Music Video Monday: I Wanna Fly by Trevor Moran

In an example of the Effect of YouTube Trevor Moran rose to notoriety mostly for his Apple Store dances at first. Then a few years later his brief run on X Factor (USA) broadened his audience. Since then he’s been releasing music in a most 21st Century way (mainly singles).

I don’t know if it’s ever been logged but Moran is now likely the first singer to come out of the closet via a music video. You can see it here:

And if that was too subtle, or if you still had questions, he addresses it humorously and honestly here:

Rewind Review – Resident Evil 3D: Afterlife

Resident Evil 3D: Afterlife is likely to go down as one of, if not the worst film of this year. Whereas I was able to point out in Step Up 3 what could’ve been of more emphasis to make it a better more enjoyable film with this one I am at a loss. For the sake of full disclosure I am not one who unabashedly hates this series. I have seen all the installments and the ones previous while teetering in the land of mediocrity (scoring 5/10, 6/10 and 5/10 respectively) none of them lead me to believe this was in the cards.

As has been typical in the series acting took a holiday, however, given a decent amount of action a coherent plot and a story with a satisfying resolution this would be no issue. However, this film insisted on there being a lot of acting. It was a film where our protagonist Alice (Milla Jovovich) was alone a great deal and talked to herself quite a bit along with doing a bit of voice over. Not only that but there is a great deal of exposition done about the characters she meets each of whom has more annoying traits than the other which are carried out with varying degrees of ineptitude. Even in some very bad films there’s usually an actor you can single out and say about them “So-and-so is better than that.” That’s not the case of this movie no one rises above the material and makes an indelible impression due to the virtuosity of their acting ability.

There is at the beginning very minimal exposition which could leave those not ensconced in the mythos of this series a little loss but things do eventually clear up and you’ll realize there is truly nothing truly significant is going on. It’s almost incomprehensible to imagine how stakes which are so high on paper can be made futile through the execution of the script and the film.

Resident Evil: Afterlife (2010, Screen Gems)

For at least two-thirds of the film they are in a building which is surrounded by countless zombies and never have the undead been more ineffectual. You hardly ever see them except at a distance until they breach the building. They should be omnipresent we should be able to hear them rattling the fence and moaning en masse into the night but instead everyone is so terribly blasé about it you forget they exist. They fear their fellow man much more, which is all well and good in theory but none of them seem to pose a true threat that we the audience see the threats are only perceived by characters.

The characters, for the most part, are short-hand stereotypes of different types of celebrity and occupation and few have any real dimension and based on the display we get it is unlikely any of these players could convey it if they did have depth.

Another trick of the tale that we are forced to sit through which only belies the laziness and lack of imagination trying to mask itself as cleverness is a few cases of amnesia about.

Resident Evil: Afterlife (2010, Screen Gems)

Bad is one thing but bad and predictable is a whole other can of worms. Much of the journey is to try to find this mystical safe haven referred to as Arcadia. At first it is thought to be a town in Alaska then it turns out to be a boat where there is supposedly no infection. It should be rather obvious from Alice’s landing in Alaska that the search for this haven is like Ishmael chasing Moby Dick and sure enough it is.

There is not a redeeming quality to be had in this film at all. The effects are passable and the 3D is fine, however, seeing CG that doesn’t induce laughter and 3D that doesn’t make one’s eyes hurt shouldn’t be a positive it should be a given. This film was shot in 3D so it should look good in 3D. Not an accomplishment, that would be like complimenting a Director of Photography for having proper exposure on all his shots. That’s what’s supposed to happen.

As mentioned before this is one of the worst films of the year and one of the biggest wastes of time to boot.

1/10

Review: Little Glory

Little Glory is a coming of age tale, wherein the two leads are forced to come to grips with their family’s state, and taking on adult responsibilities far too soon for the both of them. What proceeds is part custody battle, part intrafamilial strife.

Little Glory gets a move on quite quickly. The inciting incident wherein Shawn (Cameron Bright) and Julie (Isabella Blake-Thomas) are orphaned comes early and is dramatically portrayed in a highly cinematic way.

The film starts off with a rather overt, in-your-face conflict between drunken father and son, and then proceeds to tell more nuanced ones wherein information is strategically withheld, internal conflicts that are mostly unspoken, and revelatory discussions between brother and sister. The emotion of the piece is easily accessible and highly engaging.

IsabellaBlakeThomas

Much of that is underscored in a not-too-overt scoring by Michelino Bisceglia who lays the groundwork without force-feeding emotion. The reactions expected from the audience will come from the parameters of the narrative and how well we are lead to identify with the plights of the characters.

Cameron Bright, who was BAM Award nominee as a young actor, most recently seen in Twilight series, is perfectly cast in this film as the seemingly gruff slacker whose tough façade belies a sensitive soul underneath.

It’s not too often that a film feels the need to have a special “introducing” title to call attention to a gifted young performer in their first significant film participation. However, Isabella Blake-Thomas definitely earns this distinction.

CameronBright-HannahMurray

What this film ultimately is, is a maturation rather than a traditional coming of age. What I mean by this is that there is a coming to grips, an acceptance of the reality of their situation that must be dealt with rather than a universal platitude, or a commonplace trip through a struggle to newfound peace.

You may be one who thinks a film set in Michigan, shot in Canada, produced by France and Belgium (among other countries) that waited four years to get its North American release on DVD may not have much to offer, but you’d be selling this film short.

Little Glory has the narrative bones of a film in the week that may appear to just be disposable. However, there is an earnestness to be found within, and a universality that allowed this story to be transplanted across the Atlantic from where it was originally set. It is surely a film that’s worth looking out for and giving a shot.

31 Days of Tales From the Crypt S:06 E:03

Hey all, my contribution to the 31 Days of Tales from the Crypt Blogathon is up! Check it out as well as some of the other fine selections on Channel Superhero. Enjoy!

Bubbawheat's avatarChannel: Superhero

Good morning creeps and creepettes, Cryptkeeper Bubbawheat back for day 22 of our 31 Days of Tales From the Crypt. Today’s rodent is none other than Bernardo Villela who is The Movie Rat where he nibbles on all sorts of film, including plenty of foreign, indie, and documentary titles. Today, he takes a look at one of the episodes that I’m entirely unfamiliar with but sounds infinitely interesting, especially for me considering I have a penchant towards time loops, or might I say a time Whirlpool.

Episode Title: Whirlpool
Original Airdate: 10-31-94

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Mini-Review: Hospitalité

Hospitalité

Comedy just may be the most culturally specific genre of them all. In my experience, each culture has their own precepts it brings to comedy. Granted there are some things that are universally embraced as funny, but cinematic aesthetics, narrative constructs, and indigenous commonalities often color how these tropes are conveyed. Which is a very roundabout way of saying that certain films purported to be comedies have struck me with confusion, surprise, and consternation on occasion. American comedy being typically rather broad is rather accessible; British comedy being somewhat dry and witty I’ve always been drawn too and being Brazilian I have a grounding there in where the jokes are coming from.

Hospitalité is a Japanese film, which is quite funny at times simply because it relies almost wholly on situations, characters and the element of surprise to deliver its humor. Where it loses a bit of its steam is that it could use a bit of tightening up in length and towards the end. The power plays exhibited are necessary but perhaps a bit drawn out there too. In essence, the dramatic elements of the narrative are overplayed as there isn’t a lot of follow through.

You may find it more funny than I did, and to be fair there are effective dramatic elements and pieces of commentary being made, but as it is a situation that is seemingly simple and does follow the house-guest-from-hell mold rather there’s just a certain deliberateness and gravitas to it all that drains it a bit.

6/10

Mini-Review: I Killed My Mother

I Killed My Mother

At long last Xavier Dolan’s debut feature came to the US this year. While you can take your pick between either of his first two films, I preferred this one. As someone who does like to dabble in a bit of auteurist critique I would’ve preferred to have seen this film before Heartbeats. There is a bit of Dolan’s visual flair and editing sensibility on display, and a certain lack of orthodoxy in his approach, at least to start that tells and introspective, interesting tale of a combative mother-son relationship that avoid facile resolutions, or even conflicts; and furthermore doesn’t make either really in a hero mold but rather antagonistic to one another.

8/10

Review: No Más

No Más

I am glad I sought other reviews before sitting down to write this one. In doing so I discovered that the director of this film also directed Renee, which could still be the greatest 30 for 30 installment yet. And he has also covered boxing before. That gives me some perspective but still leaves me perplexed and greatly disappointed.

Firstly, there is a question of balance: whereas the most recent installment, which I will discuss below, even-handedly presents interpretations of the career of a controversial figure. This one becomes skewed down the line. Both fighters (Leonard and Duran) are introduced. However, after the infamous incident (wherein Duran quit during the rematch), and many theories are examined to no satisfactory conclusion; the film takes a few odd turns.

In one turn, Leonard (at least based on the way this story I knew the bare minimum about) comes off almost like a sore-winner who never faced any backlash for that fact. Almost like the antithesis of Mary Decker Slaney in terms of public perception.

This shift is a weird occurrence because the film, based on what footage they do have, is seeking a resolution and an answer. Yet, it becomes increasingly apparent that no new or publicly acceptable version of why Duran quit would surface. Despite that there they are face-to-face in a boxing ring in the present day, talking in a highly staged manner, and when Duran is giving at least a more detailed version of his truth than he ever told his audio is drowned out for Sugar Ray’s take on it and how he was able to (eventually) let it go.

I’m not saying I believe Duran’s story or questioning Leonard’s right to a vantage point, but in documentary terms starts to bang its head against the proverbial wall insisting on its interpretation of events being told.

At this point in the series a mediocre doc would be the worst 30 for 30, but this one sadly isn’t even good because of its insistence on seeking an absolute truth and its skewed narrative.

4/10

Mini-Review: The Playroom

The Playroom

I will say that this is a film that requires just a touch of stick-to-it-ness. It builds a worlds of these siblings first, one where their parents seem to be at least on the periphery, if not absent altogether. It fractures chronology and starts the kids making up a story that you know will reflect on their life just not how. Then the parents are introduced, how they interact with the kids, then what’s beneath the facade it takes a bit. However, the film would have lesser or no impact, and would be cheap, underdeveloped melodrama otherwise.

The performances by parents and kids alike are quite strong and its a great chamber drama worth searching out.

8/10

Mini-Review: Big Shot

Big Shot

Growing up in New York, but being a New York Ranger fan, I was only vaguely aware of the fiasco that was John Spano’s scam to try to purchase the New York Islanders. However, after being fully informed of all that went on here I can say that no team or its fans (no matter how big an arch-rival) deserves to go through this, especially when you consider that the league was at least partly to blame.

Actor-turned-director Kevin Connolly would’ve already scored in my book by not only giving appropriate background on what the Islanders were very early in their existence, but also how they declined, and that he had seen the best and worst of times. However, where the film transcends that is that he actually got to sit down with the man himself and not only faced him in as respectful a fashion as you could ask for, but allowed him to tell his story about how this all happened, and explain (to the extent possible) what he was thinking when things went down.

It’s the kind of story that could only be true and it’s a truly brilliantly rendered account of it quite-nearly blow-by-blow with many of the most concerned parties involved.

10/10