This Is a Movie Review: Cézanne et moi

March 30, 2017

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This review was originally published on News Cult in March 2017.

Starring: Guillaume Canet, Guillaume Gallienne, Alice Pol, Déborah Farnçois, Sabine Azéma

Director: Danièle Thompson

Running Time: 116 Minutes

Rating: R for Artistic Nudity and Best Friends Yelling at Each Other

Release Date: March 31, 2017 (Limited)

Paul Cézanne caresses his wife/model Hortense’s naked chest to more thoroughly know his subject. This could be played as intense intimacy, or it could be discomforting invasiveness. Instead it is an illustration of how the Post-Impressionist painter is dead inside, lost to his art at the expense of his family. That is not to say he lacks passion. Oh no, he has passion to spare for a million still lives and portraits. It is just too untamed to be anything other than destructive.

Cézanne et moi dramatizes the friendship between Cézanne (Guillaume Gallienne) and novelist Émile Zola (Guillaume Canet), but friendship in this context feels like a bit of a misnomer, considering the amount of screen time they spend verbally tearing into each other. It is de rigueur, in life but especially in cinema, that artists’ lives must be tortured. That can be fascinating, but this is just unpleasant. That is a shame, because Gallienne and Canet are both laser-focused in their performances. The shouting matches themselves are not the problem so much as their endlessness. It is essentially the same fight over and over. It is not emotionally draining, just tiresome.

At least the cinematography is splendid. As befitting a film about an artist, the landscapes are beautiful. The French countryside is lush and inviting, but alas, it does not really illuminate anything about Cézanne or Zola’s psyches. The decoration is there to be admired, while the story trudges on. I root for these friends to work through their issues, but I also wish it would all just happen off screen.

Cézanne et moi is Recommended If You Like: Colorful Landscapes

Grade: 2.5 out of 5 Picnics

This Is a Movie Review: Prevenge

March 24, 2017

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This review was originally published on News Cult in March 2017.

Starring: Alice Lowe, Gemma Whelan, Kate Dickie, Jo Hartley

Director: Alice Lowe

Running Time: 88 Minutes

Rating: Not Rated, But Note That It Has Plentiful Gleeful Stabbings

Release Date: March 24, 2017 (Limited)/Also Streaming on Shudder

From writer-director-star Alice Lowe, Prevenge follows Ruth (Lowe), a pregnant woman hunting down one-by-one those who have done her wrong. If you are into seeking out uncompromising horror films off the beaten path, then you know what you are in store for. Prevenge is all about forcefully setting the world aright with a feminist edge, in the vein of Teeth’s dark coming-of-age or The Loved Ones’ prom-gone-very-wrong. Lowe’s entry is an especially principled addition to the genre. There are so many ways that pregnancy can drain away independence, and Ruth’s experience very much leans into all of them. Sometimes supposedly following the kill commands of your unborn child is the only thing to hold on to when seeking anything resembling sense.

The other major piece of catnip for horror hounds here is the synth-heavy score, placing Prevenge in the long line of John Carpenter’s descendants. It is not so much the sounds themselves that stand out, but the way they are played: a particular phrase comes on multiple times and stops without warning. It lends a sense of the same terror being repeated over and over in a sort of Möbius strip. Ruth’s whole world is on edge, and there is no indication that will change after she accomplishes her goal or reaches her due date.

Prevenge is Recommended If You Like: The Loved Ones, Teeth, John Carpenter’s Scores

Grade: 3.5 out of 5 Unwelcome Drunken Kisses

This Is a Movie Review: Life (2017)

March 23, 2017

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This review was originally published on News Cult in March 2017.

Starring: Jake Gyllenhaal, Ryan Reynolds, Rebecca Ferguson, Hiroyuki Sanada, Ariyon Bakare, Olga Dihovichnaya

Director: Daniel Espinosa

Running Time: 103 Minutes

Rating: R for Beautifully Disturbing Blood Loss

Release Date: March 24, 2017

The paradox of life is that it requires death to be sustained. The paradox of Life is that its successes and failures are both technical, with staging both skillful and sloppy alternately sustaining and choking itself. This combination corresponds thematically with the story, but I do not think it is intentional, and it is frustrating regardless. This is a locked-room creature feature that does not show its hand too early. Once it does, it knows how to drag out the tension, but it also occasionally forgets that knowledge.

The premise here is ideal for instant dread. A six-person crew on board the International Space Station meets a life form that has hitched a ride on a returning Martian probe. Dubbed “Calvin” by a group of stargazing schoolchildren, the creature starts out microscopic but soon starts growing to the point that it is no longer a curiosity and more a threat. I know what you’re thinking: this is Alien, but in space … er, a different part of space. A part of space where your screams can be heard, if only all communication – as is so often the case – had not immediately been destroyed.

There is no escaping the comparisons to Ridley Scott’s extraterrestrial horror landmark, but Life does distinguish itself with plenty of philosophical thought lent to the creature concept. Each cell of Calvin has the capacity to fulfill any bodily function. It eventually grows to resemble a crystalline starfish, but it is very much its own new frontier, with its entire body (if that is even the right word) serving as mouth, hands, legs, and whatever else it can use to survive. Also, when it comes down to the resolution, this is more The Thing than Alien. The ISS is not in deep space, but rather close Earth orbit, so if Calvin is not suppressed, there is a very real chance he could consume the whole planet. Life does not shy away from just how nasty that implication is.

The devilish little monster flick that Life mostly succeeds at being is constantly interrupted by a survival tale that fails because no character has any room to come across as a fully realized human being. That is not necessary in a movie like this, but when there is as much dialogue as Life has, it becomes important. But the editing and cinematography seem wholly uninterested in any of that. Shots are frequently cut mid-sentence, effectively garbling the speech, and the look is so washed out, which is fine for generating unease, but annoying when attempting to make sense of facial expressions. Horror often works best by withholding its villain, but the formula is a little different when the monster is by far the most fascinating character.

Life is Recommended If You Like: Alien (though it’s not as well-crafted), The Thing (though it’s not quite as ominous), Tremors (but without the cheekiness)

Grade: 2.75 out of 5 Doomed Lab Rats

This Is a Movie Review: Wilson

March 20, 2017

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This review was originally published on News Cult in March 2017.

Starring: Woody Harrelson, Laura Dern, Isabella Amara, Judy Greer

Director: Craig Johnson

Running Time: 101 Minutes

Rating: R for Fun-Loving Sociopathy

Release Date: March 24, 2017 (Limited)

If you found out that you had a daughter that you thought was aborted but was actually given up for adoption, would you track her down to cheer her on from afar like a proud papa? If so, that is an understandable instinct, but you might want to be discrete, considering the typical legal arrangements that prevent birth parents from contacting their adopted children. But Wilson the movie and Wilson the Woody Harrelson-portrayed title character have no such reservations. Instead, this father introduces himself to his long-lost daughter by mercilessly beating up her bullies.

Based on a graphic novel by Daniel Clowes (who also wrote the screenplay), Wilson the film at first glance appears to be a Misanthropist’s Guide to Life. But while Wilson the man does have major problems with humankind’s typical priorities, he actually does like people. He just wishes they would not so readily buy into the boring routine that society prescribes. His love is a playfully confrontational one. Plenty of people adopt a cutesy singsong voice when talking to dogs; but it is those few among us like Wilson who use that voice to spout some insane life philosophy. Or at least, it sounds like insanity to everyone else, but for him, it is the only way to be.

Harrelson emphasizes Wilson’s fun-loving nature; his joy is infectious, but also dangerous. He can string you along for a weekend getaway, or a delightful afternoon at the park, but he could also lead you behind bars. The legal troubles that bedevil Wilson feel unfair, but also perfectly understandable. Whatever dichotomy there appears to be here is less a contradiction and more a yin/yang. Wilson is not railing against phonies – he just wants everyone to loosen up. His film is a slightly unnerving adventure, but you gotta come along for the ride, man.

Wilson is Recommended If You Like: Fight Club But Wish It Were More Slice-of-Life, Enlightened, Nebraska

Grade: 3.5 out of 5 Cute Dogsitters

This Is a Movie Review: T2 Trainspotting

March 15, 2017

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This review was originally published on News Cult in March 2017.

Starring: Ewan McGregor, Ewen Bremner, Jonny Lee Miller, Robert Carlyle, Anjela Nedyalkova

Director: Danny Boyle

Running Time: 117 Minutes

Rating: R for Pointy Things – Both Body Parts and Devices You Stick Into Your Body

Release Date: March 17, 2017 (Limited)

1996’s Trainspotting features one of the most iconic opening shots in film history, as Ewan McGregor’s feet fall from the sky and then pound the Edinburgh pavement to the inimitable strains of “Lust for Life.” The kickoff to 20-years-later sequel T2 Trainspotting directly calls back to its predecessor, but in a sly way that ensures this is no empty exercise in nostalgia. And really, how could it have ever been that? Getting back together with your junkie criminal mates is not exactly the stuff of teary-eyed reunions. T2 falls short of reaching the landmark status of the original (a nearly impossible task), but its themes (“choose life,” choose whatever the hell you could possibly choose) and hallucinogenic style remain intact.

It has been several years since I saw Trainspotting, and over the course of T2, it becomes abundantly clear how many plot specifics I have forgotten. Luckily this is the type of sequel that fills you in on everything, with enough dreamy flair to prevent any flashbacks feeling like spoon-feeding. Renton (McGregor) has been living in the Netherlands with his Dutch wife; he still runs, but for exercise, not to escape the law. Spud (Ewen Bremner) got clean for a little while, but is now on the brink of suicide. Sick Boy (Jonny Lee Miller), in between “running” a family pub, is pulling a sleazy blackmail extortion scheme with the help of his young Bulgarian “girlfriend” Veronika (Anjela Nedyalkova). Franco (Robert Carlyle) is serving a 25-year jail sentence and scheming to get out. And Diane (Kelly Macdonald) is now a lawyer, dropping in for a cameo consultation.

Nobody is thrilled over Renton’s return, considering he stole everyone else’s shares of the drug deal at the end of the first film. But they mostly reconcile enough to commit to Sick Boy’s plan to open a “spa” (i.e., brothel). Franco, fulfilling the wild card role, is off on his own teaching his son how to sell stolen goods; he is much less forgiving when his and Renton’s paths cross.

Whether or not they succeed (or what success even is in this situation) is beside the point. T2 is about taking stock of one’s life, and how unsettling such midlife reflections are with a druggie past (and present). Director Danny Boyle throws out all his tricks to make this chapter simultaneously unsettling, beautiful, and hypnotic. Camera angles are slightly askew, slow motion and freeze frames disrupt the rhythm, and even Snapchat filters are used to great effect. Adding to the surrealism (for non-Scottish audiences) is the impenetrability of the thick accents. There is a bit of fun with subtitles during one Franco scene, but otherwise we are left to our own devices to figure out what the hell everyone is saying. For the most part, I do not even bother with such translation; I would advise you to do the same.

In one unforgettably riveting scene, McGregor resurrects the classic “Choose Life” monologue for a new generation. The rejection (but also pseudo-acceptance) of capitalism inherent in these speeches is what fuels this series. There is plenty left in the tank to continually define the Trainspotting thesis. In just five minutes, McGregor demonstrates beyond a shadow of a doubt why he would ever want to revisit such an iconic role.

T2 Trainspotting is Recommended If You Like: Sequels That Seem Unnecessary But Turn Out to be Quite Fulfilling

Grade: 3.5 out of 5 Needles Shared Between Friends

This Is a Movie Review: The Sense of an Ending

March 12, 2017

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This review was originally published on News Cult in March 2017.

Starring: Jim Broadbent, Charlotte Rampling, Harriet Walter, Emily Mortimer, Michelle Dockery

Director: Ritesh Batra

Running Time: 108 Minutes

Rating: PG-13 for Serious Matters Confronted with British Reservation

Release Date: March 10, 2017 (Limited)

In The Sense of an Ending, Jim Broadbent plays Anthony Webster, the owner of a boutique camera shop who must confront the sins of his past after an old acquaintance passes away and includes him in the will. I would vote for the focus to be waxing nostalgic about vintage Nikons and Kodaks, but alas, the narrative switches back and forth between the present day and Tony’s young adulthood, when he was courting a girl who eventually pursued one of his friends instead. There ends up being a tangle of long-ago secrets that it takes way too long to make sense of.

The film does not engender mystery so much as simmer in its ambiguity. Dinner scenes involve questions being asked and only being answered after staring into space for what feels like an eternity. Is this that famous British reservation, or just tentative filmmaking? If it is the former, the angst of what is left unsaid should be painfully felt, but that is just not the case, at least not until Charlotte Rampling shows up about halfway through. As the present-day version of Tony’s ex-flame, she says more with a piercing glance than the entirety of the flashbacks.

In the midst of sorting out his past, Tony is also on the verge of becoming a grandfather. He accompanies his daughter Susie (Michelle Dockery) to birthing classes, as the father is completely out of the picture. Susie warns Dad not to make any offensive remark about a lesbian couple in the class, as overly cautious children are wont to worry that their parents will go rogue. But Tony not only keep his tongue in check, he becomes fast friends with the couple. And it is not because of any fetishistic desire to diversify his circle. He just happens to be a sociable fellow who likes talking to people. Funny that his daughter doesn’t know that.

Anyway, I would much prefer if The Sense of an Ending were the adventures of Dad and the Lesbians. At least Tony ends up more reliably friendly than he was in his salad days. Perhaps he can take solace in that ending.

The Sense of an Ending is Recommended If You Like: Atonement But Wish It Had Been Difficult to Follow

Grade: 2 out of 5 Angry Letters

This Is a Movie Review: If ‘Groundhog Day’ Wasn’t Emo Enough for You, Try ‘Before I Fall’

March 2, 2017

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before-i-fall

This review was originally published on News Cult in March 2017.

Starring: Zoey Deutch, Halston Sage, Logan Miller, Diego Bonita, Jennifer Beals

Director: Ry Russo-Young

Running Time: 99 Minutes

Rating: PG-13 for Teenagers Screaming at Each Other and Fatal Driving Habits

Release Date: March 3, 2017

Before I Fall is basically Groundhog Day for the YA set, which begs the question: what takes the place of “I Got You Babe.” Instead of Bill Murray being eternally roused by Sonny, Cher, and some hacky small town DJ’s, we now have Zoey Deutch (Everybody Wants Some!!, Why Him?) staring into space to the strains of Big Data ft. Joywave’s “Dangerous,” which serves as her phone alarm. It’s a great song – a giddy, pounding, kind of sensual dance number (I ranked it the 13th best of 2014), but in the context of the scene, it lacks personality. Presumably Deutch’s Samantha Kingston likes this song, whereas “Babe” was a constant bugaboo reminding Murray’s Phil Connors of his eternal prison. “Dangerous” may signal the same for Sam, but it lacks punch for her to fight against.

This is such a downbeat, unspectacular route for Before to go in, especially compared to its buoyant predecessor. But perhaps that is the point. Sam has a perfectly pleasant high school senior existence, but it could all be masking how dead she is inside. And it is not repeating the same day over and over that makes her so, though she may not realize it at first. The only problem here is that the film fails to signal its purpose until about halfway through. Before that, it’s just a bunch of basic teenagers hanging out, partying, and giving each other roses on “Cupid Day.”

The challenge that Before I Fall presents to its audience boils down to: can Deutch win us over by the end, after a first act in which she participates in a hellish display of mean girlhood? To be real, though, this is not a tall order, as this viciousness is alarmingly unnatural. These girls could not possibly be that terrible to each other, could they? A major message of the movie is how adolescence can lead us profoundly away from our true identities. And Deutch’s true colors, which she generously displays, are quite charming. The movie she is in, however, lacks the small-town specificity that makes Groundhog Day a classic, but it genuinely explores the emotional truth of young adulthood.

Before I Fall is Recommended If You Like: The Groundhog Days scenes where the old man dies, The Perks of Being a Wallflower

Grade: 3 out of 5 Nth Chances

This Is a Movie Review: Mother of Mercy, Is This the End of ‘Logan’?

February 28, 2017

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logan-dafne-keen-hugh-jackman

This review was originally published on News Cult in February 2017.

Starring: Hugh Jackman, Patrick Stewart, Dafne Keen, Boyd Holbrook, Stephen Merchant

Director: James Mangold

Running Time: 135 Minutes

Rating: R for Relentless, Vengeful Bodily Harm and a DGAF Attitude to Language

Release Date: March 3, 2017

Logan marks the ninth time that Hugh Jackamn is donning the muttonchops and adamantium claws to play indestructible X-Man Wolverine. At this point, for general audiences and fanboys alike to care, there simply MUST be something new to offer this go-round. Both of Wolverine’s previous solo films kind of fulfilled that dictum, but 2009’s X-Men Origins: Wolverine otherwise totally missed the mark, while 2013’s The Wolverine felt too inconsequential. Logan ain’t having any of that. Set in a semi-apocalyptic near future, the film streamlines the muddled continuity down of the X-universe to its essence and gets right down to business.

Logan and an unstable, nonagenarian Professor X (Patrick Stewart, relevant as ever) are tasked with transferring the preteen Laura (Dafne Keen) to safety. In this future, mutants have mostly died out and no new ones have been born for two decades (the reason for this is revealed in a quick bit of exposition, so keep your ears peeled), but Laura displays abilities very reminiscent of our title character, suggesting that the mutant gene may not have died out completely. What we have here is a classic Western story structure about transporting human cargo. This makeshift family treks along dusty Oklahoma highways in search of a supposed Eden, avoiding the evil scientist forces that constantly plague this world’s heroes.

In a first for the franchise, Logan is rated R, and it does not shy away from earning that rating. With Wolverine’s penchant for slicing his enemies to smithereens, this potential was always there. And this is not just bloodlust for the sake of it. Logan does not have any new powers in this iteration, but he does deploy them in unprecedented fashion. Rendered sick by the same culprit that killed off the rest of mutantkind, there is greater vulnerability to his carnage. His earlier appearances have not lacked for thrillingly hardcore action, but with his healing power, the stakes have never been as high as they are in Logan. Every thrash of his claw becomes profoundly cathartic.

Logan works primarily as an acting showcase for Jackman, Stewart, and Keen. This entry just solidifies the Aussie’s performance as one of the most iconic bits of casting in cinema history. Stewart plays the telepathic leader in a key that I would have never anticipated. I am not entirely sure it all works, but it is undoubtedly riveting, and I admire Stewart for venturing into such dangerous territory. Keen is a spitfire and a revelation. It takes a special breed of 11-year-old to go toe-to-toe with a hairy beast, and she’s got what it takes. All signs point to Jackman hanging up the claws for good after this entry, and if this means that Keen can inherit the mantle, we are in good hands.

Logan is Recommended If You Like: The berserker scene from X2, The Hateful Eight, The Nice Guys, Looper

Grade: 4 out of 5 Decapitations

This Is a Movie Review: Get Out

February 25, 2017

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get-out-daniel-kaluuya

Get Out did not have me getting out of my seat from fright, which is unsurprising because I generally don’t get too scared at horror movies. But I imagine most people will not be frightened, as its techniques are less about jump scares (though it does have those) or general dread than about mindbending. Its signature concept (“the sunken place”) is a killer example.

This is basically cultural appropriation as body horror. Knowing that it is from Jordan Peele makes it easy – and sensible – to say that this concept could have started as a comedy sketch that evolved into a fright flick. And indeed, as the reveal plays out, it is clear that this actually has been done as comedy before.

I have a slight problem with a couple of moments that are endemic to the evil genius genre, in which small mistakes inexplicably give the hero a fighting chance. But I don’t want to quibble too much, because this is a clever extreme dramatization of a real societal fear, which is what the best horror movies do.

I give Get Out 18 Awkwardly Casually Racist Remarks out of 20 Days.

This Is a Movie Review: Bitter Harvest

February 22, 2017

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THE DEVIL'S HARVEST

This review was originally published on News Cult in February 2017.

Starring: Max Irons, Samantha Barks, Tamer Hassan, Barry Pepper, Terence Stamp

Director: George Mendeluk

Running Time: 103 Minutes

Rating: R for War Violence and Disturbing Authoritarianism

Release Date: February 24, 2017 (Limited)

A film like Bitter Harvest reminds me of cinema’s power to uncover stories that had been lost to history. Unfortunately, it does not also remind me of cinema’s power to transform my whole day into something magical.

The setting is rural Ukraine against the backdrop of the 1932-33 Soviet famine. Young artist Yuri (Max Irons) struggles against starvation to build a better life for himself and his childhood sweetheart Natalka (Samantha Barks). Circumstances conspire to drive them apart – as is typical in times of love and war – as he heads to the city and joins the resistance movement. It is a long road back to their reunion, but any happy ending will necessarily be tempered by the devastation that has wrecked their community. For such an infrequently told story, the beats of storytelling are all too familiar.
Bitter Harvest finds inspiration from earlier tales of war but also struggles to commit to anything. There is a hint at something involving a combatant taking pity on an artistic prisoner in the vein of The Pianist, but that goes nowhere. The final act is an Odyssey-style trek home, but the sub-2-hour running time prevents the epic feel that such an approach would require. There is one scene involving poison and revenge with an entertainingly hallucinatory style, but it proves to be an aberration in terms of positive takeaways.

The forced starvation of Ukrainians is up there among the greatest tragedies of the 20th century, but I doubt that it is very well-known outside Ukraine. So I appreciate that Bitter Harvest is being released so that English-speaking audiences will be exposed to it, but I wish that the actual film dramatized the story better than the epilogue does.

Bitter Harvest is Recommended If You Like: European History

Grade: 2 out of 5 Soviet Memories

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