Tag Archives: Madd at the Movies

New In Theaters

Twisted Sisters

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The Sisters Brothers

by Hope Madden

How many Jacques Audiard films have you seen? You should probably see all of them, including his latest, The Sisters Brothers.

Like his previous films (Rust and Bone, A Prophet, Dheepan), The Sisters Brothers starts out as one film, inserts another fascinating story, and as those two come together the movie unveils its true intent. Unlike Audiard’s other films, The Sisters Brothers is a Western.

We open with Charlie and Eli Sisters (Joaquin Phoenix and John C. Reilly, respectively), two gunslingers for hire on the job. Their next big gig assigned by The Commodore (Rutger Hauer) will put them on the trail of a prospector in the 1850s West.

Phoenix, who is having a banner year even for him (if you haven’t already seen You Were Never Really Here and Don’t Worry, He Won’t Get Far on Foot, please do), plays the loose cannon brother. Making trouble is in his blood—a fact his brother is trying to forget.

Eli longs for something better for himself, something settled and adult. But he is bound to his brother and their friction bristles with the bonds and bondage of family. Reilly’s conflicted tenderness and responsibility mingle with a genuine longing that offers an emotional center for the film.

A few days’ ride ahead of the brothers is the tracker The Commodore hired to assist in the deed. Jake Gyllenhaal’s John Morris is an observer and a loner, a man who believes in his own intellect but is willfully blind to the consequences of his career choice—until he befriends the object of The Commodore’s interest, a chemist with ideals and a compound that seriously simplifies the act of finding gold.

Good-natured chemist Hermann Kermit Warm is played by Riz Ahmed (also having quite a year, back to back this week with his strong turn in the overly criticized Venom). He and Gyllenhaal remind you of the amazing chemistry they shared in 2014’s Nightcrawler. Though their characters couldn’t be more different this time around, the two actors again share a natural rapport that makes you a believer.

Peppered with fascinating images, intriguing side characters and the lonesome beauty that infects the best Westerns, Audiard’s film embraces a genre without bending to expectations. Does it all come down to daddy issues? Yes, but the longing for camaraderie and the quest for redemption has rarely been this charming.

The film meanders intentionally, serving the rugged outdoorsiness required of its genre, but relies on its four leads to craft fascinating characters whose relationships and destinies infect you with a hope often lacking in Westerns.

New In Theaters, Slider

If You Believed

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First Man

by Hope Madden

We’ve seen a lot of movies about astronauts, loads of sometimes great films about the US space race and the fearlessness of those involved. Director Damien Chazelle’s First Man is something different.

Chazelle strips away the glamour and artifice, the bombast and spectacle usually associated with films of this nature. His vision is raw and visceral, often putting you in the moon boots of the lead, but never quite putting you inside his head.

The director’s La La Land lead Ryan Gosling plays Neil Armstrong in this biopic of the first human being to set foot on the lunar surface. It’s another of Gosling’s impressive turns: reserved, with an early vulnerability that hardens over time to a protective stoicism.

A no-frills Claire Foy plays Armstrong’s wife Janet, and the characters the two actors carve share a bristly chemistry that adds to the film’s committed authenticity. It also provides some kind of emotional center for the story.

Chazelle’s observational, unhurried style doesn’t draw attention to the drama. There is nothing showy about this film. That understatement allows the most startling, horrifying and awe-inspiring moments their own power. The approach also quietly reminds you of the escalating pressures shouldered by Armstrong as he and NASA faced tragedy after tragedy in the name of space exploration.

Gosling shares screentime with an enormous and talented ensemble boasting many fine performances and just as many welcome surprises. Though most roles are very small, Shea Wigham, Jason Clarke and Corey Stoll stand out.

Stoll, playing a socially obtuse Buzz Aldrin, offers an enjoyable foil to Gosling’s composed Armstrong, sparking one of the film’s only real grins.

Though Gosling’s distant performance and Chazelle’s near-verite style mirror Armstrong’s increasingly walled-off psyche, it becomes difficult to connect with characters. First Man deposits you inside the action but keeps you at arm’s length from Neil Armstrong.

As gritty and unpolished as the film is, Chazelle never loses his sense of wonder. The jarring quiet, the stillness and vastness are captured with reverence and filmed beautifully.

Those images of silent awe are as stirring as anything you will see, but it’s the visceral, queasying and claustrophobic moments underscoring the death-defying commitment to the cause that will shake you up.

For Your Queue

I Don’t Want to Go Out—Week of October 8

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One of everything this week in home entertainment, from the best you will find in 2018 through a couple of hotel-related adventures to a towering inferno adventure. You can choose from exquisite to dumb fun, from family to noir. Who can take that kind of pressure? Don’t stress! We will walk you through it.

Click the film titles for the full review.

Eighth Grade

Don’t Worry, He Won’t Get Far on Foot

Hotel Artemis

Skyscraper

Hotel Transylvania 3

The Screening Room

The Screening Room: Earning the Spotlight

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Hey, it’s October! The big money winners start rolling out this week. The season kicks off with the first real Oscar contender. Is A Star Is Born as good as the hype? Yes! We also have the next big comic book movie, Tom Hardy’s Venom. Is it as bad as they’re saying? No!

Plus, we share a rundown on all that’s new in home entertainment.

Listen to the full podcast HERE.

New In Theaters

Hardy Boys

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Venom

by Hope Madden

We don’t need another superhero. That’s what the Venom trailers told us, and it’s pretty true.

So, what Venom had to offer—an antihero, a Jekyll/Hyde thing starring a brilliant actor who excels with complex, dark roles—felt like a great change of pace.

Tom Hardy was the ideal choice for the dual role of Eddie Brock, semi-doofus reporter, and Venom, flesh-eating alien symbiote. This should have worked, partly because Hardy knows how to mine villains for their humanity, and watching him wrestle with the good v evil duality never ceases to be impressive.

What Venom suffers from more than anything is the expectations set by a Marvel release. Don’t be mistaken, were this the DC universe it would be the second best comic book film released since Christopher Nolan cast Hardy as a super villain.

But it is, indeed, Marvel. (If you forget, Stan Lee shows up to remind you.) And for that reason, regardless of the fact that Venom boasts superior acting, FX, story arc, action choreography and writing than anything DC has done this century besides Wonder Woman, its regrettably traditional execution makes it feel a bit stale. Because it is Marvel.

A characteristically committed Hardy elevates scenes, indulging a far more humorous tone than what we’ve seen lately from the versatile actor. Riz Ahmed (Nightcrawler, Four Lions) is a solid choice to play Eddie/Venom’s nemesis. Never campy or over-the-top, Ahmed evokes a type of lifelong genius who cannot be persuaded that his ideas are at odds with the ideals he alleges to support.

Michelle Williams is uncharacteristically flat, and the balance of the cast is mainly forgettable, but the real problem with the film rests on uninspired direction.

Ruben Fleischer showed a flair for action, colorful theatrics and humor with his 2009 breakout Zombieland, but the joy of carnage and camaraderie that infected that flick is sadly missing here.

Zombieland was aided immeasurably by writers Rhett Reese and Paul Wernick, whose irrepressible irreverence made the Deadpool films such a riot. It’s a tone sorely lacking in this screenplay, penned by a team of four whose output includes a Fifty Shades film, Kangaroo Jack and Fleischer’s abysmal 2013 mob flick, Gangster Squad.

Venom is not a bad movie. It’s fun, competently made entertainment.

And a disappointment.

For Your Queue

I Don’t Want to Go Out—Week of October 2

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Big week, people. Huge new flicks in theaters, awesome array of choices in home entertainment. Looking for horror? Independent gems that flew sadly under the radar while they were in theaters? Mildly disappointing blockbusters? We have them all! Here’s the skinny:

Leave No Trace

Three Identical Strangers

The First Purge

The Catcher Was a Spy

Sicario 2: Day of the Soldado

Fright Club, Slider

Fright Club: Died on the Toilet

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Before you worry: no, we have not run out of real topics. It’s just that, every so often we need to indulge a weird little voice that says things like, “Ever noticed how many people die on toilets in horror movies? Wonder what kind of deep-seated fears that explores.”

And there are a LOT of people who die on toilets in horror movies. Michael Myers really likes to freak people out in public restrooms. We know Norman Bates likes to dispatch folks while they’re in the shower, but he is not above preying on someone while they’re just trying to pee. Jason Voorhees and Freddy Krueger have also done it. (The poor guy falls asleep on the toilet. Don’t judge—we’ve all been there.)

Here, however, are the best instances of nature calling you to your death.

5. Scream 2 (1997)

Phil (Omar Epps) just wants to take his girl to a scary movie. Still, he does get up in the middle of it to pee. I’m not saying that’s cause for murder. I’m not saying it’s not, either.

The whole Scream franchise does an excellent job of taking the mundane moments in life and drawing your attention to all the ways in which you are actually vulnerable. This scene plays not only on the vulnerability involved in our social contract to allow others to urinate in peace, but also touches on the ways in which anonymity (by way of the costumes everyone is wearing at the theater) emboldens people. Usually the wrong people. The kind that whisper weirdly from the next stall.

4. Zombieland (2009)

Mike White makes such a great doofus victim, doesn’t he? Here he is, minding his own beeswax, taking a leisurely in a filthy public toilet during the zombiepocalypse…No part of this really sounds wise, does it?

It’s all in keeping with one of Zombieland‘s great gimmicks: the rules. The reason the rules work so well for the film is that each one is actually an excellent piece of advice. Get some cardio, people, because zombies don’t tire out.

And for the love of God, beware of bathrooms.

3. Ghoulies II 1988

Everybody hated Philip Hardin (J. Downing) anyway, didn’t we? He knew. Sure, he claimed that his little monster gravy train, the only reason his dying carnival attracted any customers at all, had nothing to do with all those dead bodies. But, come on.

The nasty little muppety creatures from Luca Bercovici’s surprise 1984 hit (and Gremlins ripoff) have left town. They’ve found a hunting ground better suited to them alongside the carnies at the Satan’s Den attraction.

The film is not good—sequels to sloppy derivatives rarely are. It’s a mixed bag of kills and puppet hijinx. But there is something about a monster in the toilet, man, and it ain’t good.

2. Street Trash (1987)

This iconic Troma film sees the homeless population of a town turn from cheap liquor to cheaper god-knows-what, Tenafly Viper. It’s old, but this is not the kind of wine that ages well. Those who drink it, well, it’s like looking directly at the Ark of the Covenant.

The hobo-melting is honestly the least interesting and least offensive thing happening in this envelope pusher. But there is this one poor bastard who just takes a seat, just wants to rest a bit and enjoy a lovely beverage. The FX are laughable, and yet sort of genius.

1. ABCs of Death: T is for Toilet (2012)

Yes! Every single thing the previous films were trying to capture, all handled here with inspired (and brilliantly hideous) claymation. It’s perfect. It’s sadistic, funny, tender, mean, goofy and pretty clearly Australian.

It was not a dingo that ate the baby.

Outtakes, Slider

Countdown: The 10 Best Simpsons Episodes!

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Thirty effing years. That’s insane. The Simpsons has become such a faded and well-worn thread in our cultural tapestry that it’s easy to forget how important it is. You could make the case, and many have, that it has featured the most consistently excellent writing in the history of series television.

And of course, any discussion of the show brings instant debate, from hipster-inspired cries of long-lost relevance to the nearly impossible attempt to rank the best episodes.

Okay, we won’t try to rank them, but we can come up with our 10 favorite episodes…

 

The Itchy & Scratchy & Poochie Show 1997

Homer joins the voice cast of Itchy & Scratchy, and what follows is not only hilarious, but a spot-on skewering of media pandering.

Quote: “My name’s Poochie-D and I rock the telly, I’m half Joe Camel and a third Fonzerelli. I’m the kung-fu hippie from gangsta city, I’m a rappin’ surfer…you the fool I pity.”

 

Homer at the Bat 1992

Monty Burns assembles a star-studded group of Major Leaguers for the company softball team. Extra points for Terry Cashman re-recording his “Talkin’ Baseball” to memorable effect.

Quote” “Not once, not twice, but thrice!”

 

Simpson and Delilah 1990

A new wonder drug gives Homer a full head of hair and he begins to climb the corporate ladder, with a big help from his new secretary Karl (a terrific Harvey Fierstein).

Quote:  “You are nature’s greatest miracle! Say it!”

 

The Shinning (from Treehouse of Horror V) 1995

The Simpsons take on Kubrick’s classic horror film and the results are perfect, right down to the picture of the tartan-clad lass hanging above Groundskeeper Willie’s bed.

Quote:  “No TV and no beer make Homer something something..”

 

Kamp Krusty 1992

When Bart and Lisa are away at Kamp Krusty, Homer and Marge are enjoying an ideal life..until Kent Brockman’s special report clues them into the erupting camper rebellion .

Quote: (Kamp counselors preparing a toast) “Gentlemen, to evil!”

 

Mr. Plow 1992

Homer finds great success as snowplow operator “Mr. Plow”, only to face stiff competition from Barney as the new “Plow King.”

Quote:  “Are you tired of having your hands cut off by snowblowers?”

 

Homer to the Max 1999

After the TV show Police Cops uses the name “Homer Simpson” for a fat, stupid detective, Homer changes his name. Taking inspiration from a hair dryer, he becomes to “Max Power” and begins getting new-found respect…so much so that he changes Marge’s name to “Hootie McBoob.” Classic.

Quote:  “Max Power doesn’t snuggle, Marge, you just strap on and feel the G’s!”

 

Cape Feare 1993

A triumphant return for Sideshow Bob (Kelsey Grammar), as he resumes his quest to kill Bart. The Simpsons enter the witness protection program as “The Thompsons,” and a flawless parody of Cape Fear takes shape.

Quote: “I think he’s talking to you”

 

Two Dozen and One Greyhounds 1995

Bart and Lisa discover Mr. Burns’ plan to use the fur from a litter of Greyhound puppies for his wardrobe, which leads to Burns singing “See My Vest,” one of the nest songs in the entire series.

Quote:  “They all look like little Rory Calhouns!”

 

Colonel Homer 1992

Reflecting the country music boom that was exploding at the time, Homer becomes the manager to struggling country singer Lurleen Lumpkin (Beverly D’Angelo). An endlessly quoteable (and singable) episode.

Quote: “As much as I hate that man right now, you gotta love that suit”

 

 

Honorable Mention:  RV Salesman in The Call of the Simpsons 1990 

A satire of the Bigfoot TV specials of the time, this episode isn’t one of the best, but it contains one of our favorite segments ever seen on the show:  Albert Brooks as Bob the RV salesman.

Quote:  Homer, applying for credit:  “Is that a good siren, am I approved?”

Bob:  “You ever known a siren to be good?”

 

Okay, we’re going to stop now before our top 10 list becomes a top 50…which episodes did we miss?

 

 

 

New In Theaters

Not-So-Fun House

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Hell Fest

by Hope Madden

Hell Fest is not the first film to point out that it would be really dangerous if any of the masked meanies inside a Halloween haunt were, indeed, a murder-happy maniac. It’s not a bad premise, just not a new one.

In keeping with the not-so-fresh theme, this film is a straight-up, unapologetic slasher. Not a nostalgia-seeped, homage-laden satire or meta-commentary. Nope. Hell Fest is an unironic slasher. Six nubile youths drink some shots and head into a situation that should be fun but does, of course, hold the potential for serious danger. But they’re young, they’re immortal, they’re so hot and horny.

Why so much groping, by the way? They aren’t that drunk, they have homes, none of them just got out of prison. That’s the thing about slashers: we’ve seen so, so, so many of them over the years that the cracks in the formula are gaping holes by this point.

Nevertheless, Hell Fest stays its by-the-numbers course. Director Gregory Plotkin (Paranormal Activity: The Ghost Dimension) manages to keep the energy high, even as the story weaves tediously through an amusement park.

The script, penned by a committee of five, doesn’t burden itself with much in the way of backstory or the need for character arc. Of the six, Natalie (Amy Forsyth) is the smartest and least slutty. She is, therefore, the target of our slow-moving, weirdly strong, masked marauder.

Her friends are mainly over-the-top caricatures of humans, but there’s an almost believable camaraderie among them. Forsyth fares best, clumsily flirting with the equally awkward Gavin (Roby Attal) as their overdressed friends drink from flasks and tell us how very excited they are.

While a couple of the attractions are fun, the main problem with Hell Fest is that it is not scary. Not for a minute. Nor is it gory—for a film with an R rating, there’s almost no blood, absolutely no nudity and very few F-bombs. It’s as if they hoped for a PG13 rating, didn’t get one and now they’re stuck with a movie that can’t entertain the wee ones and won’t entertain adults.

They do have Tony Todd, though. When has that ever been a bad idea?

I know, October is basically here and you just want to find some new scary movies to put you in the mood. Dude, seriously, Halloween comes out in two weeks. Just hold your horses.

New In Theaters

School of Hart Knocks

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Night School

by Hope Madden

The endlessly likeable Kevin Hart and the undeniably talented Tiffany Haddish join forces, which sounds like a solid plan except that Night School is a Kevin Hart movie, and when was the last time one of those was any good?

Sure, Jumanji had some laughs. In fact, Hart’s films almost always boast a few chuckles, mainly because of the actor’s infectious energy and self-deprecating humor. But they’re not good.

Neither is Night School which, even with Haddish and a handful of other proven comic talents, isn’t funny, either.

Hart plays Ted, a good-hearted hustler, talking big and spending bigger, pretending to be more than he is to compensate for his own insecurities. Of course he is, it’s a Kevin Hart movie.

Haddish is Carol, the overworked, underpaid night school teacher here to believe in Ted and the collection of losers in her class. It’s tough love, though, because Haddish is funnier when she’s mean.

What the film does well could have been packaged into an enjoyable 15-minute short. Hart gets off a few laughs working for a Christian fast food chicken joint, and the camaraderie among his late blooming classmates sometimes draws a giggle.

The actors portraying those night school chums work hard to establish memorable, funny characters with limited screen time and an even more limited script. Still, Mary Lynn Rajskub, Rob Riggle, Al Madrigal, Anne Winters and especially Romany Malco work wonders. Taran Killam amuses on occasion as the uptight principal with a grudge.

But there’s only so much they can do. Director Malcolm D. Lee (Girls Trip) drags every gag out about 8 minutes longer than necessary. The script, penned by Hart and five other writers, does Lee no favors. Even Haddish struggles to be funny with flat dialog and pointless, contrived physical comedy bits.

While you’re not laughing you might notice that Night School does make a few surprising choices. Its comedy is good hearted. This is a film that likes all its characters—the females, the losers, those with success and even the parents whose coddling and/or verbal abuse may or may not be to blame for the whole night school problem.

Those are small successes in a film that squanders a lot of talent and all of our time.