Short Film Saturday- Roger Rabbit

Posted on by bernardovillela

In keeping with the concurrent themes of animation, the “amusement park studios” I also got around to thinking (based on last week’s post) about some lesser-known or under-utilized characters. I think that the animated short proceeding a feature is still a viable commodity and on occasion you will see a new attempt at one. Usually the new class are characters established previously in a feature, even when that character is new. Following the success of Who Framed Roger Rabbit there were a few shorts made to try and prolong the character’s notoriety. I’m not certain but I think these were the only two made. I thought, and still do think, they’re great. They’re a tip of the hat to the classics in a hyperactive interpretation of animated slapstick tropes.

5 Reasons the Suspiria Remake May Not Be The Worst Thing in the History of the Universe

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Suspiria (International Classics)

I am not a proponent of remakes in general and certainly am not a fan of the idea of a Suspiria remake, however, in light of recent information I am more positive than I was.

5. Possibility of Reviving A Classic

A common fear with a remake is that the original will be replaced with Suspiria it will likely not be the case. Aside from horror buffs you hardly every heard mention of this film before, when news of the remake first broke people are talking about Argento’s version more than ever before and good or bad the release of the remake will likely revive interest in viewing the original.

4. The Road Less Traveled Theory

Another reason this film may not be such a bad thing is something I’m calling The Road Less Traveled Theory, meaning that in remakes people always seem to be wary of seeing iconic scenes re-interpreted, likely the fault of the Psycho remake. I have reason to believe the story will be updated somewhat and the film is one of such intricacies that there are other avenues to explore and other ways to portray things and it’ll likely look like a very different movie.

3. Natalie Portman

Initial Reports way back when, speculated she might be in the running for the film, yet she stands sort of as a symbol of the positive casting possibilities this film has. Portman, or someone like her, is a positive because I have a feeling based on the inherent tension of Suspiria, plus the fact that David Gordon Green always gives his actors something to sink their teeth into, we should see her (whomever she may be) best.

2. David Gordon Green

You have at the helm of this project a man who has not only directed such diverse ventures as Undertow, Pineapple Express and The Sitter but also someone who is writing the adaptation. So you have not the puppet of some studio, I don’t think Green has yet been accused of that but a man fully invested in bringing his vision of this tale to the screen. Whether or not you like the adaptation presented is another thing entirely but it should be a focused and skillful interpretation of the story.

1. Argento’s Blessing

Up until recently this project had proceeded through pre-production stages without talking to Dario Argento and beyond not getting a seal of approval they hadn’t officially been granted the rights of adaptation, which is a hairy situation to be in. Now Argento has conceded because he has come around to the viewpoint that he is “convinced that his movie is a masterpiece and can’t be overshadowed.”

Which is a fair enough point. Why people get up in arms about remakes is usually due to the “How Dare You” syndrome we fall victim to when hearing about it. Indeed, there has been a rash of remakes of films that can’t be topped recently but in truth they, and similarly sequels, do not truly detract from the original inherently, it is our perception that skews. Similarly, if we really were so sick of all these retreads we would stay away en masse. While those who don’t know any better will flock out to see these films, the fact of the matter is the information is out there to be had so if you’re going to see a remake at least see it knowingly. The internet is a great thing sometimes.
 
These are the reasons I am not as scared as I once was. Fingers crossed.

Rewind Commentary- The Plight of the Uncredited

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Mike Greenberg and Mike Golic (ESPN)

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!

A few days before Just Wright was released, the Queen Latifah basketball-related project (yeah, I nearly forgot about it too), I was watching Mike and Mike in the Morning on ESPN2 and they related how they were upset because not only did they provide their voices but shot a cameo which stayed in the cut of the film but were uncredited in the closing titles. While they merely provided a sound bite for Valentine’s Day and were listed in the closing credits.

Similarly, when I saw Clash of the Titans I was surprised to find that Young Perseus, the one with a speaking part not the baby, was also uncredited. Only recently did the IMDb figure out his name is Otto Farrant and list him in the uncredited section of the cast.

The question is, though: why are these people uncredited? I understand not crediting Angry Fan #52 or some other extra an audience member might single out but no one else would but these are people all who had speaking parts, the first scenario was and “as themselves” cameo but deserves noting and the second instance was an actor playing the younger version of the protagonist. What gives?

Hopefully, this is an aberration and not a trend either way I don’t like it. Those who work on a film whether on screen or behind the scene deserve their credit.

Rewind Review- Clash of the Titans (2010)

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Sam Worthington in Clash of the Titans (Warner Bros.)

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!

I had planned on seeing the original Clash of the Titans by streaming it on Netflix but I did not get around to it, which is just as well. This film cannot only be measured against that or Greek Mythology in general but it should be looked at like any other adaptation and judged on its own merits.

It is a film that definitely passes the popcorn test. Fans of Eddie Izzard will know precisely what I’m talking about; it’s an action-packed film that holds your attention and keeps you scarfing popcorn (or pick your poison) incessantly while still keeping your eyes glued to the screen. It is a film that is very well paced and you won’t feel the time go by at all.

Any film in this day and age can engender a lengthy discussion of its technical aspects and merits. Technically speaking this is a solid piece of filmmaking. The cinematography and editing are both very good. There are only two technical aspects in which this film is in any way deficient.

The first would be in 3-D, now as I stated previously I did not view this film in 3-D, however, watching it in 2-D I cannot see how that would’ve enhanced the experience at all. Having bogus rotoscoped dimension added to the mix wouldn’t make it look any better and it does look pretty darn good.

The second deficiency is pertinent to all viewers of the film regardless of their dimensional preference and that is the CG. Now some of it is quite impressive such as The Kraken, the giant scorpions and for the most part the Pegasus almost looks real, however, there are weaknesses particularly Medusa who never really rises above a video game quality of rendition. Treating Medusa similar to how Percy Jackson did would’ve been preferable.

The film, as can be expected, builds its characters briskly and without too much characterization. It’s a plot-point-to-plot-point kind of tale that lets you know just enough to keep you engaged and never goes the extra mile to fully immerse you.

For example, we get a quick little introduction about how and why the people got disillusioned with the gods and about the birth of Perseus and his miraculous survival. Then we skip ahead 12 years. We see a young Perseus, who somehow is unjustly uncredited in this film, play a scene and when Hades attacks his opinion of the gods is cemented. He has no knowledge of his demigod status at this point. Skip ahead eight more years and he is now in his final incarnation played by Sam Worthington, who at this point if not known by name to all should be recognizable as “The Avatar Guy” and is very capable.

We follow and understand the rest of his struggle and he’s a good protagonist who eventually figures out when he needs to take the advice given but this film never wants to, in the words of Phil Collins, get “in too deep” and to further quote people “Not that there’s anything wrong with that.”

It’s still a fun enjoyable time which is elevated by great actors like Ralph Fiennes and Liam Neeson playing parts they could play in their sleep.

The climax is rather good and well executed and just be warned that the title doesn’t tie in to the plot at all. It’s brainless entertainment in a good way just don’t seek to have any life’s unanswerable questions addressed and go along for the ride.

7/10

My Year in Film: 1994

Posted on by bernardovillela

First, a tip of the hat to @bobfreelander who was the first I saw doing retroactive year-in-review posts and why I will do a few. Now, while I will be able to contextualize my picks to an extent I cannot be as anal retentive as I wanted to. Ideally, I would’ve loved to say I saw these movies in the year in question and these later, but I cannot with any degree of accuracy. The reason this matters to me is that I was 13 to 14 when these films were being released. Now I, unlike many students around me when I was in school, have been able to exonerate many films I saw before studying films formally from over-analysis. So while many are getting a pass or some sentimental value attached to them I shall not disown them, they are still me. Much in the way I am no longer making BAM Awards for years where I didn’t actively track releases, I am also not changing winners as I did on rare occasions in my teens. This list like those awards are a snapshot, time can reshape one affection for a film, whether heightening or lessening it but the films that mark that year for you mentally remain pretty much identical.

I start with 1994 in part because it was a great year for me in general, I was out of sixth grade and into 7th and 8th and I rather enjoyed Junior High where using your mental faculties to achieve a heightened sense of immaturity was rewarded, at least amongst my circle of friends. Sports-wise it was a great year as my faith in my beloved New York Rangers was rewarded, I knew it’d be a championship season in pre-season and it was. Then not too long after I saw Brazil win its 3rd World Cup while visiting my family.

Not that movies lagged that far behind, if at all. Many of these films, whether I saw them during the calendar year or soon thereafter, have been favorites for many years.

The films are in no particular order.

1. Satantango

Sátántangó (Kino Lorber)

I’ve been meaning to give this film an annual viewing but at 7+ hours in length it is very hard to schedule. I first heard about this film in college when it wasn’t readily available on DVD but I hunted it down. Having it was like having gold such that I even loaned it to a professor once. It’s an impressive example of story-telling muscle-flexing as it goes back and forth in time with many events repeating at intersecting points of perspective, as we follow characters and see certain events over through their eyes. Its ending is a shocking as such a minimalist ending can be and gives me goosebumps every time.

2. Milk Money

Milk Money (Paramount)

Here’s one I could’ve seen in ’94 but didn’t. In a world where I didn’t have a computer or access to the IMDb I couldn’t confirm my casting misconceptions, namely at the time I confused one of the girls in a quick shot in the trailer with Anna Chlumsky. I did eventually see it on HBO and this was where my admiration for Melanie Griffith originated and I hunted down practically everything she did after seeing it. Now hooker with a heart of gold stories weren’t new to me even then but the context and the slightly verboten yet laissez-fair handling of this one along with its outcome are a major part of what won me over.

3. Once Were Warriors

Once Were Warriors (Fine Line Features)

When the Independent Film Channel (IFC) first hit the airwaves I watched it practically every night for a week, and as an atypical teen movie fan I craved something different and I got it. This is a harrowing tale of a Maori family in New Zealand. I’m not even sure if I’ve even revisited it. Even if I have it could surely qualify as a film you only need to see once.

4. Disclosure

Disclosure (Warner Bros.)

This is a great film. Yes, it’s true Michael Douglas gets Michael Douglas-ed in it, if you’ve seen enough of his films you get what I mean, but sexual harassment was a hot button issue in the country as there was a politically correct renaissance about and to flip expectations to have an actress like Demi Moore, in likely her best role, in that position make it a compelling drama.

5. The War

The War (Universal)

For those of you who may have been asleep during the 90s and didn’t know, Elijah Wood was one of the most prodigious child actors who ever graced the silver screen. This film of his is his most criminally under-seen. It’s a great allegorical tale wherein Wood does his most serious work as a youth but he’s supported by Kevin Costner, Mare Winningham and Lexi Randall. If you’ve never seen this film do yourself the favor.

6. Little Giants

Little Giants (Warner Bros.)

G-Men! OK, if you read my intro you probably surmised I’m a native New Yorker, however, that’s not the only reason that this film makes the list, there are some others. It is smart that this film does play into actual NFL rivalries and takes the Bad News Bears motif to football but there’s some more to it. Part of it has to do with seeing Ed O’Neill in a movie and perfectly cast, it being one of Rick Moranis’ last theatrically released films plays into it some. Yet it’s also about the team, which plays into the appeal of any underdog story, and also it may be the most effective rivalries in terms of having certain off-the-field relationships with the opposition.

7. A Feast at Midnight

A Feast at Midnight (Live Entertainment)

This is a film that I found a few years later. One thing that’s refreshing about it is that it’s a tale of boarding school mischief that doesn’t get too dark. Essentially the boys at this school are tired of their crap food. They learn to cook and bake and sneak about in the dead of night to have proper feasts. More comedy and tension are added by Christopher Lee who plays the headmaster who they refer to as a dinosaur and many scenes play out as homages to Jurassic Park, which are just brilliantly done.

8. Vanya on 42nd Street

Vanya on 42nd Street (Sony Pictures Classics)

If I recall correctly this was an impromptu purchase. I typically used my weekend allowance to take a bus to the multiplex and then to the mall after to pick up another film. This was likely one of them. It didn’t lead me to instantly pursue more Chekhov but it was the spark that opened the door for my appreciation of his work.

9. The Shawshank Redemption

The Shawshank Redemption (Columbia Pictures)

What could I possibly say about this film that hasn’t been said before? I didn’t see it in 1994 as it was slightly before I discovered Stephen King, and my life forever changed. I saw it later and I saw it before I read it, and I learned Frank Darabont is a King adaptation master, and this is his best work.

10. North

North (Columbia Pictures)

Here’s the section of the list where I’ll place a couple of movies you likely hate and I hope you’ll do me the kindness of scrolling past them if you do hate them rather than closing your browser window. For those of you who are still with me, I can even understand how you can dislike North and It’s Pat, the latter much more than the former. However, with this one I really don’t get how some claim its one of the worst things ever. Yes, it’s another Elijah Wood title and while here he’s more comedic this one really does have more to do with the concept than him or the supporting all-star cast. It’s a wish-fulfillment story and yes, based on the tale you know where it’ll likely end up, but that doesn’t stop it from being a very effective fantasy in my estimation.

11. It’s Pat

It's Pat (Touchstone Pictures)

I get it on this one, OK? Pat is gross, that’s what makes the sketch funny for those who do think it’s funny. I’d say this is likely the most avoided and reviled SNL-sketch based feature of them all, I will not claim that it’s the best, but I do like it. Julia Sweeney is a very underrated comedienne and this is her best character.

12. The Little Rascals

The Little Rascals (Universal Pictures)

I can’t remember if I ever consciously wanted to see this movie but having younger siblings it was acquired on home video and I ended up watching it many times and I ended up liking it quite a bit also. Looking back you could almost draw a parallel between this and The Three Stooges in as much as those actors were The Little Rascals, so theoretically a remake shouldn’t work but it was cast so well and the story was very much in the spirit of the original with minor updates such that it works very well.

13. Airheads

Airheads (20th Century Fox)

When you rely on cable television for your viewing you can end up watching things over and over whether you want to or not. An example or not would be Empire Records, I have no idea what convinced me that seeing it over and over would change my opinion of it. It just kept getting suckier. This I liked right away and wanted to see many times over, it’s just a hilarious and well executed premise.

14. The Client

The Client (Warner Bros.)

Joel Schumacher can be very divisive and I certainly cannot defend all of his films. However, those that I can I will tooth and nail. This is one of them. I watched The Client many years later and it has in it perhaps one of the tensest first acts I can recall. It doesn’t let up much from there.

15. Speed

Speed (20th Century Fox)

Here’s a film that’s become a bit of a punching bag in hindsight. I will grant there is a level of silliness to it, however, if you get past the whole 50 MPH thing, (which I have) it rather works. Also, one must bear in mind that this was really Sandra Bullock’s breakout role so she was new to us and about to be beloved by many. Also, this is Keanu many roles before we saw that being Keanu is about the extent of his range.

16. Trading Mom

Trading Mom (Trimark Pictures)

This is a film that it took me a while to track down, eventually it debuted on cable. My willingness to see it was mostly due to Anna Chlumsky’s involvement. It would be a great double-feature with North as there are similar themes to it, Wanting to Change Parents but Realizing Yours Are the Best, however, it also features a great performance by Sissy Spacek in many incarnations. Its a more down-to-earth and stripped-down version of the aforementioned premise that still works rather well.

17. Serial Mom

Serial Mom (Savoy Pictures)

I’ve seen this movie a lot of times but none very recently. This could be John Waters at his demented best. This is where I not only learned a rule of fashion but also got “Day Break” stuck in my head for life. Kathleen Turner is incredible in this.

18. The Hudsucker Proxy

The Hudsucker Proxy (PolyGram)

I avoided this film for a long time for a number of reasons. I like Coens films when I watch them but my viewership of their filmography is very incomplete, the title and description also made it seem like it couldn’t be that interesting. It’s perhaps the best argument for just watching the movie. I love it.

19. Major League II

Major League II (Warner Bros.)

As opposed to the sequel later in this list this is one that I think I like more than the original. It’s sillier, funnier and doesn’t take the high road in the ending but those are all things I like about it. Plus, taking the approach that this team overachieved and now rests on its laurels and struggles is pretty smart and true to life.

20. Ace Ventura: Pet Detective

Ace Ventura: Pet Detective (Warner Bros.)

It’s a very simple discussion when dealing with Jim Carrey: Either you love the over-the-top end of his comedic repertoire or you hate it. I love it and Ace Ventura is the prime example of this facet of his gifts.

21. Trevor

Trevor

This film I first saw only last year. It’s the only short on this list. It’s almost more important for its significance than the film itself for this film is what spawned The Trevor Project. Perhaps what’s most impressive is that it really was ahead of the zeitgeist in terms of a hot button issue. It deals with a youth struggling with his sexuality and is suicidal. It won an Oscar after it was made and was re-introduced in a TV special hosted by Ellen DeGeneres but now it has a third incarnation as The Trevor Project is one of the most notable and active NGOs in the nation right now. Granted its a film buoyed by its message and its significance but few films, especially shorts, have this kind of track record so far as reemergence and staying power are concerned.

22. Menino Maluquinho- O Filme

Menino Maluquinho - O Filme (Filmes Europa)

Below you will see another comic character that I love come to life. I saw this a few years after the release of the film. This film benefits from the fact that though this character is featured in Brazilian comic strips he originated in graphic novels and this film tackles the story told in the first of those books for the most part and that streamlines things and makes the interpretation very pure.

23. Forrest Gump

Forrest Gump (Paramount)

This is another film that has become somewhat of a punching bag over the years. Taking the visceral arguments out of the equation (for I do like and connect to the film) the significance of this film in certain cinematic is in fact that it breaks rules about a passive protagonist, in that it employs one, and it works very, very well. You’d be hard pressed to find many other situations where it would but here no doubt it does. I predicted Tom Hanks would win the Oscar on the eve of the show when asked, and not only was I right but I was pleased. It’s another question of time. Hanks has become more interested in producing and has become an Oscar ceremony staple but I’d never question his merits in the roles that won him statues.

24. Little Odessa

Little Odessa (Fine Line Features)

Here is another IFC special. I did revisit this one at least once. It’s a tremendously underrated film and features a great turn by Edward Furlong before his depressing decline.

25. Richie Rich

Richie Rich (Warner Bros.)

Macaulay Culkin is precisely 364 days older than I am, so his stardom was kind of a big deal for me growing up for he was, and is, essentially my age. Furthermore, add the fact that here he was interpreting one of my favorite comics characters of all time and this was going to be a must see for me. Now, here’s an example similar to one you’ll see below where the star and the involvement in a project is more significant to than the film, for I definitely nitpick this one and the follow ups (though they be Culkin-less) it wasn’t an interpretation completely without merit, I did like a lot of it.

26. Blue Chips

Blue Chips (Paramount)

Another cable special and another I’ve given many viewings. Nick Nolte is, as he tends to be, brilliant in this film. However, what really elevates this film for me is the great examination of the moralistic quagmire that amateur athletics are. Nolte’s confession speech while rather unrealistic in a real context, as sports fans know all too well, allow for the film to really expose the inevitability of star athletes getting perks and incentives to go to certain colleges.

27. My Girl 2

My Girl 2 (Columbia Pictures)

Alright, no My Girl 2 is not a great film, there are a few entries on this list I wouldn’t call great. As I mentioned in my introduction that’s not quite the point of this post. It was a film that was overly delayed, in my estimation, and brought a new writer into the fold but the fact of the matter is it’s the sequel to what was at the time my favorite movie ever, and a film I still have a great affection for, so that makes this notable. It’s a film I do pick nits with endlessly but the fact that it matters to me cannot be denied.

Review- Boy

Posted on by bernardovillela

Te Aho Aho Eketone-Whitu, James Rolleston and Taika Waititi in Boy (Unison Films)

That Shakespeare line about names comes up often when I think about films, because at times a title can either say it all or say very little. A film entitled simply Boy can be seen as kind of a middle ground, it invites further investigation. A seemingly nondescript word for a title it turns out that Boy is actually what our protagonist is most commonly referred to, hence the title is eponymous.

What stands out in the early-going, as Boy (James Rolleston) introduces us to his world with an embellished front-of-class presentation, is that the film can be said to have some flair and originality. There are flashes of a fantasized life both in live action and in child-like animation. What it brought to mind was Submarine, which made me cautious. There are great things going on in the first half of that film (a film too many callously over-simplify) but that spark and originality only carries it so far as I feel it gets bogged down. Here quite the opposite happens, while the quirkier elements are more intermittent as the film progresses the elements do get to the heart of the characters, and help to develop the comedy and drama inherent in the story. They are a boon to the film and a segue into the world.

The film is a tale of a father’s estrangement from his family, his son’s desire to have him around, to reconcile with him and coming to terms with the realities of one’s family. Given some of the facts of the story it could be too easy to take the story to a melodramatic or maudlin place but this film never does that. This is, of course, a credit to the screenplay but also to the actors. The first of note being Taika Waititi, who not only plays the father but is the film’s writer and director, what makes this fact even more impressive is that I didn’t know that beforehand and found that not only was his comic persona a rival to a Paul Rudd character but he also plays the more dramatic portions of the story very well. Add that to all the behind the scenes work he did, being the heart and soul of the film, and it’s truly brilliant and awe-inspiring.

The equilibrium of tone allows this film to have quite a brisk pace, which makes it an enjoyable watch regardless of the tonal shift in the story. Things time out just right and no section of the film seems disproportional.

While the film is about Boy and it very much focuses on his character’s arc, his younger brother Rocky (Te Aho Aho Eketone-Whitu) has a very significant subplot. Eketone-Whitu’s performance is one which is much more silent than Rolleston’s but every bit as effective. He is quiet because he feels like an outsider and due to certain facts about his character is struggling to embrace not only his place in the family but also who he is.

Which leads me to another brilliant touch this film has, Rocky’s conflict is with his past and his brother, in part it makes him quieter and kinder and also leads him to bond with a character they refer to as Weirdo (Waihori Shortland). To not discuss it too much, part of what makes it so great is not just the natural, logical connection they share but it takes a character that seems like he’ll be excess and makes him essential. Similarly, Boy has quite a journey in his tale but his certain isolation and conflict with his father makes him a bit angrier, so his personal connection is to fantasy and his idolatry of Michael Jackson, which considering it’s set in 1984 is a logical choice.

I’ve written quite a bit about endings, not in the broader sense as in happy or sad, open or resolved; but rather in the minute sense of picking the precise moment and the precise note. This film ends perfectly. It ends with a punchline but also with the realization of who their father is and embracing that for better or worse. The tale is truly complete and the film is over. Both boys have gone through very different reactions to their father’s return to their life and their emotions have run the gamut, but they’ve reached a peace with what the unchangeable status quo is.

Boy is an excellent film, which illustrates best how specificity translates to universality. This is a film set in 1984 on the east coast of New Zealand about a Māori family yet you can be on any continent in any corner of the world and enjoy this film and take something away from it. Why? Because it’s true and connects to something innate in all people, which makes it great.

10/10

Short Film Saturday- Every Cowboy Needs a Horse

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Here’s a short I was reminded about recently by a post my cousin made on Facebook. There are a few reasons I decided to post it. In light of my recent trip to the Disney parks clearly the great shorts of the studio era. Here’s one that exemplifies Disney’s style even in a small piece, there’s music (lyrics included) and emphasis on visuals. It’s a fluid piece that encapsulates the dream-state implicit in the story. It’s very well done.

Review- We Need to Talk About Kevin

Posted on by bernardovillela

Tilda Swinton and Ezra Miller in We Need to Talk About Kevin (Oscilloscope Labs)

I’ll never get used to living outside of the New York/Los Angeles inner-circle in cinematic terms, even if I was there it would not change the fact that I take umbrage with the end of year release patterns that delay viewership of many good films for those living in the rest of the country. I was going up to NYC and my plan was to catch this film during that trip, that plan hit a snag when I realized the limited one-week Oscar-qualifying engagement ended right before my planned trip. Thus, I have not had a legitimate chance to see it until just recently, and it becomes a 2012 BAM eligible film, and not a 2011 film, despite its technical release date.

We Need to Talk About Kevin is a film that’s largely about perspective, memory and how that may influence the perception of reality. That’s not all its about but that certainly plays a large part. It tells the tale of Eva (Tilda Swinton) who is struggling to move on with her life after her son, Kevin (Ezra Miller), commits a mass murder at his high school. All that is established early on, and much of the narrative is her reflecting back on his upbringing, from his birth to the present.

Memories are built on one fact that lends us a clue to an incident and over time they become either hazy or gilded depending upon the emotion we associate with that memory. There is a truth to all she remembers but just how much embroidering her subconscious does in a futile search for answers is not clear. One of the best things the film does thematically is to not treat so difficult a subject with facility, but rather depth. There are precursors to the event but also other moments that belie it. Therefore, Kevin is not always a black and white antagonist he has moments of seemingly lucid humanity, which he then counteracts but any flatness of character can be an affectation of the storyteller’s, Eva’s, perspective. Having already lived these things and now reliving them in hindsight her associations and interpretations of relationships are set: Her husband, Franklin (John C. Reilly) is placating, non-confrontational and an ineffectual parent and Kevin is opaque, she doesn’t know what goes on in his head, except that she feels constantly antagonized by him.

While the film functions on two planes, the present and past, for the most part it moves in relative chronology within those planes. Flashbacks typically are done as sequences. There are quick flashes when she encounters someone from her former life whom she is trying to separate herself from. This relative chronology does give the film a fairly even and steady pace that is truly only broken in occasions by the steadily increasing severity of Kevin’s actions. It’s a film that needs to be told as it is, for the story elements told in precise chronological order with no flashbacks whatsoever would not be effective at all. Instead you get a very cinematic treatment of the story, a story that visually takes you into its protagonist’s thoughts.

Much of my interest in this film was not just due to the amount of positive buzz I heard about the film itself on Twitter but also the praise being heaped upon Tilda Swinton, whom I love. I can see now why she got the attention she did, she is brilliant and understated in this film. With regards to her Oscar snub, I both get it and don’t get it: I get it because there’s not really a great clip moment, which is cliché but that seems to drive things in terms of perception, but I don’t get it because it’s just so good. There’s a tremendous understanding by her, and everyone in the film about acting for and into the edit. Things are done very precisely as if they know where the cuts are and what impact they’ll have. Clearly, this is also a credit to the editor and director, however, that point plays into the concept of not doing too much. It is a film and these actors employ film techniques and know the assist they’ll get on the technical end and exploit it greatly. It’s a must see for students of the craft.

Yet as much as this is is Eva’s and Swinton’s film she does get some tremendous support. Based on the aforementioned interpretation of his character John C. Reilly is perfectly cast. Granted he does have range but in his even tone he does come off as a man who would be a buddy style of father and wouldn’t harm a fly. Ezra Miller doesn’t have a tremendous amount of credits to his name as of yet but the roles he has taken thus far have been challenging and have made him one of the go to actors in indie films and perhaps he will find a crossover success soon. As for this film he plays the part to a tee, meaning though his actions might be mostly one note the way he plays them aren’t always.

Typically, when you have a character who is aged during the course of a story you don’t have significant screen time dedicated to all the actors who play said character, in this case three. Jasper Newell, who is the middle incarnation of Kevin, carries much of the middle of the film and is very impressive, even more so when you consider its his feature film debut. Not to be outdone there is another solid performance in the young cast by Ashley Gerasimovich, who has one of the great moments where the numbness you can feel watching it breaks as she engenders tremendous sympathy.

We Need to Talk About Kevin may not be an easy film to watch in a number of ways but it is all the more rewarding for it. All facets of the production contribute greatly to a mind-play wherein a mother is lost searching for answers about just how her child could do such a thing and if anything could’ve been done. It’s a visual tale that is truly pure cinema, it’s truly great.

10/10

Review- Silent House

Posted on by bernardovillela

Elizabeth Olsen in Silent House (Lidell Media)

With Silent House you have yet another horror film that is a remake of a recent release overseas. What is undeniable is that the concept of a single take style horror film is intriguing, however, the execution of the style and its application to this particular story leaves a lot to be desired. You have on the one hand a lot of technical merit and on the other hand not a lot of narrative merit at all.

Any time you’re taking a notion that Hitchcock experimented with, one he did brilliant things with, you have promise but that promise is never close to fulfilled here. The ruination of this film is not all at once, which makes it all the more frustrating, however, the seeds are sewn early.

One thing that doesn’t quite jive with the production concept is that at some point, after great pains have been taken to establish the reality and immediacy of the situation, the score comes in. Which just alerts you to the artificiality of the situation, which seems to be what they’re trying to avoid so it’s a confusing and unfortunate decision.

In a film where there will be jump scares induced mainly by audio cues, and visuals are to an extent sacrificed, a lot of the film depends on its performers. So far as the lead is concerned Elizabeth Olsen, who broke out last year with her acclaimed performance in Martha Marcy May Marlene, is a very capable indeed. She accomplishes the rare feat of actually being as quiet as possible but also convincingly scared. It’s not a scream queen performance, it’s the antithesis of that and she does very well with it. None of the film’s failure can be placed on her.

The rest of the cast is another story and part of it has to do with the quality of the performance but also, and equally important, is the fact that many of the supporting players contribute massively to the film’s unfortunate transparency. The film is trying to hide secrets and give you twists, it means well but fails to really surprise.

Based both on the dialogue and the interpretation of Adam Trese, Eric Sheffer Stevens and Julia Taylor Ross the actors may as well be saying “Subtext” as well as have it stamped on their forehead. Everything’s played such that you start speculating, a bit uncertainly about the nature of all these people and later are proven correct and you really didn’t want to be. Similarly, it makes the single take a bit more confounding since the ideal visual style would maybe not have been seemingly objective but rather definitively subjective, an all POV tale but regardless of that, which doesn’t really affect my view of this film, the path they chose was marred with mistakes.

Horror films, perhaps more so than any other genre, have become very concerned (perhaps overly so) with twists and keeping the audience guessing. This is not necessarily a bad thing but it does complicate the equation quite a bit and gets more than its fair share of films in trouble than it ought to.

There’s nothing wrong with wanting to pull a fast one on the audience, but to do so your slight of hand has to be impeccable and here not only was the reveal unsatisfactory, so was the set up. I could see it coming a mile away and I was hoping I was wrong, then I wasn’t and it turned what could’ve been a decent, stripped-down horror story into something of a quasi-farcical failure.

5/10

Review- Being Flynn

Posted on by bernardovillela

Robert De Niro and Paul Dano in Being Flynn (Focus Features)

If one watches the trailer then a lot of Being Flynn is revealed. This is not an uncommon phenomenon in this era of film, but it was enough to convince me to watch this film, and it also illustrates the major hurdle the film has. The film deals with what occurs when Nick (Paul Dano), a youth seeking direction in his life, starts to work in a homeless shelter and sees his estranged father (Robert De Niro) there.

It’s a plot in the trailer that makes it seem like a very unlikely chance encounter. In actuality, the leap of faith needed to believe this scenario is not nearly as large. There are furtive awkward reunion attempts prior to fate intervening as it does. This is a very good thing indeed and it allows all the baggage the two characters have to be dealt with when tension is at a boiling point.

The film does use a good deal of voice over narration and what’s more it has two narrators, father and son. Voice over is always a treacherous balancing act but this film does rather well with it and gives additional insight into these two not completely dissimilar characters. Voice over can be looked at as a story-telling bridge, bridging the gap that a visual cannot for editorial or aesthetic reasons. The key is to build footbridges not suspension bridges, to build them intermittently and this film does that.

That does not mean this film is devoid of visual signature and style quite the opposite there is quite a bit of visual interest, which is mainly added through the edit. The film has quite a few flashback sequences that mainly serve to illustrate Nick’s upbringing and the impact his father’s absence had. The film enters these passages creatively and more often than expected but always with great results and it really resonates.

These flashes aside from giving us very good fragmentary performances from Julianne Moore, shades of her turn in The Hours, and Liam Broggy as Young Nick, also help establish the tonality of the film. The sequences aren’t juxtaposed as much as they are forerunners to the twists and turns of fate in the present day. There’s a bittersweet quality as it shows what was, with hints of what could’ve been and eventually there are echoes of the past in the present that seem equally unavoidable.

Yet as dour as the film is at times there is a certain balance of emotions at play. There is some humor to it when appropriate and certainly tenable drama not just voyeurism, you feel this movie not only watch it.

This is the kind of film that for all its other merits hinges on its performers and with these two the film excels. This is the kind of challenging emotional and engaging work that Paul Dano does frequently and that Robert De Niro doesn’t do nearly enough of anymore. They work brilliantly together and regardless of the frequency with which either does this kind of film it’s great that they do it here.

Since the Weitz brothers have stopped working exclusively in tandem they’ve done some rather interesting work, and this film is no exception. While this film takes its unexpected turns and ends well but a bit loosely but is very good and worth seeking out.

9/10