Tag: anthology

FREAKY TALES – Review

As the big Spring break period approaches its conclusion, there’s still just enough time left for a quick trip via the multiplex. The destination’s not an exotic locale far from our shores, nor the pixel-generated backdrops of this weekend’s big studio flick. This movie “getaway” all takes place on the sunny streets of Oakland, CA. And, more importantly, this is a “time trip” since the “stories” are set in the long-ago Reagan era of 1987. Yes, I said “stories’ as this is an anthology of “twisted” fables with characters dropped in and out of different segments, so it differs from the TALES FROM THE CRYPT or NEW YORK STORIES template, though there’s an off-screen narrator (unlike the Cryptkeeper). So, get your hair teased out, unplug the Walkman, lace up the Reeboks, and set the “Wayback machine” 38 years in reverse to take in some truly FREAKY TALES.

Speaking of that narrator, he provides a bit of a prologue as we’re told of a mysterious green glow, perhaps alien in origin, that affected that gritty West Coast city in 1987. As a TV commercial for a “self-help” style center called “Psytopics” fades out, we’re taken to the outside of a movie theatre playing a quartet of classic 80s flicks for the first story, “The Gilman Strikes Back”. A trio of “New Wave” garbed friends are hassled by a truck full of teenage Neo-Nazi skinheads, who speed away. Ah, but they aren’t done for the night as they invade an underground dance club and destroy the venue and the band’s instruments. A young couple, Tina (Ji-young Yoo) and “Lucid” (Jack Champion) decide, along with the other club regulars and owners, to fight back. Next is “Don’t Fight the Feeling,” in which two young women who work in an ice cream shop decide to pursue their dream of being hip-hop stars. It may come true when Entice (Normani) and Barbie (Dominique Thorne), AKA “Danger Zone”, get a chance to be part of a big concert with rap superstar Too $hort (DeMario Simba Driver). But could it actually be a “set up”? From there we’re dropped into the last days of a loan shark enforcer with the third tale “Born to Mack”, as weary “leg-breaker” Clint (Pedro Pascal) tries to leave the “life’ and settle down with his pregnant partner Grace (Natalia Dominguez). But the ‘sins of the past” catch up to him outise a video rental shop, run by a familar talkative cinefile. The final story is “The Legend of Sleepy Floyd”, which focuses on the title Golden State Warriors superstar (Jay Ellis) who becomes the target of a home invasion committed by a biker gang turned burglars sent out by the crime mastermind known simply as “The Guy” (Ben Mendelsohn). They soon find out that basketball is just one of Floyd’s incredible “skills”.

Now, even though it’s four stories, several of the actors should be lauded since there’s certainly a lot of “cross-over” activity. Its biggest star might be the busiest guy in streaming TV, though he’ll truly stretch (sorry) as Mr. Fantastic this Summer: the internet’s “daddy”, Pedro Pascal. He brings a real gravitas to the haunted Clint, a “working class” mob soldier who’s aching to reach that light at the end of the tunnel, the road to a better future. That’s reachable unless the past grabs him. Yes, he’s fearsome when he confronts his last “gig”, but Pascal can tug on our hearts moments later with his love. At the opposite end of the spectrum is the always terrific Mendelsohn, who is ruthless and brutal with none of the sophistication of previous “baddies” in STAR WARS: ROGUE ONE or READY PLAYER ONE as the sneering, lascivious crimeboss creep. And kudos to him for resisting the temptation to twirl his mustache. The most physical, rather than verbal, of the main roles is “Sleepy,” played with lots of charisma and steely determination by Ellis. He’s gregarious and charming after the big game, but “flips a switch” when responding to the tragedy in a twist on the typical superhero origin story. Also engaging are the BFFS played by Normani and Thorne, who try to escape food service “Hell”, with a chance at hip hop stardom. Their ‘arc” takes a turn when they decide to forge ahead even though they believe their “invite” was merely to put them back in “their place”, mainly as “eye candy” for the men with the mike. And happily we get one last big screen performance by the late Angus Cloud as the main “intel man” for The Guy.

My lack of knowledge about the people behind this film gave an added element of pleasant surprise as the end credits rolled. I had assumed (which is always a “no-no”) that this was made by a film student (or students) fresh from graduation, eager to make their “mark”, and trying to use all the cinematic “toys ” at their disposal. But no, this is from the directing/screenwriting team of Anna Boden and Ryan Fleck, who have been making features for twenty years now. Most of their work would be considered “indie”, though their last effort was a stint in the Marvel Cinematic Universe with CAPTAIN MARVEL. With that film’s late 1990s setting, they were comfortable in going back another decade with this sprightly, grungy, zingy ode to pop culture tropes at he time. Sure, there’s a definite Quentin Tarantino influence, particularly PULP FICTION and especially ONCE UPON A TIME IN HOLLYWOOD with the inclusion of several real people (Sleepy and Too $hort), but it also felt as though the story was concocted after a weekend video store rental “binge” during that era. We get nods to everything from SEVEN SAMURAI to the “Lone Wolf and Cub” flicks to REPO MAN and even SCANNERS, with some Bruce Lee tossed in for a bit of spice. Oh, and back to the “toys”, Boden and Fleck make great use of retro special effects, from the practical “gore” of the final battle to the green glow that gives a boost to a city bus (which is a riff on the orb from HEAVY METAL). And there’s some nifty “2D” animation, as sketchy stick folk act out the inner thoughts of Tina and Lucid (naughty boy), and later to illustrate the big basketball game in the style of Saturday morning TV adventure shows. Those cartoon bits may have been “side winks” to underground comix, lurid paperbacks, and the glory days of black and white comic magazines such as “Creepy” and “Eerie”. Boden and Fleck also reward us for paying attention as they return to different locales and offer “blink-and-you ‘miss them” cameos, which add to the fun of the flick. And “fun” is the main “f” word, along with fabulous, flashy, funky, and ferocious, making it the perfect “midnight movie” that can be enjoyed anytime of day at the multiplex, drive-in, or “grindhouse”. So thank you, Oakland, for the perfect quick escape from the 2020s via the talent and imagination of the truly dynamic duo of Boden and Fleck and their FREAKY TALES. Hmm, now I’m in the mood for the tasty hot dogs this curly-haired lanky kid once sold at the A’s games…

3.5 Out of 4

FREAKY TALES is now playing in theatres everywhere

THE BALLAD OF BUSTER SCRUGGS – Review

Tim Blake Nelson is Buster Scruggs in The Ballad of Buster Scruggs, a film by Joel and Ethan Coen.

Joel and Ethan Coen spin not one but six Western tales in their excellent anthology THE BALLAD OF BUSTER SCRUGGS. Starring a fine cast including James Franco, Liam Neeson, Tom Waits, Zoe Kazan, Brendon Gleeson, Tim Blake Nelson and others, the film’s title is actually the name of the first tale in a short story anthology. What connects the tales is their Old West setting and also that they are basically campfire tales – the kind of suspense-filled tales best told around a campfire – sometimes scary, sometimes funny, sometimes sad, but often with a twist or surprise and a touch of the surreal or supernatural. These stories evoke both ghost stories and O. Henry tales, with a dash of adventure, but they are transformed into signature Coen brothers tales. That means dark humor, twisted expectations, irony, and a certain amount of violence – basically, anything but ordinary.

Each tale features iconic Western characters and themes, referencing both classic Western films like HIGH NOON and adventure tales like those of Jack London. But like all good campfire stories, there is some trickery afoot and the Coens play on our expectations of these familiar characters and situations, recombining them in clever, unexpected ways that make for gripping, surprising stories – some suspenseful, some heartbreaking, some darkly comic but all highly entertaining. All deal with death in some way, appropriate for the ghost-story flavor of campfire stories. Perfectly evoking the sense of campfire tales, the Coens twist and spoof the Western genre, adding their signature irony and dark humor. Despite the anthology form, THE BALLAD OF BUSTER SCRUGGS is classic Coen brothers..

The film opens with an old-fashioned feel, presenting its stories as drawn from a old book of short stories. The opening shot is of the cover of an old-fashioned leather-bound book of illustrated tales, with a hand opens the book and turns the pages. Each tale starts with its title on the page, accompanied by an illustration with a mysterious caption to draw us in. The Coens’ use this technique to tie the stories together, returning to the book at the end of each to transition to the next. The technique puts the audience in the right mind-set for old-fashioned tales; and it works well as transition, but also lulls the viewer into a comfortable complacency that makes it easier for the Coens to take us by surprise when they upend things.

Since twists and surprises are essential parts of campfire tales, we will reveal few plot details here. All the stories are filled with iconic Western characters and take place in Western settings like dusty frontier towns, dry desert gulches, remote snowy mountains, or the wind-swept open range. The tales are varied, touching on different Western types and themes, and range from humorous to tragic, with plenty of suspense and drama, but all suffused with the Coens’ unique style.

The film begins with a more comic tale drawn from one of the earliest Western movie styles, the singing cowboy. In the title story “The Ballad of Buster Scruggs,” Tim Blake Nelson plays Buster Scruggs, a singing cowboy type dressed all in good-guy white, from his fancy buckskin suit to his big Stetson hat. Strumming his guitar aside a white horse, talkative and affable Buster narrates his own story as he roams from town to town in the dusty desert landscape. Buster is a top-notch singer but he is a crack shot as well, a skill that comes in handy. Fans of O BROTHER WHERE ART THOU? know that Nelson has the pipes for this singing cowboy role, as well as a goofy, comic style combined with serious acting chops that serves this story well.

After that strong start, the film follows up with different tone in “Near Algodones,” with James Franco as a would-be bank robber. Other tales feature Zoe Kazan as a woman traveling in a wagon train in “The Gal Who Got Rattled” and Liam Neeson and Harry Melling star in a tale of a traveling show offering entertainment to remote mining camps in the high mountains, titled “Meal Ticket.” Most of the stories have the dark, color-desaturated look of the Coens’ TRUE GRIT, but “All Gold Canyon,” in which Tom Waits plays a prospector, takes place in a color-drenched natural world in which man an intruder. One the most darkly funny tales is the last one, “The Mortal Remains,” an ensemble story of five people traveling together in a stage coach and starring Brendon Gleeson and Tyne Daly among others.

Carter Burwell’s score is perfect, hitting all the right notes for tales of singing cowboys, bank robbers, gunslingers, wagon trains, bounty hunters, and stagecoaches in the old frontier.

The landscapes look classic Western but this Netflix release film is the Coens’ first foray into digital rather than film. Still, Oscar-nominated Director of Photography Bruno Delbonnel (INSIDE LLEWYN DAVIS, AMELIE) delivers all the outstanding visual fire and artistry one expects from a Coen brothers movie. The film is being released in a few theaters as well as on Netflix. It may have been originally planned as a online-only release but the film is visually powerful enough that seeing it on a big screen is preferable.

Joel and Ethan Coen entertain and engross us just as well with this marvelous collection of unsettling tales as they have with their feature-length stories. This anthology film is not only just as good as those films, it is one of the Coens’ best. THE BALLAD OF BUSTER SCRUGGS opens Friday, Nov. 16, at the Tivoli Theater and on-demand on Netflix.

RATING: 5 out of 5 stars

WILD TALES – The Review

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Here’s a solution for the indecisive moviegoers. Not sure if you’re in the mood for a drama or comedy or a thriller? Well, how about an anthology? It’s like a good short story collection,  or you could call this type of flick a movie buffet or a cinema smorgasbord. Most of the time, these films, in their earlier incarnations, center around a setting (GRAND HOTEL), a gathering (DINNER AT EIGHT), or an incident (the big cash winners in IF I HAD A MILLION). There are animation anthologies (the most famous may be FANTASIA or ALLEGRO NON TROPO) and musicals (INVITATION TO THE DANCE). The most prolific type may be those in the horror genre, beginning with 1945’s landmark DEAD OF NIGHT. In the 60’s and 70’s, Amicus Studios made their mark with TORTURE GARDEN and THE HOUSE THAT DRIPPED BLOOD along with the EC Comics-inspired TALES FROM THE CRYPT and THE VAULT OF HORROR. These ghoulish grab-bags have made a comeback of late with the VHS series. Many recent films have told separate stories that often overlap characters and backdrops like the SIN CITY films and the Best Picture Oscar winner from Paul Haggis, CRASH (along with his dismal follow-up from last year, THIRD PERSON). This recent Oscar-nominee for Best Foreign Film doesn’t share characters or a specific location, but is united by a common thread: revenge. Famously Eugene Sue (or was it Khan Noonien Singh?) said, “Revenge is a dish best served cold”, but since this flick comes from Argentina, it’s naturally more than a tad “caliente”. From south of the border comes a spicy sextet of WILD TALES.

This crazy combo platter gets its first course in just before the opening titles. With “Pasternak”, we follow a young woman as she boards a plane for an unforgettable journey along with passengers who share more with her than just the ride. Next is “Las Ratas” (The Rats), which all takes place on a very rainy night at a near-deserted highway diner. The waitress opens the door as her only customer escapes the torrential downpour. After a brief exchange, the man’s surly demeanor releases a floodgate of memories. Back in the kitchen, she tells the world-weary cook that this is the man who, long ago, destroyed her family. The chief suggests adding a special “spice’ to his fried eggs and potatoes. But the young woman is torn. Should she…? “El Mas Fuerte” (The Strongest) follows with the soggy setting replaced by an almost-deserted stretch of bright, arid two-lane road. A smartly dressed businessman is zipping down said road in his flashy new Audi. Well, until a run-down pickup truck tries to block him from passing. As they spy each other, expletives and hand gestures are exchanged before Mr. Audi zooms past. All’s right again with the world… until…oh,oh…a flat tire. As he hurriedly puts on the spare, guess who approaches (it aint’ AAA)? From the sagebrush showdown we’re back in the bustling city for “Bombita” (Little Bomb), as an everyman (well, he does have a unique skill set) butts heads with big town bureaucracy over the possibly illegal towing of his car, which sends the man’s life on a downward spiral. He can’t seem to get justice, but maybe he can get even. We remain in an urban setting for “La Propuesta” (The Proposal) where a rich couple awake to a nightmare as their sobbing teenage son tells them of an accident. A look at the sports car confirms it (that damning dangling plate), and soon the local TV news is blanketing the airwaves with the story of a pregnant woman struck and killed by a hit-and-run driver. The rich patriarch goes proactive as he summons his attorney. They hatch a plan: the family gardener/caretaker took the wheels out for a booze-fueled joyride. But will the old man take the fall even with a big pay-out upon his release from prison? The bribes  soon pile up into a green mountain while the victim’s distraught husband vows vengeance on every TV channel. Finally the film concludes, not with another auto-related saga, but with an opulent wedding in “Hasta Que la Muerte Nos Separe” (Until Death Do Us Part). The newlyweds are enjoying the perfect wedding reception in the ballroom of a swanky high-rise hotel. The bride radiantly surveys the perfect scene. Hmmm, who’s the sultry brunette in the short skirt he’s talking with? A co-worker perhaps? Or could it be the caller she spoke with when she answered her new hubby’s phone a few weeks ago? Good thing she transferred the number to her own cell. But should she…? I think you can guess her next move.

Like any multi-course meal, one dish is usually the tastiest. Here it’s the mayhem-filled “Strongest” as we’re gripped by a duel of wits and wills that is a great twist on Spielberg’s classic TV movie, um, “Duel”, but lightly seasoned with a pinch of “Looney Tunes” masters Tex Avery and Chuck Jones and a sprinkling of Russ Meyer (particularly the climax of SUPERVIXENS) and topped with a tangy EC Comics twist ending. Speaking of comics, the two men almost become live action doubles for the long-running “Spy Vs. Spy” characters from Mad magazine as each one takes turns having the “upper hand” and alternate between aggressor and prey. This isn’t to say that the other segments don’t have their own delights. The slow-building realization of “Pasternak” that quickly escalates into full panic. The whole “morality” question in “The Rats” as the cook becomes the devilish imp on the server’s shoulder. Little Bomb” is anchored by a compelling performance by Ricardo Darin as the harassed everyman that recalls Jack Lemmon in THE OUT OF TOWNERS and PRISONER OF SECOND AVENUE for exasperation. Speaking of, there’s a terrific moment in “Proposal” when the father has been treated as a unending stream of cash and finally declares that the ATM is out-of-order. Permanently! Of course, we all have “wedding receptions from Hell” stories, but the final segment breaks new ground. It too escalates slowly into catastrophe aided by the crazed, manic performance by Erica Rivas as the bride, who is an unpredictable tornado in white lace, her eyes darting about as she formulates the proper punishment. The ringmaster of this incredible, energetic cast is director/writer Damian Szifron, who knows exactly how long each tale needs to be to get the best impact (perhaps consulted by another terrific director, co-producer Pedro Almodovar). My compliments to Chef Szifron! After indulging in the film feast (six great stories in one) that is WILD TALES, you won’t leave the theatre hungry!

4 Out of 5

WILD TALES opens everywhere and screens exclusively in the St. Louis area at Landmark’s Tivoli Theatre

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Review: ‘Halo Legends: The Babysitter’

halo legends babysitter

At E3 this past year Microsoft announced that they’d be making an anthology anime series much like ‘The Animatrix’ but based around the ever popular Halo franchise. The first part of the series is titled ‘The Babysitter’. It’s a cool look into the war on the Covenant from a different perspective than we’re used to as players of the games.

The 105th (which I have to assume is a reference to the 501st from Star Wars) is one of the best tactical strike groups in the human forces. Their ODST, or Orbital Drop Shock Troopers, and they’re insanely well trained. When we meet the team, their sniper is awfully upset because the team has been relegated to back up. A strange place for some of the best of the best to be placed. Worried that they’re going to be babysitters for some other new shooter, the sniper is getting out all his frustrations, making quite the racket. Turns out they’re backing up some one even better than them. it’s a Spartan.

Spartans are genetically enhanced super soldiers who have had a rather heated relationship with other soldiers. The teams mission is to take out a high ranking official in the enemy army known as a Prophet. Upon entry it’s very obvious that the Spartan is going to be the baby sitter of the bunch and that the ODST are in way over their head.

As a short story this works pretty well. It’s paced well, the voice acting is good, and the stoic Spartan is as powerful as you’d expect him to be. What really makes this whole thing special is the last few moments which really hit a chord with me. I didn’t see something coming and WHAM, I was taken aback. This is a very well written look into the Halo universe and puts a spin on what we think about the Halo characters. My only gripe would be that some of the characters seem to shift proportions a little too much. Normally anime, especially feature film anime, has this thing about body shapes and how they’re supposed to be exact through an entire feature. Here it’s kind of hit or miss. But that’s a SMALL gripe for such a good short.

Review: ‘Paris, je t’aime’

Zac:

This is a great collection of short films that rarely let down at all while giving you a fun visual tour of both love and Paris. Since there are a number of people involved I will just go over my favorite entries, but just know that there are few that will let you down. The movie uses both French and English depending on the characters so you stupid subtitle haters, be warned.

-The opening film, Montmarte, is a great little bit of comedy and a look at chance encounters with some great work by Bruno Podalydà ¨s who also directed the piece as well.
-Le Marais by Gus Van Sant might have one of the best laughs over all with a scene taking place at a print shop.
-Tuileries is a hilarious sub-way scene staring Steve Buscemi and directed by the Coen Bros.
-Loin du 16Ã ¨me is probably the shortest, but is a great piece though sad once it is over.
-Bastille is a tragic look at love and the power tragedy can have on a waning couple.
-Place des Victoires is a fantastical look at grief and loss and is one of the more surreal entries.
-Tour Eiffel is a fun look at Mime romance.
-Place des FÃ ªtes by Oliver Schmitz was probably the best of the bunch, blending love, comedy, tragedy, and heartbreaking sadness beautifully into his short portion, and is worth watching the movie just to see it.
-Quartier de la Madeleine with Elijah Wood is a fun change of pace look at love and the fantastical mythos of French nightlife.
-Faubourg Saint-Denis is a fast and kinetic look at the relationship between a blind man and a young American actress. This one stars Natalie Portman and is directed by Perfume’s Tom Tkwer.
-14th arrondissement is the last film, directed by Alexander Payne of Sideways, and is a funny look at Paris through the eyes of an American tourist, and is a great cap to the short film program.

The movie is full of great comedy, tragedy, touching moments, and pretty much any emotion that you can think of is represented here in the broad range of short films. I suggest you seek this out as it is a joy to watch and is constantly enjoyable and rarely slows down or bores. Overall, a great compilation that makes one wish for more collaboration like this as this is a great way to discover new talent that might be oblivious to you while delivering excellent and varied entertainment that gives you something new at every turn.

[rating: 4.5/5]