Review – Page 34 – We Are Movie Geeks

MAGIC MIKE XXL – The Review

If it’s Summertime at the cinema, then it’s sequel time once again! Hey, it was just a couple of days ago when that foul-mouthed toy returned in TED 2. A few weeks ago another entry in the scare series arrived with INSIDIOUS 3. And this all really began on the first of May when those mighty Marvel movie heroes reunited to take down Ultron, while another team, the singin’ Bellas, headed back to the multiplex a couple of weeks later in PITCH PERFECT 2. And now movie fans are treated to another epic return gathering of several big screen icons. But this titanic team appeals to a slightly more mature demographic, hence the truly earned “R” rating. Unlike Tony Stark’s crew, these bigger-than-life beef cakes aren’t using their talents against lethal robots. The power of pleasure provides the energy, and propels the plot, in MAGIC MIKE XXL.

So, it’s been three years since we last saw Mike Lane (Channing Tatum) excite the ladies on stage. But, he’s given up his g-string for a tool belt as he devotes his time and energy into a fledgling interior design business in Tampa, Florida. But a phone call from one of his old dancing pals tricks him into a reunion with the other club vets: Ken (Matt Bomer), Tito (Adam Rodriguez), “Tarzan” (Kevin Nash), Tobias (Gabriel Inglesias), and “big” Dick Richie (Joe Manganiello). After the owner of that venue skipped the country, the fellas split with several leaving the adult entertainment biz (Tito’s got a food truck that sells his “all natural” frozen yogurt). But, now the guys have a plan to compete as a group at the big stripper convention happening in Myrtle Beach in only a few weeks. Mike takes a pass, but later that night, as he toils in his workshop, the booming hip-hop beats from his radio act as a siren’s song. That next morning he joins the guys at Tito’s yogurt truck for one last glorious gig. During the long trek, they stop off in Jacksonville where Mike meets the flirtatious photog Zoey (Amber Heard). Hey, with old club owner Dallas AWOL, the gang needs a new master of ceremonies, so they stop again at a very exclusive ladies’ club in Savannah where Mike attempts to recruit former flame Rome (Jada Pinkett Smith) along with two of her prized performers, Malik (Stephan Boss) and Andre (Donald Glover). As the group nears the big event, Mike convinces the crew to ditch their old act. But can they come up with a sensational new routine in the scant hours before they take the stage, one that will literally knock the attendees socks (and stockings) off?

Tatum effortlessly slips back into the role of leader to this motley crew, shaking off the sawdust as those old moves return to him (like riding a bike!). We get a good dose of the comedic skills he’s sharpened in the JUMP STREET franchise (especially in his banter with Zoe over pastry preferences-he’s a “cookie man”) and even a taste of his dramatic range from flicks like FOXCATCHER. But best of all is his impeccable physicality as he seems to defy gravity in his early workshop dance, which plays as a thumping tribute to the barn-raising number SEVEN BRIDES FOR SEVEN BROTHERS and Donald O’Connor’s wild “Make ’em Laugh” from SINGING IN THE RAIN. Here’s a movie star with really great moves. The most entertaining of the troupe may be Manganiello who has terrific comic timing whether he’s bemoaning the lack of a lover (they just can’t accommodate his…er…gift) or treating the convention as the Super Bowl (he’s got that endearing goofball “jock” quality). And he’s gives us some smooth moves, too, in that big show doing a riff on 50 SHADES OF GREY that out steams the original. And especially during the film’s best sequence, as he performs (fueled by the club drug Molly) only for a bored convenance store clerk. Plus he really knows his “boy bands”. Bomer also grabs some laughs as his Ken spouts endless “new age-y” babble and “self-help” speak (he’s a “third level healer”). In addition to his dance skills, he’s got quite a set of pipes as he croons sweetly to his clients (who, in turn, swoon). Rodriguez is all boundless youthful enthusiasm as he rattles off his love of fresh, organic ingredients in his home made frozen treats. And he’s a great comedic partner with Inglesais, who does a killer McConaughey impression. Oh, and he’s a roly-poly Carman Miranda, too. Nash is still stoic and somber as the world-weary, somewhat battered “Tarzan” (he poses more than he dances on stage), but we get an insight into his dark past and see him utilize his artistic talents in the big finale.

Hope that I’m not giving the impression that this film is a complete, what’s the phrase the youngsters are using, “sausage fest”. There are several ladies in prominent roles. The alpha female is definitely Pinkett-Smith as the formidable Rome (hey, her club is named “Domina”), who seems to be a mix of Eartha Kitt, TV’s “Claire Huxtable”, and Tina Turner in MAD MAX: BEYOND THUNDERDOME (and seems a bit too much like her role as crime boss “Fish” Mooney on the current Batman prequel TV series “Gotham”). While Dallas revved up the club audience with his smooth Southern drawl, Rome preaches at the pulpit of empowerment (“We are all…queens!!”). Heard gives off a sexy “tough girl” vibe as the somewhat cynical photog and possible paramour for Mike (his gal from the first flick turned down his proposal…yes, really!). Also making an impression is the still radiant Andie MacDowell as a true “cougar” queen who never stops undressing the guys with her half-mast eyes. Hey, and there’s this Summer’s busiest lady, Elizabeth Banks, co-star of LOVE AND MERCY and PITCH PERFECT 2 which she also directed, grabbing some chuckles as the big convention’s prissy and slightly frazzled organizer. Now, I don’t want to leave out an impressive trio of men from Rome’s staple. Glover (AKA “Childish Gambino” and Troy on TV’s “Community”) charms as the rap improviser Andre, Boss lives up to his name as the impeccable Malik (he even goes toe to toe with Mike), and “Mr. morning TV” himself, ex pro-footballer Michael Strahan serves up a superb high-spirited dance (using a massage table) as club fave Augustus.

The director of the original, Steven Soderbergh, has relinquished those duties this time out to his longtime assistant Gregory Jacobs, but is literally still behind the camera as the film’s cinematographer (and producer/editor). Jacobs is able to capture that film’s original rhythms, and, unfortunately, its weaknesses. While much of the first outing was an introduction to the “club life” told through the eyes of a new addition (“the Kid”), this is mainly a “road picture” with their adventures on the way to “Oz” (the big SC event). Reid Carolin once again provides the screenplay, but many of the scenes (as in the first flick) have a meandering “improv” feel. This works a few times with the crew busting b*#ls on the bus, but often it feels as though the actors are flailing about without a map (most apparent in Mike and Zoey’s awkward first meeting). And another old problem occurs here, too. The film never really comes alive until the guys perform (and boy, they whip the ladies around like rag dolls and position them like “Barbies”), be it on stage or in the “mini-mart” aisle. And McConaughey’s not around as the shot of adrenaline needed to energize the slow stretches. Yes, those folks looking to gaze at taut eight and ten-packs will be most rewarded (the mostly female attendees are in a constant state of frenzy during the big finale, so maybe Jackie Gleason was mistaken about Miami audiences), but movie lovers looking for a compelling story will feel as though they never got past the “bouncers” at the door with MAGIC MIKE XXL.

3 Out of 5 Stars

THE MIDNIGHT SWIM – The Review

THE MIDNIGHT SWIM is a hauntingly beautiful character study about three half-sisters who return to their mother’s lake house to handle her affairs after she was deemed drowned in the mysterious Spirit Lake. Technically classified as horror, the film can be psychically disturbing at times, but this does misrepresent the film’s true nature.

Writer and director Sarah Adina Smith presents her film in a semi-faux-documentary style, allowing the viewer to get close and personal with the characters as we learn about them and feel how they’re coping with the relationship flaws and loss of their mother. THE MIDNIGHT SWIM feels like a deeply personal film, but with an edge of having experienced something with which we never should have been given access.

Dr. Amelia Brooks, played in retrospect by Beth Grant, was a researcher and activist in support of saving the lake. She frequently dove to take samples and explore, as no one has ever reached the bottom of the endlessly deep body of water. On her last dive, she never returned and was not seen again. Officially pronounced dead, her three daughters spend time in the house together, coming to terms with each other and their mother.

Annie, played by Jennifer Lafleur, is the eldest daughter and a mother. Isa, played by Aleksa Palladino, seems to be the youngest, free-spirited and fun-loving, new age hippie out of her time. She rekindles an old flame with Josh, played by Ross Partridge, with whom she spends time when not with her sisters. Isa is also the most interesting character in the film. June, played by Lindsay Burdge, is a photographer and is shooting a documentary on their experience. We see and hear the least from June, given she is in part telling the very story we’re watching on screen, but she also has reflective and revealing moments on screen, some of which are entirely silent but equally unnerving.

THE MIDNIGHT SWIM is not a traditional horror film. Instead, the three sisters find themselves exploring their own states of mind and each others’ as they talk, argue and reminisce about their late mother. Occasionally, their is a slight, thinly-veiled breach of the fourth wall as if the characters are interacting directly with the audience, due to the faux-documentary style, but because this is not maintained consistently throughout the film, we’re caught off guard. As the story develops, strange occurrences do begin to raise concerns amongst the sisters, at first assuming pranks being played in poor taste, later seen as signs of something more paranormal in nature.

Sonically, THE MIDNIGHT SWIM almost seems to occur in a vacuum, with little music and laid over mere natural sound and white noise. Occasionally, and usually when cutting to or featuring the lake itself, we are given hauntingly, unearthly soundscapes as an ethereal audio pathway leading us into the unknown. Tempting us to take a swim. Equally alluring is the picturesque quality given the lake, especially at night, dark and enchanting, calling for us to submerge within in abyss.

THE MIDNIGHT SWIM contains several small, easily missed moments of finely crafted detail, much of which suggests theories and clues as to the events being portrayed on film. From microscopic views of their mother’s lake samples, revealing creepy natural beasts invisible to the naked eye to hand-written research notes indicating strange anomalies within the lake as she ventured deeper with each dive. Carefully placed bits of dialogue are also integrated to suggest connections to things larger and beyond our normal comprehension. These are the textures that help create layers of curiosity, avoiding the pitfall of being just a film about three sisters and their drama. This helps create the mystery.

Roughly 45 minutes into the film, the experience whiplashes the viewer out of the pleasantly coma-inducing family drama into a surreal, music-video like scene that injects a surge of joyous adrenaline into the previously sedated mind. This excursion from the tone of the film is never truly explained, in any conceivable way, but aside from this moment, all makes sense in the end. For viewers of THE MIDNIGHT SWIM that enter into the experience without preconceived notions or misguided expectations, this may prove an enlightening, even oddly uplifting film.

THE MIDNIGHT SWIM is slow at times, can be disorienting or slightly confusing, but is best described as an uncomfortable, intimately personal invitation to invade the emotional psyche of these three women at their most vulnerable. Its equally off-putting and tantalizing, philosophically and spiritually suggestive, making for a film that is not perfect, but far from boring.

THE MIDNIGHT SWIM Dives Into Cinemas and VOD Nationwide on Friday, June 26th, 2015.

Overall Rating: 3.5 out of 5 stars

THE STRONGEST MAN – The Review

THE STRONGEST MAN is a dry, dead-pan comedy about a Cuban man in Miami called Beef, played by Robert Lorie. Beef works in construction, but is known by friends and coworkers for being exceptionally strong. Beef is a good-sized man, but his natural strength goes far beyond the limits of any man I’ve ever met. Ultimately, this is a relatively insignificant fact about Beef, as his one love and passion in life is his gold-painted BMX bike, which he rides proudly like a child when not working construction or hanging art for a local rich white woman named Mrs. Rosen, played by Lisa Banes.

Beef’s best friend and coworker is the son of Korean immigrants and a seemingly talented yet underachieving man called Conan, played by Paul Chamberlain. The two spend most of their time together, often having peculiarly philosophical conversations in English, while Beef’s thoughts narrate the film in Spanish. At the request of friend Illi, played by Ashly Burch, Beef and Conan attend a yoga session on a whim and through the guidance of Guru Fred (played by Patrick Fugit) finds his spirit animal. As it turns out, his spirit animal proves to be problematic and after making the mistake of killing his spirit animal, Beef’s treasured BMX bike is stolen, sending him on a journey to find more than just a prized possession.

There are no big laugh-out loud moments in THE STRONGEST MAN, but the film is charmingly humorous in a subtle, introspective way that allows the viewer to empathize with this often quite man who seems simple-minded while conveying a sort of street wisdom and charisma combining the persona of Charles Bronson and Lennie from Of Mice and Men. This is an existentialist comedy that plays drier than the average British fare, but maintains a quirkiness developed by the characters, a testament to the curious writing and direction of Kenny Riches. THE STRONGEST MAN is Riches’ sophomore follow-up to MUST COME DOWN (2012) which boasts much of the same cast.

Robert Lorie is intriguing in the role of Beef, capable of filling out the slightly hulkish character through his physical type, posture and body language. Lorie also really captures the internal struggle of Beef, showing an avid understanding not just of the crucially well-written, oft off-beat dialogue, but nailing those crucial pauses and awkward even elongated silent moments that feed so much into developing Beef’s character. He’s a big guy, strong, but far from graceful, except when on his BMX. This is especially true near the end of the film when, upon reaching a breaking point, he cuts loose and dances freely, albeit terribly and at an inappropriate time.

THE STRONGEST MAN, at its core, is a story of finding what’s important to Beef. This is about Beef finding his true self and his true love. What begins as a search for his stolen bike becomes a search first for himself and then for the proverbial perfect girl. Riches shot the film with what feels like a docudrama influence, revealing Beef’s journey with on the fly, handheld cinematography that often feels spur of the moment. Doing this without feeling forced or contrived is not an easy task, but Riches manages to pull it off beautifully. While the toe and style are drastically different, consider films like THE WACKNESS (2008) or DONNIE DARKO (2001) as generally similar journey of self-discovery films and if you enjoyed those films, and are open the different styles and genres, be sure to give THE STRONGEST MAN a chance.

THE STRONGEST MAN opens in theaters on Friday, June 26th, 2015.

Overall Rating: 4 out of 5 stars

REDEEMER (2014) – The Review

For my money, there are two truly amazing, ass-kicking action flicks that came out of 2014 and wouldn’t you know, neither of them are from the United States. One of them is the Indonesian sequel called THE RAID 2 and the other is the Chilean film called REDEEMER, written and directed by Ernesto Diaz Espinoza. If you enjoy your action fast-paced and in your face, then this is a must-see movie starring Marko Zaror as Pardo, a top former hit man for a drug cartel who has gone rogue, taking down bad guys and wrong-doers in an effort to redeem himself for his past sins in hopes of one day seeing his wife and unborn child in Heaven, both of whom were murdered by a rival assassin known as Scorpion, played by José Luís Mósca.

Feared and respected by Chilean gangsters, the tattoo-covered Pardo — known as The Redeemer — carries with him a handgun with a cross embossed in the handle and a single bullet. Before each mission of redemption against a sinner(s) he prays and plays a holy round of Russian roulette. If he lives, he goes forth and cleans another bad soul of the streets. Bodies quickly pile up as The Redeemer gets closer to the drug lord, an English-speaking, sarcastic jackass named Bradock, played by Noah Segan. As Pardo manhandles and punishes anyone who crosses his path, his true test of will and talent shows up out of his past.

Espinoza has crafted a superbly precise punch-fest, showing off some truly incredible fight choreography developed by the star, Marko Zaror, accompanied by the complimentary cinematography of Nicolas Ibieta. Keeping up with these fights while keeping it real and still visually engaging must have been a Hellish task, but that collaboration pays off big time. Not only does REDEEMER have the look and style of what made the best early 90s action flicks so memorable, it also features an equally reminiscent soundtrack with music by Claudio Rocco.

REDEEMER is a success due to many elements. The general plot is not necessarily anything original, but the story itself takes on its own personality and is unique enough to carry itself without ever feeling tired and played out. I found myself watching the film, not distracted, but in the back of my mind thinking about how it has elements of what made films like DESPERADO (1995) and THE CROW (1994) so memorable. Then I also realized it had storytelling elements that reminded me of Jackie Chan films, such as RUMBLE IN THE BRONX (1995), but without the cheese factor. That’s when I realized this is a film seen 20 years past its era, but it never feels dated. This is martial arts action filmmaking at its nostalgic finest.

Zaror is a master of his craft. Some of the fight sequences will literally blow your mind. Seriously. If you’re not careful, you’ll be picking bits of your brain off your widescreen television. In particular, the final fight before Pardo finds Bradock is with Bradock’s right hand man, his captain, so to speak, and this fight is not only long but rich in detail. Espinoza works beautifully with Zaror in capturing the essence of the fight with realism. Not only does the scene amaze with its creativity but the finer details like Pardo sizing up his opponent, noting his weaknesses and finding his opportunities are all present. Furthermore, Espinoza doesn’t make Pardo another unbeatable, perfect fighting machine. Pardo gets hit frequently and does not always have the upper hand. This is especially true once we witness Pardo’s final fight for his life and the life of a young woman.

REDEEMER gets the adrenaline flowing from the beginning and maintains an exhilarating pace, but the film also catches the eyes of more discerning viewers who may appreciate the MMA (mixed martial arts) sensibility of Zaror’s talents and the evolution of Pardo’s fighting style(s) as he adapts his technique depending on the number and abilities of his opponents. REDEEMER does often implement the slow motion camera technique in the editing room, but does so with a very light hand with the purpose of showcasing the more extraordinary spinning kicks and flips and acrobatic awesomeness that occurs on the screen. This is a film about drug dealers and organized crime, so guns do come into play, but are not the focus of the action and Pardo himself favors his feet and fists over guns as his deadly weapons of choice, except when absolutely necessary.

Espinoza delivers a movie that takes me back to the heyday of JCVD (Jean Claude Van Damn) and exposes audiences to a martial arts master otherwise not well known to the world outside of Central and South America. The drug lord played by Noah Segan is occasionally a bit much, cheeky and perhaps trying to hard to channel Christian Slater, but ultimately we realize he’s not the true big bad antagonist to Pardo anyway, which allows the audience to write Bradock off a sort of comic relief. REDEEMER is well worth seeing and, given the opportunity, certainly worth seeing in the theater if you’re a fan of quality action movies.

REDEEMER opened in theaters and Video On Demand on June 12th, 2015.

Overall Rating: 4 out of 5 stars

THE FAREWELL PARTY – The Review

Just a couple of weeks ago, the film, I’LL SEE YOU IN MY DREAMS, explored and celebrated love and late in life happiness for the AARP demographic. And now, here’s the flip side. It, like the 2011 Oscar for foreign film winner ARMOUR, proves the saying usually attributed to Bette Davis, “Old age is not for sissies”. For the retirees in this film, there’s no pot parties or lunch time sea cruises with Sam Elliot to eagerly anticipate. Nope, there’s only pain, suffering, and death in their futures, along with some very tough decisions. Even though there’s little cause for the celebration, we’re invited, via your local cinema, to THE FAREWELL PARTY.

The “party” really centers around one couple. Yehezkel (Ze’ev Revach) and Levana (Levana Finkelstein) are reveling in their golden years together as they share a cozy home in a Jerusalem retirement center. They enjoy regular visits from adult daughter Noa (Hilla Sarjon), splashing in the community pool with their sweet eight year-old granddaughter, and having the space for him to have a workshop. Seems Yeh has a rep there as quite the “gadget guru”. This prompts old friend Yana (Aliza Rosen) to ask a big favor. Her dear husband has had to move out of the center and into the hospital as he is slowly, very slowly, losing a battle against cancer. She pleads with Yeh to concoct a device to bring him a peaceful, painless death. After much soul searching, he begins work on putting together a, yes, suicide machine. But Yeh is not wise in the ways of medicine, and so he enlists the aid of a retired veterinarian Raffi (Raffi Tavor) and a very reluctant physician Carmon (Yosef Carmon). When word of their efforts leak out, Yeh is soon bombarded by requests from distraught spouses. As he tries to keep his secret life a secret (and deal with his greedy cohorts), he also must deal with Levana’s slow dissent into dementia. She begins to forget names, recipes, even her clothing. The director of the center along with his daughter pressure Yeh to commit her to an assisted living facility. But the proud man insists that he can take care of his lifelong love. But how long will he be able to do this, until she too pleads for the release he and his aides can provide?

Co-directors/screenwriters Granit and Maymon guide this cast of veteran actors to wonderfully subtle performances. Revach is a growly, grumpy “grandpa” bear who bristles at becoming the leader of this band of “kosher Kevorkians”. He’s endearing while being occasionally frustrating. Yeh is an unmovable rock when it comes to his mate. He adamantly refuses to admit that her needs will soon be beyond his abilities. Finkelstein as that mate, his “grandma bear”, makes her a warm, tempering influence that calms his tirades. This makes her slow descent into darkness more tragic. Levana is soon gliding through life like a lost ghost, much as the title character in STILL ALICE. Rosen plays Yana as a formidable instigator, unafraid to butt heads with Yeh. And Tavor gives the film a touch of whimsy as the veteran vet. Granit and Maymon unfold the story with a leisurely pace, giving it a natural feel, but allowing for a couple of brief comic moments: two separate encounters with the same exasperated motorcycle cop and an act of support and defiance that enrages the center’s director (shades of ANIMAL HOUSE!). The film makers steer clear of heavy-handed melodramatics and deliver a real slice of life dilemma. Perhaps the best accolade for the film is the possibility that it will prompt an honest discussion among audience members in case, at some point, they must think about THE FAREWELL PARTY that may await any of us.

3.5 Out of 5

THE FAREWELL PARTY opens everywhere and screens exclusively in the St. Louis area at Landmark’s Plaza Frontenac Cinemas

SAINT LAURENT – The Review

It’s time for a quick break from the bombastic Summer fare, and briefly enter the world of big screen biographies, a genre usually reserved for those serious cooler months, closer to awards season. In this new (for stateside audiences) release we aren’t examining the life of a figure from the annals of historical science like the recent Oscar winners THE THEORY OF EVERYTHING or THE IMITATION GAME. No, we’re heading into the world of the arts (an arena for several terrific feature documentaries of late). But the subject is not from the world of fine art, like those films concerning painters such as POLLACK or SURVIVING PICASSO. Nor is this based on a music maestro like NOWHERE BOY and the film still in theatres LOVE AND MERCY (and if you’re not seen this dazzling look inside the mind and work of Brian Wilson, by all means drive, run, or surf to your local cinema). This is that rare biography of a fashion icon. Now there have been a couple of films concerning 30’s designer Coco Chanel, but this film takes a look at a more recent fashion icon, one whose influence is still felt. His initials still emblazen several labels. From across the pond, comes a look at the life of the man behind YSL, Yves SAINT LAURENT.

Unlike many screen bios, this film begins during the peak of the subject’s world-wide fame. It’s 1974, and YSL (Gaspard Ulliel) checks himself into a swank Paris hotel, “to sleep”. But before his head touches the pillow, he’s on the phone to a magazine interviewer. Yves relates the horrors of his conscription into the Algerian army over a dozen years before, of battling for his sanity while in a military hospital as he kept predators at bay. The story shifts back to 1967, as the very much in demand (he’s the exclusive clothier for France’s film icon Catherine Deneuve) Yves is preparing to launch a new clothing line at the popular design house he established with his business and personal partner Pierre Berge (Jeremie Renier), the man who “rescued” Yves from that medical nightmare. In between overseeing his overworked staff of seamstresses, he sketches out ideas for new dresses and suits. After business hours, he is a regular at all the trendy hot spots. At one such dance club, Yves meets his fashion muse, the gorgeous blond model Betty Cartroux (Aymeline Valade). And when the clubs close, Yves haunts the seedier parts of Paris, amongst the young “hustlers”. The years pass, the accolades pile up, and Yves spends much of his free time at the Marrakesh get away he shares with Pierre. As the pressures mount, he indulges his ravenous appetite for champagne, prescription pills, and anonymous sex. Later, as Pierre deals with the demands of the company’s American partners, Yves becomes obsessed with a high-priced gigolo, Jacques (Louis Garrel). As the money piles up and the years fade, Yves descends further into addiction.

Ulliel (whom audience may recall as young Dr. Lechter in HANNIBAL RISING) brings a vibrant physicality to the title character, with a regal, refined air, looking impeccable in the vintage attire, but isn’t permitted to go beyond the surface of the man behind the brand. Often his Yves seems to be a ghost, gliding through the office and floating down the runway always in search of the next distraction, be it a bottle, a pill, or a lover. There’s a hint of the inner torment in his phone “interview”, but it’s never really explored. There are flashes of Yves as a child, scribbling his paper doll creatures. And there’s a middle-aged Yves, post 1989, essayed by Helmut Berger, who trudges down his plush hallways, passing expensive treasures like a dapper, bespectacled Charles Foster Kane. But his late in life interview peels away little of the enigma. The same could also be said of Renier as the man behind the man, the business wizard supporting the fashion genius. He fights fiercely for Yves in the boardrooms and banks, while tolerating his serial promiscuity. Valade makes quite an impression as Cartoux, perhaps the coolest of “cool blondes” (as Hitchcock coined them), a riveting vision who becomes the only focus on the dance floor. While studying her every move, Yves even imagines himself as her twin doppelgänger. But once he draws her into his web, and studio, she’s just another extra during the constant festivities. The same could be said for another French beauty, Lea Seydoux (unforgettable in BLUE IS THE WARMEST COLOR and soon to be a Bond girl in SPECTRE) as Loulou, YST confidant and accessory designer. Beside a bit of dialogue about bracelets, she’s just there to match Yves in guzzling booze and chain smoking.

They’re a talented cast that’s been set adrift by the script written by director Bertrand Bonello and Thomas Bidegain. And the snail-paced direction by Bonello doesn’t serve them well either, making the 150 minutes feel like an actual decade. He shows a bit of style, evoking 1960’s cinema by showing the passage of time in a too brief sequence. It’s a split screen with the left half filled with grainy, black and white news footage, while candy colored fashions display on the right with the same spiral stairway backdrop, and the concurrent years (1968, 1969, etc…) at bottom screen center. But quickly it’s back to the endless parties and orgies with the cast downing crates of bubbly, and cases of Marlboros (it’s a wonder I didn’t acquire a hacking cough in addition to the nausea). By the midpoint, any sympathy the audience has worked up for Yves because of his drug addiction is wiped clean when an act of reckless indulgence causes the horrific death of an innocent in a most repugnant sequence (be warned PETA members). Plus several scenes of gratuitous nudity, perhaps meant to shock us from the tedium, just seem desperate. Those wanting to know more about the creative spirit will gain little insight into the man or the fashion icon by enduring the tawdry, laborious SAINT LAURENT

1.5 Out of 5

DOOMSDAYS (2013) – The Review

DOOMSDAYS is not another big budget, effects laden, apocalyptic blockbuster about the end of days. This is the exact opposite. Writer and director Eddie Mullins tells the story of two aimless squatters who wander from one lavish vacation home to another in the Catskills, breaking in and making themselves at home. Justin Rice plays Dirty Fred, the more cultured and outwardly intellectual of the two men. Leo Fitzpatrick plays Bruho, the less stable, paranoid loose cannon. Both men live life by their own rules, which for the most part, means there are no rules.

Dirty Fred and Bruho’s daily life goes on swimmingly, unencumbered by law or societal expectations for some time. They take what they need, do what they want, and generally cause havoc and mischief as necessary for their own amusement. One day, they meet Jaidon, played by Brian Charles Johnson. Jaidon is a husky runaway teenager with limited social skills, questionable maturity and just enough gullibility that Dirty Fred and Bruho decide to take him in as a sort of intern anarchist, against their initial reservations. Despite the odds, Jaidon proves to be a reliable companion rather than a third wheel until they meet Reyna, played by Laura Campbell, and everything changes.

Dirty Fred lives by a self-serving code of instant gratification. Seize the day and damn the cost, as long as the cost falls in the unsuspecting lap of another. On the contrary, while Bruho certainly does partake in many the same adventurous vices as Dirt Harry, the rationale for his lifestyle is quite different. Bruho believes the world is set on a downward-spiraling course of destruction due to one thing… oil. When the worlds’ oil inevitably runs out, all Hell will break loose, so Bruho is training and preparing for that life now. Both of these men are far from ideal role models for young Jaidon, but he embeds himself deep within their roaming camp and doesn’t look back.

Eddie Mullins has, I believe, written what may likely become a new indie cult favorite. A new anarchists’ handbook, so to speak, taking the hipster culture and melding it awkwardly with the outsider, rebellious nature more commonly expected from a Harmony Korine film. DOOMSDAYS is a modern day VACATION, but instead of the traditional family unit of mom, dad and the kids, we witness the evolution of what may be one version of the post-fallout American family unit. Tradition and morals no longer matter in the face of survival, accompanied by the human need for pleasure and indulgence.

DOOMSDAYS is structured in a linear fashion, with 31 individual chapters broken up by day. Each chapter, or segment of the film, begins with a black slate, simply informing the viewer that this is day one, two, three, etc. For whatever reason, this film chronicles the month of March, in what ever year this takes place. The twist, however, is while the days and the story occur in a linear fashion, the structure of the film is broken up so that monotony never sets in and it retains the freshness of its carefree premise. Some segments are long, while others are surprisingly short, albeit still succinctly crafted to be a statement in itself, within the larger story of the film.

The film is wonderfully cast. Dirty Fred basically comes across as a cultured, arrogant douche-bag that can talk himself in or out of anything. Rice portrays this visually and convinces us he is, despite moments when humility nearly shows their heads before slipping back into their shells. Despite the excellently eccentric nature of Rice’s character, I found Fitzpatrick’s portrayal as Bruho more satisfying and realistic. Bruho is torn between being a paranoid, selfish asshole and a decent, compassionate human being who gives a shit about others. Jaidon is basically comic relief and Johnson manages to pull this off without a hitch. Jaidon ignorance and innocence collide with his desire to fit in and be cool, creating a teenage monster who somehow still seems adorably harmless compared to his mentors in mayhem.

This brings me to Reyna, played by Laura Campbell, who serves as the catalyst in this compound of unstable character chemistries. On the surface, she seems normal enough, laid back and cool, intelligent, cultured, worldly and wise. In short, she seems to really have her shit together, despite the three worst-case scenarios with which she tags along after her relationship abruptly comes to an end. Campbell maintains the girl next door vibe but without the slutty undertones, portraying Reyna as more of a cool, world of Kevin Smith character a la Shannon Doherty of MALLRATS.

DOOMSDAYS is fun and reckless as a classy but crude comedy up until Reyna joins the calamitous crew, then the human drama sets in and reveals a more rich, full-bodied story without sacrificing the frothy fun on the surface which made the film so enticing in the beginning.

DOOMSDAYS hits theaters and VOD this Friday, June 5th, 2015.

Overall Rating: 4 out of 5 stars

WE ARE STILL HERE – The Review

Some of the best and surprising films, not just in horror but all genres, are the ones that sneak up on you and catch you off guard. To be more specific, small films that seemingly come out of nowhere, without warning, and despite their having an otherwise mild-mannered appearance, turn out to have quite a surprising impact.

Written and directed by Ted Geoghagan, WE ARE STILL HERE is one of these little modestly made films that speak quietly but carry a big stick. WASH, as I will refer to it from here on out, is a superbly made film that does not strike you as such upon the first viewing. Instead, its a film that nags at you and eats away at your mind after the viewing has ended. For myself, I came away from my initial viewing thinking only mediocre thoughts of its content, but as I soon realized, I had been infected by the film’s mind-boring parasite that stuck with me and couldn’t let me go, allowing me to realize the subtle genius of the film.

Ted Geoghogan has embraced and brought into his film the very essence of the creepy, low-profile 80s horror flick. WASH is a contemporary film that deserves the recent trend toward nostalgic throwbacks. WASH needs a limited edition big box VHS release. That’s the overall reaction I had to this movie, being one of those rare gems that I stumbled upon in the back of the horror section on the top dusty shelf, nearly out of reach at the local mom and pop video rental shop. For some of you, this translates to a remarkably high appraisal of the film, and you devoted few understand what that means.

WASH tells the story of a middle-aged couple, Paul and Anne Sacchetti, who move to a remote house in the woods of New England after their teenage son has died in an automobile accident. Its winter and the overall tone of the film is cold, from the weather to the emotions and even the lighting and color palette chosen to illustrate the film visual tone. Paul and Anne are grieving, and in their misery fail to notice some strange behavior amidst them in the small town, which gives the small town charm and hospitality cliche an eerie twist when they realize that the house is not as cozy as they’d hoped.

Anne, played by veteran genre actress Barbara Crampton, is the first of the couple to notice the strange sounds and occurrences. She is the first to catch glimpses of figures, shadowing entities and flickering ghostly visions of horrifying things. At first fearing the grief is proving too much, Paul (played by Andrew Sensenig) too becomes aware that they are not alone and the house is home to something far removed from the pleasant welcoming of the locals. The difference in the couples’ interpretation is what initially sets this slow-burn ghost story in motion. Anne believes the apparition is her son, trying desperately to reach out and speak to his parents. Paul, on the other hand, being a more rationale man, doesn’t buy it and fears they are in danger.

Encouraged by the town folk to stay, and not wanting to upset his wife more than necessary, Paul allows the belief to preside for a while, but its the secrets house within the town that are as dangerous as the presence that calls the Sacchetti’s house home. WASH brings into being a common theme of H.P. Lovecraft’s works around a town’s collective involvement with strange occurrences. Geoghogan does this in a more digestible form than Lovecraft’s oft-dated settings, but the heart of it remains the same. We saw a similar trend in the 80s, one of the more recognizable being Stephen King’s CHILDREN OF THE CORN (1984) where a community comes together for a common good, which is really quite evil.

While we’re revisiting the 80s, I should point out another impressive element of WASH being the special effects makeup. The portrayal of the badly burned, nearly unrecognizable spirits is fantastic. The mix of traditional makeup effects and subtle digital enhancements give these entities chill-inducing realism, both in the quality and in the execution, that makes them appear as though they are forever smoldering in agonizing pain. Just the thought of it makes one itch and that’s the point. The eyes of the entities also harken back to an earlier era of supernatural horror flicks, namely of the Italian persuasion. The filmmaker’s soft spot for these film also becomes apparent with a few Easter eggs nods to such Italian classics as THE BEYOND and THE HOUSE BY THE CEMETERY, both from 1981.

As I mentioned previously, your initial viewing may set you up for an extended fright. A great deal of this is due to the masterful cinematography from genre-regular Karim Hussain, whose credits as cinematographer include HOBO WITH A SHOTGUN, ANTIVIRAL and the TV Series HANNIBAL, none of which look the same, all of which look amazing. I can honestly say I am more creeped out by WE ARE STILL HERE now, as I write this review, than I was during or just after viewing the film. Perhaps that’s a testament to the film’s power, and credence in the film’s title as fair warning to its viewers.

WE ARE STILL HERE arrives in theaters and on VOD June 5th, 2015

Overall Rating: 4 out of 5 stars

ENTOURAGE – The Review

And now another summertime staple appears at the multiplex: the feature film version of a television series. It’s not a recast movie adaptation of a beloved series from TV’s “golden” or “silver age” like GET SMART or THE FUGITIVE nor one with an intense cult following that like STAR TREK, which has inspired a long-running (over 35 years now) franchise (but who knows?). This series isn’t currently in production as with “The Simpsons” or “The X-Files” (which was still running on Fox TV when the first film premiered). This could be closer to TWIN PEAKS: FIRE WALK WITH ME, which hit theatres mere months after ABC TV’s show left the airwaves. But it’s closest, perhaps, to SEX AND THE CITY which made its movie debut just a few years after wrapping a successful run on “premium” cable channel HBO (as in “It’s not TV…it’s HBO). The new film’s not closer because of subject matter (there is a lot of sex involved, though), but because it also comes from HBO and it ended merely four years ago. Bursting out of the small screen and onto the big screen, comes the rowdy gang of ENTOURAGE.

At the end of season eight, movie superstar Vincent “Vinnie” Chase (Adrian Grenier) was about to be married. As the movie begins, Vinnie’s boys (the entourage), “E” AKA Eric (Kevin Connolly), Salvatore “Turtle” (Jerry Ferrara) and brother Johnny “Drama” Chase (Kevin Dillon) are on a speedboat skipping through the waters near Ibiza, Spain to join him in a “divorce party’ aboard a lush yacht (seems he and his bride called it quits just days into the honeymoon). Vinnie wants to get back to work and calls his ex-agent Ari Gold (Jeremy Piven), who’s now a studio exec and is vacationing with his wife and son in Italy. Vinnie will take the lead in a new big blockbuster only if he can direct it. After the title and credits that cleverly recreate the original show’s opening, it’s several months later and Vinnie needs more cash to complete his epic. Ari must travel to Texas and try to coax some more cash from wealthy investor Larsen McCredle (Billy Bob Thorton). He’ll only cough it up if his dim son Travis (Haley Joel Osment) will go back with Ari to LA and look over the flick so far. We then learn about what Vinnie’s buds have been doing. E, a producer on Vinnie’s “Hyde”, is helping his ex-girlfriend Sloan (Emmanuelle Chriqui) as the birth of their baby nears. Should he try to get back with her? Turtle, now an economic equal to Vinnie thanks to his tequila company, is in pursuit of the gorgeous ultimate fighting champ Ronda Rousey (playing herself). Johnny Drama is pinning his career hopes on a pivotal supporting role in “Hyde”, but still must go to auditions and deal with a tape that leaked to TMZ. Everything soon spins out of control when the obnoxious Travis demands drastic changes in Vinnie’s directing debut. Can Ari get the project back on track without jeopardizing his career along with those of the guys?

Much like the original series, the most entertaining character is not really part of the title group (the mansion’s party boys). I’m speaking of Piven as Ari, the role that deservedly netted him three Emmy awards. Piven’s has remarked in interviews that he plays the role as though he’d just been shot out of a cannon, which holds true this time out. Ari provides a much needed “shot” in the arm, a dose of vitality in the constant orgies and debaucheries. He’s a whirling dervish, the “Tasmanian Devil” in a thousand dollar suit, nipping at any who dare to flick a finger too close. Of the actual quartet, the most compelling may be Dillon as the often tragic Johnny Drama. This was a man who reveled in fame decades ago and now tries desperately to recapture it. But stardom is a flighty, flirty lover and so, he must go out on the cattle calls. Dillon gives what could be a one-note character, a real vulnerability. Unfortunately he’s often the butt of jokes, due to his unchecked libido (and some of the inane gags the script hangs on him). Ferrara mainly mopes about over his MMA dream girl while being teased over his recent weight loss (Turtle was lovably husky in the show’s first few years). Connolly is sometimes the reasonable, restrained, near-adult of the four, other times he’s just the straight man reacting to their outrageous behavior. His romantic subplot never really gels. As for Grenier, after being in the role for eight years, he’s still not really believable as an international screen star. There’s no fire, no charisma (certainly not in the scant scenes we see from “Hyde” a futuristic take on the Robert Louis Stevenson classic tale of dual identities in one man). Plus we never really see him work as a film maker, just as a “chick magnet” for the crew. There’s an entertaining subplot featuring the welcome return of Rex Lee as Ari’s beleaguered ex-aide Lloyd. He wants Ari to give him away at his “big fat gay wedding” (as Ari calls it). Beneath the prickly near-homophobic barbs, we sense a real affection between these very different men. Series regular Chriqui has little to do besides being exasperated with E while Debi Mazar flits in and out of scenes as Shauna.

As for the “newbies”, Osment is quite a revelation as the baby-faced, dead-eyed villain. He’s a very funny wide-eyed clod upon his arrival in LA, but soon the other boot drops and the vengeful brat takes over. Thorton, as his daddy, is southern-fried (oops, Texas BBQ) menace as the tight-fisted money man. Rousey is entertaining as the nearly always scowling cartoon of her tough persona, while Emily Ratajkkowski, playing herself as a possible new Vinnie conquest, seems like she was just awakened from a long nap.

Creator of the show Doug Ellin, directing from his screenplay (with Rob Weiss), tries hard to deliver a nice farewell gift to the fans of the show. Unfortunately the finished product doesn’t seem fresh with references that are well past their expiration date (everything still shoots in LA, no “runaway” productions exist here). And really, after eight seasons, who besides the stars and producers were demanding a movie return (as opposed to other HBO shows)? The endless stream of booze, drugs, and (often topless) starlets no longer feels like exhilerating fun. It’s more desperate. Perhaps that desperation accounts for the unremitting parade of cameos from the worlds of TV, movies, sports, and music. A couple of them are very funny, but most of these star turns fall flat, with most hurling obscene insults at the fictional characters. Much of the time we’re squinting and saying, “Look there’s….and over there is…” while being distracted from some the stale plot elements. Okay ENTOURAGE, you got your flick, now take your booze and bongs and stagger back to rerun heaven.

3 Out of 5

ALOHA – The Review

Summer’s settling in, the kids are out of school, so how about a vacation? Or at least a visit to the multiplex to take in a very popular vacation spot. And you wouldn’t be leaving the good ole’ US of A! I’m referring to our 50^th state, Hawaii. So who will you be traveling with on this cinematic stay in the Pacific’s paradise? Well, it’s a gaggle of true, “big deal” Hollywood actors and actresses. So, was it the mild temps and gorgeous beaches that lured this impressive cast here? It didn’t hurt, but the main lure may have been the chance to work with the celebrated author/director Cameron Crowe. After leaving the pages of Rolling Stone magazine, he contributed the script for the seminal 80’s teen comedy/drama FAST TIMES AT RIDGEMONT HIGH. When he took on directing in 1989, he made a string of iconic classics beginning with SAY ANYTHING, then SINGLES, JERRY MAGUIRE, and, in 2000, ALMOST FAMOUS. But then a series of missteps started a downward spiral: VANILLA SKY, ELIZABETHTOWN, and the saccharine family flick WE BOUGHT A ZOO. So, can Mr. Crowe take the reins of his film career and correct the trajectory? Will the friendly islands prove to be a rejuvenator in his new comedy/drama/romance ALOHA?

A barrage of 1950’s and 60’s newsreel and home movie footage during the opening titles tell us of Hawaii’s importance to NASA during the great “space race”. But then funding was cut and the stars were explored (and exploited) by the rich entrepreneurs. Working for one of the “one-percent” is former military man Brian Gilcrest (Bradley Cooper). Seems he left the service after taking some bullets during a botched operation in Kabul. He’s not been back to the islands in 13 years, when he broke up with Tracy Woodside (Rachel McAdams), who’s now married to armed forces pilot, and Brian’s new pal, the silent, stoic “Woody” (John Krasinski). Oh, and they’ve got two kids: precocious eight-year-old Mitchell (Jaeden Lieberher) and thirteen-year-old (Hmmm?) Grace (Danielle Rose Russell). As Brian re-unites with Tracy on the airport tarmac, he’s introduced to his military liaison/guide Allison Ng (Emma Stone), who’s all business, and part Hawaiian. They need to meet with somewhat hostile local native royalty to obtain a “blessing” for part of the new satellite launching plans for Brian’s boss, tele-communications titan Carson Welch (Bill Murray). As the project moves forward, Brian and Allison clash and eventually develop a relationship, just as the Woodside homestead begins to crumble. Brian then begins to question his life and loyalties during this very eventful homecoming.

Oh boy, the cast can’t be faulted for this since they’re really giving it their best shot. This script is just dramatic quicksand. Cooper shows us a bit of the darkness evident in roles like the recent SERENA, but his Brian often comes off as brusk and too cynical. A third act change of heart never really rings true. The usually effervescent and delightful Stone (the best part of the last Spider-Man reboot) is saddled with one of the most irritating movie characters in recent memory. For the flick’s first half hour, her Allison over-enunciates and mugs shamelessly. Happily she does soften a bit after a meeting with the natives (she is a true believer in the island magic? Huh?) while her big emotional shift also seems mighty forced and convenient plot-wise. McAdams seems to exist just to needle Cooper and is never give a real chance to flesh out the stressed-out Tracy. Happily Krasinki is spared much of the insipid dialogue and uses his TV comedy training to great effect as we must “read’ him through his eyes and body language. Actually, the best part of the film may be the silent exchange between him and Cooper that’s humorously subtitled. Murray exploits his “ultra-cool” persona as he hovers through his meager scenes. Alec Baldwin is brought in for some of his patented seething, screaming bluster in almost a cameo role (still no match for his similar turn in GLENGARY GLEN ROSS). Danny McBride seems to exist as a plot driver and sounding board while his affectation (constantly wiggling his fingers) proves to be an annoying distraction. The lovely Russell merely seems to glide through the scenes while the overly energetic Lieberher (so good in ST VINCENT) merely seems to be riffing on the “smart kid” in JERRY MAGUIRE (except he’s now into the space program, Hawaiian myths, and camcorders). You can’t say these guys and gals ain’t’ tryin’!

Trouble is that the odds, in the form of a clunky script, and tepid direction, are against the cast. The film lurches from one pointless sequence to the next until a heavy-handed bit of techno-gobledy-gook is used for a big dramatic finish. That is,until a big romantic finish followed by a painfully maudlin finish. I’m rooting for Crowe to get back on track and once again deliver another heart-tugging tale of real human emotion. Here he’s hammering in a message and pummeling us with pop tunes while lingering far too long on characters locked in strained close-ups. What a mess (I’ll steer clear of island clichés like calling the film “spoiled poi”). Better luck next time to all involved. Of the word’s two meanings, I’ll say a hasty goodbye to ALOHA.

1.5 Out of 5

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Overall Rating: 3.5 out of 5 stars

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Overall Rating: 4 out of 5 stars

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Overall Rating: 4 out of 5 stars

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Overall Rating: 4 out of 5 stars

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Overall Rating: 4 out of 5 stars

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