The Movie Rat

Updates: April 14, 2016

Posted on April 13, 2016 by bernardovillela

An update on this site is long overdue. Heck, a post in general is long overdue. Since October the struggle for any cinephile has faced has been very present for me: what matters more life or film? Clearly without life there is no film. However, those obsessed with film don’t always grasp that fully. Two new phases of my life are being entered to: fatherhood (in it, in a foster kind of way), and being a licensed driver (working on it – and originally from New York so that explains that).

I had a good deal of the gap in new material filled with re-spliced material but alas they lapsed. But things are in the works both here and elsewhere they’re just a bit slower-going. Here are some examples.

The first in line will be reviews for two short documentaries by Mark Rappaport.

Followed by a Blu-Ray review of a previous Oscar winner for Best Foreign Language film now out on Blu-ray.

Then a Blu-ray review of a horror film starring the late great Christopher Lee, to not narrow it down too much!

Also, I’ve begun ruminating on the latest caped crusader film. Hint: I was enveloped by the sheer vacuity of it, then when I realized why I was really mad.

Aside from writing projects here, I also have outside writings in various stages of development. I definitely need to kick into high gear. And when I do you’ll hear about it here. One recent development you will not can be found here.

I have every intention of writing up the BAM Awards for the 21st time in 2017, I just need to do a lot of year-end catch-up.

If a hiatus is needed in the future for another work it will be announced beforehand.

Speaking of hiatuses, my The Tin Drum posts, are a white whale I’m determined to chase down also.

More is sure to come as balance, much like winter on Game of Thrones, is coming to my life.

Rewind Review: Charlie St. Cloud

Posted on April 8, 2016 by bernardovillela

Despite the fact that both the trailer and the synopsis of Charlie St. Cloud make it quite apparent that Charlie (Zac Efron) will lose his brother (Charlie Tahan) his brother in a tragic car accident the film still manages to be quite compelling which is rather impressive in and of itself. When one of the more crucial and emotionally wrenching facts about a film is a given the picture starts behind the eight ball but it manages quite nicely.

Another surprising element, without giving too much away, is that there is a twist within the telling of this tale but the nice thing about it is that the twist acts as part of a frame and not the lynchpin of the tale. Unlike many films which rely on a twist ending this one incorporates it into the storytelling without having the quality of the film hinge on whether or not you like the twist. In a sense the twist does not necessarily lie to you. While the rules of the preternatural visions are a bit hazy for much of the film by the end you’ve untangled them and see that what lies within the framed tale is still very much worth seeing.

In just over 10 minutes you get a sense for who Sam (Tahan) is and also the relationship that he and Charlie share. It is a good example of cinematic shorthand and what is also refreshing to see is that it was somewhat realistic. Due to the age difference Sam was frequently roughhousing with Charlie’s friends and didn’t have the cleanest vocabulary. However, just because it wasn’t Disneyfied saccharine doesn’t mean you didn’t feel the true emotions belied by the insults and punches thrown.

The editing in this film is particularly strong not only in terms of making the story flow but especially allowing the story to have emotional impact. Prime examples of this are in the flashback sequences and in the car accident. Particularly the latter as it demonstrates the power of sound and does not sensationalize events but knows instead the power of the human imagination.
Another interesting thing is that this film had Look At You style casting in which a familiar face you haven’t seen in a while pops up in an unexpected film as a supporting character. There is Kim Basinger, who plays the boys’ mother. Her involvement is also early on as the story does do a time jump of five years, which is not easy to pull off. It is well handled particularly when Charlie hears “You haven’t changed a bit.” It’s stock dialogue but it is a concern that needs addressing when you take a character from high school senior to someone who should be just out of college and have the same actor play both with little to no change in appearance. There’s also Ray Liotta who plays a small but pivotal role as a paramedic who Charlie runs into later on by chance. There’s also Donal Logue as Tess’s (Amanda Crew) mentor, you may know him from the series Grounded for Life. Lastly, there’s Augustus Prew who I hadn’t seen in quite sometime and who most may only remember as Rachel Weisz’s unstable son in About A Boy, does the line “She doesn’t fancy him, she only fancies me!” being screamed ring a bell? All these supporting characters play a very important role in adding dimension just beyond the two main relationships of the film namely Charlie-Sam and Charlie-Tess.

While being supported by a very capable performance by Amanda Crew, the film is called Charlie St. Cloud and for good reason. Efron dominates the film and carries it with ease. For the first time in a while you see him playing a fully-rounded character and not just rounding out a rather simple one. It’s a side of him many may not know existed between all the High School Musicals and Hairspray, it might not be the better one but it is strong nonetheless. Regardless it’s a strong wrenching performance. If Efron can find musical work that can let him play a layered character we can see him at his fullest potential but the film musical is still on life support.

What was also good to see was Burr Steers’ name as director. This marks his third feature and I’ve seen all of them and they are rather different from each other. First, there was a the sharp-witted, acerbic Igby Goes Down which was one of the best films of 2002. Then there was last year’s Efron star vehicle 17 Again, which while nothing special did have its moments of escaping the formula. While it’d be great to see of Steers has another writer/director gig in him it is good to see his versatility.

Overall, this was a cinematically and viscerally pleasing tear-jerker that is definitely worth seeing.

8/10

Poverty Row April: Tangled Destinies (1934)

Posted on April 5, 2016 by bernardovillela

Introduction

This is a post that is a repurposing of an old Poverty Row April post. As stated here I am essentially done with running multi-film review posts. Each film deserves its own review. Therefore I will repost, and at times add to, old reviews periodically depending on the theme. Enjoy!

Tangled Destinies (1934)

If you’ve ever seen a murder mystery weekend episode of a sitcom, the gag is that invariably a real murder ends up occurring. This is the kind of tale that inspired that charade because for the most part it plays out like one of those tales, minus the subterfuge. The set-up is fantastic: an emergency landing of a small plane during a storm forces the passengers to seek refuge in a nearby empty house. The storm causes power surges and ample opportunity for the mysterious murderer/crook to strike.

There are some Pre-Code twists to it that will leave you guessing, and the occasional not-suitable-for-the-21st-Century comment, but the film does well to build and develop its mystery and buck expectations.

8/10

Poverty Row April: Mystery Train (1931)

Posted on April 4, 2016 by bernardovillela

Introduction

The Mystery Train (1931)

Here again you get another misnomer. This film is not so much a mystery, but what it does have enough of is sufficient levels of intrigue. Also, it has what few of these titles have had and that’s a clear and distinct structure that works very well in its running time. Prior to the inciting incident two set of circumstances are perfectly drawn, thus so are motivations. This propels the film through much of the second act.

Fate, and a climax that is not quite as thrilling as the start bring it down slightly, but the way it does end is interesting, but it is is a very entertaining film.

7/10

Poverty Row April: Sex Madness (a.k.a Human Wreckage)

Posted on April 3, 2016 by bernardovillela

Introduction

Sex Madness a.k.a. Human Wreckage (1938?)

This title opens up more of the idiosyncrasies that Poverty Row titles had. Extant copies of the film do not have all the titles in front of them, therefore the director and release year are left in some doubt. Next, many of these films would have entered the public domain by now anyway, though many others were never copyrighted. Lastly, I noticed that the distributor as per the IMDb is the company that handled States’ Rights Distribution. Essentially, these small production companies, in order to find more screens, would then have these distributors act as subcontractors to barter podunk screens in certain states for them. Long story short, it’s the wrong company.

Now, I had planned, when I had more grandiose goals for this theme, as I typically do when these things start; to see more exploitation films of this era. However, I got at least this one. In all honesty, two things happened: firstly, while shocking for its era the title still proves hyperbolic, which isn’t shocking. Second, though highly melodramatic, the film for the most part was much better than I could’ve expected. It’s a bit bald-faced but it does put its didacticism in story elements and disguises its PSA DNA pretty well. If it had just not broadcast one key point I could’ve passed it.

5/10

Poverty Row April: The Phantom Express (1932)

Posted on April 2, 2016 by bernardovillela

Introduction

The Phantom Express (1932)

As I read and downloaded titles I noted the proclivity for the word phantom in titles. It must’ve scored well in marketing research of the day, it gives an air of mystery and intrigue. Sadly, no film I saw with the word phantom in it had either featured a ghost or been any good. This one at least accomplished the latter and is a highly entertaining tale. It’s not a whodunit so much as a “howdunit” as the perpetrators are revealed early. The film concerns a man who derails a train attempting to make an emergency stop causing many fatalities. He claimed there was an oncoming train he wanted to avoid, there was no record of this supposed train so it was dubbed “The Phantom Express.” The investigation into the mystery, the repeated incidents, the reveal along with explicatory closing monologue are all great. The effects work, mainly miniatures, may look primitive now, but is well done for the time and budgetary constraints. It’s really captivating stuff.

10/10

Poverty Row April: Oliver Twist (1933)

Posted on April 1, 2016 by bernardovillela

Introduction

Oliver Twist (1933)

Again there’s a disparity of running time between what I saw and what the IMDb lists. Having said that an extra 10 minutes wouldn’t have made this version feel any less like a Cliff’s Notes version of Oliver Twist. I come dangerously close to breaking my own fanboy ethos here, but even in strictly cinematic terms the treatment is a bit rushed, for a tale that can be such an epic and sprawling one. Oliver’s walk to London for example is one scene as opposed to a montage. Some of the casting choices are quite strange, namely The Artful Dodger, and disbelief has to be suspended throughout due to the fact that Dickie Moore is an American in London. There are enjoyable elements to it, mostly due to the bones of the tale, and being a Monogram film it is higher rent than most, but still feels a bit slipshod.

5/10

Rewind Review: Grown Ups

Posted on March 30, 2016 by bernardovillela

Introduction

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!

Grown Ups (2010)

The film Grown Ups starts simply enough. It shows what may be the apex of these five friends lives collectively (a championship basketball game). It uses the death of their coach effectively to not only reunite these somewhat estranged friends but also to introduce them to us.

While this film passes with marginal colors one way in which it does excel is in that it it is rare for an all-star cast (granted how much of an all-star cast is open to some debate) to fit together this comfortably within the confines of a feature film. Some of that familiarity is due in part to the fact that Sandler, Rock, Spade and Schneider were contemporaries during the last true halcyon days of Saturday Night Light but Kevin James doesn’t fall by the wayside and fits in very comfortably with the aforementioned foursome.

The bottom line is that the film is funny, quite funny in fact. It absolutely revels in the nearly lost art of the one-liner especially in the one-line put down and as a straight comedy it works with absolutely no question. The film has other designs, however, and in trying to see those designs through that’s where some its failings shine through.

One oddity, though not entirely a bad thing, is that the sports angle of the film is almost entirely subjugated. It is ultimately a good thing because then it might’ve wandered into the uncomfortable mildly funny Semi-Pro area and that would’ve been bad.

What that angle might’ve done for the film is drive it a little bit because the pace does struggle a little bit in the second act as each character, as head of the household, deals with their own issues. This slight lack of focus and insisting on inclusion rather than having the protagonist, Sandler, be a more driving force than he is does hurt things slightly.

The two things outside of just being funny that this film really tries to tackle head on are somewhat intertwined. They are: returning children to simpler pleasures and away from technology and modernity and not always putting career before family. These are both illustrated through the Hayek- (credited in this film as Salma Hayek Pinault) Sandler relationship. Things develop slowly and are infrequently at the forefront but because they are not developed quickly and addressed immediately the film lags slightly even though the resolution to these issues are ultimately satisfying.

Another side-effect of the basketball being pushed into the background is that the antagonist and antagonism in general aren’t very present. The conflicts, when they occur, are typically intra-relationship. The antagonizers are the team they beat in said championship game years ago, thus making the lessening of the game seem an odd choice, until you see how it turns out, which in the end does fit the bigger picture but you just wish so much talk and time wasn’t spent on the rematch if it ultimately would not matter.

Looking at it from a purely comedic perspective it is a funny film and if you’re just out for a laugh it is enjoyable, if you want to have your cake and eat it too, meaning get a great movie along with the chuckles, you may go hungry.

6/10

Rewind Review: Scott Pilgrim vs. the World

Posted on March 20, 2016 by bernardovillela

If you have ever wondered what it would be like to watch a movie, read a comic book and play a video game at the same time then wonder no longer because Scott Pilgrim vs. the World has the answers. And to give you a hint it’s quite delightful.

What makes it even better is that this isn’t a film that wastes any screen time trying to rationalize, explain or instruct its audience members as to why the universe of the film functions the way it does, which makes it one of the most whimsical journeys you’re likely to have on screen. The bottom line is either you get the jokes or you don’t and if you’re overly-concerned about why someone who gets knocked out explodes into a pile of coins then this really isn’t the film for you.

This is a film that dares to be different amongst a forest of look-a-likes and wannabes and just on that alone this film is worth the price of admission. It is one of the most dazzlingly inventive films to come along in years and a much needed breath of fresh air.

This film is very funny but funnier than most because its funny to its core meaning not only does the comedy spawn from the characters, as what they say and do matches their personality but being very much a comic book and video game on film as well it is replete with sight gags most of which you have to keep your eyes peeled for.

To put it mildly this is somewhat of a departure for the wildly talented director of this film, Edgar Wright. The man who was until this point most well-known for his brilliant comedy-homages Shaun of the Dead and Hot Fuzz, Wright took a bold step in this film and boy is it ever a rewarding one.

The film never backs down from its vision or concept from the beginning. There are constantly familiar gaming interfaces and from comics action lettering, split-panels and the like to adron the imagery.

Yet all this invention and gadgetry would only go so far without the right cast in place and this film certainly has that going for it as well. If Michael Cera isn’t overexposed he’s certainly very close, however, true overexposure only comes when you stop doing good work and if there was ever a part suited for him to play it is this. He brings comedy to the simplest lines, he engenders sympathy and understanding even when his decisions aren’t the most sound. He’s the ideal, awkward everyman of the moment and he shines in this part. Kieran Culkin, as his roommate Wallace is also a picture perfect choice, even given his over-the-top flamboyant lifestyle it makes sense and you believe it when he is the one who is trying to get Scott’s life in order.

Mary Elizabeth Winstead as the object of Scott’s affection, Ramona Flowers, brings the perfect balance of cool-masking-past-pain to the equation and conversely Ellen Wong, playing Knives Chau, develops perfectly in both directions and plays both obsessive groupie and jilted girlfriend perfectly and to add further balance to the equation is Wilmington native Aubrey Plaza, playing Julie Powers, who hates Scott’s guts from start to finish.

Scott Pilgrim vs. the World not only dares to be different but succeeds with flying colors and creates something completely and totally original. It’s a film that may not have found its niche in the marketplace just yet but take a seat and watch it however you can manage it because you likely won’t regret it as you’ve scarcely seen anything like it. Game over.

10/10

Rewind Review: Hukkle

Posted on March 18, 2016 by bernardovillela

Introduction

Hukkle (2002)

If one is completely unfamiliar with Hungarian cinema and they venture out to see Hukkle, boy, are they ever bound to get culture shock. It is a film which may even be more cerebral and have more of an anti-plot than your typical Magyar fare.
The film tells the tale of a small village nestled in a countryside valley over the course of a few days. Story, perhaps, might even be an overstatement as it seems to be more a chronology than anything else.
The film employs next to no dialogue. The only significant portion of dialogue or words spoken that need subtitling is a folk song sung near the end. Instead what you do get is an amelodically symphonic soundtrack that crescendos quite frequently in the early going and differentiates itself from kitschy American commercials of sound montage, which are of a lesser ilk. The sound is the unifying sense in this film. Insomuch as everything is tied together by a hukkle (hiccup) which is uttered by an old man sitting on the bench.

While the hiccup may be the epicenter of this story the affected landscape, the surrounding ecosystem, is the focus. While an American filmmaker might be inclined to make this an environmentalist manifesto here instead you get a comment on the nature of man and animal. You are bombarded with animal imagery such that it seems, at times, that you are watching a nature documentary. However, if you make note of all these scenes carefully you notice the actions parallel each other and at some point you see nearly everything you’ve witnessed in the animal kingdom demonstrated among men.
As per usual in Hungarian cinema, it is a film that requires patience from its audience, provokes thought and requires participation and must be engaged in not merely watched. This must be an active process you must impose it on yourself as narrative and other conventions will not work to draw you in and lack of effort to engage yourself will reap no reward.
It’s a film which is experimental but unlike many which could be described that way is highly accessible, again if an effort is put forth on the part of the viewer. It is also a film which challenges the very nature of narrative and, depending on how you read one shot, reality: there is a part where the film stops, tears and spins out. Then the camera pulls out and shows film strips hung over a bin. So the scenes we saw were shot by someone in the story. This reflexivity puts into question the narrative truth of the tale to an extent.
Similarly, there is a mini-subplot that develops about two-thirds of the way through of a police investigation. However, keeping in the spirit of experiment there is less mystery as is typical in a traditional film and the end of said subplot is concluded but not confrontational or bombastic as we’re accustomed to seeing.

Hukkle despite all its unusual elements is a rather brisk film not only in running time but in pace as well. Despite its cerebral nature and antithetical construction it is an easy watch which should allow you to get a flavor for the Hungarian cinema.
7/10

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