Much like early 80s music video directors adjusting to the possibilities afforded by the power of MTV, it’s taken current filmmakers some time to craft nuanced statements on the rise of social media.
But then, we’ve yet to see evidence that ZZ Top’s “Legs” swung an election, so clearly, we’re all still adjusting.
Searching is the latest reminder that for social media-themed movies, at least, things are looking up.
In his debut feature, director/co-writer Aneesh Chaganty crafts a smart, fast-moving internet mystery that plays out on the screens of various platforms. Dropping sly clues among its plot twist head fakes, the film becomes a surprisingly satisfying B-movie potboiler, a terrifically tense race against time that reminds us how tech-entrenched we are without resorting to any heavy-handed judgments.
Busy father David Kim (a perfect John Cho) is annoyed when his 15-year-old daughter Margot (Michelle La) won’t answer his texts or face time requests. Annoyance turns to desperation when it becomes clear Margot is a missing person.
Detective Vick (Debra Messing, effectively understated and against type) is on the case, and as David follows her advice to scour Margot’s online history for clues, we learn along with Dad that Margot had secrets.
Right from a nifty opening montage that serves to bond us with the Kim family while it wistfully reminds us how our own connections to technology have grown, Chaganty establishes a commitment to narrative momentum that rarely lets up. Very little time feels wasted because, natch, there’s no time to waste.
The integrity of the “real-time computer screen” device is richly detailed, organically sound and beautifully constructed, drawing a strange contrast in authenticity with the TV news segments covering Margot’s disappearance.
Did Changanty not bother sweating those details, or is it his nod to “old media” being out of step? I’m guessing the latter.
At least one plot twist seems a bit of a reach, and the final reveal stops just south of Scooby Doo inspired explanation, but Searching has brains and heart enough to rise above.
Though Chaganty assembles the film with the latest in frame wizardry, he surrounds it with familiar thriller elements that bring a subtle throwback feel to the astute look at how we live now.
Ultimately, Searching is a mystery with as much to say about parenting as posting, and a remarkably in-the-moment statement.
It’s like an end-of-summer fire sale this week. So many movies! All available to watch from the couch in unwashed yoga pants and Alf tee shirts. I mean, that’s how we imagine you watching these, but really, wear whatever you want. The important thing is to let us help you decide where to spend your valuable time.
The Harvey Weinstein story is a horror film all its own, but there are echoes of it across the genre. When you are desperate to accomplish something and there are those with power who can manipulate your success, victimization is the likely result in horror. We salute the best films that see Hollywood ambition as death and corruption in the making.
5. The Neon Demon (2016)
“Beauty isn’t everything, it’s the only thing.”
So says an uncredited Alessandro Nivola, a fashion designer waxing philosophic in Nicolas Winding Refn’s (Bronson, Drive) nightmarish The Neon Demon.
Jesse (Elle Fanning) is an underaged modeling hopeful recently relocated to a sketchy motel in Pasadena. Will she be swallowed whole by the darker, more monstrous elements of Hollywood?
Hollywood is a soulless machine that crushes people. The world objectifies women, a toxic reality that poisons everyone it touches. Small town girl gets in trouble following her dreams in Tinseltown. There’s nothing new here. To manufacture something, it’s as though Refn replaces fresh ideas with bizarre imagery.
The film is not without its charms. Like Only God Forgives, the longer you wander through this nightmarish landscape, the more outlandish the dream becomes.
And you know what? Keanu Reeves isn’t bad. Huh!
4. Starry Eyes (2014)
Sarah (Alex Essoe) is an aspiring actress in LA and a bit of a delicate flower. She lives in a complex full of other aspiring actors, but she doesn’t hang out with them or participate in their low budget indie circle – they believe she thinks she’s too good for them. Then she auditions for a part, does some things on camera for the audition she regrets, behaves weirdly in the bathroom, and is invited to meet The Producer.
On the one hand, Starry Eyes offers an obvious plot about selling your soul for success, dressed in a cautionary tale about Hollywood. But the writing/directing team of Kevin Kolsch and Dennis Widmyer are much more sly than that. Yes, the insights they provide about the backbiting lowest rungs of the Hollywood ladder abound, but they are far more compassionate than what you routinely see.
Also fascinating is the clever use of the protagonist Sarah – she begins as our empathetic heroine, our vehicle through the daily degradation of trying to “make it.” But the filmmakers have more in store for her than this, and Essoe uncomfortably peels layer after layer of a character that is never fully what we expect.
Look for outstanding, witchy appearances by genre veteran Maria Olsen, as well as a spot-on Louis Dezseran. They will make you uncomfortable.
3. What Ever Happened to Baby Jane? (1962)
Bette Davis and Joan Crawford? Yes, please!
The two then-aging (just barely, if we’re honest) starlets played aging starlets who were sisters. One (Davis’s Jane) had been a child star darling. The other (Crawford’s Blanche) didn’t steal the limelight from her sister until both were older, then Blanche was admired for her skill as an adult actress. Meanwhile, Jane descended into alcoholism and madness. She also seemed a bit lax on hygiene.
Blanche winds up wheelchair bound (How? Why? Is Jane to blame?!) and Jane’s envy and insanity get the better of her while they’re alone in their house.
Famously, the two celebrities did not get along on set or off. Whether true or rumor, the performances suggest a deep, authentic and frightening hatred borne of envy that fuels the escalating tension.
Davis is at her unhinged best in a performance that earned her an Oscar nomination. Crawford pales by comparison (as the part requires), but between the hateful chemistry and the story’s sometimes surprising turns, this is a movie that ages well, even if its characters did not.
2. Shadow of the Vampire (2000)
Not Hollywood – Germany. But actors are putting their fate in the wrong hands for the sake of stardom nonetheless.
E. Elias Merhige revisits F. W. Murnau’s masterpiece Nosferatu with smashing results in Shadow of the Vampire. Wickedly funny and just a little catty, ‘Shadow’ entertains with every frame.
This is the fictional tale of the filming of Nosferatu. Egomaniacal artists and vain actors come together to create Murnau’s groundbreaking achievement in nightmarish authenticity. As they make the movie, they discover the obvious: the actor playing Count Orlok, Max Schreck is, in fact, a vampire.
The film is ingenious in the way it’s developed: murder among a pack of paranoid, insecure backstabbers; the mad artistic genius Murnau directing all the while. And it would have been only clever were it not for Willem Dafoe’s perversely brilliant performance as Schreck. There is a goofiness about his Schreck that gives the otherwise deeply horrible character an oddly endearing quality.
Eddie Izzard doesn’t get the credit he deserves, reenacting the wildly upbeat performance of Gustav von Wagenheim so well. The always welcome weirdness of Udo Kier balances the egomaniacal zeal John Malkovich brings to the Murnau character, and together they tease both the idea of method acting and the dangerous choice of completely trusting a director.
https://www.youtube.com/watch?v=uAn5uLNMmjk&t=10s
1. Rosemary’s Baby (1968)
Again, not Hollywood, New York. But how genius is this movie?
Rosemary’s Baby remains a disturbing, elegant, and fascinating tale, and Mia Farrow’s embodiment of defenselessness joins forces with William Fraker’s skillful camerawork to cast a spell.
Working from Ira Levin’s novel, Roman Polanski spins a tale of mid-run actor Guy Woodhouse (John Cassavetes) who sells his wife’s womb for success. Dude!
Like so many of these films, Rosemary’s Baby sees the Faustian dilemma not in terms of carnal or intellectual pursuits, but the desperate drive for stardom. The fact that Guy doesn’t even have to sacrifice anything himself actually makes the evil that much more frustrating and horrifying.
Of course, Mia Farrow’s embodiment of helplessness and Ruth Gordon’s Oscar-winning turn as rouged busybody Minnie Castavet only give the film more and surprising layers. It’s a masterpiece of atmosphere and storytelling.
Hey, friends of puppetry! What did we think about the Melissa McCarthy puppetmania that is The Happytime Murders? How about Charlie Hunnam’s Pappilon remake? And did you hear the dish on all those Hollywood celebrities? If not, you clearly haven’t seen Scotty and the Secret History of Hollywood, but we did and we’ll tell you what we thought about those three flicks plus all that’s fit to watch in new home entertainment.
You should probably be comfortable with at least two of the three if you’re considering seeing The Happytime Murders.
In a Who Framed Roger Rabbitt? vein, The Happytime Murders serves up a noir that exists in a town where flesh-and-blood humans co-exist with fantasy – in this case, puppets. Not Kermit, though. Not Big Bird, either.
No, like most noirs, the film lives on the seedier side of town, so we meet puppets with problems—sex addicts, porno freaks, folks with a mean jones for a sugar fix. The type of cat who’d perform a Continental Hot Sock for just fifty cents.
Continental Hot Sock—how great is that name?
Disgraced cop turned private investigator Phil Philips (Bill Barretta, longtime Muppet voice of Pepe the King Prawn, Rowlf the Dog, The Swedish Chef and others) re-teams with his old partner, Det. Edwards (McCarthy), to solve a string of puppet murders.
The case smells like rotten cotton.
McCarthy interacts as believably with puppets as she ever did with Sandra Bullock, and Todd Berger’s script takes excellent advantage of her whip-smart profanity maneuvering.
Not every joke lands. In fact, too many fall entirely flat and far too much time is spent cursing simply to curse. But there are also some spit-take laughs. McCarthy delivers several, and the always glorious Maya Rudolph is responsible for many others.
There is an underlying commentary in Happytime Murders that can be read as a take on systemic racism, or as a note on the underappreciation of puppetry as an art form. Or both? Systemic racism as a metaphor for marginalized puppeteers feels a little tone deaf, but the filmmakers aren’t trying to make the audience comfortable and Happytime Murders is not one for nuance.
The film is raunchy. It amounts to 90 minutes of profane, DNA-spewing nastiness with very little story to redeem it. I’m pretty sure that’s the point.
Director and puppeteer royalty Brian Henson, son of Jim and filmmaker behind The Muppet Christmas Carol and Muppet Treasure Island, spares no one as he spits in the eye of the family film that’s been his family legacy.
Don’t expect wholesale changes to the classic survival tale from 1973. Instead, Danish director Michael Noer makes a subtle shift in tone, moving the focus away from the physical, and more toward the mental, philosophical and spiritual toll levied by years in a brutal penal colony.
Like the Steve McQueen/Dustin Hoffman original, this new Papillon is based on Henri Charriere’s book detailing his ordeal in a French Guyana prison camp, a sentence that began in the 1930s. Though the questionable authenticity of many of the book’s details earned it a “biographical novel” classification, Henri’s tale of primal struggle still commands attention.
As Henri (nicknamed “Papillon” after his butterfly tattoo), Charlie Hunnam finds McQueen’s big shoes a surprisingly comfortable fit. Showing more commitment than he has to date, Hunnam turns in a fierce performance that caters to Noer’s vision of an outside/in character arc.
Rami Malek is even better as the soft-spoken Louis, a wealthy counterfeiter who leans on the bruising Henri to provide safe haven from the savagery of other inmates. Keeping the basics of Hoffman’s characterization, Malek adds his own shading for a compelling take on a man drawn to his friend for the defiant commitment lacking within himself.
Noer sets a compelling contrast between two worlds, both visually impressive. The prison interiors are draped in blood, sweat and dark despair, while the colorful, expansive vistas just outside taunt the inmates with constant reminders of a freedom they are not likely to taste again.
The parts are all here and competently assembled, but the punch of the bigger themes Noer and screenwriter Aaron Guzikowski (Prisoners, Contraband) are aiming for never land flush. The ordeal is tense, brutal and sometimes pulse-pounding, but this new Papillon can’t fully expose the nerve it was digging for.
Beyond physical toughness, what was it that drove Henri to merely bend where other men were breaking?
We get some fine glimpses, but none with depth enough to truly transcend the journey.
Hollywood has always been about vanity, secrets and fiction. It’s an industry filled with people who make a living pretending to be someone else. Scotty and the Secret History of Hollywood tells a tale of men and women who led fictional personal lives too.
After his service in World War II, Midwest transplant Scotty Bowers lands a job at a busy gas station on Hollywood Blvd. It’s here where Scotty meets his first secretly gay Hollywood celebrity: Walter Pidgeon (Forbidden Planet). This meeting—and subsequent sexual encounter—opens Bowers’s eyes to a large community of closeted gay actors and actresses. He wants to give them a place to meet one another…and to make a buck in the process. Through his likability and ability to find sexy, young men and women, Bowers cements his place among the Hollywood elite.
During his tenure as “Pimp to the Stars,” Bowers finds himself setting up rendezvous for more than just famous actors and directors, as business tycoons also knew of his reputation. Bowers also attracts the attention of British royalty. Through it all, Scotty Bowers claims to only want one thing: to make people happy.
Scotty and the Secret History of Hollywood could’ve easily turned into one big tell-all (and there are some revelations that I didn’t know), but director Matt Tyrnauer wisely keeps the focus squarely on Bowers himself. Scotty Bowers isn’t the flamboyant center of attention you’d expect. Instead, we’re shown a 95-year-old hoarder who spends most of his free time cruising the streets looking for junk he can load into one of his many homes.
The film wisely doesn’t rely on talking heads to fill in the gaps of the story. There’s the occasional interview with a Hollywood player like Peter Bart (former editor of Variety) or one of Scotty’s “boys,” but the bulk of the movie is composed of Scotty’s interactions with these people. Tyrnauer strives to show how Bowers continues to make connections with people, even though gay culture in Hollywood has become mainstream.
Scotty and the Secret History of Hollywood is a celebration of sexual freedom. The feel-good nature of the film is a byproduct of who Bowers is as a person. He claims he only wanted to make people happy—and he meant it.
Ahoy! This we talk through the pros and cons (mostly cons) of The Meg, as well as (mostly pros) BlackKklansman and (entirely cons) The Slenderman. We also run through what’s worth it and what’s not in home entertainment.
Visually stunning, but emotionally monotonous, Alpha seems like a planetarium show scaled up to feature length, given a sketch of a plot to justify shots of a human staring up at the firmament and trudging through various majestic terrains.
Set 20,000 years ago in Europe, a hesitant young man, Keda (Kodi Smit-McPhee), sets out on his first hunt with the goal of making his dad proud. But when one of the beasts fights back, Keda takes a header off a cliff and is left for dead.
What follows is his somewhat preposterous journey to get back to his settlement.
It’s a little bit Cast Away, a little bit 127 Hours, with wide, sweeping shots of Keda’s journey that are very reminiscent of iconic scenes from the Lord of the Rings movies.
And there are glorious vistas to enjoy, any number of which would make a fantastic desktop picture for your work computer. But to properly enjoy it, you kind of have to turn the thinking part of your brain off. (At least a little bit. You still have to be able to read the subtitles to parse the Neanderthal language being spoken.)
For example, the hunting ground presumably is close enough to Keda’s settlement to allow the hunters to bring back the spoils before they, you know…spoil. And yet, on the way home, Keda climbs a few mountains, treks through a dessert, passes a swamp, skirts a volcano, and grows a delightfully thin adolescent mustache. For quite a time, he is doing this on a recently dislocated ankle and while carrying a full grown wolf.
Cause, oh yeah, he’s got a wolf buddy who he basically domesticates on the way home.
Billed as the heart of the story, Keda’s relationship with Alpha the wolf supposedly “shines a light on the origins of man’s best friend.” Given this, I was expecting the relationship to have a certain amount of complexity and emotional give and take. But this falls flat. The domestication happens so easily that it seems inevitable. I’ve adopted dogs that were harder to train. And despite the harsh environment and the occasional menacing hyenas, at no point do Keda and Alpha seem in any ultimate danger.
All, in all, Alpha would probably be best viewed if you’re jonesing for an easy visual escape or if you want inspiration for upgrading your winter wardrobe. Cause those suspiciously healthy-looking folks eking out their existence during an Ice Age have some beautifully made clothes. Now, I’m off to search for a pair of leather pants online.
