Click HERE and join us in The Screening Room this week to break down Spider-Man: Homecoming, The Big Sick, The Hero, Okja and what’s new on home video!
All posts by maddwolf
Life Support
The Big Sick
by George Wolf
The Big Sick is that rare breed seldom seen in the wilds of the multiplex. It’s a smart and incisive romantic comedy that has something new and vital to say while it’s being both romantic and comedic.
It also feels incredibly authentic, probably because co-writers Emily V. Gordon and Kumail Nanjiani are telling much of their own story.
Kumail (Nanjiani) is a struggling standup comedian in Chicago who can’t bring himself to tell his traditional Pakistani family about his new girlfriend Emily (Zoe Kazan). Family pressures eventually lead to a breakup, not long before Emily becomes hospitalized with a mysterious infection that becomes life-threatening.
Emily’s parents (Holly Hunter and Ray Romano) know all about Kumail, and they aren’t exactly thrilled with his insistence on hanging around the hospital with a visitor’s badge.
Director Michael Showalter (Wet Hot American Summer, Hello My Name is Doris), is blessed with a uniformly wonderful ensemble cast, and he guides the actors through alternating levels of humor and societal insight that feel effortlessly organic.
We see a Muslim family portrayed much as any other movie family might be (imagine!), with generational conflicts that are plenty familiar, even if they manifest in unfamiliar ways. Bonus points for cleverly educating about Pakistani culture while also finding the funny in culture clash and persistent stereotypes.
Almost all the humor – be it scatalogical, corny, or suddenly dark – finds a mark, and is paired with a constant undercurrent of relatable humanity that draws us into these characters and becomes truly touching.
At times hilarious, sweet, emotional and even heartbreaking, The Big Sick has a case of charming that will follow you home.
Let’s hope it’s catching.
This Dude Abides
The Hero
by Hope Madden
Somebody finally wrote a starring role for Sam Elliott. Let’s be honest, we all love him. What’s not to love? His lived-in masculinity, mannered charm and sonorous delivery make every line a comic/dramatic/romantic dream.
His latest film, the Brett Haley directed and co-penned The Hero, feels like an attempt to give Elliott his own The Wrestler or Crazy Heart.
I’m cool with that.
Haley was responsible for the 2015 life-renewing romance I’ll See You In My Dreams, a post-middle-age adventure starring Blythe Danner, with Elliott joining as her mustachioed gentleman caller.
With Hero, Haley places Elliott firmly in the lead of another “life begins when you decide it does” kind of story.
In a role undoubtedly written specifically for the actor, Elliott plays an aging performer who’s knocked around Hollywood for decades but is best known for his deep, cowboy voice. The film opens with that memorable baritone recommending, “Lone Star barbeque sauce – the perfect pardner for your chicken.”
It’s an inspired scene, full of humorous indignity and carried beautifully by the voice-over veteran. It’s really a shame Haley can’t build on it.
Elliott’s Lee Hayden has cause to reevaluate his life when a health issue, a lifetime achievement award, a viral video and a surprising new girlfriend all collide unexpectedly. Oh, so many reasons to contemplate your own mortality.
Elliott’s quiet, moseying way remains as enigmatic and charming as it ever has been, and seeing him play a character so very close to himself is sometimes eerie. Real-life wife Katharine Ross even plays his ex.
The film scores highest marks in two scenes with Ross, and in everything with a delightful Nick Offerman, playing against type as Lee’s goofy former co-star and current weed dealer.
It derails hardest, though, when it tries to juggle a distant relationship with a daughter (Krysten Ritter) and a new romance with a hot, much younger woman (Laura Prepon).
The Hero breaks no new ground. Had Haley and co-writer Marc Basch (who also co-wrote Dreams) thrown one or two fewer contrivances at us, or found perhaps a fresher way to contend with their obvious choices, they might have had something.
Instead they ride Elliott’s charm and settle for sentimentality, which is such a shame. It’s high time Sam Elliott gets to lead his own movie, but he deserves a little more than this.
Teenage Dream
Spider-Man: Homecoming
by Hope Madden and George Wolf
With brief but wildly enjoyable screen time, the newest Spider-Man (Tom Holland) introduced himself to us in last year’s Captain America: Civil War. His presence was energetic, light-hearted and fun – childlike. Appropriate for a high school freshman.
It’s exactly that bottled exuberance that makes Spider-Man: Homecoming so enjoyable.
The events of Cap and Iron Man’s battle for control of the Avengers only months behind them, Tony Stark (Robert Downey, Jr. – like you didn’t know) takes arachnid-bitten science nerd Peter Parker under his wing.
Pete’s not ready for the big time yet, though. Mr. Stark would prefer his protégé focus on being a friendly, neighborhood Spider-Man instead of pestering for an invite to be the next Avenger.
There are several things director Jon Watts (Clown, Cop Car) and his enormous team of writers get right.
Firstly, they know we’re hip to Pete’s origin story, so the bite, Uncle Ben and all that needless angst are mercifully missing.
Next, they keep the story tight and low to the ground. It’s a training-wheels villain – somebody too big for you or me to contend with, but no intergalactic menace or god waiting to annihilate global humanity.
It also helps that said villain, the “Vulture,” is played by the reliably nutty and likeable Michael Keaton, who brings the perfect mix of psychosis and humanity to a role that could have easily been pushed over the top.
But mainly, Watts hits a bullseye with the film’s joyously entertaining tone.
As solid as the Marvel universe has been, it’s not hard to find moments (especially in Civil War) when the push for a hip chuckle undercuts the action. The humor in Homecoming hits early and often, but only to reinforce that the film’s worldview is sprung from a teenage boy. In this way, it feels more true to its comic origins than most in the entire film genre.
Holland, who just turned twenty-one, has no trouble passing for fifteen in a wonderfully wide-eyed performance. Paired with a nicely diverse group of classmates, Holland finds the perfect sweet spot to contrast the social minefields of high school with the learning curve of his new Stark Industries super suit.
Best of all, Holland re-sets the character to a place where its growth seems both unburdened and unpredictable. That’s exciting, and not just for Pete.
Same goes for the film. Watts and his writing team fill Homecoming with the thrills, wit and humanity (plus a plot twist that’s subtle genius) to give the entire superhero film genre a freshness that’s plenty welcome.
Throw in a letter-perfect final scene, and we’re already tingling about what Spidey might be up to next.
The Snack that Smiles Back
Okja
by Hope Madden
That lovely period of youth, close enough to childhood to be magical, near enough to adulthood to be tinged with longing – it’s that moment where people like Spielberg made their greatest mark.
Filmmaker Joon-ho Bong takes us there with the story of a super pig – a genetically engineered and yet utterly adorable hippo-like beastie bred to feed a lot of people cheaply – and her best friend.
If you haven’t seen the films of Joon-ho Bong, you should. All of them. Repeatedly.
This versatile Korean filmmaker is as comfortable with dystopian fantasy as he is creature features, with dark family dramas as police procedurals. Whatever he makes, he edges it curiously with humor and shadows with a bit of horror. It’s a heady mix, but in Bong’s hands, it never ceases to satisfy.
In this case, we tag along as Korean farm girl Mija (Seo-hyun Ahn) wiles away days in the rural mountains with Okja. Ten years earlier, the Mirando corporation left the tiny piglet with Mija’s farmer grandfather. It’s now time for the company to take her back.
What opens as a beautiful story of magical childhood friendship a la E.T. or some kind of live-action Miyazaki film turns, in Act 2, into something far darker. Once Tilda Swinton (glorious – and playing twins!) and Mirando Corp come calling, Okja becomes satire of the most broad and brutal sort.
Though Bong peppers the prolog with a couple F-bombs, there’s still no way to be ready for the pivot his film makes. Not every actor is prepared for the shift, either.
Swinton – so breathtakingly brilliant in Bong’s 2013 flick Snowpiercer (Be a shoe!) – is characteristically fascinating as Mirando’s mogul, and Paul Dano offers a startlingly unpredictable eco-terrorist.
The generally reliable Jake Gyllenhaal can’t seem to nail his part, kind of a Jack Hannah patterned after a crackhead version of Richard Simmons. It’s less interesting than it sounds.
Otherwise, though, the collision of styles and gut punch of a third act guarantee that the film will stick with you.
Okja is the first film in which Bong clearly states a prescribed purpose, rather than simply writing and directing a fine, if politically astute, film. That doesn’t take away from his movie’s power, and only cements his position as a filmmaker at the top of his game.
Fright Club: Asylums in Horror Movies
Who’s crazy, who’s not? Whose perspective can you believe? Why can’t I look in the basement?
All fine questions that have been asked in film since around 1920. We sifted through all the loonies and the asylums to generate a list of the best and nuttiest available.
Thanks to Senior Lunatic Correspondent Dr. Neil McRobert – affectionately known as NakMac – for returning, hangover and all, to help us count down the best horror films in set an asylum.
5. Lunacy (2005)
So, here’s one that lives up to its title. If you were to choose any “lunatics running the asylum” film, this is the one to go with.
Set in Czech Republic 2005, disturbed young Jean (Pavel Liska) accepts an invitation to stay with a man who believes himself the Marquis de Sade (Jan Triska) – frilly shirts, horse-drawn carriage and all.
If you’ve seen any of the films of Jan Svankmajer, you know to expect the unexpected. It turns out, his talent for the surreal and the grotesque so perfectly fit the topic of the film, it’s hard to imagine anyone else making it.
Animated meat cutlets, insane speechifying, burlesque and unpleasantness aplenty work together in a film that defies summarization but leaves an unmistakable impression.
4. The Brood (1979)
Dr. Hal Ragland – the unsettlingly sultry Oliver Reed – is a psychiatrist leading the frontier in psychoplasmics. His patients work through their pent-up rage by turning it into physical manifestations. Some folks’ rage turns into ugly little pustules, for example. Or, for wide-eyed Nola Carveth (Samantha Eggar), rage might turn into bloodthirsty, puffy coated spawn. This is Cronenberg’s reimagining of procreation, and it is characteristically foul.
What’s she so mad about? Her divorce. So angry, indeed, that she’s gone mad – and begun neglecting, even endangering, her puffy coated actual daughter.
Cronenberg wrote the film during his own ugly divorce and custody battle. He created a fantasy nightmare rooted firmly in the rage, despair, and the betrayal that comes from watching someone who once loved you turn into someone who seems determined to harm you.
Cronenberg is the king of corporeal horror, and The Brood is among the best of the filmmaker’s early, strictly genre work. Reed and Eggar both are unseemly perfection in their respective roles. Eggar uses her huge eyes to emphasize both her former loveliness and her current dangerous insanity, while Reed is just weird in that patented Oliver Reed way.
https://www.youtube.com/watch?v=RVQkJJxjdIM
3. Session 9 (2001)
Nyctophobia, dissociative identity disorder, creepy tapes, an abandoned asylum – the pieces are there for a spooky, if recognizable, horror movie. Credit writer/director Brad Anderson for swimming familiar waters and yet managing a fresh, memorable and disturbing film.
Gordon (Peter Mullan) needs some cash – and some sleep. Troubles at home aside, he’s having problems getting his latest assignment completed on time. With just a skeleton crew and an unreasonable turnaround time, Gordon has to remove the asbestos from the long-abandoned Danvers Lunatic Asylum.
He sneaks away a lot to call his wife and listen to these therapy tapes he’s found. Meanwhile, a couple of his guys are bickering over a shared girlfriend, another one’s a pothead, and then there’s Gordon’s sweet, mulleted nephew Jeff (Brendan Sexton III), who’s afraid of the dark.
Atmosphere is everything in this film. And though several surprises may not really surprise, performances are outstanding and Anderson has some seriously scary moments in store. Oh, poor Jeff.
https://www.youtube.com/watch?v=TYC83LCttW8
2. Titticut Follies (1967)
In 1967, the great documentarian Frederick Wiseman announced his presence with authority, producing the first film in American history to be banned for reasons other than obscenity or national security.
While the American legal system may have believed the filmmaker had violated the privacy of the patients of the Massachusetts Correctional Institution Bridgewater, the film suggests it cared less about the patients’ other rights.
Haunting and spare, juxtaposing patients’ day-to-day abasement against choreographed musical numbers performed with a saucy baritone on staff, Wiseman’s film rattles you. The filmmaker offers no voiceovers to guide you. Instead, he assaults your sensibilities with the raw and unacceptable truth.
1. The Cabinet of Dr. Caligari (1920)
Few films of the silent era or any other are as visually striking as this. A German Expressionist, director Robert Wiene uses light and shadow, exaggerated angles and gloomy spirals to envelope us in a nightmare.
In a story told in flashback we learn of Francis, who is visiting his bewitched beloved in an asylum. He tells the tale madness – a traveling hypnotist and his somnambulist, performing at a town fair; murder, magic and lunacy.
The film’s twist ending and framed storytelling have become commonplace in horror – particularly in “asylum” horror – but the look of this film has never been truly recreated.
Taken in the context of the time, Caligari becomes a metaphor and premonition of Germany’s mindless obedience to a lunatic, homicidal authority figure. Carl Mayer and Hans Janowitz wrote it just after WWI to reflect their experiences in the war, but it mirrored a growing, terrifying phenomenon in their country.
https://www.youtube.com/watch?v=Y0A0sfxM6AE
The Screening Room Podcast: Drivin’ and Beguilin’
Click HERE and join us in The Screening Room this week to break down Baby Driver, The Beguiled, Despicable Me 3, The House, The Bad Batch and what’s new on home video!
Best of 2017 So Far!
Land a’ goshen, the year’s half over already! How the F did that happen? Well, we’ve watched 161 films so far this year. Whew! Which have been the best? The new episodes of both Planet of the Apes and Spider-Man would’ve made the cut, but our judges said July releases didn’t count, so….let’s have a look at what did.
1. Get Out
You want to know the fears and anxieties at work in any modern population? Just look at their horror films.
You probably knew that. The stumper then, is what took so long for a film to manifest the fears of racial inequality as smartly as does Jordan Peele’s Get Out – an audacious first feature that never stops entertaining as it consistently pays off the bets it is unafraid to make.
2. The Survivalist
Lean, mean futuristic science fiction that feels unsettlingly like reality, The Survivalist ranks among the best dystopian films in recent memory. And as writer/director Stephen Fingleton creates an utterly plausible and devastatingly grim future, the film marks a first time filmmaker with an awful lot to say.
3. It Comes at Night
Deep in the woods, Paul (Joel Edgerton, solid as always), Sarah (Carmen Ejogo) and their teenage son Travis (Kelvin Harrison, Jr.) have established a cautious existence in the face of a worldwide plague. They have boarded their windows, secured their doors, and enacted a very strict set of rules for survival.
At the top of that list: do not go out at night.
But what are the dangers, and how much of the soul might one offer up to placate fear itself?
In asking those unsettling questions, It Comes at Night becomes a truly chilling exploration of human frailty.
4. The Beguiled
Snugly hidden near the fighting in Confederate territory, a girls’ school takes in a wounded Union soldier. Delicately shifting allegiances, power struggles, competition, longing, fear, and danger waft between the columns of Miss Farnsworth’s Seminary for Young Ladies.
Sofia Coppola develops a languid and ornate atmosphere, punctuated where necessary to create a sense of dread and urgency. Her cast is uniformly excellent, their commitment to character leading to a finale that’s as devastating as it is inevitable.
5. Logan
Bloody and bleak, tossing F-bombs and the franchise’s first flash of nudity, Logan is not like the other X-Men.
Logan relies on themes of redemption – a superhero’s favorite. Director James Mangold pulls ideas from Children of Men and Mad Max Beyond Thunderdome, but his film reminds me more of The Girl with All the Gifts. (If you haven’t seen it, you should.)
The point? The children are our future and Logan’s real battle has always been with himself. Almost literally, in this case.
6. Baby Driver
Start to finish, the soundtrack-driven heist flick Baby Driver has a bright, infectious charm – and you can dance to it.
The beats offer more than a gimmick to ensure the flick dances along – the tunes getaway driver Baby (Ansel Elgort) has buzzing through his ear buds give rhythm to his impressive high speed antics.
The game cast never drops a beat, playing characters with the right mix of goofiness and malice to be as fun or as terrifying as they need to be. For all its danceability, Wright’s film offers plenty of tension, too.
7. Hounds of Love
Driven by a fiercely invested and touchingly deranged performance from Emma Booth, Hounds of Love makes a subtle shift from horrific torture tale to psychological character study. In 108 grueling minutes, writer/director Ben Young’s feature debut marks him as a filmmaker with confident vision and exciting potential.
No doubt, events get brutal, but never without reminders that Young is a craftsman. Subtle additions, such as airplanes flying freely overhead to contrast with the theme of captivity, give Hounds of Love a steady dose of smarts, even as it’s shaking your core.
https://www.youtube.com/watch?v=UNEurXzvHqE
8. Raw
A vegetarian from a meat-free family, Justine (Garance Marillier, impressive) objects to her new university’s freshman hazing ritual of eating a piece of raw meat. But once she submits to peer pressure and tastes that taboo, her appetite is awakened and it will take more and more dangerous, self-destructive acts to indulge her blood lust.
Writer/director Julia Ducournau’s has her cagey way with the same themes that populate any coming-of-age story – pressure to conform, peer pressure generally, societal order and sexual hysteria. Here all take on a sly, macabre humor that’s both refreshing and unsettling.
9. Norman
Writer/director Joseph Cedar skillfully creates an utterly fascinating character in Norman (Richard Gere), who maneuvers through an equally intriguing web of politics, friendship and desperation. And Gere, as good as he’s ever been, makes it feel authentic.
It’s a performance that should not be forgotten come award season, and it anchors a smart, detailed film as compelling as any political thriller, yet as familiar as your last little white lie.
10. The Blackcoat’s Daughter
Winter break approaches at a Catholic New England boarding school. Snow piles up outside, the buildings empty, yet Kat (Kiernan Shipka) and Rose (Lucy Boynton) remain. One has tricked her parents for an extra day with her townie boyfriend. One remains under more mysterious circumstances.
Blackcoat’s Daughter behaves almost the way a picture book does. In a good picture book, the words tell only half the story. The illustrations don’t simply mirror the text, they tell their own story as well. If there is one particular and specific talent this film exposes in its director, it is his ability with a visual storyline.
Pay attention when you watch this one. There are loads of sinister little clues to find.
11. Split
A transfixing James McAvoy is Kevin, a deeply troubled man harboring 23 distinct personalities and some increasingly chilling behavior. When he kidnaps the teenaged Casey (The Witch‘s Anya Taylor-Joy) and her two friends (Haley Lu Richardson, Jessica Suva), the girls are faced with constantly changing identities as they desperately seek an escape from their disorienting confines.
The split personality trope has been used to eye-rolling effect in enough films to be the perfect device for writer/director M. Night Shyamalan’s clever rope-a-dope. By often splitting the frame with intentional set designs and camera angles, or by letting full face close-ups linger one extra beat, he reinforces the psychological creepiness without any excess bloodshed that would have soiled a PG-13 rating.
12. Free Fire
Imagine if the entire 93 minutes of Reservoir Dogs took place in that last act shootout among the pack.
The noteworthy fact about Free Fire is not that it has a ballsy first act, but that the entire film is a third act. With scarcely a word of context, we’re rolled into an empty warehouse just in time for a shootout to begin, and there we will stay until the film concludes.
There is a barely controlled, very funny, incredibly bloody chaos afoot here, and it is a wild and entertaining sight to behold.
13. Colossal
Colossal could also describe the height of writer/director Nacho Vigalondo’s latest concept, but despite some shaky interludes, it’s one worth the investment. Anne Hathaway and Jason Sudeikis make a compelling pair, and as secrets of the film monster’s history are revealed, Vigalondo lands some solid satirical blows about self-absorption and personal demons.
Perhaps best of all is how Colossal works out of the conceptual corner it backs into. Much like the Koreans who keep coming downtown no matter how often the monster appears, Vigalondo is committed to the end, delivering a strange but satisfying in-the-moment fable.
14. The Lovers
Credit writer/director Azazel Jacobs for turning the romantic dramedy inside out, weaving sly writing and touching performances into a thoroughly charming take on the resilience of love and the frustrating struggle to pin it down.
The Lovers is sneaky in its casual nature. Through subtle storytelling and stellar performances, it finds meaning in places rarely explored this effectively, and a gentle confidence that frayed emotions can still bond.
15. Guardians of the Galaxy 2
Is that second mixtape ever quite as awesome as the first? Rarely, and that’s the Catch-22 of the original film’s surprising blast of space zaniness. While we never saw that one coming, this new one arrives with weighty expectations.
No, Volume 2 can’t match the ruffian charm of the first, and there are some stretches of not-much-happening-here. But James Gunn’s sequel shares a lot of heart, swashbuckling visuals and more than a few solid belly laughs.
Yes, we did like these, too:
Mr. and Mrs. Vegas
The House
by George Wolf
It’s a simple formula, really: D = sO2.
A comedy’s desperation is equal to the speed at which the outtakes start rolling, squared. Which means The House is mighty desperate to send you home laughing.
There’s plenty of talent involved, but it’s a film held together with barest of threads, as if the prompt for writers Andrew Jay Cohen and Brendan O’Brien (from the very funny Neighbors films – so what gives?) was merely to round up some funny people and hope they do funny things.
Will Ferrell and Amy Poehler are certainly funny, and they star as Scott and Kate Johansen, who start to panic when their daughter Alex (a curiously bland Ryan Simpkins) is accepted to Bucknell University.
They can’t afford Bucknell University.
Teaming up with their crazy, Vegas-loving friend Frank (Jason Mantzoukas) the Johansens open a secret neighborhood casino, kicking off a wave of uninspired riffs on stuffy suburbanites acting all Soprano and shit.
Cohen, making his feature directing debut, leaves plenty of contrived loose ends behind in search of the next forced gag. Fred and Barney may have pulled off a similar premise for 23-minutes in an old Flintstones episode, but The House is built on a less than sturdy foundation.
Evil Twin Powers…Activate
Despicable Me 3
by George Wolf
I’ll be honest, it took a little research before I remembered anything at all about Despicable Me 2 that wasn’t a minion.
And even when those little yellow scene-stealers got their own movie, the result was surprisingly mediocre.
The entire franchise has been memorable only for being so easily forgettable. So how’s part 3?
It’s fine.
Steve Carell returns as the voice of Gru, the super villain-turned good guy who’s now teamed up with wife Lucy (Kristen Wiig) for double the secret agent heroics. And, their three adopted daughters are back to say “fluffyyyyyyyyy!’ and other adorable things.
The family ties get more tangled when Gru meets his long lost twin brother Dru (also Carell), who convinces him to return to the dark side and steal a massive diamond from an 80s-obsessed baddie named Balthazar Bratt (South Park‘s Trey Parker).
The writing and directing teams are full of animation vets who have been at least some part of every film in this franchise, so it’s little wonder DM3 can’t find ways to revitalize the brand. It doesn’t really want to.
While all the films have been pleasantly amusing, part 3 may actually land the greatest number of solidly funny gags. The “minions in prison” sequence is an inspired hoot, and an 80s dance-off between Gru and Bratt keeps silly going long enough for a decent payoff.
But again, while the latest Despicable Me will satisfy the kids with its frenetic zaniness and give the parents some escapist smiles, it might raise a question once part 4 comes calling.
“Which one had the twin brother again?”
