CLASSICS WEEK: ‘One Crazy Summer’
May 15th
CLASSICS WEEK: ‘One Crazy Summer’ contains all the elements for a fun summer flick
It’s classics week and with the start of summer right around the corner, it’s only fitting to revisit a classic summer film. After much debate, I decided to go with a classic comedy that stars some now very well-known actors, an ensemble cast of ‘80s stalwarts, and a narrative you’ve come to expect from an ‘80s comedy. This week’s classic summer flick review is the 1986 romantic comedy “One Crazy Summer” starring John Cusack and Demi Moore.
After failing to follow in his family’s footsteps in receiving a basketball scholarship, recent high school graduate “Hoops” McCann (John Cusack) jumps at the chance to get away from his smothering mother and join his best friend George (Joel Murray) for a summer on Nantucket Island. Hoops must illustrate a love story in his attempt to get into art school, but he is in a creative rut thanks to a lackluster love life. His fortunes begin to change when he meets Cassandra (Demi Moore), a struggling musician trying to save her grandfather’s home from a greedy investor. When all else fails, Hoops and his friends must try to beat Nantucket’s most elite at their own game — a boat regatta — in an effort to save Cassandra’s land.
Cusack’s body of work during the fun ‘80s film era is incredible (including “The Sure Thing,” “Better off Dead” and “Say Anything”), and “One Crazy Summer” is a great addition to the list. He graciously shares the spotlight with running mates Murray, Curtis Armstrong, Bobcat Goldthwait and Tom Villard — and they all deliver. This was the debut film for Joel Murray (Bill and Brian-Doyle Murray’s brother), and he plays the quirky sidekick to the hilt. Though this film didn’t launch Joel to the fame by his more well-known brother Bill, he has enjoyed a long film and television career.
Although the film is full of somewhat childish humor, there are some surprisingly sincere plot lines. Director Savage Steve Holland (“Better off Dead”) slowly develops Hoop’s relationship with Cassandra and though predictable, it comes to a satisfying conclusion. “Ack Ack”(Curtis Armstrong, best known as Booger from “Revenge of the Nerds”) has an ongoing struggle with militant dad forcing his values on his son. As most buddy-films go in the ‘80s, there are themes of friendship, teamwork and underdogs coming out on top for the greater good.
For a silly ‘80s comedy, the structure is quite solid. Sure, most of the film’s events are complete fabrications of reality, but Holland creatively uses animations of the protagonist to smoothly move from plot point to plot point. There are a lot of characters planning a bevy of shenanigans and evil plots, but it never gets overwhelming. In the film editing world, there is something known as an open or closed frame that refers to the psychological state of the characters on the screen. For example, using a shot of a character in a cramped, dark space may indicate a feeling of being trapped and helpless, hence a “closed” frame. In “One Crazy Summer,” the actors move freely about the entire island, making it a two-hour, open-framed film that adds to the fun of the characters’ antics.
“One Crazy Summer” has everything you’re looking for in a fun summer flick: Zany characters, handsome frat boy antagonist, good vs. evil plotline, quirky group of dependable friends, a ton of “those guys” (actors who play minor characters whose names you can’t quite remember), and a sports-themed montage. Pair that with great performances by young Cusack and Moore, and you have a great film to pop into the DVD player when looking to stay inside on a blazing hot summer day.
Travis Yates
DVD REVIEW: ‘Haywire’
May 8th
REVIEW: ‘Haywire’ has right idea, wrong execution
I have to preface this week’s review with a caveat as to why I’m not reviewing the record-shattering film “The Avengers.” I’ve been looking forward to the climax of the Marvel series for some time now, but a funny thing happened on the way to May 4: the craze of 3-D. I’m a strong opponent of 3-D films. It seems kitschy to me; something a child might find interesting. As a film connoisseur, I find it only detracts from the story and overall film experience. Film is indeed a visual art form, but it also incorporates storytelling, sound, audience psychology and participation, and acting. 3-D stresses the visual component and places less importance on all other equally important aspects of film. The homogenization of Hollywood continues — and I refuse to be a part of it. So when I discovered the local AMC theater was only offering “The Avengers” in 3-D, I boycotted the theater all together and instead turned to its little sibling, the DVD, to see what was new. I wanted to see “Haywire” when it was in theaters but didn’t get the chance, so I thought it was a perfect compromise for this week’s new DVD review.
Private contractor Mallory Kane (Mixed Martial Arts star Gina Carano) is on the run after being set up and framed for murder. She doesn’t know who is responsible, with potential guilty parties including her boss Kenneth (Ewan McGregor) and the government agent that hired her firm (Michael Douglas). Kane sets out on a mission to find out while hopping countries on the run. She begins to uncover a conspiracy that runs deep and leads her to people she never expected.
Veteran director Steven Soderbergh surprisingly misses the mark with “Haywire.” As spy films often go, not everything is revealed to the audience all at once – figuring it out for ourselves as the audience is a big part of the genre’s experience. The problem with this film is so little is revealed during the first hour that it becomes more frustrating than enjoyable. When the pieces do begin to come together, it involves minor characters who you have to try to recall and find yourself asking, “Who?”
The film is an interesting mix of its predecessors. It features the action and backstory of “Rambo,” the plot of “The Bourne Identity” and the feel of a classic spy film a la “Ocean’s Eleven” (not surprising considering Soderbergh directed the modern “Ocean’s” series). Unfortunately, this is not a case where the sum is greater than its parts. Chase scenes last entirely too long and involve mostly Carano running from unseen threats. It is a stop-and-start affair that never settles on a consistent pace. As girl power goes, Carano fits the bill, but the fight scenes are over-choreographed and also stretch implausible amounts of time.
The cast is star-studded with McGregor, Douglas, Channing Tatum, Michael Fassbender and Bill Paxton joining newbie thespian Carano. Unfortunately, they appear in limited fashion, contained mostly to short sequences, flashbacks or phone calls. Soderbergh misses an opportunity to use the incredibly talented cast at his disposal to piece more of the complicated story together, instead dedicating about a third of the screen time to Carano’s stunts, fights, and chase scenes.
This was definitely a case of “right idea, wrong execution.” The film has an intriguing plot, interesting locations and mise-en-scene, a tremendous cast and a fresh new action star in Carano. You never really feel sympathetic for Mallory Kane because she never stops kicking butt long enough to reflect on her own dire situation. A little less action and more focus on character development could have made “Haywire” a solid addition to Soderbergh’s resume. Instead, things seemed to go a bit haywire for the film and we end up with a shallow action flick focused on the physical nature of the attractive female protagonist rather than her emotional side. Finding a balance of the two could have done wonders for the film.
Travis Yates
REVIEW: ‘The Cabin in the Woods’
Apr 24th
REVIEW: ‘Cabin’ an experience worth seeing in theater
We attend movies for different reasons. Sometimes it is loyalty to an actor or director. Often times a popular novel or book series is adapted to the big screen. And sometimes — as is the case with this week’s review — a film not even on your radar generates enough buzz to get you to the theater to see what the talk is all about. Enter “The Cabin in the Woods,” directed and co-written by Drew Goddard. On the surface, the film looks like any other slasher-in-the-woods movie, but given Goddard’s pension for the mystery and macabre (he wrote “Cloverfield” and served as a writer and producer on TV’s “Lost”), you have the feeling there has to be something more. And there is … much more.
Five college friends are looking for a weekend of fun and relaxation at a remote lakeside cabin. Everything is not as it seems in the cabin, though, as two mystery technicians are closely observing the friends every move. When the cabin guests unknowingly unleash nightmarish terrors, they slowly realize that a higher power is manipulating their actions, and their only chance to survive is to escape. When running away from the campsite is not an option, any hope of survival lies in uncovering the true meaning of the cabin.
Vague, I know, but I cannot reveal much more without spoiling the entire film. When describing “The Cabin in the Woods” to my film students, I told them it is a campy ‘80s throwback horror film. When I realized most of my students were born in the ‘90s and didn’t quite get the reference, I switched gears and called it a sci-fi version of “Evil Dead.” Most of them got that having seen the Bruce Campbell cult classic. Extra credit all around this week.
Based solely on the trailers, I expected “The Cabin in the Woods” to be somewhat scary, but I thoroughly enjoyed the unexpected cheeky humor. Imagine my surprise when Richard Jenkins (“Step Brothers”) and Bradley Whitford (“Billy Madison”) were the first two characters to appear on screen. The two provide classic timing and comic relief as shameless voyeurs who claim their dirty deeds are a necessary evil while clearly enjoying every minute of it.
“The Cabin in the Woods” is a classic example of story vs. plot. A film’s plot is what we see onscreen during the 90 to 120 minutes of a movie. A film’s story refers to the events that occurred leading up to the cinematic moment where we as audience members come in (keep in mind this is different than a character’s backstory, which may or may not be related to the plot). Sometimes the story is directly referenced, other times it is more inferred. Goddard is brilliant with the slow reveal of the story, patiently dropping small morsels of clues about the meaning of the cabin while we watch the plot unfold. Though you start to get a sense of what’s happening early in the second act, there are still plenty of surprises waiting at the film’s climax.
Co-writer Joss Whedon called “The Cabin in the Woods” a chance to move the horror genre away from what he describes as “torture porn” (i.e. the “Saw” and “Hostel” franchises). It does indeed take a retro approach to killing off characters in an almost juvenile way, much like the days before sadistic killing for the sake of killing took over the cinema world. The film is full of subtle nuances that will take several viewing to fully appreciate. It’s a fun experience worth seeing in the theater with some friends. Just be careful … you never know who’s watching.
Travis Yates
REVIEW: ‘Lockout’
Apr 17th
REVIEW: ‘Lockout’ a must-see for sci-fi/action fans
One of the first things I discuss with my film students is how audience bias and expectations play a role in how we view movies. This week’s film review of “Lockout” is a perfect example for that lesson. Because of my predilection for big budget sci-fi/action films, I view them through a totally different lens than the other genres. I give filmmakers a pass for the ridiculous scenarios, cliché one-liners and one dimensional characters, looking instead for pure entertainment. The trailer for “Lockout” appeared to qualify the film for all of these faults and more (I’ll revisit the trailer in a bit), so I headed to the multiplex to see if it was as good/bad as I was hoping.
In 2072, a maximum security prison called “MS1” is operating in space, housing Earth’s most heinous criminals. First Daughter Emilie Warnock (Maggie Grace, “Taken”) suspects there might be abuse occurring at the prison and visits the facility to interview prisoners who have been kept in stasis during their incarceration. A prison break ensues during the visit, and MS1 starts on a collision course with the U.S. eastern seaboard. Former government agent Snow (Guy Pearce) has been accused of espionage and his only shot at freedom is to accept the dangerous mission to infiltrate the prison. Called impenetrable by its creators, Snow must now do just that — get inside the prison and rescue the President’s daughter before the facility slams into Earth.
The film’s trailer explains that “MS1” houses the planet’s most deadly criminals, followed of course by the hook that the President’s daughter is visiting on a goodwill mission. Why they would ever allow the first daughter to visit such a dangerous place is beyond me. We then learn that there’s only one man capable of going in to rescue the president’s daughter, but he is a loose cannon. I would be disappointed if he weren’t. The trailer alone is pure cheese, and the corresponding film delivers in this respect.
“Lockout” is the brainchild of Luc Besson (Director of “The Fifth Element”), who served as Executive Producer. He tabbed young Irish filmmakers James Mather and Stephen St. Leger to co-direct the film, and you can tell they don’t take themselves or the film too serious. The plot is more about convenience than drama, more than half of Pearce’s dialogue consists of witty one-liners, and the hardened criminals are able to navigate most of the prison’s high tech gadgetry with ease. But when Snow shows up and crashes the party, who cares? We’re here to see Guy Pearce beat up some bad guys in space — there it is again…that exception that this genre always receives.
Despite the less-than-stellar story, the film’s casting is surprisingly good. Guy Pearce bulked up for the role and feels natural in an action hero role. He brings a snarky wit to the character that helps separate Snow from many his action-adventure predecessors. Grace said she was attracted to the role of Emilie Warnock because of the character’s toughness. British actor Joseph Gilgun (“This is England”) steals the show as the psychotic Hydell. He’s part of the brother duo that leads the prison riot, and his actions drive the antagonist’s narrative. When Warnock’s accusations of prisoner abuse are proven true, Hydell becomes somewhat of a twisted sympathetic role, despite his evil actions.
“Lockout” is a fun 95 minutes. Imagine if “Escape from New York” met “Alien” and had a film love child. You never feel fully engaged in the story because despite the environment, the characters never appear in real danger. It’s more chase than confrontation. Visually the film is a success with unique locations and a plethora of science fiction tech to work with. While I wouldn’t recommend you rush to the theatre to grab your seat (there will be plenty), fans of the genre should check this film out at some point.
Travis Yates
DVD REVIEW: ‘War Horse’
Apr 11th
DVD REVIEW: ‘War Horse’ a recommended journey
I had planned on heading to the theatre this week, but with the only new cinematic release being “American Reunion,” I decided to rethink my strategy. I’m sure the film is funny, but let’s face it, this is something like the 18th incarnation of the franchise. Instead, I turned to the newly released DVD “War Horse.” The film’s cinematic debut fell between Christmas and New Year’s Day last year, so it kind of got lost in the shuffle. I’m a fan of Steven Spielberg, war films, and film’s featuring animals, dating back to 1989’s “Turner & Hooch.” It was finally time to see how the master director would put all of these elements together.
To spite his bullish land owner, local drunkard Ted Narracott buys a thoroughbred horse rather than a plow horse for use in his fields. His son Albert (British actor Jeremy Irvine) names the horse Joey and develops a strong bond while training him for work on the farm. The two are ripped apart when the family is forced to sell Joey to the British Cavalry during World War I. Joey’s journey takes him to both sides of the war effort while Albert enlists with the hopes of finding Joey, and as the war tears Europe apart, man and animal continue their improbable journey in hopes of a reunion.
Though “War Horse” is one film, the narrative unfolds as several individual stories connected through the experiences of Joey. Some critics call the film old-fashioned, and the first sequences certainly have a high key Technicolor look to them a la “Gone with the Wind.” This all changes when we move from British point of view to the German’s. The shift in mise-en-scene is brilliant as it changes with the overall tone of the film. Bleak colors replace light as oily death machines crank towards the German front lines, pulled by horses once regaled by soldiers.
Spielberg claimed he didn’t want to create another “Saving Private Ryan” yet the backdrop of the war plays an integral role in the film. Using subtle techniques such as blocking the firing squad death of two soldiers with the fan blade of a spinning windmill and slashing sword blows without what seems now to be the obligatory spurt of blood, he creates a violent world that doesn’t overpower you with graphic images but rather emotion. The film turns dark very quick, but still manages to maintain its purpose of telling Joey’s story – including the darkest periods of the magnificent creature’s life.
Perhaps the biggest accomplishment of the film is the personification of Joey. The steed’s stubbornness, fondness of close relationships with other animals and the people around him, and unwillingness to give up are all captured throughout various moments of the film. It is a testament to screenwriters Lee Hall and Richard Curtis, who were tabbed with combining the original novel and stage adaption into an effective narrative featuring an animal as the protagonist.
“War Horse” is as much a celebration of horses in life as it is on celluloid. The original children’s novel “War Horse” written by Michael Morpurgo was inspired by real conversations the author had with World War I veterans. Spielberg captures the essence of those memories in the film — from the relationships the soldiers had with their horses to the sacrifices of the animals during the war. The film also features hundreds of horses and minimal special effects. The only scene they couldn’t shoot using an actual horse is a squint-inducing scene where Joey is completely tangled in barbed wire.
I don’t usually find myself hoping for the typical Hollywood ending. In fact, I rather enjoy an unexpected twist that leaves a film a bit messy rather than in a nice package with a tidy bow. But “War Horse” was different. I felt emotionally invested in Joey and in the journey he takes to get back home. Of course Spielberg delivers, with a great minor twist that works without soiling the film’s denouement. Though not your typical war film, “War Horse” is a journey I recommend everyone take.
Travis Yates
DVD Review: ‘Corman’s World: Exploits of a Hollywood Rebel’
Apr 3rd
DVD REVIEW: ‘Corman’s World’ reveals a caring, complex individual
What if I told you one of the most influential men in Hollywood doesn’t own an Academy Award? If you asked today’s film school students, they wouldn’t even know his name. I’m talking about Roger Corman, better known as the king of “B” movies. Corman has made nearly 400 films in his illustrious career, most of them independent and extremely low-budget. New to DVD is “Corman’s World: Exploits of a Hollywood Rebel” — a documentary about his impact on the film industry. From aliens to radioactive insects, the film covers all of Corman’s classics, and much more.
Through a collection of clips from his films and interviews with Hollywood legends such as Martin Scorsese and Jack Nicholson, director Alex Stapleton does a great job of building not only a retrospective of Corman’s work but also capturing his true impact on Hollywood. Often called pulp cinema known for outlandish plots and cheap effects, Corman’s legacy is not necessarily his screen credentials but rather his role as a mentor and influence on today’s biggest directors.
Scorsese calls Corman’s films, “Art, just another kind of art.” It’s a fair assessment of a true Hollywood rogue who eschewed big studio budgets in favor of total control of his films. Corman would cut both cost and time from his productions while surrounding himself talented yet inexperienced actors, directors and producers. He launched the film careers of Jack Nicholson and William Shatner, and Peter Fonda credits Corman with saving him from a Disney image. “Corman’s World” explains how he did it all with a risk-taking style and never taking himself too serious.
It wasn’t all smiles for Corman. The documentary also reveals a depth to the filmmaker that may surprise people. He seems at peace with the “B” films he’s known for but does wish that he was taken more seriously in his career. While sharing a deeply personal experience about filming the racially charged 1962 film “The Intruder” he reveals that this was his only film that lost money (William Shatner also goes into detail about the experience in his autobiography “Up Till Now”). Corman says the experience taught him how to use the subtle art of subtext to get his social message across — not necessarily the first thing you think of with a Corman film.
Stapleton juxtaposes Corman’s hidden longing for austerity with a review of his most artistically noteworthy films. He is perhaps best known for his six Edgar Allen Poe films, though in typical Corman fashion he used his access to one of the sets to crank out the non-Poe film “The Terror.” Scorsese calls “The Trip” a kind of poetry. Peter Fonda says “The Wild Angels” set the stage for “Easy Rider.” Though Corman never received an Academy Award, he was given an honorary Oscar by the Academy of Motion Picture Arts and Sciences in 2009.
“Corman’s World: Exploits of a Hollywood Rebel” goes beyond recapping a historic film career. The documentary reveals the long branches of the “Corman Film School” tree that includes Francis Ford Coppola, Robert De Niro, Dennis Hopper and countless others. Corman truly worked independent by choice. In the late 1970s when many of his mentees moved on to bigger things, Corman stayed true to his independent roots. Corman knew his audience and what they wanted to see, no matter what personal message he wanted to include. Most importantly, the film reveals a caring, complex individual who loves his craft, his colleagues, and his fans. Perhaps this is what makes him a true Hollywood rebel.
Travis Yates
CLASSIC REVIEW: ‘Limitless’
Mar 28th
REVIEW: ‘Limitless’ has its limits
While perusing the new DVD releases in search of a film review, I was reminded that it has been a year since the action/thriller “Limitless” was released in theatres. I missed the theatrical run and somehow missed the DVD release, so in honor of “Classics Week,” I dusted off a nearly year-old copy of “Limitless” to see if the Bradley Cooper vehicle was destined to become an instant classic.
Eddie Mora (Bradley Cooper, “The Hangover”) is a struggling writer with a bad case of writer’s block and a girlfriend who is leaving him. A chance encounter with an old friend changes Eddie’s life when he’s given a sample of a drug that allows one to access 100 percent of their brain. When Eddie finds his supplier dead, he grabs the stash of pills and embarks on an incredible journey of self-discovery and success that includes finishing his novel and making millions while manipulating the stock market. Eddie ups his dose of the drug when going into business with tycoon Carl Van Loon (Robert De Niro), but his plan backfires and causes bleak side effects. Eddie is left trying to solve several unraveling mysteries while dealing with the dangerous effects of the drug.
I’m going to file “Limitless” in the good idea/bad execution drawer. I understand what director Neil Burger (“The Illusionist”) is trying to say, but it all feels contrived, like watching a paint-by-numbers project unfold. Burger uses several production tools at his disposal, and while interesting at first, they do get rather redundant. When the effects of the drug kick in, we see what the user sees through a distorted fish eye lens. This is initially unique, but after one viewing, we get the point and don’t need overuse of the contorted view. The film uses a cool, blue filter for a faded look when Eddie is in his normal state and a warm, vivid color palate when he is on the drug. They serve as contrasting visuals, but again might have worked better in small doses rather than back and forth during the entire film.
Unfortunately, the flaws in the film also appear to be limitless. Eddie constantly accesses memories he didn’t know he had once taking the drug, which begs the question of if we only use a small portion of our brain in the first place, how could so much information be available at all? Do our brains serve as the world’s largest DVR, recording every instant of our lives ready to play back at a moment’s notice? At one point shortly after discovering the power of the drug, Eddie narrates that he’s come up with a plan that requires a lot of cash, which is why he ditches his writing career for Wall Street. This grand plan is never mentioned again, though we do discover Eddie is running for a U.S. Senate seat in the film’s denouement. The audience would see Eddie as a likeable protagonist whose ends justify the means knowing all along that his end game is to make a difference in politics. Instead, we see him take advantage of his new found power at every turn, with no mention of politics or making a difference.
There are several eye-rolling moments in “Limitless,” including a ridiculous chase scene through New York’s Central Park where simply yelling “help” would suffice. For the sake of an action sequence, Eddie’s girlfriend stops to call him…is instructed to take one of the pills…and then “thinks” her way out of trouble by running through a crowded ice skating rink, grabbing a ten-year old girl and twirling her around to slash the face of her would-be attacker. It is a scene that must be viewed to be believed, or rather disbelieved. Another classic (and in this sense I mean classically bad) has Eddie slurping up an antagonist’s blood in an attempt to ingest the chemicals found in the drug — and of course it works instantly.
Ironically, the film about using every part of your brain comes off as a tad condescending to its viewers. We could do without all the visual cues throughout the film. It is as if Burger thought the film might be too confusing and needed to reinforce every nuance of the plot — a little subtlety could go a long way here. “Limitless” should have been a deep psychological thriller but instead was arranged in a fashion that appears contrite and even silly at times. Even with Bradley Cooper’s charisma and Robert De Niro’s cool, this film has its limits.
Travis Yates
REVIEW: “Melancholia”
Mar 20th
REVIEW: ‘Melancholia’ has little character development, strong message
One of the things I love about Tuesdays is the new DVD releases. With limited choices when it comes to theatrical releases, those of us who live in the Quincy metropolitan area sometimes miss out on great cinema. I understand it just isn’t profitable for AMC to fulfill the wishes of the few when they can sell out two screens of “Twilight” to the masses. That’s what makes Tuesdays so important for film lovers — when the good stuff we missed out on in the theaters finally becomes available. New to DVD this week is “Melancholia” — a unique Danish film that combines science Fiction with the feel of the German Romanticism movement.
The tumultuous relationship between sisters Justine (Kirsten Dunst) and Claire (Charlotte Gainsbourg, “The Tree”) is pushed to the limit as a family struggles to find normalcy in catastrophic times. A hidden planet is heading toward Earth and scientists are split on if it will collide with our planet or pass by. Justine’s life falls to pieces while Claire and her husband John (Kiefer Sutherland) continue on as if all is normal. As the tension builds, the sisters face a role reversal in the face of impending doom, changing the dynamic of their relationship.
“Melancholia” puts a new twist on cinematic doomsday scenarios by focusing almost solely on the human drama — specifically the relationships in one small family. The narrative is broken up into two parts – Part I focuses on Justine and her depression as she self-destructs on her wedding night. Part II takes place shortly after Justine’s infamous meltdown and examines Claire’s relationship with her husband and son while helping Justine recover from the grips of her depression. While the entire film is slow developing, Part I drags on about 45 minutes too long. All of the human drama and emotion surrounding the impending catastrophe takes place in Part II, so we essentially get an hour-long exposition that introduces characters we never see again and touches upon relationships the film never revisits. If you can make it through the dull moments of Part I you’ll find a much richer narrative awaits.
The film’s score — the prelude to Richard Wagner’s opera “Tristan und Isolde” – plays a tremendous role in the film. The moody tone of the music fits the film’s theme to perfection, and writer/director Lars Von Trier (“Dancer in the Dark”) set the pacing of many of the scenes specifically to the score. It was a brilliant choice in his effort to capture the essence of German Romanticism. The setting – a Swedish seaside castle— also emphasizes Von Trier’s vision of mystic beauty.
Despite the elegant mise-en-scene, Von Trier is said to have found the inspiration for this film while battling his own bout of depression and his interest in the calm demeanor of melancholy people in the face of crises. Ultimately that is how the film plays out – more of a morose case study rather than a traditional narrative. There is little character development, only one featured location, and not much is revealed regarding the celestial body hurling toward our planet. Themes of love, fear, depression and family are explored, and despite the über-slow Part I, the film has a strong message that ultimately leaves you questioning how you would respond in the face of impending death.
Travis Yates
REVIEW: ‘Silent House’
Mar 12th
REVIEW: ‘Silent House’
Some days I wonder if the saying “everything has been done before” rings true, especially when it comes to Hollywood. In the age of remakes, reboots, sequels and prequels, anything that breaks new ground is a welcome sight. “Silent House” fits that bill, described as eighty eight minutes of real fear captured in real time and purported to be shot in one continuous take. While technically a remake of the 2010 Uruguayan film “La Casa Muda” (Spanish translation: The Silent House), the concept is still fairly new to Hollywood (2000′s “Time Code” is Hollywood’s only one-take film that comes to mind). While the plot didn’t necessarily draw me in – girl gets trapped in family lake house and must fight to survive – the concept of one single long take capturing an entire narrative certainly caught my attention. I visited the theatre to find out if this unique style would play out as kitschy or groundbreaking.
With the family lake house on the market, Sarah (Elizabeth Olsen) joins her father and Uncle to help with repairs. A family fight sends her Uncle off storming off into town, leaving Sarah and her father alone in the house. When investigating a strange noise upstairs, Sarah’s father is attacked and Sarah discovers she is trapped inside the locked and boarded up home. A game of cat and mouse between Sarah and the unknown intruder unfolds, and while attempting to escape Sarah must face events from her past that are more horrific than what is currently happening in the house.
The one-take cinematography is hit or miss throughout the film. The opening moments take us from a stylistic aerial shot of the rock-lined shore to a jerky jaunt up a path to the lake house, leaving one member in the audience behind me asking out loud if she was going to suffer from motion sickness ala “The Blair Witch Project.” At times the voyeuristic style lends to the narrative quite nicely, especially in those extreme close up moments of anticipation. Other times it just comes off as messy, with cinematographer Igor Martinovic bouncing along side Sarah as she runs from room to room. Overall I think the one-take style worked for this particular film given the narrative and location, as I don’t think the more conventional editing route would have added anything to the film.
While the cinematography concept may be novel, everything else about the film is cliché. The film is filled with what I call “eye rollers,” those moments of inexplicable stupidity by the protagonist. How one manages to get locked inside an old house is beyond me, but Sarah manages to do it…wait for it…twice. The plot twist at the end gives a bit of justification for the severe lapses in judgement, but filmmakers Chris Kentis and Laura Lau could help the audience connect with the protagonist with a few less idiotic moments.
The film uses a method of anticipation similar to the 2008 film “The Strangers.” The old lake house is a maze of doors and hallways, each one promising the possibility of a new terror to jump out at us. This is where the one-take style works best, as the cinematography throws you right in there with Sarah as her terror takes place. While “The Strangers” is a masterpiece in sound design and anticipation, “Silent House” plays out more like a less-talented cousin. There are a few moments of audio artistry – including an eerie basement scene – but not enough to keep you on the edge of your seat.
The film has a big plot twist towards the end of act two that takes it in a completely different and disturbing direction. The plot pinches come fast and furious as we move from a simple “escape from intruder” storyline to something much darker. It would have been nice to stretch this out a bit, as you question if there’s something psychological or perhaps supernatural behind everything as the twist unfolds. This was the most enjoyable part of the film – trying to figure out just what is actually happening. Unfortunately they rush to the film’s denouement and just as you’re putting the pieces together, the film cuts to black and credits roll. The real beauty in this film isn’t the plot or acting, but the choreography used with the 88-minute take. Actors weave in and out seamlessly in a complex location, with a few effects skillfully blended in. I’m not sure how enjoyable the played out plot or cliché plot twist will be for the audience, but if anything film enthusiasts should appreciate the novelty act of the unique one-take narrative.
Travis Yates
REVIEW: ‘Wanderlust’
Mar 5th
REVIEW: ‘Wanderlust’
It’s always an interesting case study when examining just why we choose to see specific films. It could be loyalty to a specific director or actor. It could be a non-stop marketing campaign that saturates the market with the best clips and one-liners from the film. Or perhaps the buzz surrounding a film is so great you just feel you have to check it out to avoid missing out. I found myself interested in “Wanderlust” after seeing Paul Rudd visit “The Daily Show” during the film’s media tour. It wasn’t necessarily the teaser clip they showed (though it was funny) or comedic banter about the film (they barely discussed it) that piqued my interest. It was two basic reasons — I find Paul Rudd hilarious and I wanted to see how Jennifer Aniston would follow up her peculiar performance in “Horrible Bosses.” Though I wasn’t quite sure what the title meant (essentially it is German for “a crave for travel”), I wandered into my local theatre to check it out.
Overworked Manhattan couple George and Linda (Paul Rudd, Jennifer Aniston) fall on hard times and can no longer afford life in New York City. When forced to move to Atlanta to live with George’s overbearing brother the duo accidentally stumble upon a hippie commune. Facing the options of working for his obnoxious brother or living free off the land at the commune, George chooses the commune. After persuading Linda to give the odd community a trial chance, George begins to question the unique living style and crazy characters at the commune. When the trial period is over, the couple is split between going back to New York and permanently living at the commune.
Casting director Susie Farris does a skillful job in creating the supporting cast. Justin Theroux (“Mulholland Drive”) shines as commune leader and eventual protagonist Seth, and Jordan Peele (TV’s “Key & Peele”) is perfect as the unassuming Rodney. I would argue that Alan Alda goes a bit underappreciated as the commune’s senior leader, but veteran TV and film actor Kerri Kenney is given every opportunity to steal the show as bed & breakfast host Kathy, and often does. The supporting cast actually overshadows Rudd and Aniston – though that isn’t necessarily a bad thing. The commune serves as an important character in the film and the location and the people that live there cannot be developed enough.
Directed by David Wain (“Role Models”), the Judd Apatow production is not surprisingly filled with lowbrow humor and running gags. Some of it is effective while other parts miss the mark. Life without doors at the commune leads to some predictable but laughable moments, specifically between Rudd and Peele. Seth’s shtick as the Zen-like leader gets old after a bit. Wayne the nudist novelist provides some initial laughs in his introductory scene, but eventually fades to the background until the film’s falling action. The few “laugh out loud” moments are the central redeeming quality of the film as the plot itself is extremely predictable and filled with flat albeit fun characters.
It is the depiction of the hippies and their lifestyle that provides what little conflict exists in the film. The idea of free love is a source of both humor and tension between Rudd and Aniston. If forced to find some sort of deeper meaning to the film, I suppose it makes the audience question if we could abandon our lives full of modern comforts for a different lifestyle. I am not a hippie by any stretch of the means, though I do embrace a holistic approach to life. I rely on and appreciate modern technology too much to go rouge and become a full-fledged flower child. The film prompted this very discussion between my wife and I after seeing the film.
Getting back to my original musings of choosing specific movies – this is a case where I wish I knew a bit more about the film going in, because I probably would have avoided it. It’s nothing personal against the film or director David Wain, I was just hoping for something a little deeper. Throwing the modern urbanite into the woods with a group of bohemians would no doubt lead to some interesting scenarios, and “Wanderlust” simply exaggerates those situations. Given the scenario, this film could easily be a drama, with protagonists forced to make decisions with major life-changing implications. Themes of family, infidelity and life’s journey – or that crave of travel that the term wanderlust translates to — could be examined. Instead the film goes the Apatow-familiar route with silly situations and crude humor.
Travis Yates