Mini-Review | The Movie Rat

Mini-Review: 2 + 2 (Dos más Dos)

Posted on September 26, 2014 by bernardovillela

Introduction

This is a post that is a repurposing of an old-school Mini-Review Round-Up post. As stated here I am essentially done with running multi-film review posts. Each film deserves its own review. Therefore I will repost, and at times add to, old reviews periodically. Enjoy!

2 + 2 (Dos más Dos)

It’s funny that 2 + 2 should come to me now in short succession after having seen 4some and Bob & Carol & Ted & Alice. The difference here is not just another cultural one this film being from Argentina as opposed to the Czech Republic and US respectively. There is a slight twist because two couples who have been longtime friends have had a secret. Betina (Carla Peterson) and Richard (Adrián Suar) tell their friends they’re swingers.

What works best here is that it not only creates conflicts as many ways as it can (tell the secret/don’t tell the secret, do it/don’t do it, Test it out/don’t test it out) but it also fully explores them without seeming to be methodical, but rather natural.

One function of a tale like this is that it really gets to the core of a relationship and puts a divide in couples and forces them to examine themselves and each other. This is usually great fodder for actors to work with, and the performances here are stellar. The tone can also go either of two ways it can be very dramatic or very comedic. This one, like 4some, is mostly comedic but it balances the dramatic intentions of the stories well, and it handles long passages of time with unusual deftness.

Comedy is one of the genres where you usually look for a standout in a given year. There have been a dearth of offerings and only on pretty good result until now. This is the first film this year I laughed pretty persistently with through lengthy sequences, and it stands up on the dramatic end in equally well. There are great touches a long the way, really funny dialogue and committed performances. It’s one to look out for.

10/10

Mini-Review: The Depraved

Posted on September 25, 2014 by bernardovillela

Introduction

The Depraved

Using the concept of urban explorers this film follows five tourists who seek to look about the tunnels underneath Berlin. It’s hard to say what’s most interesting about this film whether it be the proper execution of an extreme tourism concept that The Chernobyl Diaries failed with, or the fact that it combines in a horror film both tropes of Nazi Germany and the Cold War mindset of postbellum Germany.

The film not only has a strong sense of locale and finds one with tremendous visual appeal but there are also some brilliant practical effects work and strong performances all around, most especially by Nick Eversman and Klaus Stiglmeier.

This also compares very favorably to As Above, So Below.

8/10

Mini-Review: The ABCs of Death

Posted on September 24, 2014 by bernardovillela

Introduction

The ABCs of Death

Most of the things that are interesting to consider about this film, sadly, have little to do with the film itself. For one, due to the fact that it is an extreme example, it forever defeated to notion of averaging out scores in an anthology. Math is no way to quantify such an experience, and I may highlight that in a separate post at some point.

Another thing that is interesting to consider, though it does not make it better or worse, is that filmmakers were assigned their letter and given a $5,000 budget. The only way either of these traits makes itself apparent is with the two shorts that decided to go the “we don’t have a decent idea for this letter” route, which is fairly lazy and uninspired. Many of them do well at least in terms of production value.

However, what it more often than not reaffirms is that telling a story in approximately five minutes is very hard. Sadly, in most of the cases neither a style or a decent narrative was firmly established. Overall it becomes a very unnerving viewing experience because of the wide array of voices and variegated quality of the shorts.

If I had to put a number on it I’d say about five work very well. Two of those on a style over substance basis. It ends nearly as badly as possible and the convention established of revealing title, letter indicated and director after the short is over rendered many predictable, a few insipid and most frustrating.

It’s not for the feint of heart or weak of stomach, that in and of itself does not make the film an excruciating experience, but the envelope being torn apart to tell mostly inane and inept tales does.

1/10

Mini-Review: California Solo

Posted on September 23, 2014 by bernardovillela

Introduction

California Solo

To not put too fine a point on it this is a film that features a circle closing. It’s a character study, a low-key drama which isn’t going to have outlandish plot points and twists and turns. There is progression and conflict, mostly of the internal variety, but it’s more subtle than one is used to. The circle closes on this story, but some slight coming to terms has occurred.

So how does one go about assessing a tale wherein little to seemingly nothing changed? It comes down to the engaging nature of the narrative, how it builds, how the subtle construction of it works.

Carlyle’s performance is great, but in a tale such as this that tends to be a given rather than a boon. What seems to be missing here is not the change or the evolution but the crescendo. Instead the impetus for change seems to be more of the same. The inciting incident in essence repeats itself such that what our protagonist strove to avoid becomes unavoidable, it’s how he looks at it that changes and it’s very internalized.

To go on much further would be to literally spoil it. It doesn’t have to be revelatory eureka moment, but a more profound, moving, defeated – any kind of emotion really – button to this tale, even with similar structures being supported, would’ve carried more weight.

5/10

Mini-Review: Dracula 3D (2012)

Posted on September 23, 2014 by bernardovillela

Introduction

Dracula 3D (2012)

This particular selection from Dario Argento was an official selection of last year’s Cannes Film Festival and was recently picked up by IFC Midnight here in the US. However, if you are a fan of his I would not recommend you go out of your way to acquire the film, as I did, and simply wait for it to roll around as a rental [It has rolled around on DVD and Blu for purchase and rental. Rather cheap even for a 3D version]. If you are not familiar with Argento do not start here. I’d recommend Suspiria as a jumping off point.

Much of what’s unfortunate about this film is the disconnect between certain elements: there is throughout a very uneasy relationship between the well-photographed, geometrically intricate, well-lit shots; gorgeous production design and a tendency to go for really unconvincing and unfortunate CG. This is not just a complaint about CG blood, but larger elements. Much of the CG blood usually upon opening wounds and then the close-ups use practical effects well.

An issue of a less nitpicky nature is the that there isn’t a consistent enough progression and amplification of stakes and incidents. Argento has always had a leaning to a slow-burning style but there there’s not a lot of intrigue to buffer that slight build here. Those peaks where there are spikes in the action, where we need to feel the oomph, are usually undercut by the CG work.

The scoring is great, and minus some seriously off moments by some lesser players the acting is good to passable. One thing that had me searching online after it was over was that there is a veritable bestiary of creatures that this Dracula can become. This is not inaccurate, but with the redefinition that cinema has had in various versions over the years it rather took me aback without a more overt introduction in this tale. However, it really is the stuttering pace, the disjointed nature of certain elements and fairly lifeless final third that keep this version from staying afloat.

5/10

Mini-Review: Elway to Marino

Posted on September 23, 2014 by bernardovillela

Introduction

Elway to Marino

I almost waited to write this one. As a football fan, especially one who grew up with John Elway being my favorite player, it’s hard to keep a documentary like this in perspective. However, aside from the mind-blowing revelations about the intricacies and the process that was the most pivotal draft in the history of the league, I keep going back to cinematic elements, to the storytelling and ask myself: is this picture being painted as well for all as it is for me?

Naturally, the seismic impact of the would-be moves have more effect when you have hindsight, but the film really does a wonderful job. Any documentary owes its success to perseverance and a little bit of good fortune. The good fortune in this case is that Elway’s agent, Marvin Demoff, not only also represented Dan Marino, but kept a diary of the meetings and calls regarding John Elway’s pursuers as the process for him was always likely to be complex and he wanted to relate information accurately, but he still had it.

In narrative terms it has subplots, dovetails, ironies, revelations and everything you could want. In technical terms, in terms of building a documentary, I think it has a lot of that going too. The scoring highlights and builds the tension, the b-roll shots and editing decisions build the drama, the narration is well-written and excellently delivered by Tom Selleck. It contains interviews with most of the key players you’d want to hear from. Not only that, but in terms of structuring it doesn’t do anything tremendously unique like some have done, but the little touches really do act as the coup de grâce, the withholding of title cards with player resumes for dramatic impact fore example.

Lest I go on too long to keep this “mini,” this truly is a great installment in the series that may not have the “human interest” emotional wallop some do, but for fans it’s a must. There’s drama for all concerned, for non-fans this series should be able to bring you along for the ride also. It’s incredible.

10/10

Mini-Review: Jacob

Posted on September 23, 2014 by bernardovillela

Introduction

Jacob

There are a few things that are bit odd that are going on in Jacob. They are all easily explicable, however, that doesn’t stop them from being odd. The main thing I noticed is that the film, while never on easy footing, is far more comfortable and closer to offering escapism in its hyper-reality flashback sequence, which dominates the film. In the few present sections the film is far more stilted an awkward in its cinematography, performances and make-up.

The structure of the film is curious because it’s not as involved as the armature of the film would have you believe. It’s your standard flashback to the birth of a legend. However, what’s incumbent on a film when it flashes back not once but twice is some upping of the stakes. The conclusion of the film is fairly predictable and anticlimactic because we get a glimpse of the future beforehand.

The pace is never right and much of what holds the piece back is that it feels like it gets its tongue stuck in its cheek rather than just planted firmly. The inspiration appears to be the works of Rob Zombie based on some of the aesthetic, tonal, character and story choices, but no one involved can even bring the film up to that level. On occasion there is a wrinkle, a look, shot or set piece that stands out but overall the center is never found, so one can’t expect it to hold.

3/10

Mini-Review: Tucker & Dale vs. Evil

Posted on September 22, 2014 by bernardovillela

Introduction

Tucker & Dale vs. Evil

This is one of the few true horror/comedy films because of the very simple and ingenious use of perception and knowledge. We know everything that’s going on therefore we can laugh despite how horrific it is that Tucker and Dale and the college kids never understand one another. It also works like horror film with a classic and funny backstory. It’s truly a treat that ought to be seen by fans of both genres.

This was also one of my top horror movies of 2011. Among my comments on it there were:

What separates Tucker & Dale vs. Evil is that it is always both horror and comedy and a smart one at that. It hinges on perceptions, misunderstanding and xenophobic mistrust.

10/10

Mini-Review: The Condemned

Posted on September 21, 2014 by bernardovillela

Introduction

The Condemned

This can be a tough film to discuss without putting too fine a point on things and giving away several key elements, but like the film I will try to be subtle. There has been much talk in recent years, as it’s been more in vogue as of late than in years past, of the slow burn, particularly as it applies to the horror genre. A slow burning tale, as I’ve likely stated before, is not one that’s in and of itself problematic. Usually, the key to success for these films is either of two things: first, incremental and consistent, even if slight, escalation of stakes, and second, a sufficiently impressive and resonant pay-off to the wait.

The Condemned does not build quickly, even for a slow burn, but it excels tremendously in the pay-off department. What’s interesting is that it dabbles with many known tropes: haunting, children, secrets and the like, but with the way things play out it even toys with the very notion it even being a horror film, in a similar way to how last year’s The Hidden Face did, but ultimately remains one for all else it is.

There are subtleties throughout, things you are advised to recall though you may not think it crucial at the time. The Condemned is a wonderfully rendered tale that does sufficient visual exposition and elaboration on its turning points such that most, if not all, loose ends are tied up and the whole piece is elevated by, and not subjugated to, its trickery.

Its surely for horror fans, and I’d say art house fans too as it is an intelligent, well-acted and crafted film that does linger. It seems like the horror crop of 2013 may be a brainier bunch than ones in the past few years.

10/10

Mini-Review: In Their Skin

Posted on September 19, 2014 by bernardovillela

Introduction

In Their Skin

If there’s one thing that’s plainly easy to appreciate about In Their Skin is that its a very well regimented film, that through its structuring not only easily raises the stakes, but also slowly and surely disturbs and unnerves. It’s the kind of film that remembers that the most frightening concepts are those that hit closest to home and seem most plausible. It gives you some answers, the ones you need, but not all or more than necessary.

Through its traversing and escalating in tone it also allows each of the actors involved to give fairly layered performances. Much of the first act the family at the core of the drama is disconnected and distant. Then upon meeting their offbeat neighbors there is an extended period of awkwardness before things escalate.

There is a fearless approach to some of the sound design and scoring choices later on in the film, which is great. In fact, the only major quibble I really have with it, aside from some stock horror film brain-farting by the protagonists, is that the denouement feels more like a flopping thud than the breath of fresh air it should feel like. There’s a bit of a disconnect between that and what passed before that robs the film of a bit of the potency it had built up.

7/10