2017, Recent Reviews, Reviews

Alien: Covenant (2017)

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Five years after Prometheus began the Alien prequel series, Ridley Scott returns with Alien: Covenant. The film picks up with an entirely new cast aboard the titular ship, this time a colonization vessel headed to a far-off target. It is operated by an android named Walter (Michael Fassbender; Shame) until an electrical storm requires him to wake the crew from stasis. As they work on repairs, the ship picks up a transmission from a nearby planet that appears to be a viable candidate for their new colony. The crew seize the opportunity to start their new lives early and dispatch a team to investigate. This leads them to David, the android from Prometheus (also played by Fassbender), curiously alone on the planet,

Fassbender is again the highlight of the film. His performance in the dual role is able to distinguish the two android iterations in very subtle ways. The differences in regard for others, self-preservation, and thinking process all convey the slight reduction in Walter’s humanity and the effect it has on his behavior. Furthermore, the androids provide the biggest source of thematic allegory in the film. There are several biblical allusions, both overt and subtle, throughout the story, but David and Walter as Cain and Abel is a fitting comparison, particularly given David’s own obsession with creation. As the two interact and David examines Walter’s consciousness, the film recalls Scott’s own Blade Runner. The line between independence and subservience becomes a compelling question but is unfortunately only barely touched upon.

The contrast between Walter and David is the film’s most interesting idea.

The major problem with Alien: Covenant is that it devotes too much effort to not being Prometheus. The first Alien prequel had such a vitriolic backlash that it is understandable why Scott would prioritize placating franchise fans, but in doing so he prevents Covenant from having an identity of its own. As flawed as Prometheus was, with its characters acting in nonsensical ways, it had a distinct feel from the main Alien films. It was about big ideas, like the origin of life itself, and had huge set pieces as opposed to the narrow corridors of the early Alien films. The hook of the film, humanity meeting its creators, justified the expedition and the risks it required.

In contrast, Covenant feels like an unnecessary side story. The new cast checks the boxes of an Alien film, but isn’t relevant to the greater fiction. The film can’t compete with Prometheus in terms of its narrative thrust and gorgeous, sprawling sets but also can’t rival the high-strung horror tension of Alien. It even continues the problem of characters making obviously stupid mistakes. They take enormous risks with little caution and without the potential reward to rationalize their decisions which makes the consequences they suffer bring little sympathy. Even when their actions are valid, most of the cast is still inconsequential to the series which gives the audience little reason to invest in them. Without a distinctive personality or greater franchise implications, Alien: Covenant can’t help but feel like Scott is treading water until the next prequel which will hopefully bring the franchise into new, more inspired territory.

3/5 stars.

2017, Recent Reviews, Reviews

Free Fire (2017)

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Imagine if you made a movie based on the last scene in Reservoir Dogs. Ben Wheatley (High-Rise) has done just that. Free Fire is about an illicit weapons deal gone wrong. A large cast of criminals featuring Sharlto Copley (District 9), Brie Larson (Room), and Armie Hammer (The Lone Ranger) is forced into an impromptu battle when two of their lower henchman let a personal, unrelated conflict escalate into violence. As the gunfight continues, loyalties are questioned and it’s unclear who (if anyone) is likely to escape.

You could call Free Fire a bottle film but Wheatley pulls variety out of the setting. The abandoned factory is littered with structural beams, remnants of machinery, and building materials that serve as impartial cover during the shootout. The area is rarely shown in its entirety which makes each person’s hiding spot unreliable. The audience, like the characters, doesn’t know how exposed everyone is and if someone might be creeping around a corner to get an angle on an outstretched leg. The action becomes WWI-style trench warfare and the constant danger makes what is essentially a movie where the cast spends most of the runtime laying on the ground a tense shootout.

Copley’s arms dealer cares about his outfit as much as the sale.

There is a nice mix of humor here. The action, while explicit, is played for slapstick laughs. Characters are often shot in the leg or grazed on the shoulder making their damage a painful annoyance rather than a devastating blow. Even seemingly deadly fire can still leave a character mobile and functioning. The cast also adds their efforts to the tone with Copley as the main comedic relief. He continues in his recent streak of overacted roles, but here it fits the character. His eccentric arms dealer with an exaggerated South African accent is a great take on the barely-competent criminal trope and contrasts nicely with Hammer playing the efficient straight man as his partner.

Wheatley has taken on a significant challenge: making a film in a restricted location with little to no upfront backstory its characters. In the end, we don’t know much about them beyond a broad archetype (drug addict, loyal protector, etc.), but the lack of exposition is a smart choice. Wheatley emphasizes their behavior in battle to reveal their true nature. It’s the way they line up a shot or how quick they are to protect someone on their side that tells volumes about them. This allows the audience to focus on the action without dragging down the pacing. At a taut 90 minutes, Free Fire is a breezy and bloody Mexican standoff with plenty of slapstick humor to boot.

4/5 stars.

2016, Top Lists

Best Films of 2016

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2016 went by in a flash but some of its films have still left an impact. Yes, it has been a while since the year ended, but this list’s lack of timeliness means many of the movies discussed here are now available on streaming services.

One of the biggest surprises of the year was not just the quality of films but the strength of new filmmakers. Several of the films below are made by first-time directors which bodes incredibly well for the industry as a whole and means there will be even more impressive films sure to release in the future.

15. Nocturnal Animals

The framing narrative can be stale at times with unneeded avant-garde flourishes, but the inner story is thrilling. Tom Ford’s take on a Deliverance-style encounter is a frightening look at the fragility of one’s existence. Seemingly perfect lives can be destroyed in an instant and even deep affections can turn into resentment.

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14. Hacksaw Ridge

Mel Gibson has never been one for subtlety and Hacksaw Ridge is no exception. The character development is saccharine but earnest and the action is gratuitous but visceral. He is a visual director whose skills come through in the wordless action scenes. Gibson deftly stages the many moving pieces of combat to create a deliberately disorienting chaos. The violence may be too gory for some, but he captures the pandemonium of battle with great success.

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13. The Witch

Stark and slow-moving, The Witch is a film that uses the bleakness of its period to full effect. It’s a horror film about the paranoia of a pilgrim family. When things don’t go according to plan and mutual mistrust builds, every character’s behavior becomes suspect. Even when the facts aren’t there to support assertions, it’s their perception of others and need for an easy explanation that leads to their downfall.

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12. Maggie’s Plan

Despite her busybody nature, the titular character is never anything but endearing. Greta Gerwig’s performance shows that her meddling comes from the best of intentions. As Maggie pulls strings in the relationships around her, the genuine affection she feels for her loved ones and sacrifices she makes for their benefit make her a lovable presence. Even as she fumbles her plans, her actions are filled with a palpable warmth.

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11. Love & Friendship

Who knew Whit Stillman’s arch humor would translate so well into a period piece? His clever phrasings and prim tone mix perfectly with the haughty manners of the setting. Kate Beckinsale as the deceptively loquacious widow is entrancing as she talks circles around her friends and family to get her every wish fulfilled. The swirling verbal dance she plays is a joy to behold, even when you know of her calculating nature.

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10. Hell or High Water

Hell of High Water is a film that strips a genre down to its core. It’s a modern western presented as a low-scale heist movie. Instead of relying on elaborate staging, it leans on the terse dialogue and body language of its characters. The acting is so expressive in its own subtle way that a brief conversation becomes as thrilling as a police shootout.

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9. Eye in the Sky

Drones have been a hot topic in the media lately, but Eye in the Sky is more than topical. It evaluates the minutiae of several stakeholders in each military mission. Politics, infantry, pilots, and data analysis all play a part in actions that have good intentions but inherent, often fatal, tradeoffs. The film succeeds by creating tension at each stage of decision-making and driving home the moral complexity behind every order.

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8. The Handmaiden

Park Chan-wook is known for his often transgressive plotlines but with The Handmaiden he adds a more playful tone. Returning to Korea after a brief foray into English language films, he is clearly enjoying his freedoms back home. The story swivels through different perspectives, each revealing new, film-altering context. Every twist is a face-slapping surprise as the director expertly – and repeatedly – flips over audience expectations.

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7. Wiener-Dog

Director Todd Solondz has created another world of marginal characters locked into stagnant existences. Like Robert Bresson’s classic Au Hasard Balthazar, it follows one animal as it travels in and out of the lives of its owners. The overwhelmingly depressing tone may be too much for some, but there is truth behind each person’s failures. Their missed potentials or bleak futures are products of their unfortunate situations. Even as the characters sink further into their miserable realities, their plight is deeply sympathetic.

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6. Hunt for the Wilderpeople

Balancing over the top antics with a heartfelt message of belonging, Taika Waititi has created his best film to date. The unlikely duo of a 13-year old ne’er-do-well and a grumpy old man mistakenly becoming the center of a nationwide manhunt is an endless source of humor and only buoyed by an eccentric supporting cast.

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5. Girl Asleep

Set in an elaborately designed 1970s, Girl Asleep is a fresh take on the coming-of-age movie. The first half is a vivacious look into a teenage girl’s interactions with her quirky classmates and family, overflowing with panache, and the second half is a surreal exploration of the pressures she faces as she tries to reconcile changing expectations in her transition to womanhood and independence. It’s an original experience that is as flamboyant as it is honest.

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4. Swiss Army Man

While it will most definitely turn off viewers with its aggressively weird premise and moments of gross-out humor, Swiss Army Man is an incredibly emotional journey. It looks at the value of friendship from the angle of outcasts and examines the nature of conformity with Daniel Radcliffe’s talking corpse as the mouthpiece of the directors. It’s a call to break free from our own inhibitions and an indictment of the self-doubt that prevents us from being happy, filtered through the minds of two strange filmmakers.

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3. A Monster Calls

Movies are rarely more honest about grief than A Monster Calls, especially from a child’s perspective. At every turn, it eschews easy answers and delves deeper into the emotions behind the pain of watching a loved one suffer. Using beautifully rendered fairytale stories and a lifelike tree monster voiced by Liam Neeson, it tackles the seldom touched upon topic of guilt with uncommon sensitivity and insight.

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2. Sing Street

Sing Street is the most infectious movie of the year with an incredible original soundtrack and endearingly oblivious characters. As the kids start their own band in 1980s Dublin, their tenacious spirit and adorable naivete is irresistible. Whether it’s writing the next hit song or winning the affections of a certain someone, anything is possible. Director John Carney has proven once again that he is the master of the modern music movie.

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1. Under the Shadow

Blending physical and supernatural dangers, Under the Shadow creates tension with every scene. The unexplained missing items, freak occurrences, and ingrained superstitions escalate into an unbearable level of suspense without ever resorting to frequent jump scares or cheap gore. I have never been more terrified of a piece of fabric in my entire life.

[Streaming options. DO NOT watch the dubbed version. Please change your settings to watch in the original Farsi.}

Special Mention: Pure Pwnage Teh Movie

Its appeal is incredibly small, but if you are in the specific demographic that grew up with the original web series, Pure Pwnage Teh Movie is going to be an unexpectedly successful modernization of an early-internet-video classic.

[Currently available for VOD rental on Vimeo]

2017, Recent Reviews, Reviews

Their Finest (2017)

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WWII movies have been done to death, but Lone Scherfig (An Education) brings a new angle on the conflict. Mrs. Cole (Gemma Arterton; Prince of Persia: The Sands of Time) joins the British Ministry of Information’s film team working on propaganda films. Her job is to write the “slop”, meaning the women’s dialogue, and inspire them to send their sons and husbands to war. In her way are production conflicts, entitled actors, and a clearly sexist mentality in her predominantly male organization.

The film’s visuals are what we’ve come to expect for period pieces. Colors are muted with only subtle blues and reds to stand out from the dominant grays. The sets incorporate a lot of green screen in order provide era-appropriate backdrops, but these skylines are glaringly synthetic. The contrast in the gray is more reminiscent of Sin City’s hyper-stylized visuals than sepia-toned photographs the filmmakers were likely targeting. While not unpleasant by any means, the heavy digital coloring and choice of sets instead of physical locations make the film more like an artificial, computer-generated landscape than an authentic 1940s London.

The elaborate sets never feel like a real location.

Feminist themes provide the backbone of the film. Mrs. Cole has to deal with constant derision and her intelligent opinions are often overruled or simply disregarded because of her gender. The film makes it obvious how little her contribution is initially valued as she accepts no writing credit and a lower pay than her male peers. As cliché and predictable as it might be, her growing confidence and reputation with the cast and crew are incredibly rewarding. She pitches movies, rewrites endings, and becomes the go-to writer as she consistently proves her ability to create emotions in her screenplay. Her progression from meekly consenting to others to firmly standing by her opinions is a simple, but enjoyable change.

Along with its message, the film brings plenty of humor. Bill Nighy (Love Actually) plays an aging self-absorbed actor whose fame may have subsided in reality but is still very much alive in his own mind. His melodramatic flourishes during his acting scenes or exaggerated advice to a new actor are hilarious. He is the veteran with too much pride and too little patience to bother with pleasantries as he calls out others and demands rewrites so he can have more screen time. His sassy attitude prevents the film from becoming too rigid.

The producers from the Ministry say they are looking to make films that have “Authenticity informed by optimism” to motivate their people for the war efforts.  The makers of this film have plenty of the latter but lack the former. There are major, unneeded plot turns that add forced drama. They feel cheap and go against the grain of the otherwise natural character arcs. These may be holdovers from the novel the film is based on, but they feel constructed for the sole purpose of making the audience cry by any means necessary and are so blatant that they are almost insulting. Arterton’s performance as the ever-committed Mrs. Cole and the unexpected humor are enjoyable, but they can’t overcome a contrived third act.

3/5 stars.

2017, Recent Reviews, Reviews

Colossal (2017)

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Nacho Vigalondo, the Spanish director who debuted with the similarly strange Timecrimes, is back with his highest profile release yet. Colossal stars Anne Hathaway (The Devil Wears Prada) as she plays against type as Gloria, an out-of-control alcoholic writer who returns to her small-town family home after being kicked out by her fed-up boyfriend. When back home she reunites with a childhood friend (Jason Sudeikis; We’re the Millers) and discovers that she is somehow controlling a giant Godzilla-like monster rampaging through South Korea.

The ridiculous setup brings lots of laughs. As Gloria discovers the rules of her powers, her drunken attempts to make sense of things are hilarious and Hathaway is clearly enjoying herself in the role. In her few moments of sobriety she fails miserably at explaining her situation to her friends. It isn’t until she starts making the monster dance or do other unusual movements that she is able to convince them. These scenes become comedic as the director crosscuts between her steps in a suburban playground and the masses of hysterical people fleeing city-wide destruction in Seoul. Then, when she is afraid of what might happen if others knew about her ability, she clumsily tries to hide the truth, as if anyone would believe her. When Gloria is still discovering the rules of her situation, the film is as funny as it is intriguing.

The discovery of Gloria’s powers is the best part of the film.

What’s surprising is how being the monster changes her. In her previous life, Gloria’s lack of responsibility allowed her to spiral out of control. She didn’t have any impact on others so she was left without a purpose until now. The ability to control a gigantic beast in another country becomes empowering. She can suddenly communicate with and affect the lives of millions and it changes the way she approaches her life. She starts to make better decisions (i.e. drinking less) and taking more responsibility. The use of the supernatural setup to grow her character is an unexpectedly compelling character arc.

It’s the film’s latter half that drags it down. Unsatisfied with the lighter tone, Vigalondo moves the film into much darker territory. Certain characters make abrupt turns into villainous roles and the sudden change is unearned. It ruins the fun of the wacky premise and doesn’t match the precedent set by the early parts of the movie. The director also adds unnecessary exposition. There are brief flashbacks throughout the film that hint at the cause of Gloria’s powers, but when their true nature is fully revealed it creates plot holes rather than filling them. The explanation doesn’t add gravity to the film and only distracts from the core: Gloria’s self-improvement. As strange as it seems, these changes stretch belief more than Anne Hathaway controlling a kaiju.

The most important factors in a film like this are consistency and commitment. Consistency in tone and commitment to the story. Far-fetched premises like Being John Malkovich, or any of Charlie Kaufman’s works for that matter, succeed because they have a clear emotional direction and stick to that angle. Other unusual takes on the kaiju genre like Bong Joon-ho’s The Host managed their lighter approach because they never deviated from their initial intent. Instead of continuing in the tone of Colossal’s successful early sections, Vigalondo loses focus and falls prey to damaging forced conflict and exposition.

3/5 stars.

2017, Recent Reviews, Reviews

The Zookeeper’s Wife (2017)

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The WWII/Holocaust movie has been explored ad nauseam but New Zealand director Niki Caro (Whale Rider) has brought her attempt to standout within the crowded genre. The film covers the true story of Antonina (Jessica Chastain; Zero Dark Thirty) and her husband. They are the owners of the Warsaw Zoo and when Germany invades and their animals are taken away, they use the extra space to smuggle Jews from the ghetto. Daniel Brühl (Rush) plays the German head of zoology that takes command of their zoo and has his eyes on Antonina as well.

With so much centered on the lead, Caro couldn’t have cast a better actress. Chastain’s Polish accent is jarring at first, but it never falters and becomes more natural as the film continues. She is completely at ease with the animals, large and small, and her gentle nature make the role believable beyond the problematic script. This is helped by the decision to only use live animals. It allows a natural chemistry that wouldn’t have been possible with computer generated effects and makes the setting feel like a real zoo.

The film’s major failing is that Antonina is too one dimensional. Despite Chastain’s committed performance, the character is unintentionally simplistic. Instead of being a pure, innocent person in a world where humanity is lacking, much like Chastain’s character in The Tree of Life, she can come off as weak, short-sided, and childish, particularly early on. There are a few moments of strength but she spends most of the time at the mercy of others and when the situation worsens, her actions are unrealistic for any adult in the same circumstances.

Antonina is not the brave or nuanced character the story requires her to be.

Antonina is supposed to be a hero, and her real-life efforts were truly deserving of that descriptor, but the film underplays her involvement. When her husband first suggests bringing Jews from the ghetto to hide in their zoo, she protests on grounds that it would put them at risk. While this is a very reasonable fear given the consequences of the period, it does nothing to cast Antonina in a heroic light. When the German troops first invade Poland, she seems more concerned with keeping her animals than the people that are suffering. Her focus on animals before humans makes her a myopic character and her initial dissent against the rescue efforts portray her as more of a bystander than an active participant in the noble acts.

The director has claimed that this is a different type of Holocaust story. It’s true that few movies set in this period or about war examine female-led stories, and even fewer still show them as brave. The trouble is that the script has held too closely to established tropes of the genre. There is very little that separates this film from the glut of similar stories. The biggest surprise is that it is opening in March instead of the end of year release expected for biopics. Furthermore, the script doesn’t give Antonina the strength she needs. She is often shown as more submissive than courageous and that prevents her from becoming the icon she so clearly deserves to be. Caro’s intent is admirable and Chastain’s performance is excellent, but they are held back by the underwritten lead role and familiar biopic dressings.

3/5 stars.

2016, Top Lists

Best Music Moments of 2016

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Whether it’s used to enhance an emotion or add an interesting contrast, music has always been intertwined with movies. Some of my favorite scenes in all of cinema rely heavily on their music and last year’s lineup was no exception. Here are the best musical moments of 2016, in no particular order. Some minor spoilers follow, but will be called out before each movie as needed.

Captain Fantastic – Sweet Child O’ Mine

Beginning with gentle acapella vocals, this rendition of Sweet Child O’ Mine starts out as an elegiac goodbye to a lost loved one and the past they carried with them. The children in the film are about to start a new chapter of their lives, but before the melancholy sets in they switch to a rousing, upbeat, acoustic sing-a-long. The jump in tone exemplifies the family’s resilience as they quickly move beyond their sorrow to face the future ahead, remembering the joy their mother brought them rather than their sadness at her absence.

Sing Street – Up

This is probably the most difficult film to pick an entry from, but also the most deserving. Like John Carney’s previous movies, Sing Street is filled with amazing original music. The film is an ode to the music of the 80’s and its songs come straight from the youthful hearts of the band members. Up may be my personal favorite from the soundtrack. It’s a boy basking the ups and downs of his first love. The vocals lift off to new heights as the singer experiences his first feelings of romance. His genuine naivete and joy are infectious. Be sure to also check out the other songs from the film.

Everybody Wants Some!! – Rapper’s Delight

The characters’ aggressive hypermasculinity of Everybody Wants Some!! was often repulsive as they continued to turn on each other for the slightest appearance of victory. However, their one moment of unity was in a short car drive. Between trading insults, they take a break to sing when the Sugarhill Gang comes on the radio. Their playful handoffs finally reveal the deep comradery hidden underneath the insults they normally hurl at each. It’s a welcome, exuberant expression of male friendship.

Girl Asleep – You Make Me Feel

An unwanted birthday party with everyone in your school invited is a wallflower’s worst nightmare. As the film’s shy lead stands in fear, the celebration ends up being something far beyond the normal. The party becomes surreal as each classmate dances their way in and drops off their gift. Just when it feels like things are back to normal the entire crowd erupts into an unexpected, synchronized dance number. It might be far-fetched but the 70s spirit is too contagious for anyone to care. This scene is a glorious abstraction and one of the grooviest moments of the year.

Hardcore Henry – Don’t Stop Me Now

As if Hardcore Henry’s action scenes weren’t exaggerated enough, the director uses Freddie Mercury’s bellowing vocals to take the film to the next level. Caught in a state of weakness and surrounded by enemies, Henry double fists shots of adrenaline and jumps back into the thick of it. The Queen song best exemplifies the film’s gleeful take on violence and has oddly appropriate lyrics. This isn’t about serious fighting. It’s a respite from the gritty realism of many modern action movies and a celebration of the euphoria that can be created with well-choreographed violence.

American Honey – American Honey

When the titular track finally plays, it’s more than background music, it’s a culmination of the lead’s aimless life. The song’s sweet, nostalgic vocals reminisce on a past long gone. For Star (Sasha Lane), it creates a moment of realization of what her journey has been and will continue to be. It’s a redefinition of what the American Dream is to young people like her. Not a path of upwards mobility, but a horizon of limited opportunity. As she looks around at the troubled youth just like her, the song becomes a farewell to her aspirations and an acceptance of her constrained future.

Swiss Army Man – Montage

Last year’s weirdest film also came with the most meta musical moment: a montage featuring an acapella track titled “Montage”. The strangely anthemic vocals underscore an uplifting spirit and narrate the actions onscreen as we discover just how many odd uses the corpse of Daniel Radcliffe has. It’s the arts-and-crafts quirkiness of Michel Gondry combined with Spielberg’s sentimentalism as the bond between the two leads grows and allows them to escape their own loneliness – and use a dead body as a machine gun. Honorable mention must be given to the film’s use of the Jurassic Park Theme. Remember: “If you don’t know Jurassic Park, you don’t know shit”.

Toni Erdmann – Greatest Love of All

A series of increasingly uncomfortable interactions created by an eccentric father trying to be involved in the life of his stressed out straight-laced daughter build to a moment of what could be pure embarrassment. Ines (Sandra Hüller) is forced to sing in front of strangers, something she is completely unprepared for and her performance is as cringe-inducing as it is funny. Her singing begins shyly as it takes several intros for her to even start but she unexpectedly escalates into a full, committed performance. Each note belted out and every sassy expression on her face is a masterclass in awkward amusement.

La La Land – Audition (The Fools Who Dream)

My opinions on La La Land were much more lukewarm than most, but the real standout moment of the film is during a crucial audition. Mia (Emma Stone) has been crushed by her constant rejection as an actress and only returns to Hollywood at the behest of her boyfriend. Instead of being guarded, she opens herself up and delivers a personal tale. The background fades to black as Stone’s increasingly mournful expression dominates the frame with a painful ballad of pursuing one’s dreams at all costs. The vulnerability and reflection of her unsuccessful career turn the song into an aching eulogy for her own failed aspirations.

Star Trek Beyond – Sabotage (SPOILERS)

Director Justin Lin brought a fun, frenetic energy to the action of Star Trek Beyond and nowhere is this more apparent than in the finale. After being attacked by a horde of interconnected spaceships, the only solution is to beam low-tech radio at the frequency of their communications and disrupt their flight patterns. Instead of some forgettable signal, the only available transmission is a Beastie Boys song. Their anti-establishment spirit and the silly setup make the film’s climax a playful wave of explosions that stick it to the man (err…bad alien).

2017, Recent Reviews, Reviews

Personal Shopper (2017)

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Olivier Assayas’s newest film was surprisingly the most divisive entry at last year’s Cannes Film Festival. After the screening, several critics booed the movie while others applauded. Despite the mixed reaction, most likely in response to the ending, it went on to win the award for Best Director. Personal Shopper is the second team-up between Assayas and Kristen Stewart after 2015’s Clouds of Sils Maria. Stewart plays Maureen, a personal shopper in Paris who happens to be a medium. Her twin brother, also a medium, recently died from a congenital heart disease they both share. They made a promise at a young age that whoever passed away first would give the other a sign from the afterlife so Maureen stays put in a job she hates, waiting for his signal.

Stewart delivers consistently strong acting. Her conflicted expressions display her fragile emotional state. Losing her twin brother was losing a part of herself and that mourning prevents her otherworldly explorations from becoming pretentious or irritating. During her day job buying clothes for her wealthy employer she shows her professional ennui without appearing whiny. Her character’s longing to reconnect with her twin brother and inability to move past with death are deeply sympathetic. Her previous experience working with the director has clearly benefitted her as she completely inhabits the role.

There is a certain amount of unintended silliness to the movie’s premise. It’s very easy for ghost stories to become laughable when attempts to connect with spirits are stilted and Personal Shopper occasionally veers into that territory. Large portions of the film feature Stewart texting the ghost that is supposedly stalking her which isn’t as foreboding as direct contact would have been. There are scenes when this type of communication is used effectively, like turning on your phone to see a series of progressively violent texts, but at times it makes the spectral world seem disappointingly mundane.

Stewart’s fearful attempts to make contact are the best parts of the film.

When Maureen is faced with meeting a ghost in person, the film is able to ratchet up the tension. As she explores an empty house or apartment looking for a signal from a spirit that may or may not be her brother, there is a palpable sense of dread because anything can be mistaken as a sign. Did someone leave that faucet on? Is it the wind that opened this door? Stewart’s performance hypersensitizes the audience to every irregular detail that could potentially be caused by supernatural interference. These scenes create the desired apprehension and show the potential of what the film could have been.

Personal Shopper is help back by its unfocused screenplay. Assayas splits the runtime across the intriguing ghost story and the fairly banal workplace drama. This prevents either aspect from being fully developed and actively harms the tone created in the ghost story. Maureen’s dissatisfaction with the menial tasks the make up her job and the demanding, inconsiderate diva she works for is relatable but consumes unnecessary screen time. Had Assayas been more decisive with his focus, he could have either made a compelling exploration of the afterlife or an interesting drama about a stifling dead-end job. Without a clear direction, Personal Shopper can’t succeed beyond Stewart’s committed performance.

3/5 stars.

2017, Recent Reviews, Reviews

Raw (2017)

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The first thing to know about Raw is that it’s not for the squeamish. Its early screenings have caused audience walkouts, vomiting, and even fainting in festivals from Gothenburg to Toronto. Even knowing that you’re about to see a difficult film is not enough preparation, so consider yourself warned. The story follows Justine (Garance Marillier), a young woman raised vegetarian, who begins her first year of veterinary school. This is the same school her parents went to and her older sister Alexia (Ella Rumpf) is a senior student there. During a hazing ritual in her first week, Justine is forced to eat a raw rabbit kidney. From there, her taste for meat grows and can only be satisfied by human flesh.

The body horror is disgusting. And by that I mean it is incredibly realistic. The film is filled with blood and lacerated flesh. The practical effects capture the repulsive sheen of blood coated surfaces. Justine’s mouth, dripping with the thick crimson fluid, is a disturbing sight to behold. The movie also features some vomit-inducing scenes involving human hair shot in extreme closeup to prevent the viewer from any chance of relief. The effects, and their staging, make viewing a harrowing experience.

Justine is always at the mercy of those around her.

Despite being her first theatrical feature, director Julia Ducournau is remarkably adept at tackling complex topics. She uses long takes during Justine’s first party experience to convey the mass hysteria of young people raging with drugs and alcohol. She is even able to examine the subtleties of sibling relationships within the context of Justine’s nascent cannibalism. When Justine is forced to betray her personal beliefs by eating meat, she takes out her anger on Alexia for not supporting her. The two argue, slam doors, and even fight, but their love for each other comes through when they are at their worst. As their primal appetites surface, they reach an understanding with each other. Ducournau is able to capture the clashes that underscore the love between siblings.

Marillier’s performance prevents the movie from devolving into schlock material. Her genuine confusion as she deals with the changes in and around her is in stark contrast to her peers. Even as her lips are stained red with blood, her face exudes innocence, not malice. Her bloodlust appears like an uncontrollable urge hard-wired into her. She tries to stop her habit from growing, but it is a part of her being. The compassion her acting elicits makes her a sympathetic character, even when her actions are aberrant.

Raw might be best described as a cannibal coming of age movie. As violent as Justine’s habits become, they are symptomatic of her sheltered life. She is shown as the well-behaved, hard-working child that hasn’t experienced the world. Whether it’s cannibalism, sexual awakening, or independence from her family, she hasn’t had the chance to define herself and the changes are just another part of her self-discovery. Ducournau grounds the explicit narrative and transgressive behavior with the symbolism of a young woman finding herself and directs the gore with unsettling skill.

4/5 stars.

2017, Recent Reviews, Reviews

Song to Song (2017)

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Continuing his rapid pace of releasing movies, Terrence Malick (The Thin Red Line) sets his newest film in the music scene. It features a star-studded cast with Michael Fassbender (Shame) as a music producer, Ryan Gosling (Drive) and Rooney Mara (Lion) as performers, and Cate Blanchett (The Lord of the Rings) and Natalie Portman (Black Swan) as other women who get wrapped up in their series of short-lived affairs.

The film’s “plot” is barely present and the few discernable aspects are disappointing. Supposedly, Song to Song is a romance, but there is nothing remotely romantic shown. Malick is known for not using traditional scripts. He relies on actors to improvise scenes based on only the setup and never have the pitfalls of this approach been more apparent than the scenes of what I can only assume was intended to be romantic chemistry. The actors have big smiles on their faces as they attempt to have authentic, playful interactions. Instead, they come off as annoying or severely cringe-inducing, best exemplified in a scene where Fassbender hops around a beach screeching and scratching like a monkey. As painful as these scenes are to watch, I can only feel sorry for the actors that had to perform them.

There is also a worrying trend regarding the treatment of women. Malick has been known for infantilizing his female characters. They are often young, innocent girls or adult women who display a pure naivete, but this previously appeared to come from a good place. It seemed like a celebration of innocence rather than a restriction on what women could do, but his new films have revealed some disturbing ideas. As in his last film, the women here are treated as sexual objects to be used, cast off, then reused when needed. They may have their own motivations but Malick’s portrayal shows them as little more than ways for his hedonistic male characters to satisfy their own desires.

The upscale parties and general opulence offer little reason to feel for the characters.

Visuals have always been Malick’s strong suit, but even that seems to be deteriorating. Using his regular cinematographer, the incredibly talented Emmanuel Lubezki (Gravity), he is again able to create some stunning natural-light footage. Yet, there are a few confusing choices that mar his normally perfect images. Several scenes were shot on location at the music festival Austin City Limits and some use GoPro-like cameras. This was likely done to get closer to the action of the mosh pits, but the lower-resolution fish-eye shots do not mesh with the rest of the film. Their low-quality is a glaring fault. There is also a strange overuse of oblique angles. Many scenes are off-kilter close-ups of an actor’s face. Perhaps this was done to convey the subjectivity of the character’s thoughts, but instead it is only distracting. These unfortunate choices detract what would otherwise be the film’s greatest strength.

One of the few changes to Malick’s style is his use of music. His usual ethereal, orchestral score is still present, but, due to the setting, more modern music is also included. These songs offer some desperately needed energy to the film. Their use helps add variety to the soundtrack and breaks up the overused strings. It was perhaps the only modernizing of Malick’s approach throughout the film.

Song to Song is almost a repeat of Knight of Cups but set in the music world instead of the film industry. Like that movie, there are people living in exorbitant wealth while pursuing their dreams that are inexplicably mopey. Characters go after their desires in selfish ways and, when the obvious consequences occur, Malick expects the audience to sympathize with them. But, why would we? He, like his characters, appears to be living in a bubble. There are no sympathetic or relatable characters here, only sketches of vague emotions. The frequent voiceovers are filled with pretentious, pseudo-philosophical thoughts that are often unrelated to anything onscreen and read like midnight scrawlings from the director’s bedside notebook. His narrative films after the flawed, but magnificent The Tree of Life, if you can call them narrative films, have been a continual letdown. Malick’s work has sunk further into incessant navel-gazing and his visual style is no longer enough to make up for it. Song to Song is another exercise in Malick’s recent string of insufferable self-indulgence.

1/5 stars.