in part because of the pace. I mentioned the length and the pace works hand-in-hand with it. This film gives me the time to wonder about these silly aliens that I’m not all that scared by, and I’m not all that intrigued by. The alien invasion plot is by no means foolproof, but this film tries too hard in some aspects and doesn’t try hard enough in others and the end result is that it just doesn’t work at all.

4/10

Part of the reason I decided to write about it this time was with more and more conversation about the filmgoing experience in the US it’s more valuable perspective now more than ever.

So here are some benefits to checking out a flick abroad.

1. Check The Listings, You Might Get Lucky

Part of the motivation to see Battleship was that I knew it came out abroad before it came out in the US. This is a the case more and more now, so if you time it right you could see something before all your friends. Maybe it’ll even be good.

2. The Price is Right

Granted this all depends on your exchange rate and how favorable it is. Going to see Harry Potter and the Deathly Hallows Part 2 was not really any cheaper Brazil than it was here (However, art houses in Brazil may be cheaper I haven’t been to one recently). This is especially true when you factor in the fact that soft drinks and candies are sold in normal sizes but still up-charged. However, the USD equivalents in Mexico were akin to when I’d take the bus to a multiplex for matinees in the mid-90s, meaning: ticket $5 USD, $2.50 Soda and under $2 for Candy.

3. Concession Variety

Now, clearly when you’re abroad you’ll find things that are ubiquitous like Coca-Cola but also things that are rather indigenous like this year’s find Freskas, which are Nestle’s answer to Whoppers with ice cream-like flavors.

At this particular Cinemark there was also a coffee/liquor bar in the back with other snacks, which is usually only an arthouse thing here, dine-in locations being a rare exception.

4. Etiquette

OK, I can only gauge this based on my limited experience and will qualify that my experiences in Mexico have been during/towards the end of the work day and the theaters weren’t that full but they were quiet. Conversely, my Potter screening in Brazil was late and rather full but for the most part filled with quiet reverence that film deserved.

5. Experience

My two trips to this Cinemark in Mexico and another mall-attached multiplex in Brazil have been clean theaters, where seats could be chosen ahead of time (get this, no extra charge! Take that Cinema de Lux!), seats that are comfortable, lights that go down on time, good projection with no significant degradation of quality even in 3D and based on my interaction courteous professional staff (for the most part).

Not to generalize for clearly the more you frequent and inadequately run movie house the more warts you find but it’s a game of chance when you happen upon a house that doesn’t do things right, when they do odds are you’ll have a great time.

As I mentioned above, it takes a certain odd egg to see a movie on vacation abroad. However, if you think you’re one it’s definitely worth doing.

In my experience there are two different presentations here: the communal screens, where either monitors or projection screens spread throughout the cabin are viewed; or personal screens, which are affixed to the backside of the seat in front of you.

My viewing experiences have usually been better with the latter. Though I’ve experience films this way on fewer occasions, I recall having seen anew and at first analyzed The Sixth Sense and then most recently I saw Chronicle.

Now based on those two I saw better movies in this way but there’s more of an intimacy. You’re still getting sound in a headset but there’s less to distract you from the image on screen when it’s right in front of you as opposed to the lottery of monitors and screens. A big screen on a wall might seem more cinematic, but you have not chosen your seat or your distance from said screen so in that case I’d prefer something a bit more democratically equidistant, that and I’m a front row kind of viewer anyway.

The biggest downside to in-flight viewing is the PA tapping into your headset, which will occasionally cause you to rip your earbuds out in shock not unlike when Dr. Evil screamed into his space-mike in The Spy Who Shagged Me, but other than that it’s a pretty good way to pass the time, much better than most.

For a guide to what scores mean go here.

From Time to Time

Kwayedza Kureya, Alex Etel and Eliza Bennett in From Time to Time (Freestyle Digital Media)

This is a film that I saw a little bit ago and I struggled with whether I’d qualify it for this year’s BAM Awards or just leave it in the Gray Area. Typically, I go by US release date (so long as I had a legitimate chance to see it), should a film have not had a US release date (namely only released overseas, or seen in a festival, etc.) it’s qualified in the year viewed. With regards to From Time to Time, I knew that its actual vintage was a few years old and it was released in the UK some time back, however, it only his US home video very recently. Technically, that is is its US release since it didn’t have a theatrical run, so there you have it.

This is a very interesting ghost drama, which has a few interesting things going in its favor: first, it cuts through time with great facility and creates a British gothic tale with the ease of Magical Realism. This stripping down of the typical pretensions of supernatural tales making the acceptance of these other-worldly facts commonplace allows the film to dwell in a more dramatic and intriguing milieu. Second, as clearly intimated above this film deals in two periods but makes them both intriguing and vital and blends them wonderfully. Lastly, this film features very strong performances most notably by the under-utilized Alex Etel, last seen by me in Sea Horse; Maggie Smith, whom at this point could benefit any and every film in creation and Carice Van Houten, whom viewers of Game of Thrones may recognize.

This is an intriguing film that is worth looking for on Netflix or other home video resources.

8/10

Chronicle

Dane DeHaan in Chronicle (20th Century Fox)

Since I viewed this film on a plane it was easy and not distracting to take notes on an iPhone, but I will try to keep these comments brief as the review is supposed to be “mini.” Having said that, this was a film I heard a lot about and I love the fact that it is divisive. I had a lot of stumbling blocks to overcome in this one, but seeing elements enacted as opposed to just hearing about them are two completely different things.

This being a found footage film there are “cheats,” inasmuch as it’s not always the same source camera providing the footage, but as events escalate you’ll see why it’s possible, you just get no hint as to who put it all together. That’s a minor concern regarding the handling of technique.

In fact, the only other quibble I have has to do with Casey (Ashley Hinshaw) who is a blogger, thus she too obsessively records things. It’s a bit convenient but mostly the film works in the found footage milieu because it remains tremendously reflexive, and it has to. Andrew (Dane DeHaan) feels compelled to record his life due to his abusive father (a wonderfully malignant villain with few parallels), it clearly continues after the mysterious inciting incident.

Perhaps what is most brilliant and moving about the film is that it creates a sense of identification immediately and it builds from there. It’s not a case of likability but rather understanding. It gives characters powers, and inherently responsibilities, they’re not necessarily equipped to cope with and shows you what they do.

Yes, there is a slightly Jackass, slight YouTube voyeuristic quality to certain scenes inherent in the found footage approach but things to do come back that seemed as if they didn’t fit, and the seemingly frivolous is sublimated quickly. Through it all it remains a character study. It’s a film that does not get overly-concerned with its technique to the detriment of its plot or personages.

Clearly, the performances need to be really strong for a film of this kind to work. That is the case with Michael B. Jordan as Steve, who convincingly plays the winning, popular, untouchable jock but also conveys some hidden depths when allowed to. However, the true standout is Dane DeHaan who is asked to deal with far more range in a film of this kind than you’d expect and is magnetic and captivating in all facets of his character. The scripting shows a certain amount of restraint in many of his scenes and intonation and expression have to convey a lot and he does.

There’s an air of mystery to the story even after the inciting incident as you learn with the characters but are still not overly-inundated with facts.

The sound mix is rather effective especially as it counterbalances with certain moments of dead silence paired with powerful images. The visual effects aren’t as flashy as some other films but very strong.

I tend to try and avoid things that can be construed as pull quotes but the film did get quick a few visceral, nearly unconscious reactions from me I laughed, I was was on the verge of tears a few times and my jaw literally dropped at least once.

I have the few small reservations mentioned above but many prejudices I had coming in vanished entirely and I came away resoundingly impressed with this film.

9/10

Corpo Celeste

Yle Vianello in Corpo Celeste (Film Movement)

I have previously discussed the benefits of programs like Film Movement. This film is their most recent offering.

What is most interesting about Corpo Celeste is that it comments through its narrative or visuals on any number of topics but always does so in an interesting, thoughtful and compelling way it is never didactic, pedagogic or heavy-handed. This is key with themes such as coming of age, religion, politics, family and nationalism (to name a few) being discussed. Most of the reason the film can do this is that all of these things are discussed personally and visually. They barely need to be elucidated. When dialogue is employed to convey the touched-upon themes it is used sparingly and tightly.

The personal approach keeps a film that might be overly aloof rather cool and connected. One of the more interesting things about it is the approach the film takes in bringing its protagonist to the fore. The first few images, scenes even you rarely see Marta alone, she is in crowd scenes and crowded dinner tables and gatherings. Our knowledge the story is to be about her allows us to get a glimpse of her world and her not really seeing a place in yet, hence she’s coming of age. She soon comes further and further into focus and in some way identification is already established.

The film features a tremendously natural performance by Yle Vianello, which enables you to connect to the film not only through her character but through any facet you see fit. The two major ways to connect to the film are either as a coming-of-age tale or a spiritual journey. Many of us have been through either, if not both, so closely examining these two major journeys in one protagonist makes it quite effective.

This is a really good film that is worth your while. The DVD also features the Academy Award nominated short Raju, which I saw earlier.

8/10

Jeremy Irvine and Steven Spielberg on the set of War Horse (DreamWorks)

This year for easier browsing my awards considerations will be gathered on three lists similar to those in which winners are announced.

Best Director

Stephen Daldry Extremely Loud and Incredibly Close
Rose Bosch La Rafle
James Watkins The Woman in Black
Béla Tarr The Turin Horse
Phil Lord & Chris Miller 21 Jump Street
Lynne Ramsay We Need to Talk About Kevin
Fernando León de Aranoa Amador
Drew Goddard The Cabin in the Woods
Jeremy Fink and the Meaning of Life
Monsieur Lazhar

Best Cinematography

Beneath the Darkness
Extremely Loud and Incredibly Close
La Rafle
The Innkeepers
The Woman in Black
The Turin Horse
We Need to Talk About Kevin
Amador
Meeting Evil
The Raid: Redemption
From Time to Time
Dark Shadows

Best Makeup

The Devil Inside
Texas Killing Fields
The Woman in Black
The Turin Horse
The Grey
Snowtown Murders
Moon Child
The Hunger Games
The Raid: Redemption
The Cabin in the Woods
Ghoul
From Time to Time
Dark Shadows

Best Original Screenplay

Rose Bosch La Rafle
The Turin Horse
Fernando León de Aranoa Amador
Taika Waititi Boy
Joss Whedon & Drew Goddard The Cabin in the Woods
Gareth Evans The Raid: Redemption
The Forgiveness of Blood
A Bag of Hammers
Chronicle

Best Adapted Screenplay

Extremely Loud and Incredibly Close
Contraband
The Woman in Black
Big Miracle
Being Flynn
Meeting Evil
We Need to Talk About Kevin
Jeremy Fink and the Meaning of Life
From Time to time
Monsieur Lazhar

Best Editing

Extremely Loud and Incredibly Close
La Rafle
Big Miracle
The Turin Horse
The Grey
Moon Child
We Need to Talk About Kevin
Being Flynn
The Raid: Redemption
21 Jump Street
Boy
Bully
From Time to Time
Monsieur Lazhar
Jeremy Fink and the Meaning of Life
A Bag of Hammers
Chronicle

Best Score

Extremely Loud and Incredibly Close
La Rafle
Big Miracle
The Turin Horse
Journey 2: The Mysterious Island
Moon Child
The Secret World of Arrietty
The Hunger Games
Wrath of the Titans
The Raid: Redemption
John Carter
Monsieur Lazhar
From Time to Time
A Bag of Hammers

Best Sound Editing/Mixing

Contraband
Extremely Loud and Incredibly Close
The Woman in Black
The Turin Horse
Ghost Rider: Spirit of Vengeance
The Cabin in the Woods
Safe House
John Carter
21 Jump Street
Wrath of the Titans
Silent House
The Hunger Games
Chronicle
Battleship

Best Visual Effects

La Rafle
The Woman in Black
Journey 2: The Mysterious Island
The Grey
Ghost Rider: Spirit of Vengeance
John Carter
The Cabin in the Woods
Wrath of the Titans
The Hunger Games</em
Chronicle
Battleship

Best Art Direction

Extremely Loud and Incredibly Close
La Rafle
The Woman in Black
The Turin Horse
Journey 2: The Mysterious Island
Moon Child
Amador
John Carter
We Need to Talk About Kevin
The Hunger Games
Boy
Wrath of the Titans
The Raid: Redemption
The Cabin in the Woods
Jeremy Fink and the Meaning of Life
Monsieur Lazhar
From Time to Time
A Bag of Hammers
Dark Shadows

Best Costumes

Extremely Loud and Incredibly Close
Underworld: Awakening
La Rafle
The Woman in Black
The Turin Horse
Journey 2: The Mysterious Island
Moon Child
John Carter
We Need to Talk About Kevin
The Hunger Games
Boy
The Cabin in the Woods
From Time to Time
A Bag of Hammers
Dark Shadows

Best Song

“When the Blaze is Blue” The Americans Texas Killing Fields
“What a Wonderful World” Dwayne Johnson Journey 2: The Mysterious Island
“Powerful Man” Bless Moon Child
“Let Me Know” Bless Moon Child
“In The Air” Bless Moon Child
“Arrietty’s Song” Bridgit Medler The Secret World of Arrietty
“My Body is a Cage” Peter Gabriel John Carter
The Hunger Games
Harley’s Hill
Jeremy Fink and the Meaning of Life
A Bag of Hammers

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