Tag Archives: Christie Robb

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Pixar Just Keeps Swimming

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Finding Dory

by Christie Robb

Thirteen years later and Finding Nemo has a sequel. Finding Dory takes place a year after father and son triumphantly reunite with the aid of memory-challenged Dory. Now Dory is feeling restless, gnawed at by flashes of the family she lost. She’s ready to take an apprehensive Marlin and an enthusiastic Nemo on a quest to find her parents that sends them across the Pacific Ocean to the Marine Life Institute—an aquarium specializing in the rehabilitation and release of a wide variety of adorable sea creatures.

Like Nemo, Dory is voiced by an incredible cast of actors: Ellen DeGeneres (Dory), Albert Brooks (Marlin), Ed O’Neill (Hank the curmudgeonly octopus), Kaitlin Olson (Destiny the nearsighted whale shark), Ty Burrell (Bailey, the beluga with confidence issues), Diane Keaton, and Eugene Levy (Dory’s parents). Other celebs provide cameos, including an amazing effort by Sigourney Weaver.

The movie is predictably beautiful, frenetic in pace, and often hilarious, but is also emotionally devastating. It hooks you right in the heartstrings from the moment child Dory asks her parents, “What if I forget you? What if you forget me?” This is followed by a montage of a lost, lonely baby asking strangers if they’ve seen her parents.

(As a mom of a 2-year-old too young to attend the screening, I had to claw my seat to avoid speeding home to envelop her in a bear hug.)

Having a few more ominous scenes than Finding Nemo, and a PG rating, take your little ones’ sensitivity to heart before heading into the theatre for this one.  But if you can handle the assault on the feels, rest assured that Pixar has, once again, delivered a whale of a tale. (And the preceding short, “Piper”, ain’t no slouch either.)

Verdict-4-0-Stars

 

 

 

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A Beautiful Trainwreck

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A Bigger Splash

by Christie Robb

Remember that infamous high school math problem about the trains? You know, the one where two trains leave different cities heading toward each other and you are tasked with discovering when and where they collide?

A Bigger Splash is a lot like that, only instead of trains we are dealing with ex-lovers and the location of the collision is a gorgeous volcanic island off the coast of Italy.

Rock star Marianne Lane (Tilda Swinton) is on vacation, recovering from throat surgery with her studly younger partner Paul De Smedt (Matthias Schoenaerts), when they are interrupted by unexpected houseguests: her ex-lover and producer, Harry (Ralph Fiennes), and his recently-discovered, lascivious daughter Penelope (Dakota Johnson). It’s clear that Harry still carries a torch for Marianne. It’s also apparent that he is more than willing to use the close quarters to fan those flames into obsession.

A catastrophe is inevitable. It’s just a matter of time — which, in this film, can tend to drag a little bit. This is not just a movie about nostalgic characters. With its long takes and dramatic score, director Luca Guadagnino’s film itself demonstrates a palpable longing for an earlier cinematic age. But with the stellar cast, breathtaking setting, and stylish costumes, the extra length, like a spare tire on an old flame, is easy to forgive. There is something beautiful in nearly every shot.

Schoenaerts and Johnson deliver solid performances in their somewhat underwritten characters (disdainful melancholic and crafted nymphet, respectively). Fiennes and Swinton, however, are delightful contrasts. Fiennes very nearly steals the show with his frenetic outbursts of verbal diarrhea — and in the scene where he dances to the Rolling Stones, he does. However, in the end this is Swinton’s movie. The layers of emotion she manages to convey with minimal dialogue is what truly makes the biggest splash.

Verdict-4-0-Stars

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Keeping the Mystery Alive

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10 Cloverfield Lane

by Christie Robb

From the moments the credits jolt onto the screen, 10 Cloverfield Lane keeps you on the edge of your seat.

More of a second cousin than a sequel to 2008’s Cloverfield, J.J. Abram’s-produced 10 Cloverfield Lane is a claustrophobic thriller. No found footage. No shaky camera. No perturbed kaiju.

Following a car crash, Michelle (Mary Elizabeth Winstead) awakens shackled in a locked basement room, attached to an IV. So she’s understandably wary when confronted with the basement’s owner Howard (John Goodman). He places a tray of food next to her and tells her his malevolent plan is to…keep her alive.

He informs her that while she was unconscious there’d been an attack and most people on the outside are either dead or heading in that direction. The air has been contaminated and they’ll have to stay underground for a year or two. Howard doesn’t know if the Russians or the Martians are to blame, but he’s pleased with his decision to build a bunker under his farmhouse.

Howard and Michelle are not alone. The other inhabitant of the bunker is seemingly easygoing Emmett (John Gallagher Jr.) whose injuries confuse Michelle as he says he sustained them in attempt to fight his way inside.

From there on out the movie asks the audience if Michelle can trust either of the two men or the situation that she thinks she has found herself in. It’s a vague enough description, I know, but to attempt to explain it in more depth would ruin a lot of the fun.

As you would hope, in a movie with this small of a cast, each of the three actors gives a strong performance. Winstead’s Michelle is delightfully observant, practical, and resourceful. Gallagher is wistful and charismatic. And Goodman shines, giving a performance reminiscent of Walter Sobchak in The Big Lebowski—bouncing from paranoid to menacing to eccentrically charming, often in the same scene.

First-time director Dan Trachtenberg ratchets up the tension as the movie progresses, finding the creepiness in even the most mundane domestic activities.

Verdict-4-0-Stars

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Man Against Nature

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The Last Witch Hunter

by Christie Robb

Perhaps it’s for the best that I find it nearly impossible to understand the words that come out of Vin Diesel’s mouth. The man sounds like my half-broken garbage disposal when I try to run a bunch of coffee grounds through it.

I don’t think a greater understanding of the dialogue would have significantly improved my enjoyment of the Last Witch Hunter, though. The strength of this supernatural/detective/action movie lies in the visuals.

800 years ago a vaguely Viking looking guy named Kaulder (Diesel) took on a Witch Queen and won, getting cursed by her with immortality in the process. Fast forward to modern day and we catch up with him. He’s older, a collector of art (and apparently of stewardesses), and working with an organization called the Axe and Cross to keep the peace between witches and humanity, making sure that magic isn’t used against humans.

He’s aided by a retiring handler, Dolan the 36th (Michael Caine), who, on the eve of his retirement, is attacked using prohibited magic. With the help of the replacement Dolan the 37th (Elijah Wood) and good witch Chloe (Rose Leslie), Kaulder must unravel a nefarious plot by bad witches to bring back the Black Plague, force muggle society to its knees, and return the earth to its more natural state.

Let’s set aside the fact that Diesel is completely unconvincing as an 800 year-old man. He seems entirely too well-adjusted and jovial to have seen over 30 handlers die on him.

The plot of the movie is also rather thin. Not enough time is spent explaining the politics of the Axe and Cross, the Witch/Muggle peace process, or the exact rules of “immortality.” However, that time is instead spent on visual effects that range from the grotesque (plague flies squirming around just under the skin), the beautifully stark (an ancient tree set against snowcapped peaks), the whimsical (a witch cocktail bar), and the action-y (flaming swords against enchanted beasts made of wood and bits of human carcass).

Like Vin Diesel, the movie is enjoyable enough to look at. Just don’t spend too much time trying to understand it.

Verdict-2-0-Stars

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Monsters Jump Off the Page

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Goosebumps

by Christie Robb

It’s been over 20 years since the publication of R.L. Stine’s classic Goosebumps #1: Night of the Living Dummy. And now, a generation who whiled away the nighttime hours gripping paperbacks with white knuckles can bring a new crop of kiddos to experience the thrills of Stine’s monsters, this time on the big screen.

In Goosebumps the movie, teenage hunk Zach (Dylan Minnette) moves with his mom to the ‘burbs. He is lucky in that his next-door neighbor is a quick-witted and gorgeous girl, Hannah (Odeya Rush), who immediately whisks him away to the neighborhood’s abandoned amusement park. However, he is unlucky in that her dad (Jack Black) is a curmudgeon who pops out from windows and in between the slats of fences to warn Zach to stay away or else something bad will happen.

Believing Hannah to be held captive by her overbearing dad, and after overhearing some screaming, Zach lures the dad away and breaks into the house accompanied by his timid, socially awkward friend Champ. In searching for Hannah, they discover a shelf full of Goosebumps manuscripts. And open one. Chaos ensues.

It appears Zach’s prickly neighbor is reclusive author R.L. Stine who, with the help of a magical typewriter, brings his imaginary monsters to life, but traps them inside the pages of his locked manuscripts.

The real trouble begins when Slappy (the antagonist from Night of the Living Dummy) escapes and steals the collection of manuscripts, releasing the full extent of Stine’s imagination upon the town—from the Werewolf of Fever Swamp, to a giant praying mantis, to freeze-ray wielding aliens, to murderous garden gnomes. It’s kind of Cabin in the Woods for tweens.

The movie is relentlessly paced as the crew dashes from one crisis to the next, concocting a zany plan to defeat all the monsters. The scares provided by the monsters and creepy crawlies are balanced by pratfalls, cheeky dialogue (See Zach’s aunt’s description of Stine’s smell: “… like mint and B.O. It works.”), and scene-stealing supporting characters.

Goosebumps is not without its flaws, however. It woefully underutilizes some cast members – Amy Ryan (Birdman) and Ken Marino (Wet Hot American Summer) in particular. Like the book franchise on which it is based, the movie is fairly predictable, at least for the older folks in the audience. There are some logical inconsistencies (for example, the lights are still running in the abandoned amusement park) and a definite lack of diversity in casting. But, nevertheless, it’s a seasonally-appropriate, Danny Elfman-scored thrill that will keep folks entertained without fostering nightmares.

Verdict-3-0-Stars

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A Life Extraordinary

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He Named Me Malala

by Christie Robb

Malala Yousafzai was a remarkable person years before becoming the youngest Nobel Peace Prize recipient at the age of 17. What is impressive about her is not her having survived a head shot by a Taliban gunman in 2012; it’s her courage and strength in speaking out in nonviolent protest. It is her continuing support of children’s right to an education despite the threats to her life and the lives of her family members.

Oscar-winning director Davis Guggenheim (An Inconvenient Truth) presents Malala’s story in his new documentary, He Named Me Malala.

As you might guess, the central relationship explored in the film is between Malala and the man who named her, her father Ziauddin. He named his baby girl after Malalai—a female folk hero that roused dispirited Afghani fighters to war against the British and was shot and killed in the attempt—quite something to live up to.

Ziauddin himself seems something to live up to. A rebel schoolteacher who refused to be silent under increasing Taliban restrictions, he fostered a love of learning in Malala and taught her to raise her own voice against oppression when the voices of so many women and girls were strangled.

The tension of Guggenheim’s film builds slowly throughout, even as the storyline bounces around from stories of the Yousafzai family, to the Taliban’s rise to power in the Swat valley, to Malala becoming an anonymous schoolgirl blogger for the BBC at age 11, to her present day activism, to Malala’s decision to break her anonymity and appear on camera in Pakistan speaking in support of girls’ education. Finally, the tension peaks with footage of the bus on which Malala and two of her friends were shot, not by a gunman, as her father says, but by an “ideology.”

However, the movie is not simply an encomium to an internationally famous humanitarian. Guggenheim shows Malala not just as the extraordinary public figure that she has become, but also as a teenage girl who tussles with her younger brothers, stresses about grades, and crushes on sports figures. Guggenheim also makes some effort to show the mixed response Malala gets in Pakistan, where some people think she’s just a mouthpiece for her father or an agent of Western Imperialism.

And he explores the question of whether Ziauddin, this man who slapped this famous name on Malala, really forced her into this public life without her buy-in. Twice Guggenheim includes Ziauddin’s worry that, upon waking from her coma, Malala would accuse him, “I was a child, you should have stopped me.” And Malala raises her voice to say that she’s made her own choices. That she, “…chose this life and now… must continue it.”

It’s an amazing life and one worth watching.

Verdict-4-0-Stars

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Frankenfilm

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The Inhabitants

by Christie Robb

The Inhabitants is a hodgepodge of horror elements cut and sewn awkwardly together to create a film that isn’t particularly scary and lacks thematic consistency.

But what a good location! The movie was filmed inside the Noyes-Parris House, formerly owned by the father of one of the girls who kicked off the Salem Witchcraft Trials. As such, you come in expecting a certain degree of paranoid atmosphere and the use of witchy tropes.

The story follows a young couple that decides to buy and renovate an old bed and breakfast. The screenwriters make no real attempt to explain how the couple can possibly afford the place or what exactly their goals for it are, but it’s hard to quibble with that issue when the acting quality and opening credit sequence has you squinching up in your seat—not from fear or anticipation, but from a justified suspicion that you’ve accidentally stumbled into a horror movie porn parody, given the minutes of static-y black and white footage featuring folks disrobing, bathing, and humping.

But, the movie then switches tone.

We are introduced to the main leads, who do somewhat exude the sense of ennui of two porn stars well into a long day of shooting, but after the odd soft-core porn sequence, the film covers up the skin and lurches along for another 80 minutes that drag like an ill-sewn leg on a reanimated cadaver.

The wife, Jessica, finds out that the original owner of the house was a midwife, tried and executed for witchcraft. Set in a historical location with ties to the famous trials, midwife/witch in the mix, even with the acting…I’m on board.

But, instead of focusing on this theme, the film tries to incite scares by randomly throwing elements at you that just don’t work or really seem to belong in the same movie, like the bank of AV equipment that allows the husband to spy on Jessica’s increasingly weird antics (but that undermines the likability of the husband), or the smokers in the woods that are intended to seem menacing (but just seem like furtive high school kids with a mild addiction to nicotine), or the dog that appears abruptly and seems attuned to the possible presences in the house (but then disappears unceremoniously), or the ghost Jessica sees…in the washing machine (washing machines aren’t scary).

Despite having access to the famous house, the setting and history of Salem is rather absent save for a brief trip to the Ye Olde Witch Museum. This trip, however, is nicely balanced by the couple’s trip into town…to grocery shop at Whole Foods.

This broke the sense of isolation and vulnerability that the directors were trying to achieve. My suspension of disbelief was shattered as soon as I saw the logo on that paper bag. Do not send your characters to Whole Foods unless you want us to be biting our fingernails worrying about their food budget.

Not bad enough to drunk-watch with friends, I suggest passing on this one. It’s not worth gathering the pitchforks and torches.

Verdict-1-5-Stars

https://www.youtube.com/watch?v=4ULDfLrnhjw

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Does the Sex Part Always Get in the Way?

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Sleeping with Other People

By Christie Robb

The latest rom-com to follow in the footsteps of 1989’s classic When Harry Met Sally is Leslye Headland’s Sleeping with Other People (which was originally pitched as “When Harry Met Sally for Assholes.” It also examines the question of whether heterosexual men and women can be friends.

Like When Harry Met Sally, SWOP starts with a relatively unrealistic flashback scene to college days where unfortunate period clothing choices and bad bangs are supposed to provide sufficient suspension of disbelief for us to see two folks knocking on middle age as dorm inhabitants. Here we meet our romantic leads, Lainey (Alison Brie) and Jake (Jason Sudeikis), two old virgins aching to give it up. He’s waiting for the right person. She’s been scorned by her person. They decide to bone each other.

Flash forward 12 years and Lainey and Jake meet for the second time at a sex addicts meeting. He, having been abandoned by Lainey after one night, only sleeps with women he is comfortable being left by. She’s still addicted to the love of the dude who rejected her in college and is furtively banging him.

Jake and Lainey rekindle their collegiate spark, but because of their issues, decide to keep things platonic, employing a safe word whenever the sex part rears its head. Of course, things get complicated.

Perhaps SWOP doesn’t break new ground in rom-commery, but it’s delightful nonetheless. The aspirational dialogue, reminiscent of Gilmore Girls in its sweeping references, is brainy but also captivatingly nasty. (There’s a whole rant about “juices” and a masturbation demo that some college kids probably should be taking notes on.)

The raunch helps balance out the more saccharine moments. The casting helps as well. Natasha Lyonne (Orange is the New Black) is great, if somewhat underutilized, as Lainey’s gay best friend. Andrea Savage (Dinner for Schmucks) and Jason Mantzoukas (Neighbors) shine as the cool married couple with kids. Billy Eichner (Difficult People/Parks and Recreation) has an amazing little monologue as a sex addict. The only thing really missing is LeBron, who I believe should now be contractually obligated to appear at least once in every rom-com.

Brie and Sudeikis also really work. Their chemistry is believable and they pull off both the smutty repartee and the longing equally well.

Stick around for the end credits.

Verdict-4-0-Stars

 

 

 

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Beautiful, but Boring

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Wildlike

By Christie Robb

The movie Wildlike has the pace and emotional warmth of a glacier grinding down the slopes of Denali.

The first full-length feature from writer/director Frank Hall Green, the film follows Mackenzie (Ella Purnell, Maleficent), a 14-year-old girl sent to live with her uncle in Juneau while her widowed mother makes a stint at recovery.

The relationship, at first tender, soon becomes creepy and emotionally manipulative and Mackenzie flees. She spends the remainder of the movie stoically trying to get herself back to her mom in the lower 48. Ultimately, she ends up more or less stalking this poor widower (Bruce Greenwood, Star Trek) who’s on a solo hiking trip to mourn his ex wife. Mackenzie spots his return ferry ticket to Seattle, and after that adheres herself to him like a tick, and they wander about the – admittedly beautifully shot – Alaskan wilderness.

Although at first determined to get rid of her, the dude ultimately becomes a kind of surrogate dad. At least he rejects her awkward attempt to sleep with him, anyway.

The two bond for some reason—he tells her about his regrets and she…looks at him with watery, mascara-rimmed eyes.

The film has been praised for its minimalism and Purnell’s nuanced performance, but without seemingly necessary dialogue to flesh out Mackenzie, Purnell’s emotional restraint suppresses the character development necessary to understand why her travelling companion doesn’t simply turn her over to child protective services at the first available opportunity.

Verdict-1-0-Star

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Liam Neeson, You Can Read Me Poetry Anytime

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Kahlil Gibran’s The Prophet

by Christie Robb

Lebanese poet Kahlil Gibran’s 1923 classic volume The Prophet has been turned into a tranquil animated feature by writer/director Roger Allers (The Lion King) and producer Salma Hayek. Suggested viewing for those who require a respite from the routine and petty frustrations of life.

The movie frames Gibran’s poems with the story of a little girl, Almitra (Quvenzhane Wallis), mute since the death of her father. Her mother (Salma Hayek) works as a housekeeper for the imprisoned artist/poet Mustafa (Liam Neeson) and takes her to work one day.

It happens to be the day that Mustafa is released from his confinement and promised safe passage to a ship that will take him back to his homeland. But all is not what it seems. Almitra discovers that authorities have ulterior plans for Mustafa and his supposedly treasonous writing.

As Mustafa is marched from the house where he has been confined for seven years, his jailors (Alfred Molina and John Krasinski) allow him the occasional break to visit with the community he loves. Each communion becomes the occasion for a poem meditating on a theme: freedom, children, marriage, work, nature, love, compassion, the nature of good and evil, life and death.

Each of these meditations is illustrated by a different animator: Tomm Moore (The Secret of Kells), Nina Paley (Sita Sings the Blues), Bill Plympton (Guide Dog), and others. In their work you can see the echoes of Escher, Indian shadow puppetry, van Gogh, Klimt, Matisse, and Chagall.

Although the frame story of Mustafa and Almitra is a bit weak, the poems—featuring music from Glen Hansard (Once), Damien Rice, and Yo-Yo Ma; and the buttery, lilting voice of Neeson—make the majority of the film a serene delight for the eyes, ears, mind, and heart.

Verdict-4-0-Stars