All posts by maddwolf

New In Theaters, Slider

Judge Dread

Leave a comment

 

The Judge

by George Wolf

 

Yes, the timing is perfect for a film that salutes the blind equality shown to all citizens tried in every American courtroom. By all means, serve up an unflinchingly sympathetic portrait of an officer of that court who may have killed someone.

And sure, let’s just go ahead and include some convenience store security footage as part of that officer’s defense!

Good Lord, The Judge, please pick up the white courtesy phone.

The film does one sensible thing, though, in pairing up two great actors. Robert Downey, Jr. is Hank, a big time lawyer in Chicago who returns to his small Indiana hometown to attend his mother’s funeral. Robert Duvall plays Hank’s father Joe, the longtime Judge in town who’s held in high esteem by everyone..except Hank.

Father and son have a serious beef, but when Joe is accused of vehicular manslaughter, Hank stays in town to try and make sure Dad doesn’t spend his last years in the state pen.

What are the odds that the hot shot son learns some important lessons about family, while reconnectIng with the gal he left behind (Vera Farmiga) and finally appreciating the small town ways he once ran from? Pretty high. The script is full of grand speeches that amount to telling the “me” generation how their parents still know better, with two Ronald Reagan shout outs in case you miss one.

Sure, Downey and Duvall have some moments, because they could have moments just reading the menu at Chipotle. But even they had to know this entire project reeks of shameless Oscar bait, as director David Dobkin keeps the manipulated sentiment cranking and frames the two leads with plenty of low-angle shots and angelic backlighting.

Depending on which trailer you see, The Judge may seem like a comedy, a thriller, or a heartwarming drama. It’s a film that really, really wants you to like it.

Guilty of pandering! Adjourned!

 

Verdict-2-0-Stars

 

Halloween Countdown

Halloween Countdown, Day 10

Leave a comment

Henry: Portrait of a Serial Killer (1989)

Like Snowtown Murders, released more than two decades later, Henry is an unforgivingly realistic portrayal of evil. Michael Rooker is brilliant as serial killer Henry (based on real life murderer Henry Lee Lucas). We follow him through his humdrum days of stalking and then dispatching his prey, until he finds his own unwholesome kind of family in the form of buddy Otis and his sister Becky.

Director John McNaughton’s picture offers a uniquely unemotional telling – no swelling strings to warn us danger is afoot and no hero to speak of to balance the ugliness. He confuses viewers because the characters you identify with are evil, and even when you think you might be seeing this to understand the origins of the ugliness, he pulls the rug out from under you again by creating an untrustworthy narrative voice. His film is so nonjudgmental, so flatly unemotional, that it’s honestly hard to watch.

What’s diabolically fascinating, though, is the workaday, white trash camaraderie of the psychopath relationship in this film, and the grey areas where one crazy killer feels the other has crossed some line of decency.

Rooker’s performance unsettles to the bone, flashing glimpses of an almost sympathetic beast now and again, but there’s never a question that he will do the worst things every time, more out of boredom than anything.

It’s a uniquely awful, absolutely compelling piece of filmmaking.

 

 

New In Theaters

Happy to be Stuck with You

Leave a comment

#Stuck

by Hope Madden

Don’t be off put by the hashtag in #Stuck. Writer/director Stuart Acher’s film is less a glib comment on social media alienation and more a savvy reimagining of the romantic comedy.

Holly (Madeline Zima) and Guy (Joel David Moore) are stuck in an epic traffic jam. To make matters worse, this is simply the “morning after” ride back to Holly’s car, which is still at the bar where the two hooked up the night before.

“It’s easier to have sex with a stranger than make conversation with one,” notes Holly early in their uncomfortable alone time.

On its surface, the script feels almost like a writing workshop challenge, but Archer’s assured direction and game performances from the two leads make it work. Acher’s story weaves from the shame and claustrophobia of the morning after to the drunken debauchery of the night before.

The flashback is told in reverse order, allowing us to learn more about the two based on what they’ve forgotten, just as they learn about each other based on the time each must now spend in the other’s company.

It’s hard to sustain interest with little more than in-car acting – unless you have Tom Hardy behind the wheel – and there are certainly times when #Stuck strains to keep your attention. But on the whole, the slow revelation of character feels natural and the performances are sympathetic enough to keep you invested.

Zima has a real Meg Ryan quality about her, which may make the film feel more like an outright romantic comedy than it would otherwise. She and Moore have an uneasy chemistry that suits the begrudgingly burgeoning relationship, and while their banter is never a laugh riot, more often than not it’s bright and enjoyable.

To alleviate the tension for the audience, anyway, Acher’s camera periodically swings out of Guy’s car and takes a peek at the goings on in the other cars sitting motionless on the LA freeway. It’s a fun distraction and a light handed way of underscoring the overall theme of the film: that often, time wasted is more valuable than time spent on task.

Verdict-3-0-Stars

New In Theaters, Slider

It Could Be Worse

Leave a comment

Alexander and the Terrible, Horrible, No Good, Very Bad Day

by Hope Madden

I recently attended the advance screening of Alexander and the Terrible, Horrible, No Good, Very Bad Day, and I have to admit, my own day had been pretty craptastic. What I really wanted to do was drink to excess. But instead, I sat in the dark and watched as Steve Carell and Jennifer Garner parented four children through a crisis-riddled day.

Taken from Judith Viorst’s much beloved children’s book of the same name, the film follows Alexander on the day before and the day of his 12th birthday. At birthday-eve dinner, as Alexander recounts the woes of his miserable life – including accidentally setting his science class on fire while horrifying the girl of his dreams – each of his siblings and parents announces a wonderful life event that happened to coincide with Alexander’s misery.

So, at midnight, he makes himself a birthday Sunday and wishes his too-perfect family would have a bad day.

Well, he realizes the next day that he’s cursed each and every one of them.

And as obvious as the story is, it’s handled here with restraint and dignity.

Director Miguel Arteta – who directed one of my favorite little indies, Chuck and Buck – never panders or condescends. He has respect for his characters, his story, and his audience. It is amazing what a difference that makes in a family film.

Each character is drawn with some depth. Few actors are asked to mug for the camera. Each crisis is, of course, wildly implausible, but somehow this film and this cast pulls it off.

The cast itself helps. Carell and Garner never stoop. They are invested in these characters, and though both parents are too good to be true, they also both have dimension and faults.

As the titular Alexander, young, lisping Ed Oxenbould (Wow! That’s quite a moniker!) turns in an enjoyable performance as layered as the film could allow. He easily anchors the movie.

Plus, one outstanding cameo from the always brilliant Jennifer Coolidge.

Yes, things turn out OK. Great, in fact, and if you have a family that loves you, everything will be all right for you, too.

Beer is great, too, though. I’m not going to lie to you.

 

Verdict-3-5-Stars

 

New In Theaters, Slider

Shock and Awwww

1 Comment

 

Wetlands (Feuchtgebiete)

by George Wolf

 

Every once in awhile, a movie comes along about a young girl with anal fissures and a fascination with bodily fluids.

Not familiar with that genre? Get to know Wetlands.

Based on the “scandalous” semi-autobiographical novel by Charlotte Roche, it’s an often shocking, uncomfortable film, sporting a remarkable lead performance and a tender, funny soul aching to be discovered, even as it’s daring you to keep watching.

That soul is personified by 18 year-old Helen (Carla Juri), an eccentric German girl with eyebrow-raising attitudes about sex and hygiene, which she’s only too happy to share. During a hospital stay to treat her fissure, Helen narrates flashbacks in her life story, and we learn about her unusual philosophies, including the reason she wants her estranged parents to reunite.

Juri’s performance is an absolute marvel. Beyond the fearlessness, Juri finds amazing depth, never letting us forget that Helen is more than a simple wild child. She is pushing limits on all fronts, testing the validity of social taboos passed down by her mother, and finding comfort in the age-old teenage goal of surviving your parents. Remarkably assured for her years, Juri paints Helen as a completely authentic mix of rebellion, perversion and hurt.

Director David Wnendt gives the film a wonderful punk-rock vibe throughout, and keeps it grounded in coming of age honesty while also showing gross-out comedies how to be grosser. Despite one or two moments that feel a bit obvious, Wnendt’s vision for bringing the book to life is clear and true.

Anyone who’s seen Lars von Trier’s recent Nymphomanaic films will appreciate Wetlands even more. While LvT hijacked a woman’s extremely blunt sexuality for a narcissistic personal statement, Wnendt knows better than to stray from the path of Helen’s extremely personal journey.

If you haven’t guessed, Wetlands is definitely not a movie for everybody.

But, you know what? With this much humanity, hilarity and all-out balls, maybe it should be.

 

Verdict-4-0-Stars

 

 

 

 

 

 

Halloween Countdown

Halloween Countdown, Day 9

Leave a comment

Let the Right One In (2008)/Let Me In (2010)

In 2008, Sweden’s Let the Right One In emerged as an original, stylish thriller – and the best vampire flicks in years. A spooky coming of age tale populated by outcasts in the bleakest environment, the film breaks hearts and bleeds victims in equal measure. Kare Hedebrant‘s Oskar, with his blond Prince Valiant haircut, falls innocently for the odd new girl (an outstanding Linda Leandersson) in his shabby apartment complex. Reluctantly, she returns his admiration, and a sweet and bloody romance buds.

Hollywood’s 2010 version carries the less confusing title Let Me In, and fans of the original that fear the worst can rest easy. Director Matt Reeves (Cloverfield) managed to retain the spirit of the source material, while finding ways to leave his own mark on the compelling story of an unlikely friendship.

Twelve year old Owen (Kodi Smit-McPhee) is a lonely boy who’s being bullied at school. When young Abby (Chloe Grace Moretz) and her “dad” (Richard Jenkins) move in next door, Owen thinks he’s found a friend. As sudden acts of violence mar the snowy landscape, Owen and Abby grow closer, providing each other a comfort no one else can.

While the original had an ominous sense of dread, a feel of bleak isolation, and a brazen androgyny that the update can’t touch, Let Me In scores points all its own.

Moretz (Kick-Ass) and Smit-McPhee (The Road) are both terrific, and give the film a touching, vulnerable soul. Reeves, also adapting the screenplay, ups the ante on the gore, and provides more action, scares and overall shock value. Incredibly, he even manages to build on the climactic “revenge” scene that was damn-near flawless the first time.

Together the films set the standard for child vampire fare, and neither one should be missed.

New In Theaters, Slider

Not Worth Telling

Leave a comment

Dracula Untold

by Hope Madden

Who’s eager for another Dracula movie? Because that is not the single most worn out, overused, tired storyline in cinematic history. But wait – what if there was something you didn’t yet know about Dracula? Something untold?

If you’re thinking not even then, well Dracula Untold goes to show just how wise you are.

What amounts to the love child of Bram Stoker and George R. R. Martin, Dracula Untold takes a decidedly Game of Thrones angle to share the old bloodsucker’s origins story. Full of epic battles, impaling, damsels in distress, and even two Thrones actors (Art Parkinson and a woefully underused Charles Dance), it’s a medieval bloodbath and unfortunate snoozefest.

An oh-so-earnest Luke Evans (The Hobbit) trades in Middle Earth for the Middle Ages as Vlad, once The Impaler, now the peace-seeking prince of Transylvania. He had a crisis of conscience after all that impaling with the Turkish army and now just wants to live peaceably with his lovely wife and son. But the Turks are having none of it, and without a real army of his own, he turns to an evil force to help him protect his kingdom and his family.

Evans makes for a fine dreamy, noble, tragic vampire if you’re into that kind of thing, and if that’s your bag you might enjoy the first 60 minutes or so of this film. But then – by the time the rest of us are fidgeting in our seats, having abandoned all hope for a film with real bite – first time director Gary Shore throws some creepy, gory bits at you.

It’s not enough to make the film tolerable for horror fans, but probably too much for the romance lovers.

For anyone interested in a lucid film, first time screenwriters Matt Sazama and Burk Sharpless leave you with more questions than answers as they bend, introduce and retool vampire lore to suit them. Look past the moony love story and there’s a whole lot of silliness underneath.

Worse still are the dialog profundities. At one point, the Turks employ some Jedi shit, blindfolding the entire army because, “You can’t fear what you can’t see.”

What kind of counter intuitive nonsense is that? Plus, imagine how idiotic it looks to march an entirely blindfolded army up the side of a mountain. Ridiculous.

I know Game of Thrones Season 5 is a long way off, but Dracula Untold won’t satisfy your jones.

 

Verdict-2-0-Stars

 

New In Theaters

Zombies Make Lousy House Pets

Leave a comment

Dead Snow 2: Red Versus Dead

by Hope Madden

You have seen 2009’s Dead Snow, correct? If not, you should do so right now. Go ahead – I’ll wait.

Awesome, wasn’t it? Funny, scary, gorgeously filmed and utterly gross, Tommy Wirkola’s fable of Nazi zombies was an inspired, self-referential blast. And now, five years later, he launches the sequel Dead Snow 2: Red Versus Dead.

It’s dead Commies V dead Nazis, ya’ll, and it is a goretastic good time.

Last time around, a good looking group of college students headed to a remote cabin for Spring Break. There, they awakened something evil, and only Martin (Vegar Hoel) managed to escape. Well, sort of escape.

The sequel (filmed in English) picks up right at that same parked car where, back in 2009, Martin realized he still has one piece of that accursed Nazi gold. A few severed limbs, one disemboweled trucker, one monster car crash and some weeks later, Martin awakens in police custody inside a Norwegian hospital.

The good news – they sewed an arm back on!

The bad news – they didn’t use Martin’s arm!!

With a little ingenuity, the dark power of his new zombie arm, and the assistance of some American zombie hunters (read: nerds), Martin sets out to defeat the Nazi zombies once and for all.

Once again, Wirkola’s script is delightfully self-aware and full of bright comic moments. Betraying an encyclopedic knowledge of horror and SciFi, the filmmaker borrows lovingly and openly from some of the best splatter comedies in history.

There are few actual scares this time around, with Wirkola content to focus squarely on comedy… profoundly bloody, sloppy comedy. The jumps and startles have been replaced by boatloads of entrails and gallons of gore. There are not many taboos RVD isn’t willing to gut, trample or behead, either.

But the sunny Norwegian snowscape gives the whole affair a weirdly cheerful quality, and Wirkola balances comic timing with action pacing well enough to deliver a thrill a minute gore spattered laugh riot.

Verdict-3-5-Stars

 

Halloween Countdown

Halloween Countdown, Day 8

Leave a comment

The Loved Ones (2009)

Psycho may have asked us to look at the weird relationships possible with mothers and sons, but fathers and daughters can develop dangerously close bonds, as well. For proof, just gander at this Aussie freakshow.

Writer/director/Tasmanian Sean Byrne upends high school clichés and deftly maneuvers between angsty, gritty drama and neon-colored, glittery carnage in a story that borrows from other horror flicks but absolutely tells its own tale.

Brent (Xavier Samuel) is dealing with guilt and tragedy in his own way, and his girlfriend Holly tries to be patient with him. Oblivious to all this, Lola (a gloriously wrong-minded Robin McLeavy) asks Brent to the school dance. He politely declines, which proves to be probably a poor decision.

Byrne quietly crafts an atmosphere of loss and depression in and around the school without painting the troubles cleanly. This slow reveal pulls the tale together and elevates it above a simple work of outrageous violence.

Inside Lola’s house, the mood is decidedly different. Here, we’re privy to the weirdest, darkest image of a spoiled princess and her daddy. The daddy/daughter bonding over power tool related tasks is – well – I’m not sure touching is the right word for it.

Byrne’s framing and use of color – especially pink – is truly inspired. His script is endlessly, horrifyingly quotable and his cast manages  to balance gritty realism and absolute lunacy with aplomb.

The Loved Ones is a cleverly written, unique piece of filmmaking that benefits from McLeavy’s inspired performance as much as it does its filmmaker’s sly handling of subject matter. It’s a wild, violent, depraved to spend 84 minutes. You should do so now.

For Your Queue

Unconventional Comedies For Your Queue

Leave a comment

Out this week is the uncomfortable, hilarious gem that promises to go unnoticed this awards season, and that is a shame, especially for breakout lead Jenny Slate. Obvious Child could be narrowly labeled an abortion themed romantic comedy, which is not a crowded subgenre. In fact, it’s a refreshingly candid, surprisingly funny film that succeeds on its authentic direction, generous acting, hilarious writing, and one of the very strongest performances of 2014.

In case you, for reasons we won’t ask about, find yourself in the mood for a second frank comedy with the same central theme, you must naturally check out Alexander Payne’s brilliant 1996 effort Citizen Ruth. Plot points aside, both films’ most striking similarity is the absolutely stunning lead performance, this time with Laura Dern’s bold and amazing work as pregnant transient Ruth.