Filled with professional intellectuals and set in New York City, Maggie’s Plan initially comes off as a misplaced Woody Allen comedy but soon reveals itself to be a much kinder film than most of Allen’s body of work. Maggie (Greta Gerwig; Frances Ha) is a university faculty member intent on having a child, regardless of her current relationship status, until she enters an unexpected relationship with anthropology professor John (Ethan Hawke; Before Midnight). Unfortunately, John is married to Georgette (Julianne Moore; Still Alice), a needy and career focused fellow professor at a different school. As a result of their affair, John divorces Georgette and marries Maggie which leads to the child Maggie had been hoping for. After a few years of marriage, it becomes clear that Maggie and John are no longer working out, but instead of leaving like a sane person would do she creates the titular plan. Maggie notices that he still spends hours talking to his ex-wife and realizes that Georgette was indeed right for him. Together the two women create a scenario for Georgette and John to meet and hopefully rekindle their feelings for one another.
In a film with otherwise solid acting, Moore delivers one of the most hamstrung performances of her career. She has proven herself consistently reliable in a wide range of roles from an adult film star in Boogie Nights to a professor in Still Alice, but here she crashes and burns underneath a repulsive accent. Where is she supposed to be from…England? France? Germany? Is it just a speech impediment? Depending on the specific scene it could be any of those choices. Director Rebecca Miller (The Private Lives of Pippa Lee) was likely aiming to make Georgette appear more sophisticated but the gimmick is entirely unnecessary. Moore’s acting alone would have been convincing enough, but saddled with an accent that would make Tommy Wiseau jealous, her delivery detracts from an otherwise well-written character.
I have absolutely no idea what accent Georgette is supposed to have.
Conversely, the character of Maggie is always enchanting. Her attempts at almost Machiavellian manipulation are softened by Gerwig’s performance as she imbues Maggie with a well-intentioned naivete. Maggie is not scheming to absolve herself of latent guilt about entering a relationship with a married man, but rather she’s genuinely trying to create what she perceives as the best outcome for him. Even as things go awry, she never blames anyone, never holds grudges, and instead compensates by taking charge of other people’s responsibilities. As she sacrifices her own desires to help others, it becomes clear that Maggie’s problem isn’t that she is too controlling, it’s that she cares too much about others.
Her empathy, even at her own expense, carries the film. The other characters are each selfish in their own way, but Maggie never has any personal goals beyond a strong relationship with her daughter and every scene with her toddler further exemplifies her affection for those around her. Just as a mother restructures her life for the betterment her child, Maggie adapts herself to take care of her loved ones. She doesn’t always have the most logical methods, but her heart is in the right place as she suffuses the film with her blissfully unaware charm.
At the end of last year, 2016 looked like it would be the year of the video game adaptation. Beloved franchises from PC to mobile to console were being brought to the big screen in ways that seemed like they could actually work. This year we have Angry Birds, Ratchet & Clank, Warcraft, and Assassin’s Creed. The first two are animated films, Warcraft is live action with significant motion capture, and AC is live action. Before we discuss this year’s lineup in detail, let’s revisit the history and background of these films.
Video game movies are bad. That’s not an opinion, until now it’s been an accepted fact. The track record of video game adaptations has become a running joke to the point that fans of either medium groan whenever news breaks that a franchise has been optioned. In theory, it shouldn’t be abnormal for a video game movie to be good. Games have great, imaginative settings and, like blockbuster movies, they’re often driven by spectacle. The problem behind this sub-genre can be answered with two simple questions: “Why?” and “Who?”.
Whenever a work is optioned, it is usually done for either love of the source material or potential for financial returns. In the case of video games, it has mostly been the latter. Instead of viewing a game as an individual piece of content, producers and executives have been making video game adaptations based on the built-in fan base. Everyone played Super Mario Bros. growing up so why not make a movie? If even a small percentage of people who played the video game buy a ticket, the movie will profit. But what they’re not thinking about is what makes these games popular. People don’t play Mario because they love bipedal mushrooms or a giant turtle-dragon thing. They’re fans because of the interactive element and how it makes them feel. In Mario, it’s the tension created by barely landing on a platform, but this doesn’t translate at all to a film. You can’t adapt gameplay.
Instead, producers use their regular toolkits. They take successful video games with outlandish premises and try to shoehorn in a generic script. Was there anything about the Need for Speed movie that reflected the actual game? No. It was a heist movie made because The Fast & the Furious is popular and Need for Speed is a recognizable brand. It didn’t matter that the franchise had almost no storyline or greater world development, because financiers were only looking at the large box office potential given the sales of the video games and the success of similar films. They took the existing name and forced in a basic plot so bland that no fan would have been able to guess that it was an adaptation without being told.
Mordin sings Gilbert and Sullivan. Hard not to love this guy.
Video games don’t easily conform to standard storylines. This is true on multiple levels. On one hand, video games can be long. A retail game can sustain between 8 and 100 hours of playtime, depending on the title. Telling a story across this kind of timeframe not only allows for more plot points, but gives the player a chance to live in the setting and understand the characters in a way no regular film can. After spending 40+ hours playing Mass Effect 2, the side character Mordin Solus wasn’t just a character I liked, he was my friend. The mere constraints of the medium prevent single films from forging these kinds of relationships between the audience and the characters or settings.
Video games are not only story-based. If someone were to recommend a book and say “Just ignore the story” that would be a ridiculous suggestion. Unlike books, video games aren’t solely defined by their writing and unlike films, they have an additional layer beyond their visuals. The key to video games is interactivity. There is a tension created by the collision of prewritten narrative and player agency. As a character grows, the player is not just a viewer of the change but an active participant. They feel ownership over the events that have taken place.
It is the interactive element of video games that those adapting them to film most often miss. Anyone adapting a video game needs to look beyond the surface level a franchise’s features. Yes, the Prince of Persia series’s signature move is wallrunning, but shots of Jake Gyllenhaal scampering along a wall won’t have the same impact. It’s not just what a character does in a video game that matters, it’s how it makes the player feel. Wallrunning is about agility, power, and resourcefulness. You, the player, were able to outwit the precarious architecture and the feeling that results is one of nervous relief, satisfaction, and pride. These adaptations need to target the core feelings produced by playing, not watching, the video game.
Watching this is nowhere near as fun as playing it.
Much of the issue stems from the types of people making these films. As stated earlier, there are some that look at a video game and only see the guaranteed fanbase, but there are also issues of familiarity, both with the particular franchise and with video games as a medium. A successful director would need to understand filmmaking techniques as well as the language of video games. In most adaptations so far this hasn’t been the case. Often times the director has failed on both accounts, neither being an accomplished filmmaker, nor having any understanding of video games.
The best examples of how to make a successful adaptation come from a different medium – comic books. Pre-2000s there were many comic book film adaptations that were unsuccessful. This happened for very similar reasons to video game adaptations. The people making the films did not have the understanding needed of both mediums. It wasn’t until this century that the comic book era we currently live in began. Unlike previous films, these were being directed by talented filmmakers who grew up with comic books giving them a deep understanding of the medium and how it was both similar to and different from film. Video games have not been around nearly as long as comic books. If we want to start counting with the Nintendo Entertainment System, it’s only been a bit over 30 years. Most higher ups in the film industry tend to be over 50, so the people in charge now likely didn’t grow up with the medium. They’re trying to understand something foreign to them and fumbling the adaptation in the process.
However, soon the kids that grew up on Zelda and Final Fantasy will be in charge of directing or producing feature films. Once that happens, I expect the abysmal results of video game adaptations to improve significantly. Will there be a Nintendo Cinematic Universe? Probably not, but as video games diversify and grow there are more franchises that are ripe for optioning and more people qualified to take full advantage of them. Each of this year’s adaptations showed promise. Angry Birds lacks any story as a video game, but as an animated feature, it wasn’t a hard sell to think that someone would be able to tell a decent story using those characters. The Ratchet & Clank franchise on the other hand has always felt like a playable animated movie so the adaptation seemed completely natural. Unfortunately, the film was unable to capture the charm of the games and by all accounts was generic and forgettable.
Warcraft represented the best chance at a good, perhaps great film. The lore of the franchise had been developed for over a decade and was expansive with many individual plotlines that would function well in a film. That combined with the rising star director, Duncan Jones (Moon, Source Code), should have created unprecedented enthusiasm, but it didn’t. Despite Jones’s filmography, the consensus prior to release never rose above cautious optimism. When it finally debuted after a long post-production, Warcraft was panned by most critics and bombed at the US box office (although it did well in China). In reality, it was an enjoyable, but flawed film. Jones is a fan of the video games and was able to bring the appeal of the large-scale battles. Sadly, the overall quality was undercut by the burden of establishing a Warcraft film franchise. It wasn’t a giant leap forward, but did move in the right direction.
The next shot at true vindication is Assassin’s Creed in December. Directed by Justin Kurzel (Macbeth) and starring Michael Fassbender and Marion Cotillard, the film has a good pedigree. Furthermore, the franchise has an intriguing premise and plenty of opportunity to tell a contained story without requiring the greater world setup that Warcraft did. Whether or not the film succeeds, it is only a matter of time until the right team, with an understanding of both films and video games, gets behind the right franchise to produce the adaptation we have been waiting for. Until then, the unique style and presentation of video games will continue to seep into films, like Hardcore Henry, and fans of both mediums will patiently wait for the day we can watch Commander Shepard’s signature dance moves on the big screen.
Duncan Jones (Moon, Source Code) may be the first talented director to adapt a video game to film. His first two films proved he could readily handle sci-fi stories on a small scale and with complicated plotlines. With Warcraft he has had his chance to use a huge budget and high end special effects to bring one of the most popular video game franchise (and a favorite of Jones’s) to the big screen. Obviously, video game adaptations have had a track record that ranges from mediocre to awful so expectations were low. I’m happy to say that while not revolutionary, Warcraft is an enjoyable ride.
The larger lore of the franchise is expansive, but the film focuses on the central conflict of orcs versus humans (also the subtitle of the first game). Azeroth, the human land, is at peace until rampaging orcs come through an interdimenionsal portal searching for a new homeland. They are led by Gul’dan (Daniel Wu; Europa Report), a shaman orc, who uses a wicked type of magic called the fel that requires life as a resource. He intends to capture enough humans to reopen the portal and bring the entire orc horde to Azeroth. Durotan (Toby Kebbell; Dawn of the Planet of the Apes), an orc chieftan, begins to doubt Gul’dan after seeing the effects of his dark magic. On the other end of this conflict, the humans are unsure of how to deal with their new enemy. The orcs are hulking beasts capable of defeating a dozen men each. The ruler of a nearby land, King Llane (Dominic Cooper; Captain America), works with his brother-in-law and trusted knight Lothar (Travis Fimmel; Vikings) to quell this dangerous disturbance. They are assisted by a young mage Khadgar (Ben Schnetzer; Pride) and the Guardian Medivh (Ben Foster; 3:10 to Yuma), a wise and powerful wizard sworn to protect Azeroth. Together they capture a half-orc Garona (Paula Patton; Mission Impossible: Ghost Protocol) who works as their translator as they form a plan.
If that all sounds difficult to keep track of, it is. Yet it’s not as confusing as it could be. Jones and his co-writer Chris Metzen (a lead writer at Warcraft‘s video game developer Blizzard Entertainment) do their best to not overwhelm the audience with the expanded fiction. There are several named characters and locations, but each has distinctly different designs. You may not be able to remember their names but by the half hour mark the characters are easily recognizable and the hurdle of introducing the deep Warcraft lore to a new audience has been overcome.
The orcs’s search for a homeland unexpectedly humanizes them.
The script keeps the external details simple and instead focuses on subverting expectations of the genre. The minute orcs and humans are shown in the same movie, the plot can be immediately inferred. Orcs are assumed to be the bad guys, but the writers have added extra dimension to their motivations. As Durotan loses trust in Gul’dan and his deadly magic that slowly destroys the land, he attempts to forge an alliance with the humans to overthrow him and live in peace. These aren’t bloodthirsty beasts that kill humans for sport. They are families fleeing their desolate world in search of a better life. They want a home in a land that can be sustained, not just a new place to pillage. The internal conflict within the orc tribe effectively deconstructs their brutish appearance to explore their sympathetic goals.
Like the plot details, the special effects also have an adjustment period. The early scenes that only feature computer generated imagery are impressive in detail. The towering orcs are animated down to the shifting of skin and muscle over bone, giving their movements a physicality rarely seen in special effects. The trouble comes when they are placed alongside human characters. The modeled orcs fall into the uncanny valley when adjacent to the live-action actors, making the humans appear as if poorly superimposed onto an animated film. Fortunately, this disconcerting effect eventually wears down allowing the narrative to come into focus.
The narrative, however subversive, falls prey to the larger goals of the franchise. There is an overabundance of establishing shots. These vistas are clearly being forced into the film both as fanservice and to reinforce the grand nature of the greater Warcraft lore to unfamiliar audiences. While seeing locations rendered in such high fidelity will surely delight some fans, it will likely not have any effect on newcomers. Furthermore, Jones does not do enough to differentiate this story from other high fantasy. The standard tropes are present (mages, dwarves, elves, and plenty of british accents) but, unlike other successful fantasy like Game of Thrones, Warcraft‘s larger world appears derivative.
Blizzard’s goal with Warcraft is more than box office profits; they want to bring a declining franchise to new markets as evidenced by the free copy provided with each ticket. Yet, nothing about the film implies the expanded universe is unique enough to inspire such interest. There may be some new converts, but those will largely be attached to the movies, not to the games. It’s also clear that they plan to continue the films if possible. After a climactic moment, the story concludes abruptly, clearly skipping the needed denouement in order to allow for sequels that may or may not be made. This is an unfortunate development as the action scenes and overall story are well directed. The sight of massive orcs squashing humans like a game of whack-a-mole is thrilling and the characters, both orc and human, have relatable desires. While the goals of establishing the Warcraft fiction to create a new film franchise and entice new players to the video game are mostly unsuccessful and often detract from the overall product, Jones has delivered an action film that will satisfy longtime fans as well as entertain the uninitiated.
What are all moms best at? Everyone knows the answer to that question: forcibly inserting themselves into your life. The Meddler features Susan Sarandon (Thelma & Louise) as Marnie, a widow that was left with a large sum of money after her husband passed. So, she did the only natural thing and moved from Brooklyn to LA to be closer to her writer daughter Lori (Rose Byrne; Neighbors). Still reeling from a recent breakup, Lori is depressed and only wants to be alone. She goes to great lengths to avoid social events with her friends but unfortunately can’t avoid her mother who has a key to her house
Director Lorene Scafaria (Seeking a Friend for the End of the World) accurately captures how ingratiating a mother’s unwanted help can be, despite good intentions. Everyday Marnie calls repeatedly and leaves meandering voicemails that aren’t actually about anything. She asks her 30 something daughter to text her each time she leaves the house and does things after beings specifically asked not to. As Lori tries to set boundaries, Marnie uses her free time to become a part of other peoples lives. She attaches herself to Lori’s friends and other strangers she meets, offering unsolicited advice at every turn. Marnie starts driving an Apple store employee to night school, planning (and funding) a wedding for Lori’s friend, and helps a bedridden woman at the local hospital. She fully occupies herself with financially and emotionally helping others.
Zipper introduces Marnie to the other women in his life…his chickens.
Marnie creates relationships with others to fill the hole left by her late husband. After she starts seeing Lori’s therapist and gets approached by interested men, she exposes how fragile she is. Any mention of his passing and she’ll change the topic. It’s clear that both she and Lori are still grieving their loss, but the film does not fully explore its effects. It gestures towards these deeper feelings but barely skims the surface before reverting back to comedy.
The few glimpses into her true emotional state occur when she meets Zipper (J.K. Simmons; Whiplash), a retired cop who raises chickens. Simmons, for his part, is thoroughly charismatic as her Harley-loving suitor. His gentle approach and understanding of her behavior only serve to further endear him. As their romance grows, there are telling moments when Marnie deliberately pulls back. He invites her over, but she declines even though she is interested. She is still connected her late husband and isn’t ready to move on to someone else.
Despite her antics, Marnie never becomes unlikable. Even as she tries to steer Lori’s love life or uses salt bagels as a form of mental and emotional help, her deep affection for her daughter is always apparent. However, the film focuses too much on this behavior without thoroughly examining her and Lori’s grief. It sticks to the easy laughs and misses the opportunity to provide insights into the emotional aftermath of a losing a loved one. Without this added depth, The Meddler remains an agreeable comedy, but falls short of its potential and lacks the dramatic heft needed to give it staying power.
In a small village outside Seoul local policeman Jong-Goo (Kwak Do-won) is called to a crime scene. A previously normal man has viciously killed his family through repeated stabbing. The trend continues as more crimes occur featuring average people suddenly going on murderous rampages and losing their minds. All of these events began soon after a Japanese man (Jun Kunimura) moves into town and rumors spread in the village that he is somehow connected to the murders.
The Wailing starts out as a standard police procedural but soon hints at a supernatural bent. The culprits of these horrific crimes have a feral quality, growling and convulsing as if possessed. Some are seen prowling naked in the night before the crimes are committed. When people begin indicting the Japanese man for these horrendous happenings, they claim he has cast some sort of spell…literally. This is a setting where demons and witchcraft are very serious concerns.
The shaman makes his attempt to remedy the situation.
The film establishes several potential sources of unnatural intervention. The Japanese man, a Christian priest, and a shaman all have their own rituals and beliefs. Whether it’s holding a cross, sacrificing animals, or dramatic rites, each custom is portrayed in the same alien fashion. As the film progresses Jong-Goo must decide who to believe, but there is no clear answer. They all seem strange in their own way and the confusion only adds to the heavy dread already present.
There are strong resemblances to Bong Joon-ho’s masterpiece Memories of Murder. A somewhat competent cop, a series of murders in a small town, and near constant rainfall. Director Na Hong-jin (The Yellow Sea) uses the torrential precipitation to demonstrate the hopelessness of the situation. He also contrasts the idyllic countryside filled with lush forests against the gruesome murders. Like Bong, Na skewers the desire to describe complex issues with clear, understandable principles. The townspeople try to attribute the crimes to religious beliefs as a method of deflecting reality. What is the better conclusion, that a person has been cursed or that they knowingly committed a heinous crime? As Jong-Goo navigates this spiritual struggle, director Na expertly balances the human fears with the magical possibilities.
Whit Stillman’s fifth feature in 16 years and his first period piece proves to be one his strongest efforts. Adapted from a novella by Jane Austen, the film follows Lady Susan (Kate Beckinsale; Underworld), a once wealthy widow, navigating the circles of high society in late 1800s England. Her high lifestyle is provided by the friends and family members she moves between as she uses her social skills to secure a better life for herself and her 16 year old daughter Frederica (Morfydd Clark).
Calling them social skills is putting it lightly. Lady Susan has the gift of gab and is fully aware of her powers. She lies, feigns emotions, and uses every form of manipulation possible. With a few exceptions, she is able to cast a spell over her acquaintances to have them do her bidding. Her plan to maintain her posh life is to wed her daughter to the wealthy, kind, but clearly idiotic man, Sir James Martin (Tom Bennett; PhoneShop), and seduce her young, wealthy brother-in-law, Reginald DeCourcy (Xavier Samuel; Twilight Saga: Eclipse) into marrying her. Unfortunately for Lady Susan, the rest of her in-laws are aware of her methods and do everything possible to prevent her engagement to Reginald.
Stillman has always been interested in high society. In his debut film, Metropolitan, he explored the lives of what he called UHBs (Urban Haute Bourgeoisie), young wealthy aristocrats, and his characters even spent time discussing various pieces of Austen’s oeuvre. It’s clear that he and Austen share a love of the inner circles of the upper class. He takes full advantage of the setup from Austen’s book in creating his own vision. Stillman hones in on the minutiae of his character’s lives. He mines the excessive formalities of the time for full comedic effect. Characters often are polite to the point of laughable awkwardness. Their desire to remain polite leads to overlapping pleasantries that always entertain.
Sir James’s winning smile more than makes up for his lack of intelligence.
The best example of this is with Sir James. Like the character Thor from Damsels in Distress (a college student who still doesn’t know his colors), Sir James repeatedly fails to understand even the most basic concepts. This combined with his jovial demeanor and desire to please cause several unnecessary – and hilarious – misunderstandings. He’s a moron, but he’s a sweet lovable moron that steals the show every time he’s onscreen.
Lady Susan on the other hand couldn’t be more different. Like Greta Gerwig’s character from Damsels in Distress, she is a crafty manipulator. “Facts are a terrible thing”, she tellingly says to her confidant played by Chloë Sevigny (American Psycho). She is so bought into her own lies that it becomes difficult to tell fact from fiction, but Beckinsale makes the character’s pathological dishonesty believable. Just as Lady Susan manipulates the people around her, she is also able to entrance the audience. We know what she’s doing, but she’s too damn good at it for us to care.
Whit Stillman and Jane Austen have shown themselves to be the perfect pairing for a comedy of manners. Her wheelhouse of high society England melds seamlessly with his signature humor. He takes the prim, proper idiosyncrasies of the time and his lead’s habitual chicanery and exaggerates them to the point of ridiculousness. Stillman uses Lady Susan’s verbose, elaborate lies to keep everyone spinning, but the tailspin – and the continuous laughs that come with it – are just too enjoyable to stop.
Director Shane Black has now made a name for himself as a creator of buddy action comedies, starting with writing Lethal Weapon and later directing Kiss Kiss Bang Bang and more recently Iron Man 3. Here we have Russell Crowe (A Beautiful Mind), a bruiser for hire, teaming up with Ryan Gosling (Drive), a private detective, he hired to find a missing girl who is in danger. After being contracted to “send a message” to Gosling, Crowe decides to go back in order to hire him to help find one of his previous clients. The two make a deliberately odd couple with Crowe playing the efficient pragmatist and Gosling as the inept screw-up.
Above all else, Black’s goal here is comedy, but he is mostly unsuccessful. There were a few good laughs but the jokes miss more often than they hit. The humor can be divided into two broad categories: dialogue-based and physical. The dialogue-based humor, which is where the majority of jokes come from, mostly fails. Gosling’s delivery is often overconfident and dismissive, making his character slightly repulsive. Crowe’s jokes are based on his practicality, but instead of appearing curt, his rarely changing facial expressions just make him seem bored in the situation. Black’s strength is clearly with physical comedy. The best laughs involve Gosling falling and the gag only gets funnier with each tumble. It’s too bad that the director was not able to emphasize his slapstick skills as it would have created a much better film.
Crowe and Gosling’s first encounter is not amicable.
Part of the problem is that neither of the leads is likable. Crowe comes off as cold and, due to his profession, cruel. Gosling on the other hand is shown as somewhat incompetent and sleazy. He systematically extorts additional money from each job and takes advantage of confused elderly clients. We’re supposed to care about Gosling because he is a single dad, but the father-daughter connection is never established. The majority of the film has him sending his daughter (Angourie Rice; These Final Hours) to stay overnight at a friends house because he has to work. Her presence, or her mother’s absence, alone is not enough to create sympathy for an otherwise low-level, unscrupulous investigator.
Additionally, the attempts to create moral dilemmas are never fully fleshed out. The is a recurring motif where Gosling and Crow are asked if they are bad people. Gosling’s daughter easily answers yes for him, whereas Crowe isn’t sure what he is. During his violent encounters, he tries to stop before delivering a killing blow, especially when Rice is nearby. Yet, to the audience, the answer is obvious. He beats people up for money so there is no doubt that he is a bad person, which makes the central plot of the movie less believable. Why would Crow care about a former client enough to look out for her? He has never cared about his clients or victims before which makes this character turn unconvincing.
While plausibility or even sympathetic characters have never been requirements for a successful comedy, the humor needs to overcome these details. With The Nice Guys, Shane Black has been unable to beat these obstacles. There are just too many jokes that don’t produce any amusement. The physical humor does have its moments, but the frequency of laughs isn’t enough to sustain the runtime.
With recent releases like The Huntsman and Frozen, fairy tale adaptations are becoming increasingly common. Tale of Tales is also an adaptation of three mostly unrelated stories set in medieval Europe intercut together. The first story is about a Queen (Salma Hayek; Frida) who desires a child above all else. The second is about a King with a daughter who is interested in finding a husband while he is more interested in his pet flea. The final story is about two old sisters who try to fool the lustful King (Vincent Cassel; Ocean’s Twelve) into thinking they are young.
The stories are heavily inspired by the works of Hans Christian Anderson and the Brothers Grimm, but incorporate their own blend of metaphors and surrealism. Magic, ogres, and monsters are all present but they are portrayed in an atmosphere of desperation – one of the running motifs of the film. The characters focus on their goals to the point of obsession. The Queen desires her son’s love more than his own happiness, the King pays so much attention to his pet flea that he marries her to the wrong person, and the old sisters care more about their place in life than each other. In their fanatical pursuit of their desires, they damage the relationships they have for the unneeded ones they want.
Gorgeous locations like the Castel del Monte recreate the fantasy world.
All of this is presented with superb period detail. The cinematography is stunning with real castles and landscapes filmed on location and CGI used only sparingly. The dresses are immaculately designed and when characters are placed within the towering stone buildings, the film creates a believable medieval world with fantasy elements that feel right at home in the setting.
Unfortunately the grand total of the film is not greater than, or even equal to, the sum of its parts. Director Matteo Garrone has brought these fables to life and added his own layer of realistic gloom, but has not elevated them above their simple origins. The morals of each tale are clear, but not particularly profound or original. The stories are well told and beautifully framed, but their impact is ultimately fleeting.
Yes, I realize it’s almost halfway through 2016 already, but I wanted to be thorough and make sure I watched as many of 2015’s output before finalizing my list. The year end onslaught of Academy Award-ready films can be difficult to keep up with when you have another full-time job to attend to. Without further ado, here are my favorite films of the previous year.
11. Shaun the Sheep the Movie
Immaculately detailed and expertly choreographed, Shaun the Sheep is yet another great stop-motion film from Aardman Animations, the makers of Chicken Run. The film pulls from the best silent movies to produce an endearing, slapstick comedy with endlessly entertaining visual gags.
“What if I could put him in front you, the man that ruined your life?” Ethan Hawke plays a temporal agent traveling through time with his recruit Sarah Snook to prevent the bombings of a terrorist known as “The Fizzle Bomber”. The plot doesn’t take itself too seriously and instead makes use of the strong performances from its leads to explore the nature of cause and effect. Predestination is fun, twisty sci-fi at its best.
The directorial debut of actor Joel Edgerton is a psychological thriller masquerading as a horror film. After Simon and Robyn (Jason Bateman and Rebecca Hall) move to Los Angeles they run into an old friend of Simon, Gordo (Edgerton), who begins making unannounced visits and giving overly generous presents. Slowly the relationship dissolves and the past between Simon and Gordo is brought into question. Edgerton’s film draws heavy influence from Michael Haneke’s Caché in that it focuses on the guilt and repercussions of the past. Does time really heal all wounds? The Gift has a response to that question.
Meet the Patels is a heartfelt, often hilarious, documentary about the issues faced by 1st generation Americans caught between the culture they experience every day and that of their heritage. Co-directed by brother and sister Ravi and Gita Patel, the film shows Ravi as he takes the plunge into finding a spouse through an arranged marriage. Instead of making this overly serious, Meet the Patels affectionately focuses on the importance of bonds between this charismatic family.
Centered on the 2008 housing crisis, 99 Homes looks at the human cost of financial disaster. Andrew Garfield plays a young construction worker kicked out of his family home by Michael Shannon. What ensues is an unexpectedly tense exploration of both the winners and losers of the collapse. It shows what greed, desperation, and even success can do to the relationships we value most.
Spotlight features news reporters tackling a deep rooted problem deliberately hidden by the powers that be. The year’s best ensemble cast featuring Michael Keaton, Rachel McAdams, and Mark Ruffalo deal with the struggle of not only finding the truth but clashing with the culture of a city and a religion. Always somber and honest, Spotlight treats its serious subject matter with the respect and attention to detail it deserves.
This film follows a boy and his friend as they begin a relationship with a girl who has just been diagnosed with cancer. While it falls into many of the standard Sundance tropes, it elevates above these with the gravity of its subject matter. The main character has to come to terms with his friend’s condition as well as his own changing life. Part coming of age story and part tribute to cinema (the film features “sweded” parody versions of classics a la Michel Gondry’s Be Kind Rewind), Me, Earl, and the Dying Girl is an expertly directed film about dealing with loss during adolescence.
George Miller revives his classic franchise with some of the best vehicular combat ever shown on screen. The film is a 2 hour long car chase that uses incredible practical stunts that put the standard CG effects to shame. With breakneck pacing and surprisingly poignant quiet moments, Mad Max: Fury Road is the automobile action movie we’ve been waiting 30 years for.
Filmed using only deaf actors signing and lacking any subtitles, The Tribe is an experiment in visual storytelling. At first, the decision seems troublesome as it immediately alienates the audience, but as the film continues the subtleties of each scene begin to tell the story. The gait of a character, the way they stand next to others, or the speed at which they sign all convey the actions taking place. As The Tribe explores an underground crime ring at a school for the deaf, it uses its purely visual approach to wordlessly express complex emotions.
[BS Note: NSFW. Extremely explicit and not for everyone]
Composed of six unrelated humorous revenge stories, Wild Tales showcases scenarios exaggerated just slightly beyond the realm of reality but not out of its reach. The characters, while seemingly normal, always overreact to their situations leading to ridiculous outcomes. The film is bursting with manic energy and earns its laughs through creative set ups. Easily the funniest film of the year.
When Gaspar Noé announced his next movie was going to be called Love, I thought the title must be ironic. Surely the man who directed Irreversible and is often accused of nihilism wasn’t actually covering that territory. Yet, that is exactly what he did. Love is simultaneously Noé’s most personal and most indulgent work. There are characters named both Gaspar and Noé with the latter played by him and some scenes are exercises in unnecessary exhibitionism. Most of the news covering the film has focused on the details of its production and its explicit nature, but that is missing the point of the movie. Love, flaws included, is exactly the film Noé wanted to make. It’s a film that explores all aspects of the titular emotion. The spark of a new relationship, the heartbreak that can follow, and, unlike other films, physical desires. In other movies, intimate scenes between characters are unnecessary and voyeuristic, almost like a requirement needed to show how “adult” a film is. Here, Noé builds the entire film around these scenes. The physical contact is an extension of the emotions felt by the characters. With only a few exceptions, they are meaningful scenes that develop the characters and build their relationships. Combined with Benoît Debie’s beautiful visuals and an entrancing soundtrack, the film casts a hypnotic spell, pulling the viewer into the feelings – both physical and emotional – that love brings.
[BS Note: NSFW. Extremely explicit and not for everyone]
What would you do to impress someone? For Conor Lalor (Ferdia Walsh-Peelo), the answer to that question is basically anything. After being transferred to a new school, he sees Raphina (Lucy Boynton) standing across the road and goes up to talk to her. He finds out that she’s a model so he creates a relationship the only way he knows how: he asks her to be in a music video for his band. This would have been a good idea except he doesn’t actually have a band. Conor and his friend recruit band members and start writing songs and making music videos. His initial hope is just to find an excuse to talk to Raphina but eventually his musical ambitions grow to match and entwine with his romantic goals.
The film is set in the ’80s and is heavily influenced by the music of the era. Conor’s older brother hands out records like a teacher assigns homework to guide the musical progression of the band. Duran Duran, Hall & Oates, The Cure and more artists are the sonic inspiration for the developing group as well as the soundtrack to the film. The band’s original music begins spectacularly as each song is energetic, catchy, and sincerely adolescent. Despite the high production values added by the real songwriter and music producer, they feel honest to the characters’ age. These early tracks are so memorable that when the later songs are played, while still strong, they feel lackluster in comparison. Instead of steadily building to a showstopping number, the film’s final performance is overshadowed which detracts from the emotional climax that it is supposed coincide with.
The band clearly doesn’t know what they’re doing and they don’t care.
Director John Carney (Once) displays a deep affection for his characters. The story is the semi-autobiographical account of his own childhood and each of the band members, while clearly misfits, are endearing in their own way. The main cast had no prior acting experience and Carney is able bring out natural performances from them. The key instrumental talent Eamon (Mark McKenna) spends most of his time doing “rabbit stuff” and the pint-sized redhead Darren (Ben Carolan) is oblivious to his own limits as he signs up as the band’s manager, music video producer, and cinematographer. They’re also hilariously unaware of their mistakes. Conor’s attempts at acting cool in front of Raphina are endearing failures and the band’s attempts at creating a signature look fail miserably as each band member is limited to what he can find in his closet, This leads to a band with members dressed in a ’80s suede disco suit, a heavy trenchcoat, and even a cowboy.
It is this disregard for realities and probabilities that gives Sing Street its infectious charm. The characters are underdogs that don’t realize it and they take every challenge head on. Form a band? Ok. Write a song? Let’s get started. They never take a moment to examine their own abilities which fills the film with a sweet, naive optimism. And this applies to more than making music. The film compares music to love. Conor’s brother says “Rock and a roll is a risk…” and its clear throughout that this is the same risk Conor takes in pursuing Raphina. In pursuing his passion, he risks ridicule and failure, but, as Raphina puts it, “for [your] art [you] can never do anything by half.” Sing Street is a vivacious and endearing story of growing up through music and romance with an exceptional soundtrack that will be on many playlists for years to come.
“What if I could put him in front you, the man that ruined your life?” Ethan Hawke plays a temporal agent traveling through time with his recruit Sarah Snook to prevent the bombings of a terrorist known as “The Fizzle Bomber”. The plot doesn’t take itself too seriously and instead makes use of the strong performances from its leads to explore the nature of cause and effect. Predestination is fun, twisty sci-fi at its best.
