Review- X-Men: First Class

Posted on by bernardovillela

Caleb Landry Jones, Michael Fassbender, Jennifer Lawrence, Rose Byrne, Nicholas Hoult, James McAvoy and Lucas Till in X-Men: First Class (20th Century Fox/Marvel)

I believe, when grading or reviewing a film, that taking a film for what it is and not comparing it something its not or not trying to be is of paramount importance. Thus, I will look at films from not just a genre perspective but also within the confines of subgenre and in some cases franchise. This clearly applies to X-Men: First Class.

It’s an action film, it’s a superhero film but moreover it’s a film in the X-Men series. I will state in the interest of full disclosure that I am a fan of the X-Men and it’s mainly through other interpretations be they the TV series I was hooked on as a kid or the films that came later.

I will here echo sentiments uttered quite astutely by my friend Joey Esposito because they are true and have bearing on any interpretation of this film. Those thoughts being that the connection many can feel to the X-Men are usually for either of two reasons: first, the mutants all feel outcast and most people at one point feel like outsiders, some more poignantly or persistently than others- this instantly adds to the appeal of the characters. However, perhaps the most intriguing dynamic in this universe is the dichotomy between Xavier and Magneto who have two diametrically opposite views on how to deal with this struggle and better yet anyone can see the logic in both approaches.

While I liked the previous installments in varying degrees, save for Wolverine, these truths and this philosophy was always hinted at and alluded to but never became central to the narrative. The films were engaging, flashy and fun, in short good entertainment that lacked that little something extra that made it necessary or desirable to revisit the film two or three times or more.

I have already seen X-Men: First Class twice because it not only gets everything I was talking about but delivers on it in spades. Never are you left wondering as the geriatric lady of infamy in the 80s advertising campaign said: “Where’s the beef?” Instantly the characters of this tale are built we see the circumstances that set Magneto on his course, likewise with Charles Xavier.

The films opening scenes are absolutely hypnotic and quickly establish suspense. The drama of the situation aided by Kevin Bacon who gives a wonderful and memorable turn in his first villainous role in some time confronts a Young Karl, played with utmost brilliance by Bill Milner, a young actor I’ve long contended is the best of his age group and he keeps proving me right. He is pushed and traumatized beyond his breaking point and it crystallizes his view of humanity. Meanwhile, Charles (Laurence Belcher) also gets a perfect introduction, not without its own bit of suspense, and we see him exhibit his nurturing, befriending nature.

Very quickly, dramatically and effectively the film establishes its characters before it really sets the story in motion, It’s a gripping start and I responded emotionally immediately which is rare. Like a few of the X-Men films it has memorable scenes with its lead characters in younger incarnations such as Cayden Boyd as Young Angel in X-Men: The Last Stand or Troye Sivan as Young Logan in X-Men Origins: Wolverine. What this film does is deliver on the promise that those early scenes show, in fact, there is a string of absolutely outstanding scenes that kick-off this film in tremendous style and the scenes end perfectly, carry great tension and importance are numerous in this film.

The success of this film hinges greatly on the strength of its script and it is simply put outstanding. The dialogue most of the time is sharp and concise and even though it wanders into typical superhero banter on occasion it is always purposeful and almost never wasted. Furthermore it communicates the philosophies of its characters, which needs to hit home, very well.

The characters are also made more interesting by the fact that they too have things at stake aside from the stakes of the plot. Not to knock that either. It’s hard to up the ante more than this film does but we’re not just seeing a spectacle because the characters are personally invested in their mission with different motives and that just makes it work that much better.

A few cast members were already singled out but a few more deserve mention. What wasn’t discussed in Kevin Bacon’s bit prior is that he, like a few other actors, was asked to speak a few lines in languages which are not his own and it just makes the experience that much more real and immediate. Having English as a substitute for foreign languages in a film is a slippery slope and I’m loving that people are trending towards using the foreign idioms themselves.

Clearly a lot of the kudos acting-wise need to go to Michael Fassbender and James McAvoy, who play the two principal characters. They are the ones that intrigue us most and who bear most of the burden and knock it out of the park. While this role isn’t a showcase of her considerable talent as Winter’s Bone did Jennifer Lawrence does very well playing Mystique and each of the initial assemblage of mutants played by Nicholas Hoult, Edi Gathegi, Caleb Landry Jones, Zoë Kravitz and Lucas Till each have their moments to contribute.

The bottom line is that this is the best cinematic representation of who the X-Men to date are and why they are loved. The story is engaging and exciting but equal in intrigue are the characters. Add to that brilliant handling of how Xavier and Magneto whom are initially friends but just can’t see eye-to-eye philosophically and you have an absolutely dynamite film.

10/10

Review- The First Beautiful Thing

Posted on by bernardovillela

Aurora Frasca, Micaela Ramazzotti and Giacomo Bibbiani in The First Beautiful Thing (Palisades Tartan)

The First Beautiful Thing is an Italian film which can be characterized in a few different ways but it’s mainly a biopic without the celebrity and a character study without the self-indulgence. It concerns Bruno (Valerio Mastrandrea) who returns home to see his estranged family as his mother is terminally ill in the hospital.

The first interesting thing about this film is that it tells simultaneous tales in a fractured narrative, which unapologetically, artistically flows back and froth in time unannounced. Thus, we first meet Bruno and his sister Valeria when they are quite young and their mother is being awarded “Prettiest Mom” at a beauty pageant at random. This scene is mirrored beautifully at the climax and we truly see why it was so crucial to have that scene be first. Bruno and his mother saw that event in very different ways; Bruno’s view being similar to his father and to an extent it shaped both him and his relationship with his mother.

This film doesn’t put on any airs when dealing with intra-familial relationships and shows them for what they are. Cultural attitudes, the estrangement and the scenario allow them to be more open than they might be otherwise but there’s still a lot of imperfection, unconditional love and silent forgiveness shown throughout. This is a film that could very easily go into over-the-top melodrama but it is beautifully restrained throughout and slowly lets go of the reins allowing for a catharsis only at the end of the film.

This film is littered with very good performances. Ultimately, it’s the kind of film wherein it would get tedious to cite them all when there are many other facets of them film also worthy of attention. However, consider this each of the three main characters have more than one actor playing them. The children have 3 stages: child, teen and adult and there’s a young version of the mother and an elderly one. All of of them are quite strong an each is playing one character in such a way that we can see the trajectory of their life. Bruno, for example, is now professor, afraid of committing, hooked on drugs, stone-faced and wary of seeing his family anew. The actors playing Bruno in earlier moments chronologically have to make this interpretation acceptable and possible and they do.

The film plays out as a tragicomic one as there are certainly moments of genuine laughter and joy and moments that can and likely will bring tears to your eyes. It strikes a delicate balance of poking fun at truths we know about family life and also knowing what draws us in and brings us back home no matter how prodigal we may be.

Similarly coming off an absolutely absorbing and wrenching climax you get a quietly resolute denouement that ends the film on just the perfect uplifting note after the expected occurred.

The First Beautiful Thing, as intimated above, is accomplished technical film. The edit works quite well aesthetically and technically to blend time. The cinematography is often lush and places us in the right perspective to properly absorb the emotion of a scene (whether in overhead, creative over-the-shoulder or wide). The score and occasional use of source music, especially the songs the kids sing with their mother, is spot on.

This is one of the best films I’ve seen to date this year. It’s the kind of film you feel as if you experience not merely watched. It’s engaging on all levels.

10/10

Review- The Hangover Part II

Posted on by bernardovillela

Bradley Cooper, Ed Helms and Zach Galiafanakis in The Hangover Part II (Warner Bros.)

If you read my review of The Hangover you’ll know that I was quite a fan of the original installment of the film. It even cracked my Top 15 Films of 2009 list. It remains, regretfully for the follow-up, as one of the best comedies of the past few years.

Part of what works so well in the first, and what I didn’t quite articulate then, is that when you’re dealing with a story wherein your characters seemingly irrevocably messed up their life in the course of one night of binge drinking and partying and did crazy things, add to that they cannot recall what they did and you can have almost anything happen as long as it hangs together when it gets explained. This should be an extraordinarily freeing experience for writers and filmmakers instead it became a case of variations on precisely the same thing.

As the trailers for the film started rolling out I started to get a Home Alone 2 vibe form it, meaning that while it may be funny it would be essentially the same film but relocated. Little did I know just how many things would be pretty much the same as they were the first time around and what compounded that is that it wasn’t even that funny. At least Home Alone 2 was the rare film in the course of my life that made me cry from laughter.

One perfect example of how identical they decided to make this film is that the one new character who they bring along with them on their night of partying, Teddy (Mason Lee), is the one who vanishes and must be located. So it’s the same triad as the first time. Doug stays behind and does damage control. So the dynamic is similar but a little more unbalanced than it seemed last time. Zach Galiafanakis has been the one who has most benefited from the first film career-wise and it seems like the film was designed to give him even more moments both organic and inorganic than prior. While Helms is still very funny he seems to have fewer chances to take over scenes.

There were long passages of this film where I barely made a sound, which is rare for me in a comedy but to be fair this film does have its moments. Two very noticeable ones are musical in nature, one is original to this film a parody of Billy Joel’s “Allentown” and the other which rehashes a cameo from the first in a very humorous way.

While one cameo which was sort of a re-run works another, that of Nick Cassavetes as the tattoo artist, just falls completely flat. As unpopular as he is now, Mel Gibson would’ve been funnier in the part, which was how it was originally cast.

In the film there are a few things that spring to mind that kind of make you wonder a bit too much and over-thinking is the enemy of a comedy. Firstly, Alan recites many random factoids about Thailand throughout and one of them ends up being a key event. So kudos to an extent for giving us expository information without us necessarily knowing it. There are two other head-scratchers, however, that are harder to overlook: one being how avoidable the chaos that ensued was this time. Second is the consequences a few of the characters face are a bit too serious too be laughed off lightheartedly and takes away some of the intended comedy.

Practically all the complaints listed above are story-related, which is in and of itself a shame because you do have the same talented core doing their best in this one also but this time they have substandard, stale material that they cannot coax enough laughs out of to salvage this mess.

The sad reality is that pretty much everyone who saw and enjoyed the first film, which were many, went out to see it opening weekend and gave the film a record opening (for an R-Rated live-action comedy) so there will be a third film. Hopefully the mistakes of this installment are learned from and addressed.

5/10

Review- That’s What I Am

Posted on by bernardovillela

Ed Harris, Chase Ellison and Andrew Walters in That's What I Am (WWE)

In a somewhat similar vein to Alabama Moon, That’s What I Am is a film whose distribution path deserves a little bit of attention. The only place I heard of this playing was New York’s Quad Cinema and it was for one weekend only. Considering that I was going to be in New York that weekend I tried to shoehorn it into my plans but alas could not.

I later found out that it would shortly be available for purchase exclusively through Walmart. As if that’s not enough quirks it’s also a release from WWE, yes, as in World Wrestling Entertainment. For those of you groaning: aside from having a wrestler play a small part (Randy Orton whom I was glad to learn is also a producer for the film) there’s no wrestling involvement in the story.

That’s What I Am is a film in several ways that is sold and seems to be nothing more than a standard coming-of-age tale. However, there’s a bit more to it than meets the eye from the trailer. The film’s journey, as seen through its protagonist Andy (Chase Ellison), is the narrative of a formative time rather than one singular incident. The fact that the incidents that pervade this film are balanced relatively well gives this film a quasi-European aesthetic, why it doesn’t quite reach it will be shown later.

The trailer would lead you to believe that there are two main thrusts to the tale: not judging a book by its cover and discovering what one is, in short tolerance. Yet there’s far much more more to it.

Perhaps the most unexpected is the narrative strand that dominates a lot of the film is the allegation that the ever-popular uber-teacher Mr. Simon (Ed Simon) is gay. Considering that it’s set in the 1960s this is a perfectly legitimate grounds for termination (according to society) and it sets up a lot of the conflict and brings up the theme of tolerance in a different regard. Ed Harris is wonderful as usual and his initial denial to even respond is fantastic. I’ll not give away how this strand ends but he does eventually answer the question definitively in private and I wish he hadn’t. I think a stronger statement is made by his steadfastly saying “It doesn’t matter, I’m a good teacher.”

That serves to highlight the inconsistency in writing. Some of the dialogue isn’t as sharp as it needs to be and on occasion stumbles into the bad range but overall it is serviceable. There is plentiful voice-over by Andy as adult reflecting back which brings to mind Stand by Me because he is a writer but it nowhere near as strong.

There is also a romantic subplot in this film but what is refreshing about it is that it doesn’t dominate the narrative and it’s not a puppy love or I’m-gonna-die-if-she’s-not-mine crush it’s an attraction and the girl has a reputation, which lends some humor to it. In the Big G (Andrew Walters) subplot, the one that kicks the film off, wherein Andy is paired with him for an assignment, his being mocked for his appearance and nerdiness is only part of the equation. The other facet is that he never hesitates to be who he is and not be afraid of ridicule, meanwhile, his best friend Norman (Daniel Yelsky) is obsessed with blending in and they fight over this issue a few times.

Despite a few weak spots in the adult nucleus this film is buoyed by the strong performances of its young cast. Namely Chase Ellison, an actor whose had many strong turns either in small roles or smaller films, is a very effective “Everykid,” in this film and unlike many other films of its ilk doesn’t necessarily strike you as awkward trying to play awkward and seems to relate greatly to the part. Andrew Walters does a very effective job being the stoic, picked on Big G and I was glad to learn that in his big scene at the talent show he did his own stunt, so to speak. Daniel Yelsky is also convincing as the neurotic and fearful foil to Big G and Mia Rose Frampton plays a toned down, sweeter version of the character she is in the funniest scene in Bridesmaids.

There are a few instances in which I wish this film handled things more deftly or differently but ultimately I was quite pleased with indeed. This is a film that’s worth seeking out and is suitable viewing for the family, keeping rating in mind of course.

That’s What I Am is also available to stream on Netflix.

8/10

Review- Alabama Moon

Posted on by bernardovillela

Uriah Shelton, Jimmy Bennett and Gabriel Basso in Alabama Moon (Faulkner-McLean Entertainment)

Alabama Moon is a film whose road to distribution was a long and winding one. In fact, it’s eventual home video release (which is how I ended up seeing it) was delayed because it finally got a limited regional release in the Gulf states, mainly Alabama (naturally). It’s worth noting that this model is not unusual. The straight-to-video release isn’t as profitable as it once was, and for some reason just as maligned even in this Streaming Age, so limited releases will act as a springboard for DVD sales.

Alabama Moon tells the tale of young Moon Blake, a boy who is raised in the woods by an eccentric father who is wary of both modernity and the government. Very early on, and rendered rather dramatically, Moon loses his father and much of the film will deal with how Moon tries to cope on his own, while trying to avoid authorities like a bumbling quasi-humorous cop played by Clint Howard or the clutches of a reformatory.

The standout of the film is the performance of Jimmy Bennett, who plays Moon Blake. He was most recently JJ on No Ordinary Family but is perhaps known for playing young James T. Kirk in the Star Trek reboot. While Bennett has played in much grittier, darker and dramatic vehicles before such as Trucker and The Heart is Deceitful Above All Things this may just be his best performance to date. This role demands a lot of him not just in terms of highly-charged emotional scenes but also some comedic timing is required and he needs to be a grounded normal-seeming character in the film’s goofier moments. As I tweeted immediately after watching it he basically makes it worth watching on his own and is “crazy good.”

There are other performances of note as well. Those deserving first mention are Moon’s friends played by Gabriel Basso and Uriah Shelton respectively. They play very different kinds of characters but are equally good foils because it never seems unnatural that Moon would befriend either because they both seem to reflect disparate aspects of his personality both a fighter and a quiet, solitary type.

The adult casting offers more mixed results. John Goodman’s character thankfully plays a more crucial role later in the film than it seems he will early on and is very well played. Then we come to the last key figure which is the police officer played by Clint Howard. Now merely casting Clint Howard, or that you can cast him in the part, is already an indication of how you intend to play a part. Howard can play a creepy menacing type but more often than not he’s goofy and here he’s like a mean-spirited Barney Fife only less competent.

It’s in that writing and casting decision where the die is cast that the tone of the film will be a balancing act between very serious drama in a coming-of-age vein and lighthearted borderline screwball comedy that must counterbalance one another. It is to this film’s credit that it manages to keep them both in check and make the film both light viewing and emotionally engaging at the same time and also some of that credit once again goes to the cast.

The film manages to deal with quite a few themes in a subtler than expected manner despite the variegated tone. One of the main ones being individuation from parents specifically that one can accept their parents’s faults, love them for who they are and learn from them but must eventually learn to see the the world, and interact with it, in their own way.

It may be easy to read this review and see why this film has fallen through the cracks as it’s not exactly the easiest to pigeonhole, however, I hope that in reading this review you have also found it is worth your time.

I was rather pleasantly surprised by this film and I’m very glad I tracked it down.

8/10

Review- Bridesmaids

Posted on by bernardovillela

Kristen Wiig and Maya Rudolph in Bridesmaids (Universal)

Timing is an interesting thing and I think if I sat down to write this yesterday it might’ve been rather uninteresting, however, today is when I’m writing this and it’s after having read a very interesting New York Times article about the “Jokeless Comedy.” Bridesmaids is mentioned there and it fits the more character-driven mold Sternbergh makes reference to.

As with any approach it has its pros and cons and some cons can be avoided entirely if executed perfectly or very, very well. While it is very funny and enjoyable Bridesmaids doesn’t hit all the marks perfectly.

One of the best parts of the film is through these ladies, even in their silly exploits, we find quite a bit of commentary on youth, parenting, marriage, self-pity, jealousy, etc.

The script which is co-written by star Kristen Wiig is rather strong in building its protagonist and breaking her down. We are also very tenuously able to laugh at her misfortune without feeling sorry for her. This is made more difficult by the fact that it seeks sympathy and not pity but it succeeds.

It will never be a fault of a film if they attempt and take the time to build character and this film does. This films builds it and builds it well but the only sin that can be committed is building too much. The over-building and a montage too many happen in Act II making it a bit too long. Not too much of the information is redundant but some of it is.

This makes the film a bit longer than it should be and not too many laughs are added to the mix because of it. Judd Apatow is attached as producer to this film and another mandate of his lately apparently is that no film shall less than two hours long. This is not to say comedies ought never be that long but the reason so many run 90 minutes is because it works. It’s still just very hard but it’s easier to get your momentum up and keep the laughs rolling if the film is on the shorter side.

The cast of the film is brilliant, which helps greatly. Kristen Wiig does carry the film very well both in dramatic and comedic scenes. Maya Rudolph also does very well and makes a great partner for Wiig. Melissa McCarthy frequently steals scenes but Wendi McLendon-Covey was not to be outdone either.

The film is quite funny but I’d be hard-pressed to call it one of the funnier films in recent years, however, it is definitely recommended.

8/10

Review- Pirates of the Caribbean: On Stranger Tides

Posted on by bernardovillela

Penélope Cruz, Johnny Depp and Ian McShane in Pirates of the Caribbean: On Stranger Tides (Disney)

The Pirates of the Caribbean series has, in my estimation, run the gamut from being rather enjoyable to creating the worst film of a given year. What has been consistent, and you may even go so far as to say pervasive, in the series is that there has never been one that was the fullest possible realization of the narrative presented. Even in the enjoyable ones there have been very blatant issues holding it back. While being one of the better ones this installment is no different.

The beginning of the film, ironically when set on dry land, is quite entertaining. Full of action, humor and even a bit of intrigue. The former being in the guise of who is assuming Sparrow’s identity. It keeps a lot of this enjoyable energy throughout but its grasp on it becomes slippery as the film progresses.

One minor element, which I thought would be (and was thankful it was not) a point of elaboration, was the zombies. They were just sort of there, which is rare for zombies and I was thankful that it’s an affectation and not a distraction.

Speaking of affectations we come to Johnny Depp, who perhaps has more affectations in this character than in any other. Depending on the plot this character has been very hit or miss. The enjoyability of Jack Sparrow walks a tightrope in the sauntering, off-balance way Depp himself walks as Sparrow. Sometimes the narrative supports his goofiness and others it loses it edge and plummets: here it’s funny.

As a matter of fact a lot of the film is funny. The humor keeps this film ticking even through some of its major problems, which will be dealt with shortly. There is enough peppered in to keep it interesting for even the spectator most inclined to be disinterested.

There are many characters in the film and that does become a bit of a problem as a simple tale gets convoluted with a bit too much intrigue. The constant need the film feels to keep tabs on all them (at least for a time) makes it drag despite the comedic efforts of some.

This is just one of the factors that lead to the running time to balloon and the pace to suffer. The other being the romantic subplot which really comes from Philip (Sam Clafin), the abducted cleric who doesn’t serve a purpose other than to involve himself in this romance with the mermaid (Astrid-Berges-Frisbey) and inflate the running time. The relationship between Sparrow and Angelica (Penélope Cruz) is more love/hate or antagonistic than a proper love story and their fate is predictable after a certain point.

Oh, yeah the 3D. Um, don’t bother. Had I not seen it abroad for an absurdly cheaper price than I could watch it here I would’ve been peeved about paying 3D prices for that; rather ineffectual.

Overall, I did enjoy the film despite dreading it going in. So it gets a pass.

6/10

Review- Meek’s Cutoff

Posted on by bernardovillela

Michelle Williams in Meek's Cutoff (Oscilloscope Pictures)

Note: Spoilers within.

The first thing that bears mentioning with regards to Meek’s Cutoff is the trailer and it does connect to the film in a very real way. After watching the trailer you’d get the sense that while this will be a dramatic western and one with a journey but it’d be more uptempo. As soon as the movie starts, however, you will learn that exactly the opposite is true. This film has a very deliberate pace, which includes one of the slowest dissolves I’ve yet witnessed.

This is not to say that the pace is negative but just a warning that as a viewer it would behoove you to read a review, whether it be this one or a few others also before deciding to go out and see it. You really need to make sure you want to commit to seeing this movie because the trailer is selling a false bill of goods to an extent.

To be more explicit about the pace the polite word would methodical, and methodical paces can be trying if there is no reason for it but there is reason here. The tale that’s being told here is a part of a journey. There are a group of seven migrant people and a pathfinder looking for a new beginning. You don’t see their beginning but only the plight they currently face, which is mainly that of thirst. When the threat of dehydration and exhaustion are ever-present it can’t really be communicated in a quick cutting smooth flowing narrative context.

That’s just one aspect of the narrative conflict which is at work. This is the kind of film that actually has more going on than you realize on the surface because it doesn’t comment much on its issues and when it does so it’s only in a rather superficial way that belies its depth. The first struggles these travelers face is with with their pathfinder, played very well by an unrecognizable Bruce Greenwood. They doubt he can really get them where they want to be, where there’s water and so do we after a point. This conflict precedes the one that dominates the second half of the film.

The major conflict of the second half of the film is both deciding what to do when they capture an Indian, Rod Rondeaux, and if they should follow and trust him. The film does well to not completely overlook its first conflict and places Meek (Greenwood) at odds with the traveling party about what to do with the native, there is some debate and they decide to spare him and hope he can lead them where they want to go.

The conflicts and intrigue continue here as not all the travelers are in agreement, some are scared of him and some see no alternative but to trust him. Stakes also get raised when much of their supplies are lost when one of their wagons crashes after making it down a steep grade.

The film only ever really goes over the top with some of its politicized dialogue. Almost any Post-Studio Era Western will have its debate on the true nature of the Native American and ostracize the racist White man who seeks to kill him- so that’s expected but it’s a bit much. Aside from that the drama is played rather close to the vest a lot of the time and doesn’t boil over too often. There is religious despair intimated by readings from The Bible, doubt and mistrust cast in glances and subtext.

There’s a stark isolation to the landscape and the framing of the characters that imbues itself in the celluloid and it’s a refreshingly cloistered tale wherein not only are there merely nine characters but you will even see them all at once. It’s a rare true ensemble piece where not only do all the actors get their moments but they frequently all play in a single shot.

It’s the kind of film you watch and feel like not much has happened but then when you reflect back on it there was more than you thought and to address the pace again I was caught off-guard by the ending because it didn’t quite feel like 104 minutes had passed. To comment on the ending I’m not sure it makes or breaks the film. It is open but if you consider the two most likely possible outcomes for the tale would those have been more dramatically satisfying? I think not, so this works just fine.

7/10

Review- Prom

Posted on by bernardovillela

Aimee Teegarden and Thomas McDonell in Prom (Disney)

This isn’t a review that’s easy to write and I’ll tell you why straight off the bat. It’s due to the duality of my feelings about the film in question. As I plotted it in my head it seemed appropriate that it be somewhat similar to the Win Win review, in as much as it would focus heavily on performance. The reason for that in this film is that I’m sad to say I didn’t walk away from this film liking it but in watching it and re-watching it I really did love the cast that was assembled for it and what they did with the material with which they were asked to work.

To get the negative out of the way first a lot of my dissatisfaction in the film can be attributed mainly to narrative and script. It’s a difficult task to juggle multiple storylines, especially in a romantic comedy. You’ll find varying degrees of success in this kind of film because it’s hard to balance the stories, tell enough of them, keep them fresh and make them equally compelling. A lot of the strands while they are engaging enough are all too easily predictable.

The film also struggles with believability as it does have a tendency to transpose Nova’s (Aimee Teegarden) pie-in-the-sky feelings about the prom to a few characters. In the beginning it’s contained just to her but it spreads. Aside from the strands being predictable none of them are really stories we haven’t seen: there’s the Triangle, the Jilted Girlfriend, The Presumably Imaginary Girlfriend, The College Split-Up, The Honor Student and the Bad Boy and so on. Again no inherently bad templates but there’s not enough of a twist to freshen these up and of course all these tales each have their own arc and thus we have to wait as each starts a little awkwardly and ends nicely in due course. The only truly refreshing end of any strand was Corey’s. Corey (Cameron Monaghan) being the friend who feels left behind when his friend Lucas (Nolan Sotillo) falls for Simone (Danielle Campbell).

In spite of all of this the cast does wonders with the material. The main thrust of the film is, of course, The Nova and Jesse (Thomas McDonnell) tale. It starts as love-hate as they are forced to work together to rebuild the ruined prom decorations. There is real chemistry in this pairing. Months ago I had read that McDonnell’s performance had created some pre-release buzz in the industry and it’s easy to see why. There’s a potential star in the making there. Teegarden overcomes some very clunky and awkward dialogue at times to deliver a very good performance that is a step above what she showed on Friday Night Lights and the flip-side of her Scream 4 turn.

The Triangle of the film is actually two, which is not an easy trick to pull off so the film does deserve credit for that. Tyler (DeVaughn Nixon) is dating Jordan (Kylie Bunbury) but he’s cheating on her and wants to be with Simone. Simone also gains the interest of Lucas and Lucas likes her. It’s this dynamic where you’ll find some of the better dramatic moments of the story. Nixon, while getting his comeuppance, does give a good portrayal of the guy who will never really get it and is just out for himself. Bunbury of the four probably has the least amount of screen time but she always exudes a nobody’s fool air and she’s waiting to catch Tyler in flagrante to unleash her claws. Danielle Campbell shines as she is consistently torn throughout the film once you see the crack in her facade she is a confused character pained by the situation she’s been placed in.

Nolan Sotillo and his frequent scene partner Cameron Monaghan frequently steal the show in this film. Their chemistry is great and they work really well off one another. They also bring some of the most genuine comedy to the film and genuine emotion in general. It’s that very word that popped into my head as Lucas was fighting for Simone’s affections and was getting swatted away, he and she are quite genuine in their emotion in those scenes. Furthermore, Sotillo adds a song to the soundtrack of the film which is fantastic, it’s just a shame that it’s buried as the second song in the end credits it really could’ve been a boon to the climactic moments of the film.

The next major pairing is that of Mae (Yin Chang) and Justin (Jared Kusnitz). It was in watching these scenes that I really realized the arduous task these actors were given, few if any of them deal with scenes that allowed their to be a rhythmic ebb and flow to their performance, they were either dealing in just one note or they were constantly at high tension. Yin Chang is constantly at high tension it’s just a matter of how much she shows it that changes and her performance is very good. It’s a shame, however, that the talents of these two are utilized in one of the least compelling narrative strands.

The loners of note are: Rolo (Joe Adler) who offers a necessary and perfectly offbeat dose of comic relief and Lloyd (Nicholas Braun) who is the nice guy desperately trying to find just one girl who can or wants to go out with him. As if that wasn’t enough story Lloyd also has a constant companion, his stepsister played wonderfully by Raini Rodriguez.

In the adults of this tale a few more issues are brought to the fore. Yes, of course, there has to be an obstacle to Nova and Jesse going to the prom but the machinations by which her awkwardly played father (Dean Norris) goes through to prevent it are hard to swallow. Not neglecting to mention that somehow this high school is big enough such that people can go there for four years and not speak to one another but Nova’s dad instantly knows who Jesse Richter is at the mention of his name.

Ultimately, I’d say if you want to see a group of young actors you’re likely going to want to see again in something else go out and see this film. If you’re all about narrative and don’t care about the acting, sadly I can’t recommend it and as much as I do like this cast and what they did with what they were given, sadly I can’t give this film a passing grade.

5/10

Review- Fast Five

Posted on by bernardovillela

Vin Diesel and Paul Walker in Fast Five (Universal)

As I first discussed in my review of Rio I bring quite a bit of baggage to any American-made film dealing with Brazil and I will be analyzing certain aspects that escape the notice of the common viewer. Obviously, some of these things also come into play when discussing Fast Five and I will attempt to address those as swiftly as possible and address the film as a whole.

However, with this particular film the Brazilian-ness of it and how accurately that is portrayed is a more pervasive concern as it touches many aspects of the film from dialogue, plot, believability, characters, plot points, acting and the like more so than in the aforementioned film.

Some examples: Firstly, I applaud this film for its attempt to be sneaky foreign (like Hanna) and actually include a bit of dialogue in Portuguese and even subtitling certain scenes. Most of the acting in the film as a whole is just fine, however, the noticeable sore spots are created by those portraying Brazilians who are clearly not. Joaquim de Almeida plays a drug kingpin and the mark of the major heist in this film, he does a fine job but as I suspected when I looked up the cast he’s Portuguese not Brazilian. Very noticeably a fish out of water is American Michael Irby as his second hand man. Spaniard Elsa Pataky and Israeli Elsa Godot are quite convincing, the latter not so much in one particular scene due to her look more so than her interpretation. The best Portuguese is spoken by Jordana Brewster who speaks it rarely and I wasn’t even sure she knew any despite being born in Brazil.

Issues with the story with regards to it being set in Brazil are most prevalent in two incidents that I take issue with. So far as having a druglord who has the Military Police in his pocket and corruption, I can take that. It’s an acknowledged issue that’s been long combated, however, if you want to see a film about the PM and how a good man can go bad and see a rather realistic rendition thereof watch Elite Squad (Tropa de Elite). The issues are the first scene where the American forces lead by Dwayne Johnson go up into a favela, in very cinamtically clichéd fashion all the runners and criminals brandish their guns like a territorial pissing then Johnson shows his gun and they all back away. The problem there is that that would either lead to a standoff or a firefight, which is not infrequent. It’s a movie device that really doesn’t apply here. There’s a more realistic scene where he’s baited out into the open and surrounded.

The worst scene of the film is the apparent defeat. Here for some reason the American forces decide they should drive, seemingly unnecessarily, through the elevated and undulating streets of a favela and it sets up a ridiculous confrontation.

There is enough action to carry this film along and make it a decent ride. The villain although broadly drawn does have some decent moments. The characters in the film are many so not many are developed in all that much detail but you do get a sense of them and there is a good amount of comedy mixed in which keeps things light in spite of the bickering minorities device that is employed twice.

To give this film its just desserts there is a hand-to-hand combat scene between Dwayne Johnson and Vin Diesel that trumps anything that occurred in The Expendables and no uncomfortable undertones to boot.

Despite being incredibly outlandish in terms of what the heist is, how it’s pulled off and what the reactions of law enforcement are to it at several stages of the film it’s still an enjoyable enough flick. It’s a decent popcorn flick that actually got me in the theatre by adding the heist element to a franchise that had never interested me before. Also, plan your health break carefully and stay through the end credits for a tag teases a sequel.

As a coda, bear in mind that with the financial success of Rio and Fast Five, Brazil will likely be the go to international transplant destination for franchises everywhere. I think James Bond needs a vacation, don’t you?

6/10