Continuing to mine the folk horror sub-genre, writer/director Ari Aster side steps the dreaded sophomore slump and delivers yet another taut exercise in grinding, slow-burn intensity and gut gnawing apprehension. While he treads somewhat familiar territory by having yet another psychologically damaged female protagonist a la the disturbing and dividing Hereditary, Midsommar switches things up by taking the action abroad and creating a scenario in which one might seriously think twice about traveling in the rural areas of Sweden (or any other Scandinavian country, for that matter).
The proceedings come out the gate with a muted, yet no less jarring “bang!” and then the quietly creepy sensibilities never really let up for the film’s 2 hour-and-27-minute duration. Aster is rather deft at building tension and creating a smoldering kind of subdued terror which is delivered with a confidently even pace.
One of the many interesting aspects of the film is just about everything that happens onscreen is easily predictable to the discerning horror/thriller fan. Yet despite the fact that stuff happens just as you’d guess it would, there is still sufficient built up around the action so that when things do happen as expected, they still manage to resonate with shocking elements of surprise.
Another cool thing Aster relies on is that he has a lot of action happen off-screen, using audio to impart what’s going on. He also has off-screen/out-of-shot characters talking over other characters who are in the frame at the time, making for a nice, rich aural tapestry that is like a mutant riff on Robert Altman’s signature chaotic approach to dialogue in films.
In terms of the cast, Florence Pugh is great in the lead role of Dani, expertly becoming the uber cute, yet dreadfully cloying girlfriend. Will Poulter continues to amaze at his dexterity playing complete asshats (he’s so good at portraying whiny, bloated Americans that I never knew he was a Brit until a few years ago; in many ways he reminds me of a young BIll Paxton in terms of the types of characters he seems to gravitate towards). The acting of Jack Reynor left me a little flat, but then again his character is supposed to be a wishy-washy douche, so perhaps he nails it after all.
As with Hereditary, the ending of this film definitely goes for shock and awe(fulness) in terms of its twisted gore factor. In many respects, the film could have easily ended 10-minutes earlier than the bloody and fiery finale, taking the very last shot and transposing it on the final portion of the May Queen ceremony; it would have made the film a bit more enigmatic, leaving the ending up to the audience, but also being no less potent and malevolent.
When all is said and done, Midsommar is a thought provoking, little horror film that eschews jump scares and over-the-top blasts of gore in favor of a more nerve-wracking and harrowing sense of paranoia and uneasiness.
Rating: 4.5/5
RIYL:
Hereditary; The Killing of a Sacred Deer; Rosemary’s Baby; The Wicker Man (the 1973 original); It Comes At Night; Us; The Lair of the White Worm; “The Lottery” short story by Shirley Jackson
Wednesday, July 31, 2019
Tuesday, July 30, 2019
Yesterday [Film Review]
Written by screenwriter Richard Curtis (best known for Four Weddings and a Funeral and Love, Actually) and directed by Danny Boyle (Trainspotting), Yesterday exudes large amounts of charm and character intermixed with plenty of visual flair.
At its core this engaging little gem, while ultimately predictable, is a quirky and highly likable romantic comedy masquerading as an-ever-so-slight sci-fi fable. It’s the fantastical elements of the story which really keep things interesting. That and the top-rate cast. Himesh Patel shines in the leading role of Jack, a struggling musician whose fortune changes after a worldwide blackout. The rest of the cast, which includes Lily James as the love interest Ellie, Kate McKinnon as a savage entertainment manager, and Joel Fry as the lovable stoner Rocky, shine just as brightly and help create a warm and bustling atmosphere.
If there’s one drawback to the film it’s the presence of Ed Sheeran. I can’t tell if the filmmakers are taking the piss in their not-so-subtle comparison of his music/popularity to that of The Beatles or if they are being serious. And while I will never understand the appeal of his music, I am willing to concede that he’s probably a likable bloke in real life. But he’s not a terribly good actor and his moments on screen are awkward and diverting.
In the end I cried. I laughed. And while at times I felt that my emotions were manipulated, I really didn’t mind all that much because the acting and the music were so engaging.
RIYL: Love, Actually; Four Weddings and a Funeral; Withnail & I; the music of The Beatles.
Rating: 4/5
At its core this engaging little gem, while ultimately predictable, is a quirky and highly likable romantic comedy masquerading as an-ever-so-slight sci-fi fable. It’s the fantastical elements of the story which really keep things interesting. That and the top-rate cast. Himesh Patel shines in the leading role of Jack, a struggling musician whose fortune changes after a worldwide blackout. The rest of the cast, which includes Lily James as the love interest Ellie, Kate McKinnon as a savage entertainment manager, and Joel Fry as the lovable stoner Rocky, shine just as brightly and help create a warm and bustling atmosphere.
If there’s one drawback to the film it’s the presence of Ed Sheeran. I can’t tell if the filmmakers are taking the piss in their not-so-subtle comparison of his music/popularity to that of The Beatles or if they are being serious. And while I will never understand the appeal of his music, I am willing to concede that he’s probably a likable bloke in real life. But he’s not a terribly good actor and his moments on screen are awkward and diverting.
In the end I cried. I laughed. And while at times I felt that my emotions were manipulated, I really didn’t mind all that much because the acting and the music were so engaging.
RIYL: Love, Actually; Four Weddings and a Funeral; Withnail & I; the music of The Beatles.
Rating: 4/5
Monday, July 29, 2019
Men In Black: International [Film Review]
This was on my backburner list, meaning that I didn’t put high precedence on seeing it in the theater. Alas, when I first attempted to see Yesterday (on opening day, actually), the theater was packed with only the front row seats left, so I ditched out and went to see MIB:I instead as it was the only other film showing at the same time.
Truth be told, I don’t remember anything about MIB3 and all I recall about MIB2 is that Linda Fiorentino was in it. I’m also a bit dubious when Hollywood feels the need to reboot a franchise some 7 years down the line and without any of the original cast.
MIB:I was pretty much what you’d expect: lots of CG action enveloping a rudimentary plot. The story actually appears decent enough while you are watching the film, mostly because the pacing is so lightning quick and the effects are so overwhelming that you don’t have time to dissect the story until the film is over. Once you’ve caught your breath and actually have time to reflect you quickly realize that the story was pretty ho-hum, not to mention terribly predictable, and that you were a victim of classic bait-and-switch, here the tactic being the non-stop barrage of explosions, action, and interesting aliens that overwhelm (and eventually numb) your senses.
The cast is decent enough, although Hemsworth just seems to be coasting along on his good looks and leftover Thor charm (the meta reference to his turn as the Norse God of Thunder seen in the trailers falls pretty flat in the film, fwiw). Tessa Thompson is charming, as well, but she, too, just seems to be along for the ride. The scene stealer happens to be Pawny, a diminutive green alien who drops some of the best quips and actually makes the proceedings rise slightly above mediocre. The rest of the cast, which also includes Emma Thompson, Rebecca Ferguson, and Liam Neeson, are serviceable in their roles, but ultimately underutilized.
In the end the film is nothing more than a semi-amiable time waster that, like a generic piece of candy, is sweet to the taste, but eventually forgettable once it has melted in your mouth. Oh yeah, I’m pretty confident that we won’t be seeing Men In Black: International 2, unless, say somebody like Netflix ponies up for a streaming series.
Rating: 2/5
Truth be told, I don’t remember anything about MIB3 and all I recall about MIB2 is that Linda Fiorentino was in it. I’m also a bit dubious when Hollywood feels the need to reboot a franchise some 7 years down the line and without any of the original cast.
MIB:I was pretty much what you’d expect: lots of CG action enveloping a rudimentary plot. The story actually appears decent enough while you are watching the film, mostly because the pacing is so lightning quick and the effects are so overwhelming that you don’t have time to dissect the story until the film is over. Once you’ve caught your breath and actually have time to reflect you quickly realize that the story was pretty ho-hum, not to mention terribly predictable, and that you were a victim of classic bait-and-switch, here the tactic being the non-stop barrage of explosions, action, and interesting aliens that overwhelm (and eventually numb) your senses.
The cast is decent enough, although Hemsworth just seems to be coasting along on his good looks and leftover Thor charm (the meta reference to his turn as the Norse God of Thunder seen in the trailers falls pretty flat in the film, fwiw). Tessa Thompson is charming, as well, but she, too, just seems to be along for the ride. The scene stealer happens to be Pawny, a diminutive green alien who drops some of the best quips and actually makes the proceedings rise slightly above mediocre. The rest of the cast, which also includes Emma Thompson, Rebecca Ferguson, and Liam Neeson, are serviceable in their roles, but ultimately underutilized.
In the end the film is nothing more than a semi-amiable time waster that, like a generic piece of candy, is sweet to the taste, but eventually forgettable once it has melted in your mouth. Oh yeah, I’m pretty confident that we won’t be seeing Men In Black: International 2, unless, say somebody like Netflix ponies up for a streaming series.
Rating: 2/5
Saturday, July 27, 2019
Houston, We Have A Problem [ROCKETMAN Film Review]
For whatever reasons, this film just sat on the screen and merely unfolded before my eyes, ultimately failing to really reach out and grab ahold of me. Now there’s no denying that it’s visually stunning and Taron Egerton in the title role is one of the most tour de force performances of 2019, but there just didn’t seem to be much else to it. Perhaps it came too close on the heels of Bohemian Rhapsody, as it shares a pretty similar story: musical genius grows up suppressing his homosexual orientation, becomes huge pop star, surrounds himself with toxic people, becomes dependent on drugs and alcohol, alienates himself from those he really cares about, and eventually accepts who he is and comes out on top. It’s an all-too-familiar story in the entertainment industry and while here it is delivered with over-the-top bravado (especially if you dig Broadway musical oppulence), it just ends up feeling kind of empty, as if it were merely going through the motions. The music of Elton John was just as ubiquitous during my childhood (heard it all over AM radio growing up) as the music of Queen, yet watching this film made me realize that it never resonated with me all that much beyond that period of my life; to wit, I’ve never once felt compelled to go out and purchase any of his albums. In fact, the only time I can recall really being moved by an EJ tune was in Almost Famous during that airplane scene where the band starts singing “Tiny Dancer”.
If you are a hardcore fan of Sir Elton, then this cinematic endeavor may very well butter your toast. If you’re only a passing fan, you can probably save your $$ and just listen to one of his early albums (if you own any) in the comfort of your own home instead.
Rating: 2.5/5
RIYL:
Moulin Rouge; Mama Mia; Rock of Ages; Tommy; Broadway Musicals
If you are a hardcore fan of Sir Elton, then this cinematic endeavor may very well butter your toast. If you’re only a passing fan, you can probably save your $$ and just listen to one of his early albums (if you own any) in the comfort of your own home instead.
Rating: 2.5/5
RIYL:
Moulin Rouge; Mama Mia; Rock of Ages; Tommy; Broadway Musicals
Monday, June 3, 2019
BRIGHTBURN [Film Review]
This is the worst kind of action-horror film there is: it takes an intriguing idea and does absolutely nothing interesting with it.
Straight out the gate there is zero exposition in terms of setting up the story. Instead the film starts with a meteor crash on a farm and then fast-forwards 12 years. Our protagonist, a young lad named Brandon, is apparently a prodigy who is also an outcast at school (nevermind that we hardly see any scenes of bullying or other instances that would shape his personality). Soon, however, young Brandon is donning a creepy cape and cowl and carrying on in a most viloent manner. Where he gets the idea for the costume is lost on me as we never see him reading comic books, watching superhero movies, or the like. Not to mention that the kid literally becomes evil overnight with no reason other than a creepy glowing spaceship hiding out in the barn.
The violence is ho-hum. The gore sparse. The suspense is lacking. Hell, there isn’t even a single good jump-scare moment lurking within the film’s 91-minute running time. Not to mention that just about everything that happens is utterly predictable.
Add to this a bevy of one-dimensional characters, such as the clueless mother who refuses to believe her son is evil even though everything points to him being so, the “you’re just imagining things” aunt, the generic dad and uncle, and the small town sheriff who knows something is amiss but really doesn’t do anything about it.
In regards to the rest of the story, the entire film exists in a vacuum of vagueness were everything is inferred and the audience is left to assume and then accept what is happening onscreen by filling in the gaps of the plot themselves. My quasi-intellectual self told me that perhaps the film was meant as an allegory for adolescence, but if that’s the case the filmmakers failed miserably.
To top it all off the gratuituously trite and rather lackluster ending leaves things wide open for sequels (here’s hoping that poor Box Office performance will squash that plan, though one cannot discount some streaming service picking it up for an ongoing series).
In the end the whole film feels like an extended elevator pitch for a potentially better film that never got made.
Rating: 1.5/5
Straight out the gate there is zero exposition in terms of setting up the story. Instead the film starts with a meteor crash on a farm and then fast-forwards 12 years. Our protagonist, a young lad named Brandon, is apparently a prodigy who is also an outcast at school (nevermind that we hardly see any scenes of bullying or other instances that would shape his personality). Soon, however, young Brandon is donning a creepy cape and cowl and carrying on in a most viloent manner. Where he gets the idea for the costume is lost on me as we never see him reading comic books, watching superhero movies, or the like. Not to mention that the kid literally becomes evil overnight with no reason other than a creepy glowing spaceship hiding out in the barn.
The violence is ho-hum. The gore sparse. The suspense is lacking. Hell, there isn’t even a single good jump-scare moment lurking within the film’s 91-minute running time. Not to mention that just about everything that happens is utterly predictable.
Add to this a bevy of one-dimensional characters, such as the clueless mother who refuses to believe her son is evil even though everything points to him being so, the “you’re just imagining things” aunt, the generic dad and uncle, and the small town sheriff who knows something is amiss but really doesn’t do anything about it.
In regards to the rest of the story, the entire film exists in a vacuum of vagueness were everything is inferred and the audience is left to assume and then accept what is happening onscreen by filling in the gaps of the plot themselves. My quasi-intellectual self told me that perhaps the film was meant as an allegory for adolescence, but if that’s the case the filmmakers failed miserably.
To top it all off the gratuituously trite and rather lackluster ending leaves things wide open for sequels (here’s hoping that poor Box Office performance will squash that plan, though one cannot discount some streaming service picking it up for an ongoing series).
In the end the whole film feels like an extended elevator pitch for a potentially better film that never got made.
Rating: 1.5/5
Saturday, June 1, 2019
JOHN WICK CHAPTER 3: PARABELLUM [Film Review]
The third installment in the John Wick saga falters and slips following in the footsteps of its predecessors. While the two earlier entries in the series contained their fair share of violent action, they also hid a buried a sense of subtelty and mystery lying just underneath all the gun fire and blood spatter. Here, however, it’s all about one over-the-top action sequence after another, after another, after another... Sure, the early action sequences bristle, but there’s nary a break in the mayhem over the course of the 130- minute running time which means that by the second act you’re easily as exhausted as Wick looks throughout the film itself. In short: the seemingly non-stop barrage of bullets and fisticuffs soon escalates into a mind-numbing game of one-upmanship in the form of number of guns fired and asses kicked.
To add to the action-on-auto-pilot vibe we get tossed some serious miscasting (Angelica Huston as a Russian mob matriarch and Halle Barry as a former assassin-turned-Morocco hotel manager), a kind of groveling John Wick casually begging for foregiveness and his life at every turn, and the complete destruction of the mystique of the underworld created in the first two installments. The end result is a film that pales in comparison to either of the previous entries in the series.
This isn’t to say JW3 a complete waste of your time. The first act is visually kinetic, both in terms of choreography and cinematography; it’s teeming with slick imagery--NYC drenched in rain and neon-- plus some engaging and creatively gonzo fight sequences.
Things start to fall apart, however, once Wick leaves The Big Apple and journeys to the assassin mecca of Morocco. Once there, the inevitable ensuing gun fight is long, laborious, and filled with “magic bullets” (Barry’s character never once reloads her gun during the extended battle!). If that weren’t enough, Wick ends up wandering in the desert and is eventually granted an audience with the head of the High Table in a scene cribbed from Lawrence of Arabia; this segment of the film is obviously intended to be somewhat existential, but instead is rather hokey.
By the film’s end everything is on overkill, even down to the Enter The Dragon-by-way- of-The Lady From Shanghai-influenced final fight, which, while visually intriguing, ultimately feels lackluster and anticlimactic (not to mention just a tad too long). It’s all capped off with an ending that blatantly screams “John Wick 4 Coming Soon!” (the fourth chapter was recently greenlit, btw) as opposed to the more enigmatic endings of the two previous films.
All of this said, I have half a mind to go see it again just to make sure I didn’t miss anything lurking between the flying bullets and broken bodies.
Rating: 2.5/5
To add to the action-on-auto-pilot vibe we get tossed some serious miscasting (Angelica Huston as a Russian mob matriarch and Halle Barry as a former assassin-turned-Morocco hotel manager), a kind of groveling John Wick casually begging for foregiveness and his life at every turn, and the complete destruction of the mystique of the underworld created in the first two installments. The end result is a film that pales in comparison to either of the previous entries in the series.
This isn’t to say JW3 a complete waste of your time. The first act is visually kinetic, both in terms of choreography and cinematography; it’s teeming with slick imagery--NYC drenched in rain and neon-- plus some engaging and creatively gonzo fight sequences.
Things start to fall apart, however, once Wick leaves The Big Apple and journeys to the assassin mecca of Morocco. Once there, the inevitable ensuing gun fight is long, laborious, and filled with “magic bullets” (Barry’s character never once reloads her gun during the extended battle!). If that weren’t enough, Wick ends up wandering in the desert and is eventually granted an audience with the head of the High Table in a scene cribbed from Lawrence of Arabia; this segment of the film is obviously intended to be somewhat existential, but instead is rather hokey.
By the film’s end everything is on overkill, even down to the Enter The Dragon-by-way- of-The Lady From Shanghai-influenced final fight, which, while visually intriguing, ultimately feels lackluster and anticlimactic (not to mention just a tad too long). It’s all capped off with an ending that blatantly screams “John Wick 4 Coming Soon!” (the fourth chapter was recently greenlit, btw) as opposed to the more enigmatic endings of the two previous films.
All of this said, I have half a mind to go see it again just to make sure I didn’t miss anything lurking between the flying bullets and broken bodies.
Rating: 2.5/5
Thursday, October 4, 2018
Missing Cat or Missing Snack?
My initial thought on seeing a "Missing Cat" poster in my neighborhood:
"I'm sorry, but when you live in the mountains your cat ain't missing, it's been digested."
"I'm sorry, but when you live in the mountains your cat ain't missing, it's been digested."
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