Tag: Film

IT FOLLOWS – The Review

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There is finite number of themes from which to draw, so half the battle of making a compelling film is finding a new angle to tell a story already told countless times. David Robert Mitchell succeeds at this as writer and director of IT FOLLOWS, a new horror film that’s receiving a level of artistic appreciation and acclaim rarely experienced by films true to this genre.

Set in suburban Detroit, the story follows Jay, a teenage girl who unwittingly becomes the target of an invisible evil force when she falls for a teenage boy who is not who he seems. Once the truth of the terror she has inherited sets in, she realizes she will never again be able to relax and enjoy her life, unless she can find a way to destroy the force compelled to follow her anywhere she goes. Accompanied by a handful of close friends, Jay must trust them to protect her against a dangerous force only she can see and that seemingly cannot be killed.

Jay, played by Maika Monroe, is exceedingly convincing as the relatively innocent, well-mannered good girl turned mostly helpless victim. She’s the popular girl with a kind heart type of character, easy to like and worthy of our empathy. Her sister Kelly, played by Lili Sepe, is a bit more of the girl next door, adventurous type, but the two of them are close enough to weather this bizarre storm together. Jay’s childhood friend with a deep-seeded crush Paul, played by Keir Gilchrist, first presents himself almost as if he’s the closeted gay friend, but rather turns out to be a timid admirer who ultimately proves to be Jay’s most dedicated defender.

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Finally, Greg (played by Daniel Zovatto) is more the rebel teenage boy type, with whom Jay becomes smitten, but whose efforts to protect her are more steeped in a mild masculinity. Together, these four teenagers must try to outwit this slow, but smart presence while constantly on the move and on their toes, as the entity can appear as anyone.

IT FOLLOWS takes one of the oldest, most conventional horror movie plots and reinvents the entire experience. So many times, we have witnessed teenagers being stalked, chased and terrorized by slashers, psychos and evil creatures, but never quite like this. Mitchell draws on the influences of horror and the legendary filmmakers that have come before him and makes a film all his own.

Driven by an unseen terror, essentially introduced to the mainstream by the shark in JAWS, Mitchell also draws from another slow-burn suspenseful horror icon in HALLOWEEN, not just in the pacing, but also with the film’s original music, composed by Rich Vreeland (credited as Disasterpeace), which strangely melds the eerily minimalist style of John Carpenter’s score with the more ethereal ambiance of Vangelis, such as his work in BLADE RUNNER.

Following a similar line of thought, IT FOLLOWS also draws from another quintessential John Carpenter work, a remake itself. THE THING (1982) lays the foundation for a specific type of fear through paranoia that emerges as the mysterious force, which can appear as anyone, someone the character knows or loves, or a complete stranger. This creates a tension whereas anyone at anytime could be out for blood, unless you know what to look for, which Jay eventually understands and is significantly easier than testing blood samples with electricity.

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Mitchell utilizes a color palette that pops just enough to embellish production, but selectively places harder contrast to add depth and enhanced darkness to certain scenes. This, along with a masterful use of moving camera and knowledge of when to linger statically, brings the underlying fear of the unknown and sense of being followed right to the foreground of the film, supercharging our ability to feel in that very time and place with Jay and her friends.

IT FOLLOWS is an extremely visceral, sensory film. In its peak moments, the shared fear is almost palpable, inducing goose bumps and an irrational sense of paranoia. Those viewers already naturally prone to these characteristics on a daily basis, may want to watch this film with great caution, as you’ll never see strangers quite the same way again.

IT FOLLOWS is successful not due to a massive budget, big special effects or a star-studded cast, as none of these things exist for the film. Instead, the film thrives on a solid script, tremendous direction and a low-key, talented cast without pretension for making anything other than what this film was meant to be, a terrifyingly complex but seemingly simple horror film that eats away at out most primary human fears.

IT FOLLOWS opens in St. Louis theaters on Friday, March 27th, 2015.

Overall Rating: 4 out of 5 stars

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GHOUL (2015) – The Review

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The truth is that, no mater how great a concept is for a story, no matter how well the film is marketed, the ultimate proof is in the production pudding. How excellent is your execution? Not the capitol punishment type — even if some films make you wish for that instead — but, execution of idea from concept to completion. Unfortunately, despite all the best intentions, many films fail to find the appropriate approach.

GHOUL (2015) is one of these films. It should be quite apparent already that I am not overwhelmingly impressed with this one, but in an effort to change things up a bit and better explain my thoughts on this film, I’ll begin with the end.

[No worries, I never spoil films, even the ones I dislike.]

The final 15-20 minutes of GHOUL are, by far, the most engaging, most intense and most successful minutes of this entire film. With that said, it’s not enough to save it entirely, but merely wipes the crust from your eyes and the spittle from the side of your mouth, finishing with the subtle minty freshness of a stick of gum that lasts about as long as the flavor in a handful of Chiclets.

The story comes full circle, the twist is revealed and the special effects are admirably effective for a film of this style, genre and budget. With a running time of only 86 minutes, its not entirely inconceivable to endure to the end for the tasty bits that add flavor, but you’ll need to choke down the blandness of the meal before the dessert.

Let’s return to the start now, where the film is at it’s most uninspired. GHOUL follows a small clutch of friends turned indie filmmakers who travel to Ukraine to shoot footage and interviews for the pilot of a documentary series they call Cannibals of the 20th Century. We’ve seen it before in principle, young inexperienced aspiring filmmakers venturing into uncharted territory to make their names, danger be damned.

Roughly, the first 30 minutes is relatively boring and uneventful, failing to build much of any character development, nor suspense or even much plot. Roughly half the film is merely bickering and accusations between characters, not unlike what we see in the average “reality” TV series that litter our television sets.

What they hope will be a successful late-night basic cable cash cow, quickly reveals itself to be a bust. When their local elderly guide turns out to be unreliable. Not only do they not have anything from the survivor of the Soviet Union’s most violent serial killer and “star” of their project, but they find themselves stuck in the remote woods with their young and pretty interpreter, a crazy young Ukrainian witch, and an evil supernatural force that will not let them leave unless they do exactly as it asks of them.

GHOUL is unfocused, indecisive about what the central plot truly is about. The villain is clearly defined, but is not as central to the story as would be expected. Drama is developed primarily through the perspective of Jenny, played by Jennifer Armour, who also happens to provide the best performance of the film. Jenny has a secret she hides that ultimately plays a significant role, indirectly and metaphorically, in the film’s twist.

Overall, GHOUL is a late-night, cheap rental popcorn flick, mildly worth seeing to the end, even at the cost of submitting to the snooze-inducing first two acts, but only if you’ve already gone through all the cool films in your Netflix queue.

[For the more discerning genre fans, be especially observant of the pride taken in the humorously hokey but admirable attempt at the gory gutted cat prop used not once, but twice in the film.]

GHOUL hits select theaters on Friday, March 20th, 2015.

Overall Rating: 2 out of 5 stars

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OUT OF THE DARK (2014) – The Review

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It’s been some time since I’ve had that feeling of being “had,” going into something with hopeful expectations, only to find out that it was all a ruse. Cinema is often like this, drawing us in, capturing our emotions and interests, even playing off our primal instincts. Michael Bay knows the mass loves explosions, so there are always plenty in his films, all of which appear int he films’ trailers. Trailers are another way that we, as viewers, can be duped. It’s a necessary evil, I suppose. The nature of the marketing beast that, inevitably, will always accompany the anticipation involved with being a movie watcher. This has become something of a cultural agreement of modern society. We tolerate in order to be entertained.

I find it “crazy” how individuals associated with one film, generally applauded for being a success, can turn around and be equally associated with a flop, but it happens. This is where the “buyer beware” term is coined. Never judge a book — or, movie — by it’s cover, as they say. This goes both directions. It’s been by experience that, no matter how much you enjoy a director, actor or actress, or perhaps even a writer, never to allow yourself to be drawn into the blind expectation that anyone is perfect. Unfortunately, I allowed this very rule I have self-imposed to be broken.

OUT OF THE DARK (2014) is a film that has done just that, wandered haphazardly out of the dark, only to be blinded by the light of day as it finds an eager, albeit unsuspecting audience. For those fans of the horror/thriller genre accustomed to Netflix, the ratio of good genre films to schlocky and/or just plain bad movies that seemingly pop up out of nowhere is pretty extreme. Nonetheless, at least a minimum of 3-4 of these films will always be present in our queue at any given time, patiently awaiting their 90 minutes of instantly-streamed glory. What we are not accustomed to, and less less tolerant of, is paying inflated theatrical ticket prices to obtain the aforementioned low-grade thrills of b-movies.

In short, this shall be the level of entertainment one receives when sitting down to watch OUT OF THE DARK. I have never been one to unduly criticize a filmmaker for making his/her art, and that’s not about to start now. In all honesty and with full disclosure, I am disappointed with director Lluis Quilez, as this is his feature film debut. On the other hand, OUT OF THE PAST is co-written by Javier Gullon and David Pastor, and I couldn’t be more disappointed. Pastor, who wrote and directed CARRIERS (2009) and THE LAST DAYS (2013) were both of noticeably higher caliber, despite his now well-established obsession with viral epidemics. Gullon wrote ENEMY (2013) for God’s sake, a vastly superior and endlessly cerebral and mesmerizing piece of scriptwriting. How this can be is beyond my comprehension, but its said that oil never mixes with water.

OUR OF THE DARK sets in motion a thriller about two parents searching for their missing child, only to uncover a corporate scandal hidden behind a family secret by way of a ghostly haunting in South America. Chew on that. Sarah, played by Julia Stiles, moves to South America along with her husband Paul, played by Scott Speedman, and daughter Hannah to take over her father’s business. Her father Jordan, played by Stephen Rea, is a respected man in the jungle village as he once helped bring prosperity to the poor indigenous people, but that prosperity has recently suffered due to economic downturn and tragedy. Shortly after arriving, Hannah goes missing, which leads to a witch hunt for creepy children who are suspected by Sarah to have taken her daughter, but of course her search is hindered by silence and secrecy.

Director Quilez has managed to take a dismally uninteresting script and still make a visually engaging film, despite what I imagine is a modestly modest budget. In addition, the special effects for the creepy children are low-grade but effective, a mix of makeup and digital manipulation. The overall effect of the ghostly haunting sequences is somewhat unnerving, so for that I commend the filmmaker in what would otherwise be a relatively forgettable film. As for the cast, Speedman has never gotten me excited for anything, so I’ll stop there. Stiles has ridden the fence for some time now, but ultimately takes a hit in my book with OUT OF THE DARK. She plays this film too safe, far too by the book, theatrically textbook. Perhaps the most unbearable example of this would be the key, climactic scene when she confronts her father, but I also can’t blame Stile and Rea entirely for this, because the dialogue in this scene is so utterly cliche I could nearly recite their lines before they do. The drama gives way to forced melodrama and the emotions are of the instant just-add-water equivalency.

OUT OF THE DARK (2014) is slow to get started, offers little in the way of original material and asks the audience to care way to deeply about 2-dimensional cookie cutter characters in a dispassionately written film that isn’t quite sure if it’s a paranormal thriller or an ecological morality drama. While its an excusable throw-away popcorn rental that at least looks interesting at times, its far from worth paying cinema prices. At least at home, you can kick into MST3K mode if necessary, and not risk getting asked to leave the theater… and the popcorn is a lot cheaper.

OUT OF THE DARK is currently available via VOD and opens in theaters on Friday, February 27th, 2015.

Overall Rating: 2 out of 5 stars

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WYRMWOOD: ROAD OF THE DEAD – The Review

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We’ve been through many cycles of cinematic history now, reached many milestones and have given birth to many cliche’s as well, but as time draws forth, where does film take hold to ensure a continued future of innovation? Certainly, technology does, and will always have its part in the creative endeavor of filmmaking, but when it comes to story, are we beginning to see the long, slow death of originality? On some levels, I fear this may be a temporary reality, but much like life and energy itself, never truly dies and will always find a way.

It will come as no surprise that many a studio film is churned out in formulaic fear of stirring the pot, rousing the dormant interest of adventurous viewers, but we still have our independence. Indie filmmakers, the experimenters, the explorers, the balls-to-the-wall, no excuses, just make it happen and make it yours pioneers. These are the artists who take risks and will always find a way to make something fresh, original and entertaining.

WYRMWOOD: ROAD OF THE DEAD is one of these films. I admit, I may sound like a grandstanding fool, but keep in mind this, like so many of the best indie films today, is not trying to please everyone. There truly isn’t a one size fits all equation for filmmaking. This is where Hollywood so often fails. This is where Australia has repeatedly shown its glory, a revelation we first uncovered back in the 70s and a resurgence that has recently become realized by more and more viewers. We may be experiencing the beginning of a renaissance down under, and if you’re a fan of genre film, you’re in for a real treat.

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Like so many modern indie filmmakers, crowdfunding has been a crucial and liberating financial friend, allowing artists to reach out to their fans and peers directly, and in turn those fans and peers can have a direct and immediate impact on getting the films they want to see get made. WYRMWOOD was funded, in part, through crowdfunding. Co-writer and director Kiah Roache-Turner has delivered an entertaining, fresh, sick and twisted genre film for the fans and it does not suck.

Co-written by brothers Kiah and Tristan Roache-Turner, WYRMWOOD is not just another zombie apocalypse film… well, actually it is, but its much more. We enter into the story as the epidemic has already set in, spreading throughout the Australian Outback, but our journey follows an average mechanic names Barry (Jay Gallagher) who witnesses his wife and daughter turn into zombies. With nothing left to lose, Barry suits up and knuckles down, setting out to locate and rescue his sister Brooke (Bianca Bradey) amidst a chaotic world of flesh-eating zombies and even less-savory human beings.

WYRMWOOD can be viewed as MAD MAX meets DAWN OF THE DEAD, as some marketing suggests — the MAD MAX portion is clearly evident — but the film offers some additional nuances for the seasoned genre buff. Stylistically, the film does display a touch of the Raimi brothers, but more appropriately the visual style and graphic violence of a younger, more raw Peter Jackson, who reigns from the neighboring New Zealand. Such films as BAD TASTE (1987) and DEAD LIVE (1992) come to mind, both of which are far more graphic and violent than this, but whose influence is unmistakable. These are both films that helped pave the way for an entire genre, which is only now firmly taking hold on a wide scale.

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WYRMWOOD is a dark film, both in its content and in its humor, but it also melds genres. Horror stands strong as its base, but the film is as much science fiction as it is blood and guts. Without giving anything away, I was pleased to see a film that suggests a twist on the origin of the zombie apocalypse that is new but also based on some level in fringe science. If you’d like a hint, refer to National Geographic’s TV series How to Survive the End of the World, Season 1: Episode 1: Zombie Earth (2013). This twist on the storytelling allows the film to enter new territory, explore new concepts and suggest alternate talking points in the massively popular zombie genre. On a side note, personally, WYRMWOOD is more akin to AMC’s TV Series The Walking Dead than it is to Romero’s classic DAWN OF THE DEAD (1978), but I can see both as influential.

For the true genre fans, the film offers more than it does for the average viewer. Call them bloody Easter eggs if you like, but the characters and scenarios set up in WYRMWOOD are bizarre and eccentric. David Lynch meets Stuart Gordon, with a psychotic mad scientist who loves disco music and Barry’s sister, Brooke, holds a powerful secret one may trace back to being influenced by Stephen King, or Stan Lee, depending on how you choose to interpret her ability.

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WYRMWOOD: ROAD OF THE DEAD is a film that holds true to its subtitle in a literal sense. Its a road movie, about a couple of guys trying to survive a long drive through dangerous lands. The film is as familiar as it is enticing as a unique translation of the zombie apocalypse story. There is plenty of action, quality special effects and stunt work, a balanced combination of drama and comedy, believable characters who are relate-able and likable — or easy to hate, when appropriate — and most importantly, features a strong, unpretentious heroine that is more palatable than what has been offered — respectfully — from Milla Jovovich and Kate Beckinsale.

WYRMWOOD opens in select theaters on Friday, February 13th, 2015.

Overall Rating: 3.5 out of 5 stars

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PADDINGTON – The Review

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Just what we need, another cute kids’ movie about a lovable, talking animal. Children can’t seem to get enough of these movies, despite how dreadfully awful they usually are, by most adults’ standards. Spy on parents some time while they treat their little ones to these chatty creature films and you’re likely to find most of them struggling to grin and bear the experience. Yeah. See what I did there?

Normally, you’d be hard pressed to find me caught anywhere near one of these movies. There are, of course, always those rare exceptions that lead you to eat that bitter N word… “never.” This is why I try and never say never about a film, unless its in the title. PADDINGTON (2014) is a family-friendly film, and by that I mean its friendly for the entire family, children and adults. The film is based upon the beloved books by author Michael Bond, who wrote his first Paddington piece n 1958, inspired by the childrens programs he worked on for the BBC at the time.

I will be honest. When I first heard about the new PADDINGTON movie, what went through my head was the cliched assumption that they’ve yet again — or, still — run out of original ideas. This ended up being an unfair assumption about a movie that works surprisingly well. The reason for the film working out this well is simple. PADDINGTON is written and directed by the same person — always a promising sign — and that person is Paul King. For the coolest of our readers, you’ll likely know this name as the director of the quirky British series The Mighty Boosh (2004-2007). For a show recognized as possibly being created while on acid, and could be described as the love child of Wes Anderson and Pee Wee Herman, parents may be alarmed to learn it eventually led a feature-length PADDINGTON film. Fear not. The only addictive substance being consumed here is freshly made marmalade.

Those familiar with The Might Boosh will notice the little influences of this style from the very beginning, as PADDINGTON opens with an old newsreel about an explorer named Montgomery Clyde, who ventured out into “Darkest Peru,” where he stumbled upon a rare species of highly intelligent bears. Befriended a young bear cub (Paddington), his Aunt Lucy (voiced by Imelda Staunton) and Uncle Pastuzo (voiced by Michael Gambon), Montgomery Clyde left more of an impression on the bears that he could have ever imagined. Fast forward several years, and natural disaster in Darkest Peru has Aunt Lucy sending Paddington (voiced by Ben Whishaw) off to London to find a nice family to take him in and raise him as their own. London is about to host its first ever talking bear, and with him all of his accompanying adventures.

The Brown family are an average lot, but display a familiar hint of dysfunction. Mr. Brown (Hugh Bonneville) is a work-aholic risk analyst with a tendency towards OCD, while Mrs. Brown (Sally Hawkins) is a loving, free-spirited illustrator of childrens stories. Judy Brown (Madeleine Harris) is a typical angst-ridden teenage girl and Jonathan Brown (Samuel Joslin) is a curious, adventurous adolescent boy. One day, the Browns happen upon a young talking bear whilst walking through Paddington Station, hence the origin of the title character’s human name. His bear name becomes one of a handful of low-key running jokes that are sprinkled delightfully throughout the film. Under pressure from Mrs. Brown and Jonathan, Mr. Brown caves and Paddington finds himself the newest addition to the Brown family.

As Paddington assimilates into his new family, he must also avoid the fiendishly obsessed desires of Millicent, the villainous taxidermist set upon capturing Paddington and adding him to her personal collection of permanently preserved wildlife specimens. Millicent, played by Nicole Kidman, is portrayed as a more modern Cruella Deville. Kidman relies heavily on textbook villain tactics, providing an acceptable but minimally impressive performance. Even her name Millicent is strangely similar to Maleficent, and despite being a family film, she offers little in the way of believable danger. As for the remainder of the supporting cast, here lies one treat after another. Mrs. Bird (played by Julie Walters) is a tough, but oddly grounding force within the Brown household. Mr. Gruber (played by Jim Broadbent) is a funny old survivor who helps Paddington find what he’s seeking. Mr. Curry (played by Dr. Who‘s Peter Capaldi) serves as a sort of sub-villain turned anti-hero and strange neighbor to the Browns.

PADDINGTON exploits modern computer technology to bring the talking, accident-prone bear to life. Even ten years ago, it’s unlikely this film could have succeeded on any respectably mature level. Its this technical mastery that adds half of the character’s charm, from his appearance to his mannerisms to numerous sight gags, but the other half is courtesy of Paul King’s playfully odd sense of humor. Subtle puns, plays on words, silly observations and misunderstandings, these are all tools in King’s box of tricks that are used to give the film its well-rounded appeal. On many levels, I could stretch my analysis and call PADDINGTON an analogy for immigration and society’s difficulty in accepting change and the arrival of outside influences. There is definitely a correlation there, but I’ll let you read into that as much or as little as you feel comfortably inclined.

Visually, PADDINGTON is thoroughly engaging, filled with action, visual gags and no shortage of hijinks put innocently into play by the well-meaning Peruvian bear cub, struggling to adapt and find his place in a foreign land. The 95-minute running time falls nicely between being too long and feeling rushed. With all this said, there is still clearly the element of filmmaking for kids, which is only to be expected. Fortunately, these elements are well incorporated and never overwhelmingly present. Combine this with a vivid color palette and you have a film that should do remarkably well with boys and girls alike.

Overall Rating: 3.5 out of 5 stars

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THE BETTER ANGELS – The Review

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Fully engrossed, I became, in this hauntingly beautiful, rare telling of the formative history behind one of our nation’s greatest men in history. So much of what we learn in school about Abraham Lincoln focuses on his accomplishments as our country’s 16th President. Rightfully so, but as children in school, would it not make sense to also learn about how these great men and women grew up? Childhood experience is crucial to the development of character, which is paramount to THE BETTER ANGELS, a film that introduces the audience to a much younger Lincoln than we’re typically accustomed.

THE BETTER ANGELS illustrates the difficulties Lincoln endured as a child, growing up poor and secluded from anyone but his small family in the remote Indiana woods of 1817. Tragedy strikes his family, hard lessons are learned, but Lincoln evolves on screen before us in raw, subtle form. His father (Jason Clarke) loves him, but its an old world tough love kind of relationship, one that surely strengthens Lincoln’s backbone, but its the women in his life, played by Diane Kruger and Brit Marling, that make a specific imprint in his moral character.

Braydon Denney portrays the young Lincoln with palpable emotional restraint, showcasing a more internal struggle within the character that supersedes the hardships of his external environment. Other men in his life, older than he but still his contemporaries, act as supporting influences, but his mother and step mother ultimately share responsibility for keeping his intellect alive and helping make his way to getting a school house education. THE BETTER ANGELS is a film of a philosophical nature, a film intent on provoking thought, a process Lincoln clearly spent his life pursuing.

Writer and director A.J. Edwards makes his feature film debut with THE BETTER ANGELS. The film is produced by Terrence Malick, whose films have clearly had a strong influence on Edwards’ style and vision. Presented in black and white, Edwards paints an entire landscape of achromatic visuals that stand on their own as photographic gems. On the surface, it may seem Edwards fills gaps in dialogue with beautifully sculpted shots, but in fact these visual interludes serve to support the reflective, contemplative nature of Lincoln’s boyhood.

THE BETTER ANGELS is saturated with visual and musical beauty. The score transports the viewer into another time and place, some place that straddles the wild and untamed with the enlightened. Simultaneously, the cinematography allows the viewer to peer into another plane of historical existence, as thought depicting real events, but through the lens of a dreamer, an ethereal plane of meditation that feels limitless but also dangerous. Anyone familiar with Malick’s work will undoubtedly notice the influence on Edwards’ pacing and visual storytelling, but that all serves to enhance this revealing exploration of circumstances that gave of arguably the greatest President of the United States.

Edwards has made a small, intimate film with great care and passion. This is a film that will appeal more to the historian and philosopher than the average moviegoer seeking entertainment. THE BETTER ANGELS is a period film, but you will not get LAST OF THE MOHICANS (as great a film as that is) or another Civil War film. Here you get raw human emotion, a struggle to survive in realistic form, and the impossibly daunting endeavor of becoming a man of greatness from the depths of poverty. THE BETTER ANGELS is top notch stage play material brought vividly to life by the magic of motion picture arts, hones to a level of fine arts and crafted with a philosopher’s mind.

Overall Rating: 4 out of 5 stars

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AUTÓMATA – The Review

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Robots. Ever since the dawn of science-fiction arose from the industrial revolution, it seemed inevitable that technology would play a major role in the future evolution of mankind. Or, perhaps, as some would suggest, skip evolution all together as human beings become extinct and the fruits of our scientific prowess take over as the top of the Earthly food chain. Wherever we fall on that debate, the ultimate question remains… what will the continued advancement of technology look like and how would humanity fit into the long-term picture?

Writer and director Gabe Ibáñez returns five years after revealing his first feature film HIERRO (2009) with AUTÓMATA. He dips his quill into the rich ink pot that is science-fiction to tackle the difference between man and machine, or the similarities that emerge beneath the blinding veil of fear and hatred. This may sound all too dramatic, but at its core, AUTÓMATA is a story about tolerance and equality. Many films have traveled down this road, all having their own stakes and perspectives and this one is no exception.

The film takes place in a not-so-distant future where society has taken a technological step backwards in time. After years of technological advancement, the planet is now laden with uninhabitable radioactive wastelands, barren deserts incapable of supporting life. Civilization now huddles cramped within ultra-urban cities enclosed within massive protective walls. Robots have taken over virtually every possible facet of service, but now many of them have become the equivalent of stray dogs.

The robots of AUTÓMATA function on two very basic but crucial protocols, the first of which is not to harm any living creature. The second, and ultimately more significant of the two, is the inability to alter in any way themselves or other robots. These two protocols are designed to prevent robots from self-evolving beyond our control and therefor endangering our very existence. The simplicity of the theory is seemingly perfect, but as Ibáñez borrows from JURASSIC PARK’s Dr. Ian Malcom, Dr. Dupre casually explains to Jacq that life will find a way.

Antonio Banderas (THE EXPENDABLES 3) stars as Jacq Vaucan, an insurance agent for ROC Robotics Corporation. When he is tasked with a case involving a robot shot and destroyed by a cop named Wallace, he stumbles upon something that completely rocks his world and sends him down a rabbit hole of discovery that will forever change the definition of life and humanity. Wallace, played by Dylan McDermott (American Horror Story), is a vengeful cop with a seething hatred of robots. His temper and rage blind his judgement and he becomes one of many obstacles in Jacq’s unsanctioned investigation of the possibility that the “second protocol” could be broken. Jacq ventures into the desert outlands and encounters Dr. Dupre, played by Melanie Griffith (DARK TOURIST). From this moment, he has stepped beyond the point of no return and Jacq finds himself fighting to survive while uncovering the truth.

AUTÓMATA is a slowly evolving mystery with alternating moments of reflection and realistically rendered action that evades the exaggeration so often common to the genre. Banderas fully embodies Jacq’s introspective, perhaps even somewhat selfish obsession with finding something else for his life, in whatever form that takes. Initially, he seeks to escape the city with his wife (played by Birgitte Hjort Sørensen) and unborn child, but his focus gradually shifts to finding the truth about the robots. Griffith’s on screen time is short-lived, but her presence carries on as the voice of Cleo, the vaguely female robot formerly tasked as a pleasure bot that accompanies Jacq on his partially involuntary journey deep into the desert. The cast also offers familiarity with Robert Forster as Jacq’s superior and Javier Bardem as the voice of a key robot.

Ibáñez combines a clear inspiration from genre masterpieces with his own unique visual style and philosophical point of view. The unmistakable influence of Ridley Scott’s BLADE RUNNER (1982) is ever present, but never overshadows the film. Instead, this adds an element of admiration as he takes the flavor of Scott’s brilliant film and marries it with a more contemporary sensibility. AUTÓMATA is less film noir and more social commentary. This is a serious, dramatic film that never coddles the audience. There is virtually no comic relief and occasionally asks the viewer to swallow a bit more of a philosophical pill than we’re typically used to choking down, but for this I applaud. The visual style and general tone of the film may also remind viewers of the South African DISTRICT 9 (2009). Finally, if you watch closely and have a fairly keen cinematic vocabulary, there is a pleasantly refreshing influence of Stanley Kubrick on multiple levels to enjoy.

AUTÓMATA has a lot going for it, from stunningly restrained cinematography (Alejandro Martínez) that depicts the plight of Jacq’s world to the fantastic soundtrack, composed by Zacarias M. de la Riva (THE MACHINIST). Some viewers may find the pace ever so slightly on the slow end of entertaining, with a running time of 110 minutes. The ending of the film may also prove more or a stretch than the average viewer will allow, but in this, an open mind and an understanding of the underlying ideas are key to an appreciation of this film.

AUTÓMATA Opens in Theaters and On Demand October 10th, 2014

Overall Rating: 3.5 out of 5 stars

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CHEF (2014) – The Blu Review

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The Movie on its own merit…

There are some experiences that, while not life changing, are life reaffirming and leave an impression not easily forgotten. Arguably, the best kinds of these experiences are the ones that are fully unexpected. Being caught off guard, leaving the unmistakable mark of joy stretched across one’s face. Moments that make us smile, spontaneously. I am reminded of the very first time I had an authentic Cuban sandwich, which happened to be off a food truck in Austin, Texas. Watching Jon Favreau’s newest film, CHEF, is the cinematic equivalent.

From the filmmaker who MADE (2001) an independent first impression, immortalized Will Ferrell as a holiday staple in ELF (2003) and realized the IRON MAN trilogy on the big screen, its refreshing to see writer and director Jon Favreau returning to his smaller, indie roots with CHEF. Favreau also stars as the film’s central character, Carl Casper, a Los Angeles based chef of notoriety struggling with finding his culinary identity under the oppressive control of restauranteur Riva, playfully illustrated by Dustin Hoffman. Affectionately referred to by those dear to him as “El Jefe,” Carl has a falling out with Riva after a devastating review by acclaimed food blogger Ramsey Michel, played with restrained confidence by Oliver Platt. Carl now reflects on his life and career, while stumbling through attempts to reconnect with his son Percy, played by Emjay Anthony.

At a loss for direction or opportunity after his very public celebrity outburst, captured and made viral by social media, Carl takes the advice of his ex-wife Inez (played by Sofia Vergara) and builds a business from the ground up. Carl reluctantly accepts the help of Inez’s other ex-husband Marvin (played by Robert Downey, Jr.) who sets him up with a fixer-upper food truck, which he quickly converts into an authentic taste of Little Havana on wheels. With the help of his former protege Martin (played by John Leguizamo), and his son Percy, Carl dubs the food truck El Jefe and the three out on a cross country road trip from Miami to Los Angeles, stopping in city after city making simple, quality Cuban food as Percy secretly used the very social media outlets that burned his father to raise him up from the ashes and become the underdog phoenix of the food world once again.

Favreau allows himself to break out of his mold a bit in this role, clearly showing a touch of personal sentimentality. Between his performance and his uncharacteristically full quaff, viewers may not recognize him at first, but will be pleasantly surprised. Favreau evokes a level and range of emotion that is believable and down to earth. His chemistry with his supporting cast is equally compelling as the cast lineup itself. From the scenes in the kitchen of Riva’s restaurant along side sous-chef Tony (played by Bobby Cannavale) to his casual friend with benefits relationship with hostess Molly (played by Scarlett Johansson) the interaction of characters is witty and fresh. The cameo roles in the film, which also includes Amy Sedaris and Russell Peters, are all played with a bit more of their tongues in cheek, adding a welcome and easily palatable flavor of fun to the film.

CHEF presents a topic of growing interest with food trucks, through the perspective of a culture often absent or misrepresented in film, adding humor and tastefully developed family drama without getting cheesy or overwrought. Favreau has made a film that honors the working class, promotes a realistic interpretation of modern family dynamics with a strong moral underpinning without getting preachy, while also commenting quite cleverly on the state of interpersonal communication through social media. Its as if Favreau himself decided to take a step back from all the big budget, high technology stress of Hollywood blockbuster filmmaking to decompress and reconnect with life by way of making a small, independent film with a solid story of human connection absent of gadgets and the Internet.

In addition to the well-written script and the array of familiar faces, CHEF also showcases some pretty spectacular snippets of music that add even more to that cultural flair that lives within the underlying theme of reconnecting to one’s family and roots. From the expected ode to Cuban music, both overlaid and on screen, to familiar favorites and live indie performances including Gary Clark, Jr. in Austin, CHEF is as much a music lover’s film as it is a film for foodies.

Technicalities & Extra Stuff

With all good things comes a catch, or so they say, and the one singular complaint about this home media release of CHEF is that the audio appeared to be poorly mastered. I found myself repeatedly adjusting the volume between dialogue scenes and the louder, more vibrant musically endowed scenes. This is rare, for someone like myself who watches as many films as I do and puts my surround sound through such rigorous routines, I ruled out the issue being my home theater technology. With that said, getting past this technological fault is easy to do given the pleasure of watching the film.

CHEF is presented in a Blu-ray/DVD/Digital HD with Ultraviolet combo on a single disc with a slip cover. Bonus features are limited, including the always candid feature commentary of writer/director Jon Favreau along side chef/co-producer Roy Choi, and the ever present and simply stated “deleted scenes” that serves a mostly questionable purpose and interest — most of the time — in my personal opinion.

Overall Rating: 4 out of 5 stars

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Fantastic Fest 2014: KUNG FU ELLIOT – The Review

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KUNG FU ELLIOT is not what it first sets out to become. In fact, by the end, you’ll find out — once more — that truth is sometimes stranger than fiction. From the very beginning of the film, it takes every fiber of your being to resist the inclination of writing it off as another mockumentary. Oh, this is just another take on what they started with This is Spinal Tap some three decades ago. Wrong. What you are about to watch is actually a documentary, and perhaps, one of the most compelling, honest and revealing of the year… even though, ironically, the film is so heavily rooted in deception.

Filmmakers Matthew Baukman and Jaret Belliveau set out to document the life of a somewhat peculiar but fascinating character they discovered by chance. Elliot “White Lightning” Scott, the self-proclaimed “first action star of Canada” is an amateur low-budget filmmaker from the neighbor up north. He is beginning production on his third film, titled BLOOD FIGHT, when the filmmakers begin their journey with Elliot and his girlfriend Linda, who also produces Elliot’s films, and his best friend who also acts in his films. What they discover over the course of filming, a revelation that is slowly riveting as it is hilarious, is that things are not as they appear in Elliot’s life.

KUNG FU ELLIOT is as much, if not arguably more of a comedy than a drama, despite its non-fiction origins. Audiences will certainly empathize with Linda, Elliot’s unbelievably patient and tolerable partner, as she puts up with his day dreams of fame and complete lack of financial and practical worth as a member of society. On top of paying all the bills, providing food, clothes and shelter for Elliot, Linda also bankrolls his films and literally every other aspect of his life. She even forks out for him to attend acupuncture school and travel to China with his class to study abroad, where we learn that his narcissistic ego knows no borders.

Whether disbelief replaces disgust with mockery and laughter, or you just plain develop a seething hatred of the film’s central character, one thing is for sure about KUNG FU ELLIOT… you’re not going to like him very much. After watching the film with my wife, the first words out of her mouth upon recovering from the shock, were to say “I f*cking hate this guy!” Strong words from someone who has never met him in person, but it perfectly conveys my point. Elliot does not carry himself as someone who purposely goes out of his way to be a douche bag, he just is and fails to realize the truth of his existence in the world.

What is truly heartbreaking about the film, you know, in the solemn moments between rolling in laughter on the floor and shaking your head, wondering if what you just saw really, actually happened in real life, what’s truly heartbreaking is that everyone else in the film, all the others in his life — at least the few he has in his life — are counting on him to make good on these pipe dreams of which he seems truly, honestly convinced will come true. Elliot plays these decent, albeit eccentric, human beings in a way that they buy into it hook, line and sinker, perhaps because Elliot himself has taken his own bait, or so it seems.

KUNG FU ELLIOT is a film that’s easy to get lost within the surface qualities, making the unexpected conclusion of the film even more shocking. Not only has he played his partner and friends, but he’s player the filmmakers and the audience as well. If you recall the documentary CATFISH (2010) then you understand the underlying deceptive quality of the story, minus the technology of the internet. The primary difference here is that KUNG FU ELLIOT oozes with authenticity, whereas CATFISH always had this sense of integral doubt of authenticity that lurked around every corner of the film. KUNG FU ELLIOT wears its deception on its sleeve, we just don’t realize it until Elliot rolls down his sleeves.

KUNG FU ELLIOT is making appearances at Film Festivals worldwide.

Overall Rating: 4 out of 5 stars

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JACK AND THE CUCKOO CLOCK HEART – The Review

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Romance is perhaps the most coveted of the storyteller’s tools, one that can connect with anyone, yet open to an infinite number of perspectives, styles and genres. French filmmakers Stephane Berla and Mathias Malzieu have brought Malzieu’s own novel to life in the new computer animated feature film adaptation of JACK AND THE CUCKOO CLOCK HEART. Having co-directed the film and adapted his novel into the screenplay, Malzieu is something of a renaissance man, as he’s also the lead singer for the French rock band Dionysos. This plays a crucial role in the development of the film’s fantastical, poetic nature and musical fluidity.

JACK AND THE CUCKOO CLOCK HEART, also known as The Boy With the Cuckoo Clock Heart, tells the story of Jack, a boy born on the coldest day in the history of the world. So cold, in fact, that his heart is so cold and stone hard, that it must be replaced with a small cuckoo clock, the inner working of which allow Jack to maintain life. Madeleine, the ingeniously handy foster parent of broker children, is responsible for Jack’s clockwork heart but warns Jack of three rules he must obey, or else suffer the weaknesses of his man made engine of life.

First, Jack must never touch the hands of his heart. Second, he must never lose his temper. Third, and most importantly, he must never, ever, fall in love. With this last rule seemingly fated to be broken, Jack meets Miss Acacia, a petite girl with a powerful singing voice that instantly engulfs his heart. Having just found his true love, Jack ultimately finds himself thrown into an adventure after fleeing an accident mistaken as an act of violent aggression toward Joe, an older bully driven by his fear — and later on, his jealousy — of Jack, who truly would not hurt a fly.

The story begins in Edinburgh, where Jack was raised by Madeleine, but quickly evolves into a much larger tale taking him the Paris, France. Beyond the geographical range, the film envelops an even broader European sentimentality as Miss Acacia represents a strong Spanish influence through her flamenco-inspired dress and musicality, enhanced with a modern touch of pop. Her dress and even her unique characteristic evoke the very romantic nature of the red rose by which she resembles.

Years later, Jack’s journey opens into a boundless sense of imagination with a world of surreal landscapes and design that might illustrate a collaboration between Salvador Dali and Tim Burton. This becomes clearly evident when Jack reaches a small carnival like town filled with freak show inspired characters of oddity and the wonderfully strange roller coaster ride called Ghost Train, with which Jack acquires employment in an effort to reconnect with his long lost love to be, Miss Acacia.

Joe, antagonist of the film, originally voiced by Grand Corps Malade, is perhaps the strangest character in the film. The musical numbers for Joe are more of a spoken word or rap styling — and not always as smooth as intended in the English version — whereas the character’s visual presence evokes Keanu Reeves as imagined in a period piece by Tim Burton. Sadly, the character’s portrayal is as off-putting as it is dull and one-dimensional, but does the job of providing Jack an obstacle to overcome.

JACK AND THE CUCKOO CLOCK HEART is driven primarily by the artistic visuals, but equally by its music, which drives the pace and flow of the film. The soundtrack is as eclectic as it is memorable, not for its familiarity, but for its theatrical presentation. The film portrays elements that may prove to make it a cult favorite over time, not unlike established favorites like The Rocky Horror Picture Show, The Nightmare Before Christmas or REPO! The Genetic Opera. The band, Dionysos, recorded a concept album based on the story, which became the source for the film’s music, having also provided the sound scape for the animated film A Town Called Panic (2009).

The animation used for JACK AND THE CUCKOO CLOCK HEART is reminiscent of Laika’s trademark style, but not quite as polished. Regardless, the film still flows well, especially given its frequent foray into dreamscapes and mildly euphoric trippy sequences, usually set to another musical piece from Dionysos. As previously mentioned, this film is French, however the film is apparently being released in the Unites States with an English audio track, which sadly loses something in translation. This becomes apparent not only in the voice acting, that often feels either void of appropriate emotion, or rushes and poorly times for the mood, possibly in an attempt to fit a certain translation into the characters’ visual speaking queues. Whatever the reasoning, I would have preferred to see the original French version with English subtitles, however this is still a film worth experiencing and should inspire viewers to seek out the film in its purest form.

JACK AND THE CUCKOO CLOCK HEART arrives on Video On Demand and in select theaters in Los Angeles, San Francisco, Scottsdale, Denver, Atlanta, Detroit, Miami, Houston, Orlando and Tampa beginning September 24, 2014.

Overall Rating: 3.5 out of 5 stars

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