This Is a Movie Review: ‘The Little Stranger’ is Obscure Gothic Horror in an English Manor

August 30, 2018

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CREDIT: Nicola Dove/Focus Features

This review was originally posted on News Cult in August 2018.

Starring: Domhnall Gleeson, Ruth Wilson, Charlotte Rampling, Will Poulter, Liv Hill

Director: Lenny Abrahamson

Running Time: 111 Minutes

Rating: R for Properly Disturbing Behavior

Release Date: August 31, 2018 (Moderate)

Many of the crucial events in The Little Stranger are never fully seen. A dog attacks a girl behind a curtain. The bells used to call on the housemaid ring furiously even though nobody is ringing them. And the main character, Dr. Faraday (Domhnall Gleeson), is plagued by repressed memories and his own unconscious behavior. Or at least that’s what he suspects and what the editing leads us to believe. It all begins with Faraday arriving at Hundreds Hall, a large country manor that wrings plenty of gothic horror out of its perpetual state of dreary English autumn. He is there to treat Roddy Ayres (Will Poulter), a disfigured veteran with PTSD.

The house is a bit of a totem for Faraday, as his mother worked as a maid there when he was a young boy. He is a sort of Jay Gatsby figure, coming from modest means and existing so closely to, yet so far from, the rarefied air of respectable society. Unlike Gatsby, he does not crave glamor so much as acceptance. He has never really been rejected by the type of people he treats, but he still yearns to ensure his place among them. It looks like he has fully secured it via a romance with Roddy’s sister Caroline (Ruth Wilson). But tragedy is hellbent against a happy ending coming to fruition. And what is the agent of that tragedy? Like so much of this movie, it prefers to keep itself obscure.

The Little Stranger is based on the novel of the same name by Sarah Waters, who also wrote Fingersmith, which was adapted into the 2016 Korean film The Handmaiden. Both films deal with themes of class and traffic in plot twists involving major reversals uncovered by seeing an earlier scene from a different vantage point. The major thrill of The Handmaiden is when it fully reveals its machinations for a mindblowing conclusion. The Little Stranger is much more subdued, to a fault. It asks its audience to soak in its mystery without much hope for full answers. Its craft on its way to the anticlimax is plenty chilling, but it winds up in a corner that is too dark to draw any satisfying conclusion.

The Little Stranger is Recommended If You Like: Some Dreary British Mashup of The Great Gatsby and The Handmaiden

Grade: 3 out of 5 Repressed Memories

This Is a Movie Review: ‘Searching’ Achieves Intimacy Through Screen-Based Storytelling

August 23, 2018

jmunney Cinema, Movie Reviews , , , , , , , , 1 Comment

CREDIT: Sebastian Baron/Screen Gems

This review was originally posted on News Cult in August 2018.

Starring: John Cho, Debra Messing, Michelle La, Joseph Lee

Director: Aneesh Chaganty

Running Time: 102 Minutes

Rating: PG-13 for Angry Outbursts and References to Patterns of Illegal Behavior

Release Date: August 24, 2018 (Limited)/Expands Nationwide August 31, 2018

If a movie is going to have a form-busting structure, it is probably best if its story works on its own merits regardless of the filmmaking style, unless the format is so unusual that audiences don’t even know how to process it. Searching is not the first film to be told entirely on computer screens, nor is it even the first from producer Timur Bekmambetov. This is just the latest in his “Screenlife” series, following in the innovative footsteps of Unfriended and its sequel, Unfriended: Dark Web. Searching is the story of widowed father David Kim (John Cho) desperately looking for his missing teenage daughter Margot (Michelle La), and it is compelling enough on its own beyond its medium-within-a-medium approach. But its unique structure proves to be an ingenious method for plumbing characters’ psychology.

Much of Searching is about David coming to terms with the fact that he may not have known his daughter as well as he thought he did. This is a phenomenon that many, perhaps all, parents experience at some point, but rarely under such tragic circumstances. Talking him through much of this crisis is Rosemary Vick (Debra Messing), the case’s lead detective, who assures David that there are always secrets between even the closest of loved ones. It’s a lesson worth keeping in mind for any viewers trying to suss out the twist to come when the truth is revealed, and it also illuminates what the Screenlife form can achieve. In one early scene, before David knows for sure that Margot is truly missing, he composes an angry text message to her … and then deletes and replaces it with something much more civil. The intimacy granted to viewers by seeing David’s process is on the same level of that between the reader and narrator of a novel.

One of Searching‘s major charms is its heavy use of outdated technology, not in terms of fetishization but rather the stasis typical of suburban parents. The opening montage features David and his wife keeping track of Margot’s early years on their new Windows XP computer. Cut to the present day, and David is still using a now decade-and-a-half-old operating system. It still runs perfectly fine, so there is no reason to be a consumerist shill and insist that he make an upgrade. But sticking to this routine is indicative of how he goes about his personal life as well. The nature of his quality time spent with Margot has not changed much since his wife died. But their relationship needs to change, because she is almost an adult and they need to talk to each other about how the loss of Mom has affected both of them. Searching does not take a stance on whether the domination of screens in modern society is a net positive or negative, but by thoroughly examining how much we document on computers, it demonstrates how valuable it is to occasionally keep track of those records.

Searching is Recommended If You Like: The Fugitive, Law & Order, Organizing Photos on Your Computer

Grade: 4 out of 5 File Folders

This Is a Movie Review: ‘The Happytime Murders’ Combines Noir Mystery with Wonderfully Inventive Crude Puppet Gags

August 23, 2018

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CREDIT: Hopper Stone/STXfilms

This review was originally posted on News Cult in August 2018.

Starring: Bill Barretta, Melissa McCarthy, Maya Rudolph, Leslie David Baker, Elizabeth Banks, Joel McHale

Director: Brian Henson

Running Time: 91 Minutes

Rating: R for Raucous Puppet Sex, Loopy Puppet Drug Use, Constant Puppet and Human Profanity, and a Description of an Unspeakable Act Involving Rice Pilaf

Release Date: August 24, 2018

The advertising for The Happytime Murders has made a big deal about how out of the ordinary its existence is: puppets that are usually family-friendly about to get no-holds-barred dirty to an unprecedented degree! But the movie itself, with a typical noir-style murder mystery premise, is fairly unassuming. It’s not particularly hard-bitten, just accepting of the fact that certain and lewd and violent acts are known to happen in this world. It’s as if puppet-noir were a well-established cinematic genre, as Happytime Murders does not feel the need to explain itself, at least no more so than any other movie.

It is not as if audiences should be wholly unfamiliar with what director Brian Henson and company are trying to pull off, as Happytime has a great deal in common with a certain 1988 film called Who Framed Roger Rabbit. Both feature a human and a non-human partnering up to solve a series of murders that the non-human has been framed for, in a Los Angeles in which the human population lives uneasily alongside their neighbors from another medium. Both are more adult in their storytelling than the average Disney or Muppet concoction, but while Roger Rabbit is safe for most ages, Happytime decidedly is not. And while the latter can be enjoyed simply as a story of a cynical puppet private investigator trying to clear his name, the main reason to see it is why the kids cannot come.

The jokes about the anatomy, sexual predilections, and drug habits of puppets do not have the tenor of “Look how disgusting we can be!” Instead, they are the sort of clever, fully committed gags that examine a previously unexamined premise and then take the consequences to their most absurd conclusions. The climaxes are both explosive and filled with a deep well of laser-deployed knowledge. As P.I. Phil Philips, Bill Barretta (the current performer of Muppets like Swedish Chef and Pepe) gives about as much depth as possible to a puppet character. His crackling banter with Melissa McCarthy is filled with a loopy zest that can only come from looking at an askew world and keeping a straight face. Every cast member realizes something important, and it is why Happytime works as well as it does: this is all very silly, but we must commit to everything like the joy of the world depends on it.

The Happytime Murders is Recommended If You Like: Who Framed Roger Rabbit, A femme fatale walking into a P.I. office, The Muppets, Spy, The Heat

Grade: 3.75 out of 5 Puppet Carpets Matching the Drapes

This Is a Movie Review: ‘Support the Girls’ is a Low-Key Look at the Ins and Outs of a Curvy Family Sports Bar

August 21, 2018

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CREDIT: Magnolia Pictures

This review was originally posted on News Cult in August 2018.

Starring: Regina Hall, Haley Lu Richardson, James Le Gros, Junglepussy, Dylan Gelula, Lea DeLaria, AJ Michalka

Director: Andrew Bujalski

Running Time: 91 Minutes

Rating: R for a Nipple That’s Visible for a Fraction of a Second

Release Date: August 24, 2018 (Limited)

A wayward day at work, especially if you have a job in the service industry, has a way of making time feel distorted. And if you’re working at a Hooters-style “family” restaurant, you also have to contend with the distortion of typically agreed-upon social mores. So it is for Double Whammies general manager Lisa Conroy (Regina Hall), who finds herself at the nexus of so many little disasters over one day. Every shift at Double Whammies is a potential disaster, so it is no surprise that an early scene features Lisa explaining her zero tolerance policy towards “grabbers.” On top of that ever-present risk, this day is just a circus. A bunch of potential new waitresses are recruited for an extracurricular car wash, somebody is stuck in the vents, and the cable is threatening to be out during a big boxing match.

Support the Girls has the look and feel of a shaggy dramedy, capturing the minutiae of suburban service employment without directly commenting upon it. But it turns out that there is a tighter focus to writer/director Andrew Bujalski’s approach than he at first lets on, as Lisa is closer to the end of her rope than we initially realize. An alternate title could have been We Caught Her on a Good Day and a Bad Day. There’s a weird mix of committed and easygoing at play here. Hall is steely enough to make Lisa’s journey compelling, but I’m more interested in probing the psyche of Maci (Haley Lu Richardson), her most enthusiastic waitress. Maci is the type of person who suddenly pops out of a door to shoot confetti and declare, “You’re the best and we love ya!” She is a burst of consistent positive energy, which in this environment is alarming but never less than genuine. How do the Maci’s of the world stay on all the time? Are they role models for us all? Or maybe ideal best friends? Or perhaps cautionary tales struggling with demons they never show us?

Support the Girls is Recommended If You Like: Anything with Regina Hall or Haley Lu Richardson

Grade: 3 out of 5 Crop Tops

This Is a Movie Review: The Meg

August 19, 2018

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CREDIT: Warner Bros.

The Meg‘s reported production budget is at least $130 million, but it sure does not look like it. Oh, it’s certainly professionally made, but you can see it cutting corners in a manner typical of cheapie SyFy creature features. Characters sit around in a submersibles and wait for something to happen, the settings are often confined locations, and the big set piece with a bunch of extras is a little light on mayhem. But while all those dollars may not be visible, The Meg does have enough of a sheen that justifies projecting it on the big screen. Ultimately, it’s disposable, but eminently watchable. Jason Statham spears a giant shark in the eye, Rainn Wilson provides the comic relief (and gets his comeuppance, even though I don’t think he really deserves any comeuppance), everyone on the boats seem like to each other, and they shout crazy exclamations when they’re in imminent danger. Also, there’s a Thai cover of Toni Basil’s “Mickey.”

I give The Meg 15 Chomps out of 25 Overboard.

Watch And/Or Listen to This: Boliviguay Comic-Con® Is Even Bigger Than San Diego Comic-Con®

August 18, 2018

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CREDIT: TBS via YouTube

Watch And/Or Listen to This is a semi-occasional column in which I recommend content that I believe is worth watching and/or listening to.

This year’s lineup at Boliviguay Comic-Con includes:

-Lactose Tolerant Girl
-The Flush
-The Incredible Jeff
-The Cast of Chicago Zombie
-Tyrannosaurus Yes
-George R.R.R. Martin

Billboard Hot Rock Songs – Week of August 18, 2018

August 18, 2018

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Each week*, I check out the Billboard Hot Rock Songs chart, and then I rearrange the top 25 based on my estimation of their quality. I used to rank all of the top 25, now I just rank the cream of the crop.

*This will be my last Billboard Hot Rock Songs re-ranking post, at least for the foreseeable future, as these posts have become a bit too same-old, same-old for my tastes. But I will continue to scan the charts each week, and I might occasionally write down some reactions should the spirit move me.

Original Version
1. Imagine Dragons – “Thunder”
2. Imagine Dragons – “Believer”
3. Imagine Dragons – “Whatever It Takes”
4. Portugal. The Man – “Feel It Still”
5. Imagine the Dragons – “Natural”
6. Foster the People – “Sit Next to Me”
7. Weezer – “Africa”
8. lovelytheband – “Broken”
9. Bad Wolves – “Zombie”
10. Panic! at the Disco – “High Hopes”
11. twenty one pilots – “Jumpsuit”
12. Panic! at the Disco – “Say Amen (Saturday Night)”
13. John Mayer – “New Light”
14. twenty one pilots – “Nico and the Niners”
15. Godsmack – “Bulletproof”
16. Bastille – “Quarter Past Midnight”
17. Death Cab for Cutie – “Gold Rush”
18. Five Finger Death Punch – “Sham Pain”
19. twenty one pilots – “Levitate”
20. Greta van Fleet – “When the Curtain Falls”
21. Five Finger Death Punch – “Blue on Black”
22. Walk the Moon – “Kamikaze”
23. grandson – “Blood // Water”
24. Panic! at the Disco – “Hey Look Ma, I Made It”
25. Shinedown – “Devil”

Jmunney’s Revision
1. Feel It Still
2. Jumpsuit
3. When the Curtain Falls
4. New Light

Billboard Hot 20 – Week of August 18, 2018

August 18, 2018

jmunney Billboard Charts, Billboard Hot 100, Music , , , Leave a comment

Each week*, I check out the Billboard Hot 100, and then I rearrange the top 20 based on my estimation of their quality. I used to rank all 20, now I just rank the cream of the crop.

*-This will be my last Billboard Hot 100 re-ranking post, at least for the foreseeable future, as these posts have become a bit too rote for my tastes. But I will still scan the charts each week, and I might occasionally write down some reactions should anything catch my fancy.

Original Version
1. Drake – “In My Feelings”
2. Maroon 5 ft. Cardi B – “Girls Like You”
3. Cardi B, Bad Bunny, and J Balvin – “I Like It”
4. Travis Scott – “Sicko Mode”
5. 6ix9ine ft. Nicki Minaj and Murda Beatz – “FEFE”
6. Post Malone – “Better Now”
7. Juice WRLD – “Lucid Dreams”
8. Travis Scott – “Stargazing”
9. Tyga ft. Offset – “Taste”
10. Ella Mai – “Boo’d Up”
11. DJ Khaled ft. Justin Bieber, Chance the Rapper, and Quavo – “No Brainer”
12. Drake – “Nice for What”
13. Post Malone ft. Ty Dolla $ign – “Psycho”
14. Ariana Grande – “No Tears Left to Cry”
15. Khalid and Normani – “Love Lies”
16. YG ft. 2 Chainz, Big Sean, and Nicki Minaj – “Big Bank”
17. Taylor Swift – “Delicate”
18. Lil Baby and Drake – “Yes Indeed”
19. Zedd, Maren Morris, and Grey – “The Middle”
20. Bebe Rexha and Florida Georgia Line – “Meant to Be”

Jmunney’s Revision
1. No Tears Left to Cry
2. Boo’d Up

This Is a Movie Review: With ‘Mile 22,’ Mark Wahlberg and Peter Berg Have Teamed Up for Their Most

August 16, 2018

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CREDIT: STXfilms

This review was originally posted on News Cult in August 2018.

Starring: Mark Wahlberg, Iko Uwais, Lauren Cohan, Ronda Rousey, John Malkovich

Director: Peter Berg

Running Time: 94 Minutes

Rating: R for A Litany of F-Bombs and Actual Bombs

Release Date: August 17, 2018

Mile 22 is the fourth collaboration between Mark Wahlberg and director Peter Berg, and by far their worst. Their previous team-ups (Lone Survivor, Deepwater Horizon, and Patriots Day) covered real-life tragedies and disasters with unflinching intensity. They were at times be difficult to watch, but Berg managed to remain respectful by keeping his focus fixed. Mile 22 has a similar shaky-cam, right-next-to-the-action approach. It isn’t based on a true story, but the verite style seems to suggest that it could be true. That forces Berg to construct a fictional portrait of chaos, which, devoid of any necessary real-life moments to honor, ends up just a mess.

Wahlberg is the ostensible protagonist as James Silva, the ground leader of an elite and secretive paramilitary unit within the CIA. His team is the sort that the government turns to when they have exhausted all other options and do not want the public to know what they are up to. They are tasked with transporting intelligence asset Li Noor (Iko Uwais) 22 miles to an extraction point, where he has promised he will reveal information that will prevent a bomb detonation. Uwais is best known as the star of The Raid and its sequel, and Mile 22 ends up as an excuse for him to show off his action skills in the midst of a convoluted narrative. Berg proves adept at capturing Iwais’ brand of fight choreography, but everything else is exhausting, which is shocking considering that Berg’s action filmmaking is usually reliable. But here he is so undisciplined, with numbing footage of endless gunfire and an editing style that presents way too much information for a human brain to possibly process.

The whole thing is barely an hour and a half, but it feels like forever, but then it leads to a climax that makes it feel 20 minutes too short. There is a major reveal that is far from adequately resolved, which is to say, it is not resolved at all. It is the sort of twist that makes you want to say to the screenwriter, “Don’t the characters want to take care of that?” And the apparent response is, “Oh well, they ran out of time.” Just about the entire film is that careless, but I will grant that it at least features Iwais saying to Wahlberg, “Say hello to your mother for me.”

Mile 22 is Recommended If You Like: Iko Uwais Combat, Incessant Gunfire, Hyperactive Editing, Frequent Explosions

Grade: 2 out of 5 Wristbands

This Is a Movie Review: Be Wary of the Spectacle of ‘Crazy Rich Asians,’ Stay for the Characters

August 14, 2018

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CREDIT: Warner Bros. Entertainment Inc. and RatPac-Dune Entertainment LLC

This review was originally posted on News Cult in August 2018.

Starring: Constance Wu, Henry Golding, Michelle Yeoh, Awkwafina, Gemma Chan, Lisa Lu, Tan Kheng Hua, Chris Pang, Sonoya Mizuno, Pierre Png, Nico Santos, Jimmy O. Yang, Ken Jeong

Director: Jon M. Chu

Running Time: 121 Minutes

Rating: PG-13 for Some Excessive Partying and a Nasty Message Written in Blood

Release Date: August 15, 2018

Ever since I have noticed the buzz building for Crazy Rich Asians, the title has had me worried that I wouldn’t able to relate. I’m not talking about the “Asian” part (and I’m certainly not talking about the “crazy” part). No, what I’m talking about is that four-letter word right in the middle. Sure, it would be nice to have enough money to pay off all my debts, but amassing a fortune into the billions feels plainly excessive. And Jon M. Chu’s adaptation of Kevin Kwan’s novel does nothing to dissuade me from that notion. When we enter the film’s first Singaporean mansion, I am immediately overwhelmed by the real estate per person. And then we learn that this dwelling is actually modest by this country’s standards, and I guess I’ll have to say the Serenity Prayer a few more times. But the good news is that Crazy Rich Asians wants us to be skeptical of insane wealth to an extent.

The biggest takeaway to be had from this big-hearted rom-com is the danger of making assumptions, a problem that can befall anyone, no matter their net worth. Chinese-American economics professor Rachel Chu (Constance Wu) assumes that her boyfriend Nick Young (Henry Golding) is a man of modest means. That is hardly the most damaging assumption, but it does mean that she is in for plenty of surprises when he flies her into Singapore for his best friend’s wedding and she learns that he is in fact a member of one of the country’s wealthiest families. Far more consequential are the assumptions made about Rachel, especially from Nick’s domineering but also impressive (and frankly, occasionally likeable) mother Eleanor (Michelle Yeoh). She objects to Rachel as a potential daughter-in-law, not because she is an outsider, but because of what type of outsider she is, assuming that as an American, personal fulfillment is more important to her than building a family. Accordingly, the requisite final act misunderstanding is not some phony moment between Rachel and Nick, who are far too honest with each other to not be able to work things out. Instead, it is a background check that drives a wedge of emotional manipulation that can only be cured by selflessness on all sides.

Ultimately, Crazy Rich Asians does not win me over to the lavish lifestyle, but it does successfully convey the traditions that lead to creating a familial empire. Judging by the reactions of the largely Asian crowd at the screening I attended, this is an accurate and resonant portrayal. There was plenty of whooping and laughing that indicated intimate recognition of a pan-Asian exchange of culture, the immigrant experience, and (presumably) key moments from the book. We may not need a billion dollars to be happy, but I now see the potential value in learning how to play mahjong or attending a wedding in which the aisle is flooded with water.

Crazy Rich Asians is Recommended If You Like: Rom-Coms with an unapologetic cultural flavor

Grade: 3.5 out of 5 Jade Rings

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