Rewind Review- Iron Man 2 (2010)

Posted on by bernardovillela

As those who know me, and if such a person exists, cyberstalk me, know I created this blog after writing on another site, which shall remain nameless, for a while. The point is, I have material sitting around waiting to be re-used on occasion I will re-post them here. Some of those articles or reviews may have been extemporaneous at the time but are slightly random now, hence the new title and little intro, regardless enjoy!

Iron Man 2 is the kind of sequel that has a lot to live up to. It comes on the heels of the wildly successful, aesthetically and financially, film from last year. When seeing this film two things make you wonder: first, did it come too fast, and second, is Shakespeare wrong and is there really something in a name as merely calling the film ‘2’ seems uninspired. What you get in this film is not a bad product but an indifferent one, a film most deserving of the moniker of ‘meh.’

What this film does afford its leading players is a chance to strut their stuff, in spite of the built-in limitations of their characters. For example, Tony Stark, as portrayed by Robert Downey, Jr., didn’t get much deeper or more fully realized in this film but what the material did allow was for Downey to flaunt his considerable talents, both dramatic and comedic. Similarly, Sam Rockwell as Justin Hammer is hysterical and has his high point when be-bopping onto the stage at Stark Expo. He is quite good but he also is only ever established in this film as someone out to get Stark for business reasons. You get the impression there is more behind it but it’s never explored. Last but not least there’s Mickey Rourke who plays Ivan Vanko, again who does huge amounts with such limiting material. There is so much more to Ivan Vanko than the film lets on. However, all the film seeks is to establish what the motive is and not have us fully understand and feel said motive.

Much the same can be said of the all-star supporting cast which includes Gwyneth Paltrow, Don Cheadle, Scarlett Johanssen and Samuel L. Jackson. Each does what they can with minimally arcing storylines, none of which ever gets pronounced or explored enough to truly add significant depth to this film. The love interests are buried until the end, the running of Stark remains a buried but seemingly necessarily evil subplot. Even the political interventions and the possible proliferation of the Iron Man suit never seems like the stakes are high enough and doesn’t add to the tension like it should partially due to timing in the tale and partially due to execution.

Again not to say the film is uninteresting, poorly executed or not entertaining. It is well-done and interesting but not nearly as engaging and entertaining as it could be partially because the stakes seem lowered in this one and almost all subplots seem subjugated and nearly unnecessary encumbrances rather than necessary depth.

In the end, you walk out of this film just feeling like you watched another tale where a few key pieces were moved into place for the next film but you didn’t feel you learned too much about any of these people whom seemed much more alive the last time around.

Similarly, in a film where the stakes of all the ulterior storylines is lowered then it should come as no surprise that the climactic battle is somewhat anticlimactic. It is well-shot, edited and conceived but it’s just not terribly compelling and it could’ve been ratcheted up. The extra suits could’ve been disposed of quicker and it could’ve benefited from a villain monologue in that situation.

The CG in the film doesn’t particularly stand out in one way of another which is almost as high a compliment as you can pay a film in this day and age. So it definitely does not detract from the experience.

With all that said it does bear repeating that this is a good film. Based on its disparate elements it was, of course, not nearly as good as it could have been or as its predecessor. That being said it was well worth the watch and good escapist entertainment.

6/10

Short Film Saturday: Ghild

Posted on by bernardovillela

As soon as I saw the opening image of Ghild I thought to myself “Wow, that looks great, I really hope there’s a live action component to this film.” Seeing as how it easily coud’ve been stop-motion or some other animated form based on the opening image, I thought that was nothing more than a pipe-dream, well sure enough it live action.

It’s some of the most creative production design I’ve seen since The Hole.

It’s also a hilarious concept, overall not just in narrative but also in conception and execution.

You may also recognize Jimmy Bennett as the father and Harland Williams in a cameo.

It’s the most I’ve laughed out loud in a while.

Enjoy!

A Nation’s Emblematic Film: Brazil

Posted on by bernardovillela

Now, I cannot for a second claim that my viewing of all of Brazil’s significant films in the history of the nation’s cinema is complete. However, making a watch list for myself is just one motivation for writing this piece. The others are: one, there are likely many coming across this piece who couldn’t name a handful of Brazilian films. Second, it’s really about thinking of films and culture in a different way. This really isn’t about naming what is the greatest Brazilian film of all-time, or any other nation that this series might focus on, but rather to open the discussion on a nation-by-nation basis about indigenous cinemas and cultural portraiture. If I had one film, and one film only, to show someone to say “This is Brazil and what you need to understand about it” what film would open that dialogue best, if not address all those points?

This idea came to me after a recent viewing of Vidas Secas (Barren Lives). I’m not sure that film is the representative choice but it gave me the idea, and made me think “At least I’ve seen this film now and my citizenship won’t be revoked.” What struck me as particularly Brazilian in the film was not only its locale (Brazil, like all large nations, can be quite regional but there’s seemingly something universally Brazilian about the northeast) but also the theme of persevering through hardships in that film.

Universal themes such as the ones mentioned above are just one of the watermarks of these films that can be discussed, aside from more specific traits like the migrant population and the era in the nation’s history. While the themes touched upon in the film are very Brazilian, it is a tale of being humbled, a thoughtful drama, which doesn’t have the joie de vivre that is so common in Brazil, and many other Latin nations, in spite of circumstances. Does that mean Vidas Secas can’t be the emblematic film? No, but others are worth considering, this one is still alive.

Films like Kiss of the Spider Woman, or any other foreign production, are not in the running. That specific example was clearly shot in Brazil by a naturalized Brazilian director but the way the script was written it could’ve been any authoritarian Latin American state in the 1980s, locality wasn’t the point of the film.

Fernando Ramos da Silva in Pixote, A Lei dos Mais Fraco (HB Filmes)

Another Babenco film Pixote is a better example thematically. However, once you factor in the unfortunate history the film has (A child of the favelas, Fernando Ramos da Silva [pictured above] was cast for authenticity, but was murdered at the age of 18, as he went back to live where he always had) makes choosing this film a bit sensationalistic and tabloid, not that I’m looking to have my selection propagandize, but the film and the aftermath are inextricable to me. Such that any symbolic honor not based solely on cinematic merit is difficult to bestow upon it. I could, and still may, write a whole other piece about the ethics of hiring impoverished amateur children as actors. This case, and that of Slumdog Millionaire, illustrate a cruel injustice in my mind: the bottom line is there are professional actors of all ages everywhere, if you do not want to be beholden to that child after the film, as you should be, hire one of them. If you hire an amateur child from substandard living conditions you should, as Walter Salles did for Vinícius de Oliveira in Central Station, help improve their station in life. At that point you truly are picking a lottery winner rather than just casting a role.

Vinícius de Oliveira and Fernanda Montenegro in Central Station (Sony Pictures Classics)

What of Central Station then? Central Station made quite a bit of money in the US. It was nominated for an Oscar for Best Foreign Language Film and Best Actress. Brazil has more a pedigree on the high-end of world cinema than most would expect. What separates Brazil from most is the consistency of product and, of course, due to the dictatorship there was censorship and artists had to fend for themselves. Now, the government is more active in promoting the arts, the major studios have a presence in the country and so forth. Yet, the fact that Brazil has been up for the Oscar, is the only Latin American nation to win the Palme d’Or (O Pagador de Promessas) and has also scored at Berlin (Elite Squad) is not what is going to dictate the most Brazilian film. Those are just indicators of quality.

Therefore, what’s the quality of Central Station? It has memorable source music, it’s a heart-wrenching drama, it tells a tale of a letter-writer and poor illiterate boy. It crosses that divide and it check off a lot of the qualities I’m looking for in a film representative of Brazil. Not to mention that it’s named after the largest train station in the country, therefore it’s a metaphor for the country and the letter-writer hears many stories from people of all walks of life that are indicative of the country and its people. The blend that exists.

José Mojica Marin in À Meia-Noite Levarei a Sua Alma (Anchor Bay)

I think perhaps what is most important about addressing this question is deciding why certain films, or series of films, are being selected. It truly becomes a bit existential for me (and a tad corny) because the search is where the value is. Take for example the Coffin Joe films, after having seen a box set of his works I watched the documentary about him. In that film his frequent screenwriter made a very astute observation, which is that José Mojica Marins did something he thought was impossible: he created a Brazilian horror personage. All the other archetypes are decidedly American or European but this blend of religion, existentialism, patriarchy, propagation and misogyny is the perfect Brazilian horror type. In one singular, virtually indestructible entity Marins encapsulates and exaggerates virtually every possible aspect of the male psyche in Brazil and twists it to horrific effect. Does this make his films the most Brazilian? It’s not entirely out of the question. It certainly makes his films worth mentioning here, but hearkening back to how I introduced this question; no, I wouldn’t show someone Coffin Joe and say “This is Brazil.” I would show them Coffin Joe and say “This is horror” though.

A Opera do Malandro (The Samuel Goldwyn Company)

Now, with regards to the aforementioned regional aspect to the country, I and most my family have our roots set in Rio de Janeiro, though we’ve since scattered quite a bit. With that in mind, most of us recognize and appreciate the musical diversity of the country, but our affections are usually for Samba and MPB (Música Popular Brasileiro) above all else. Few artists represent these genres and Brazil as well as Chico Buarque. That brings me to A Opera do Malandro, which is a musical based on an album he wrote. It wasn’t Buarque’s only foray into musical entertainment, he and many stars wrote a version of the Town Musicians of Bremen (‘Os Saltimbancos’) that is a standard. Yet, here his tale is a cinematic adaptation, period piece, a sort of Brazilian noir, which represents a kind of Brazilian, (the Malandro), akin to but nor quite a wise guy back in a similar era here. So it doesn’t quite pass the universality test.

Alexandre Rodrigues in Cidade de Deus (Miramax)

Perhaps, the most accomplished work in the history of Brazilian cinema is City of God. This is a film that was a hit domestically as well as internationally, it earned box office success and critical acclaim. When writing about it I have likened it to the great films in history. Again this selection isn’t about greatness but representativeness. So while this film and the Tropa de Elite (Elite Squad) movies are great dramatizations of societal problems and brilliantly map out “How’d things get this way?” they don’t paint a portrait of all of Brazil, which I’ll admit is hard to do, but as endemic as corruption in police and politics is, and as large as trafficking and crime syndicates in favelas have been, they are localized stories cinematically. So we move on to other choices.

Marepessa Dawn and Breno Mello in Orfeu Negro (Janus Films)

Perhaps, some symbolic stories are the last two that need to be discussed: Orfeu Negro (Black Orpheus) and Dona Flor e Seus Dois Maridos (Dona Flor and Her Two Husbands). Now, the former has had international success. However, it is a co-production with France, which I could even let slide but the fact of the matter is its the transposition of a Greek myth to (at the time) modern day Rio. Therefore, as Brazilian as it is with Carnaval and Samba Schools, it’s still rather European too. As for Dona Flor, its incorporation of Magical Realism and its colonial/post-colonial commentary made indirectly through her husbands and the fact that it’s based on a novel by one of Brazil’s greatest authors (Jorge Amado) make it a great candidate. However, Amado is Amado. As much of the director’s voice as can be added is but if you know anything about his work any of them bear his mark a bit too much to be truly emblematic of a nation in the encompassing sense I’m trying to choose said film within, which rules out any films based on Nelson Rodrigues‘ plays.

Leonardo Villar in O Pagador de Promessas (Lionex Films Inc)

So even as I began to outline and write this piece I realized there are big films from Brazil that I have not seen. At least two would be candidates for this honor The Given Word (The Given Word) and Menino de Engenho (Plantation Boy). There are likely others as well but those two are likely the ones with a universal quality combined with indigenous uniqueness that would qualify it here. For now, based on what I’ve see it’s Central Station, but I’m quite eager to continue searching and if you have any suggestions yourself please feel free to comment below!

Rewind Commentary- A Home Video Trend I Hope to See Continue

Posted on by bernardovillela

The Day the Earth Stood Still (20th Century Fox)

As those who know me, and if such a person exists, cyberstalk me, know I created this blog after writing on another site, which shall remain nameless, for a while. The point is, I have material sitting around waiting to be re-used on occasion I will re-post them here. Some of those articles may have been extemporaneous at the time but are slightly random now, hence the new title and little intro, regardless enjoy! And in this one it’s something I haven’t seen followed through.

Recently The Day the Earth Stood Still, the remake, was released on DVD. I did not see the movie. It was one of those instances where I saw no need for the film to be rehashed. How the work of the fantastic Robert Wise could be modernized or improved upon was something I never understood.

How an intelligent science fiction classic could be turned into something that looked like Independence Day turned my stomach. It follows a pattern in film and society, which I will likely comment further on in upcoming columns, that what exists just isn’t good enough. The permanency of film, which I think is part of its beauty, just doesn’t cut it. People don’t want to see The Day the Earth Stood Still from the 50s…or maybe there is hope. Maybe we’re just not discerning and we’ll see whatever slop the studios throw in front of us.

In releasing its DVD of the remake Fox has included, at no additional charge, a copy of the classic version of The Day the Earth Stood Still. This is a marketing strategy I could deal with, and knowing this is part of the scheme ahead of time I might not be as averse to the rash of remakes.

Now don’t get me wrong I don’t believe there’s altruistic intent in this move. They want to appease disgruntled fans and try to sell DVDs. Why not have it both ways though? Why not always do this? If you’re going to remake, update, re-imagine, reboot (call it what you will) a classic and introduce a new audience to it, raking in a ton of cash regardless, why not show them where the idea came from. After all as a studio, Fox in this case, both films are your product, so why not promote both? As a studio you are not a Johnny Come-Lately looking to hock electronics for the ADD generation you have a veritable arsenal of product ready-made at your disposal so put it out there, enlightening people on film history and commerce can go hand-in-hand just look at Turner’s Forbidden Hollywood deal with Warner. These are films that only really have historical relevance but are now exposed, packaged and available for purchase.

Remakes won’t stop but at least they can start to serve some purpose aside from just generating income from a public unaware or unexposed to the source material. Hopefully, this title won’t be the last to be packaged this way.

Book Review- Asterix and Obelix: The Book of the Film

Posted on by bernardovillela

Asterix and the Vikings (M6 Films)

Whenever possible I always like to address what the grain of salt is that my reader should keep in mind when reading a piece. In this scenario the grain of salt is: I like reading but I don’t as much as I should, and it’s likely impossible for me to read as much as I want to. So my experience is a little lacking but there’s another caveat here and that is this: this is essentially a novelization with a twist.

Now, novelizations are a bit passé and if I recall correctly I’ve only ever read a few. What was interesting and irresistible here is: first, I was at Disney World when I spotted it. Second, it’s Asterix and an animated film, which I said is where the franchise should go (little did I know it had been there before).

Now, it’s a hand-drawn (in terms of style if not technique), 2D film and that’s fine with me. I’d still love to see these characters and others get the motion-capture treatment as Tintin truly was a huge step forward for the technology to me, far greater than Rise of the Planet of the Apes.

Regardless, the fact that this film is animated means there are stills and illustrations in the book and it gives you a fair glimpse of what the film is like and that’s the idea: to conquer viewers for the film through another medium and this film succeeds in that task.

The images are plentiful, fairly well-selected and importantly are chasing the text, so the pictures don’t forecast the text but reflect it an allow the book to tell the tale.

As with any Asterix title, there are laughs to be had but most of it does come through the prose, which is impressive since the pictographic nature of the usual tale Uderzo and Goscinny tell is somewhat altered here.

The story also runs about as long as a typical Asterix tale 45 pages or so, but the bonus is that there are character, sketches and other making of illustrations and text that give you insight into the making of this film.

It may not be available on region 1 DVD but where there’s a computer there’s a way and this book has certainly made me want to seek this film out. Mission accomplished.

Asterix & Obelix (Clement)

Rewind Review- The Last Song (2010)

Posted on by bernardovillela

Miley Cyrus and Liam Hemsworth in The Last Song (Touchstone Pictures)



As those who know me, and if such a person exists, cyberstalk me, know I created this blog after writing on another site, which shall remain nameless, for a while. The point is, I have material sitting around waiting to be re-used on occasion I will re-post them here. Some of those articles or reviews may have been extemporaneous at the time but are slightly random now, hence the new title and little intro, regardless enjoy!

A film like The Last Song is one that seems innocuous enough, as the Brazilian phrase goes “sugar-water,” such that you think “What’s the harm?” You may think that’s true enough but the problem is that this film falls into plenty of common traps and makes next to no attempts at an uncommon escape.

One of the larger issues facing this film is the overly-convenient inter-connection that exists among the characters in this small coastal town. There is a screenwriting axiom which states that there will be the occasional character that insists on his or her presence within a given story, however, in this film there are characters like Blaze and Marcus who are insisted upon and don’t always fit logically or narratively in the situations into which they are thrust.

Therefore it should come as no surprise that the only relationship the film really consistently works to build is that between Will (Liam Hemsworth) and Ronnie (Miley Cyrus). It is the only one that builds realistically. For example, Ronnie and Blaze become very fast friends, too fast in fact and in seemingly one of the only things in this film done visually.

Yet even this relationship has its struggles in making itself be narratively relative and intriguing. For example, first Ronnie is very slow to let her guard down with Will. Which if she was always anti-social would make perfect sense, but then we just discussed the quick and quickly regrettable union with Blaze. Then there is also the fact that she not only takes the first opportunity to distance herself from Will but also after the relationship has gone further and deeper gives him no chance to explain himself and throws it all out the window. Granted it’s the kind of separation needed in such a tale, it’s just too sudden and this is an incident where you can and should stretch it out.

The film gets off to a slow start due to the fact the characters that are very broadly drawn and in vague situations made vaguer by the situation they are in. At the beginning everyone has baggage but no one opens it for far too long, if you’ll forgive the metaphor. Instead you get a teenage girl who is just angsty and a divorced dad who is merely aloof and out of touch with no other background information for far too long.

Thus, the flatness of the story in many ways does not help some of the performers at all, particularly Miley Cyrus. Especially considering that The Last Song, which the film talks of is not one she sings and this just a marketing ploy basically. Her performance is not awful but is nothing memorable or to write home about and could’ve just as easily been anyone.

The rest of the cast manages. Liam Hemsworth is easily leading man material and could do more with better material with which to work, having said that he does help to lend some urgency to this trite relationship. Greg Kinnear does well with this part and it’s a reminder of what this former Talk Soup host can do and perhaps that he should not just be known as the “Grape-smuggling” coach in The Bad News Bears. Most impressive in the film is Bobby Coleman, best known to some as the title character in The Martian Child, who plays the younger brother in this film and delivers a very compelling performance. Towards the end he does quite a bit of crying and considering this is his second tear-jerker style movie it can now be said with no exaggeration that his abilities as a crier now rank amongst the all-time greats, rivaling even Bobs Watson.

The film can’t make it through a seemingly simple denouement without tripping up either. Without spoiling, you have dialogue where the visual suffices and the change in previously established characters acting as a catharsis. Even with a relatively simple end this film doesn’t know how to play it.

There is nothing different and unique here and certainly not the best the genre has to offer.

3/10

Review- The Lucky One

Posted on by bernardovillela

Taylor Schilling and Zac Efron in The Lucky One (Warner Bros.)

When you have either a romantic comedy or even just a flat-out romance there will be several things you expect and very little that will surprise you. There’s not anything wrong with that, as with almost any film it’s not about the final destination but rather the journey there. Sadly, there are some issues that mar the journey in this film, which is otherwise enjoyable with likable characters for the most part.

I don’t have a great deal of experience watching Nicholas Sparks adaptations, I have only previously seen The Last Song, however, it doesn’t take long to see what one’s formula is. An any writer regardless of what your tastes are have their preferred genres and themes and certain similarities in their voice and narratives. So I was expecting certain things but I also am not yet fatigued by these adaptations, as I’ve not had to see all of them.

Now the first concern is one I can forgive, but again it’s about execution. The film tells the tale of a Marine (Zac Efron) who by chance finds a photo while in combat, his being distracted by it saves his life and it ends up being a good luck charm. Upon his return he is determined to find the girl in the photo, after failing to find out who it belonged to, and thank her. Now, we all know he won’t be able to say anything right away, that’s not usually how these stories work (it’d be a tremendously interesting experiment though) but it’s how he’s not allowed to say anything that’s really bothersome. And that’s on the heels of a pretty good and fluid sequence that illustrates some of his battlefield experiences, his search for the photo’s owner and his struggle to re-adjust to a life at home.

So after a surprisingly good and cinematic start the bungles come into play. However, as I said there are certain expectations and the cat having his tongue was one of them, at that point it’s just a minor irritant. The biggest overriding issue of the film is the ex-husband (Jay R. Ferguson) both his character and his interpretation thereof. Not only is it comedically broad to start but then it gets more real and natural as the drama of the tale intensifies, so not only does it start cartoonish but it doesn’t stay here, so it’s also inconsistent. Not to mention the fact that a psycho ex, who is not only an intimidator but a cop is so old and expected. There’s enough conflict inherent in the situation that this externalization is an exaggeration. There can be an ex, he can be jealous but it really is going above and beyond such that it detracts from the end product greatly. Most of the worst scenes in terms of writing and flow are the ones he’s in, the movie picks up steam again and then right on schedule he arrives and then it’s sigh, eye roll and sit through it.

His precipitously asinine behavior extends the climax of the film unnecessarily, not that the resolution of the film is perfect. There’s a slight monkey-wrench thrown in granted but the estrangement prior to the happy ending is really annoying in how it unfolds and also prolongs matters. Suffice it to say the amount of explication that Logan (Efron) is allowed shouldn’t really have occurred if we’re to have the standard “I’m so mad at you scene.”

Now every time I started one of these paragraphs I was intimating that “It’s not all that bad” but not really discussing that. And it’s not all that bad, really. It gets pretty good sometimes and then something comes along and messes it up. Most of what makes it good, when it is, are the actors. In many cases they likely breathe more life into fairly standard characters than they should have a right to so they ought to be applauded for that. Zac Efron is a very good romantic lead, he does play a soldier at all times but slowly but surely, with a bit of subtlety reveals character and emotion; Taylor Schilling certainly gives it her all and is always real; Blythe Danner adds necessary charm and sass to the film and great deal of comedy and Riley Thomas Stewart, as Beth’s (Taylor Schilling) son Ben, is a naturally gifted young actor who plays a rather multi-faceted, normal yet misunderstood by his peers kid.

Ultimately, I liked the characters and the actors enough that, yes I did invest in what became of them, even though it was a seemingly foregone conclusion, however, with so few events that had a lot of weight in terms of whether the film sink or swam I just couldn’t get over the couple of glaring issues it did have.

5/10

Mini-Review Round-Up April 2012

Posted on by bernardovillela

I had quite a review drought to end 2011 so I think the remedy for this kind of post would be to have the post be cumulative monthly. Therefore, after each qualifying film a short write-up will be added to the monthly post. The mini-reviews will be used to discuss Netflix and other home video screenings. Theatrical releases will get full reviews.

For a guide to what scores mean go here.

Meeting Evil

Samuel L. Jackson in Meeting Evil (Magnet Releasing)

Perhaps what’s most enjoyable about Meeting Evil is that it really plays with your expectations. It’s kind of a down the rabbit hole scenario wherein the protagonist (Luke Wilson) unwittingly gets himself further and further ensnared in a web of murder, duplicity and intrigue. Where we the audience come into play is that the film never cheats but has some really great twists along the way playing into one trope or another and then pulls a switch on us. It’s great stuff because what it does is keep you engaged and stays just a step or so ahead of you but you never feel bamboozled, for better or worse.

It’s also a film that allows its actors some room to play, Samuel L. Jackson in particular seems to truly relish this part and does great things in this film. Jackson is menacing, funny and truly a character in this tale, there’s a depth and intelligence to his madness. When all is said and done and you look back upon it you’ll see Luke Wilson does well too, faults you may find are more likely attributable to his character, but necessary for the story to function. The film also has a great sequence at a dilapidated farm house. It’s sequences like this and performances in small roles that can sometimes stick out most in a movie, granted the nature of the film makes it memorable regardless, but this sequence is where it shines. The performance in a small role of which I speak is that of Ryan Lee (Super 8) who has a brief but intense interaction with Jackson that stands out in similar fashion to Young Erik’s backstory in X-Men: First Class.

Meeting Evil is a film that does not stand still for long and is memorable for it, and for refusing to be run-of-the-mill. It will be in limited release on May 4th and is available via Amazon, Vudu and iTunes streaming right now.

8/10

Ghoul

Nolan Gould in Ghoul (Chiller)

To start off with the positives on this film: Firstly, on a personal note, I was thrilled to discover I even get Chiller via my cable provider, as I had not in the past. Secondly, any time a fledgling network is branching out into original programming be they series or films I support that wholeheartedly. Thirdly, this is a very ambitious story, even more so when you consider it’s the first production you’re airing so that bodes well for the future, but sadly it feels like a bit of an over-reach here.

The main issues are with performance and adaptation. For the tale this film entails you need every single person in the cast to have serious chops and to fit the role to a tee and you don’t quite have the depth here. The only two noteworthy turns are Nolan Gould, best known as Luke on Modern Family, in the first truly dramatic piece I’ve seen him do and Trevor Harker, who shows the most promise in the young ensemble. With regards to the adaptation: First, the dialogue issues are rampant, and second, it seems like it might have been a bit slavish structurally and when telling a tale a bit more involved than most it makes the end seem rather abrupt and certain portions disjointed. It’s not an easy task, as there are a few pieces of commentary being attempted but all the more reason to do it properly. Few things are worse than well-intentioned commentary in an unfortunate vehicle.

I don’t know the source material but it seems as if they needed to get a bit creative in structuring and editing material, as well as streamlining events. This also throws the pace way off. There are some issues with production value like the not-quite-so-period costuming and the intolerable scoring.

While the film does end much stronger than it starts it’s still too much of a mess to be passable, however, I am looking forward to what else Chiller has to offer in the future.

4/10

7 Below

The Cast of 7 Below (Arc Entertainment)

There’s a bunch of random stuff that ends up at Redbox that never really gets on your Netflix radar so if you’re looking for a quick, cheap rental it’s a good resource to check every so often. Redbox also seems to be attracting, and placing in a more prominent way, some indie titles that are getting overlooked as other outlets balloon. That leads me to 7 Below. This is a horror film which boasts brief turns by both Val Kilmer, very brief, and Ving Rhames, not as brief, however, it’s carried mainly by its as of yet unknown cast. There’s a lack of focus in the early going with regards to the MacGuffin and a lack of detail and an air of mystery about everything. It’s a film that would be better served by not playing things so very close to the vest. There are some good and surprising twists to be had and the results of which I actually enjoy, but the whole film plods towards them such that I waited for them and expected them I just wasn’t sure quite what. It truly is a shame that certain aspects were quite predictable when others weren’t it just required a bit more fine-tuning to get just right.

5/10

Harley’s Hill

Kirstin Dorn in Harley's Hill (eKidsFilms)

Not to sound cute but, Harley’s Hill really is run-of-the-mill. It’s your standard low-rent family geared entertainment. In it you have a girl and a found horse and you can likely fill in the rest of the blanks yourself. What makes it even more standard is that from the adult ensemble has forgettable and at times regrettable performances while the few young performers are much better on the whole and do have their moments to shine. Most notable in the youth ensemble is Kirstin Dorn in the lead and main sidekick Lexi Di Benedetto, they are also well supported by very promising turns by Jacob Rodier and Elmo Riley. There are a few weak spots in the script but for the most part it sticks to its prefabricated plot fairly well. What is refreshing is that there are several passage of time montages, which although in need of tightening, allow the film to be more visual than anticipated. Typically, when a film is innocuous enough, as this one is, the line between a good rating and a bad one is very hazy. This film likely would’ve been for more enjoyable were I in the target demographic, however, seeing as I’m not and I found some issue with it I must give it:

5/10

With the caveat that I would recommend it if asked. It’s likely to be enjoyable for younger viewers and I did really enjoy the fact that it focuses on the equestrian discipline of dressage that you don’t see often on film.

Jeremy Fink and the Meaning of Life

Mira Sorvino, Maxwell Beer, Ryan Simpkins and Daniel Cosgrove in Jeremy Fink and the Meaning of Life (Phase 4 Films)

In the interest of full disclosure this film and the one added yesterday were really only viewed to start populating the Performance by Young Actress in a Leading Role field in the BAM Awards and thank goodness I felt compelled to do so. It wasn’t all at once, but boy was I in for a surprise when I started watching this film. Based in part on the some what mystical illustrations on the cover image, I was likely more wary of this rental than the former.

I was not only pleasantly surprised but rather blown away. I have not seen an independent family film of this quality since The Dust Factory, which I believe I only saw in 2005 when it was on DVD.

The title character is most definitely the lead in this film, and newcomer Maxwell Beer is outstanding in this part. Based on the nature of the story it’s quite possible that the shooting schedule was rather continuous, and it really shows as he especially grew as the movie progressed and it turns into a rather special performance. It gets better because not only does he pair very well with Ryan Simpkins but she is quite a scene stealer both comedically and dramatically, which I love, and her performance is very powerful.

For all its quirks, and it does have a few, this is a film that stays very grounded and rather real, it may seem as if it’s skewing outside of that realm but bear with it. It’s set in New York but uses the setting tremendously as the world of the story, as is that of the protagonist, is very insular. This is something I can relate to quite a bit, as big as New York is you can find your own little corner and tuck yourself away there, and that is part of its charm.

It also does things like building character so seamlessly such that its not rote and you don’t feel your attachment to these characters and their problems growing and it does.

I was moved greatly by it, probably even more so than by Fireflies in the Garden, whereas this film had zero casting stumbling blocks to overcome.

Jeremy Fink and the Meaning of Life is currently available from Amazon both on DVD and on Instant Video and Redbox. I highly recommend it.

10/10

Smitty

Brandon Tyler Russell in Smitty (Phase 4 Films)

My favorite film of this post (above) has the same distributor as this film, which just goes to show you that family-geared entertainment can really run the gamut quality-wise regardless of budget and production values. In fact, it also shares a cast member with the aforementioned film (Mira Sorvino), and while her part here is larger, it’s not quite up to par with her turn in Jeremy Fink, wherein she also played a mother albeit an eclectic one.

Comparisons aside, for they are ultimately irrelevant, Smitty stays middle-of-the-road at best and what’s frustrating is that it wouldn’t have taken much to make it pretty good. There’s a director who’s had notable works (The Sandlot, Radio Flyer [uncredited]) and an experienced, award-winning and -nominated cast members like Peter Fonda and Louis Gosset, Jr. but the script is tepid, standard and repetitive, and doesn’t give the actors a lot to work with. There are some curious structuring decisions, which doesn’t even include the “non-guffin” of the local hoods, who serve minimal purpose except to bloat running time and coax our protagonist into bad choices, dramatically as well as morally.

The film could be decent, fairly light family fare but as indicated above there are many missteps, and it also falls into the standard family film mold in this way: the young lead being the bright spot. Brandon Tyler Russell is raw, but quite convincing in his emotional moments and perhaps the most under-served by the script, in as much as many of his scenes are hard to believe textually much less when played. However, there is a lot of potential there and it’d be great to see him with better material supporting him.

5/10

Review- The Cabin in the Woods

Posted on by bernardovillela

Fran Kranz, Chris Hemsworth and Anna Hutchison in The Cabin in the Woods (Lionsgate)

My initial Twitter reaction to The Cabin in the Woods was to say that “it’s like every horror movie you’ve ever seen combined into the most awesome way imaginable.” After all the hullabaloo on the web about critics who had disliked the film and explained why by using spoilers I was afraid that even my exultation of glee was a bit too much. Having already seen the film I then proceeded to read Scott E. Weinberg’s review, which I’ll agree is spoiler-free so I feel better about myself and thus I can continue.

The more one watches films the more one becomes accustomed to genres and their tropes. Depending on how well or poorly said tropes are played, if they’re dealt with originally or lazily is usually what the quality of a genre-specific film hangs on. Typically, when a film breaks a mold, whether it works or it doesn’t, it’s applauded for the effort. What you get in this film is much more smart and far more daring in as much as it takes the set-up you’ve seen far too often: five teenage archetypes heading to a remote cabin in the woods, where you know they’ll meet their untimely demise (or come very close), and absolutely relishes every single horror staple it can lay its hands on. It packs them in at one point or another and this may all seem like too much of a good thing but it’s handled so cleverly it works. How you might ask? Ah, therein lie the spoilers and I won’t tell you that.

A great hint of what you might be in store for is to think on the films that Edgar Wright and Simon Pegg have written together. In both Shaun of the Dead and Hot Fuzz you have send-ups of very specific kinds of movies, namely zombie films and cop films. They are both funny and lampoon the genres they emulate but do it so brilliantly that they inherently evolve into a genre film. Now The Cabin in the Woods kind of reverse engineers this approach, in as much as you understand the basic horror premise and follow that and the mystery is really shrouded in the second part of the film, the comedy and commentary is coming from the B-plot, of which, the less you know about going in the better off you are.

Now as this film slowly unravels the layers of its mystery, and rewards the attentive viewer with every unfurling, essentially what you’re getting is a two-pronged prolonged set-up. Now, I recently wrote about how I like the set-up in films, but what’s amazing here is that there is some tension and mystery to it when there really shouldn’t be. Mainly because in one scenario you’re in on something the protagonists are not and in another you’re trying to figure out precisely what it is they’re doing. It makes the tropes work even better than they could hope to in a film that was playing it straight. It also makes the trope work in either functionality: horror or comedy.

The effects work in this film is absolutely fantastic and as the film progresses you will see why. Allow me to just say that it might single-handedly expunge all the bad horror CG you’ve seen from your mind with its sheer awesomeness.

As with any horror film the music is of paramount importance and believe me this film does not ignore that element of the equation, and is always playing up the genre. When there’s comedy it allows the visuals and the dialogue to deliver the jokes, it doesn’t try to deliver punchlines and that’s greatly appreciated.

I’ve said on a number of occasions that horror films do not typically hinge on performance, as a matter of fact, some films excel in spite of performance, however, ascendant horror feature great acting, and when it comes to this film that has to be playfully comedic and also an effective genre piece it is an essential piece of the equation, and all the players contribute tremendously to the success of this film.

Very recently I was complaining about how paltry running list of the best horror films of 2012 was looking, even as it stands it’s only half-populated with decent films, however, as long as enough decent titles trickle in later on it could be a banner year because it is incredibly strong at the top because this film will be very hard to beat. It will likely not only go down as one of the best horror films of the year but as one of the best films of the year, period.

10/10

Review- The Raid: Redemption

Posted on by bernardovillela

Iko Uwais in The Raid: Redemption (Sony Pictures Classics)

The Raid is quite an amazing story in the cinematic world. It was one of those movies that came off the festival circuit and as it was starting its limited release and receiving press screenings, it started to blow up my twitter feed. I didn’t want to know too much about it, even though I gleaned that plot-wise there wasn’t much to know. Yet, I knew how the movie was being touted and I was very much looking forward to it. However, I thought I’d have to ferret it out, then suddenly word of mouth caught on the film and its per screen average was ridiculous and it went wide for a weekend, hence I got to see it. An Indonesian action film, subtitles and all receiving a wide release. Wonders never cease.

One thing this film does very well, and something that I think is a bit overlooked in filmmaking at times, is the set-up. The set-up can be one of the better and more enjoyable parts of a film. It’s the hook and what ties you into the story. The set-up here doesn’t re-invent the wheel but it’s quick and it gets you going without belaboring things. There are a few more layers that will be introduced along the way but you have enough to start with.

Although, there are quite a few players, frantic action and kinetic camerawork, the narrative is kept straightforward such that I always know who’s who and what the stakes are. Whereas in some Japanese period films the players can be a bit muddled when combined with an involved narrative, here everything is crystal clear yet there are developments introduced slowly throughout. It really goes to show you that action films, more often than not are better off KISSing you (Keep It Simple, Stupid). I’m not typically a fan of the genre, but can appreciate it when it’s really well done and I came away enamored with this film.

Aside from simply being able to identify the characters they do get built to an extent and in-between the fighting you learn things and can even find points of identification. I will grant those moments are sparse but they’re also not wasted in the least, every single one is maximized. Another key is that everything serves to add context, and raise stakes for the fights. A fight by itself is just a fight. If the audience is not invested in the combatants, who care how cool it looks? This film excels on both levels.

With all that being said, the fight choreography is absolutely breathtaking at times. The lulls in between fights are where the quality of the film truly hinge but the battles are the visceral component that will pound your pulse or put you to sleep and I’ll admit, while it’s not all about being cool, I said “Oh, that is so cool!” to myself quite a number of times.

Yet, there’s always balance in this film. Those scenes that are few and far between where stakes get raised, plot moves forward and character is built are also well acted. You don’t necessary hang your hat on the acting in an action film but when you get a good turn on top of everything else it’s like the cherry on top, this film has quite a few.

This review will remain spoiler-free, however, I will say I love the way the story concludes itself. It truly is a great little button that has to be earned and absolutely is.

Some people have been asking things like “So do I really have to see The Raid?” I say this rarely but the answer is quite simply; “Yes!”

10/10