Hands Across America was a benefit event and publicity campaign staged on Sunday, May 25, 1986 in which approximately 6.5 million people held hands in a human chain for fifteen minutes along a path across the contiguous United States.
Director Jordan Peele uses the time period of 1986 to show a younger version of the main character. Peele utilizes the famous Hands Across America event to bring us into the urgency of the moment.
It’s an oft-used but very solid screenwriting nugget to help flesh out and bring to life a scene: use some sort of promotional material from the recent past, such as when – for example – modern day films sneak in Bush-Cheney campaign posters in the background of shots in order to illicit a certain emotional response or bring up memories of said event.
Richard Linklater’s “Boyhood” did this well, utilizing a myriad of tools (including but not limited to presidential campaign lawn signs) to re-orient us into a particular time and place, a much-needed tool given the fact that the story moves through many years (decades) of time.
We remember really impactful presidential campaigns (if we were alive and self-aware enough to consciously live through and experience it). Every audience member isn’t going to have the same response to these tokens as the person sitting beside them but if the filmmaker picks a bold and memorable cultural artifact we should at least be able to recognize it and be able to identify where/when it was born into existence in relation to our lives.
It seems like an easy and super obvious storytelling trick to orient the audience to a time and place, but so often it is ignored, misused or underused as an effective filmmaking tool (especially in horror films). Too many movies go the dull and easy route, simply slapping white text across the bottom of the frame and labeling a time as 1976 or Twelve Years Earlier, as easy to pull off as just simply listing ingredients on the side of a soup can. Try harder…
I’ve seen a lot of passionate people on Twitter grieving the loss of Henry Cavill’s superman role. The Hollywood Reporter released a fresh scoop detailing how Warner Bros. is allegedly releasing Cavill from his contract. It’s honestly not very surprising.
On top of the Mustache-gate debacle featured in Justice League, DC just simply took Cavill for granted. They thought he had a debt to them for building up his career in a major way with “Man of Steel” and that they could do no wrong. They mistakenly thought he was a team player, a DC-Lifer in the same way that Robert Downey Jr. is for Marvel.
The reality is that Cavill wasn’t that great as superman because the movies both weren’t very good and even, oddly, chose to use him as an uninspiring, emotionally void supporting character. “Man of Steel” was a subpar movie, poorly directed and slam-packed with so much corporate advertising that it felt sleazy and desperate.
The premise that Cavill has the “potential” to be a great superman if he were used properly is unknowable. He’s a stiff American Eagle model with the jawline of a God but the personality of an Olympic announcer. He says all of his lines clearly but there isn’t any real passion or character-building behind it.
It’s as if Henry Cavill had been built by James Lipton in a film factory that produces A.I. performers. The dialogue is written in a stilted and boorish manner, sure, but the choice in actor didn’t help, either. Let’s give our comic book characters personalities again, even if it means returning the diaper.
Why not give him a Kansas-style accent? Make him espouse American values, even if it’s slightly at odds with his morality or short term decisions/choices. The most engaging thing about superheroes is their imperfectness. The whole intrigue, at least for me, is the concept of ‘what would you do if you were suddenly granted god-like powers?’
People have always claimed that fame reveals or amplifies a person’s true identity. Multiply that by ten or a hundred if that individual not only instantly became world famous, but also had the power and ability to spite his enemies with no recourse?
That’s an interesting dilemma and the angst surrounding such an issue was not believably brought out or portrayed by Henry Cavill. He looked contemplative and thoughtful when he was supposed to feel hesitant and broken. Neither the character nor the actor ever truly understood the magnificent impact of their powers.
The Avengers set a high bar when it comes to skillfully integrating a barrage of characters. They start with scenes of single characters and slowly evolve the cumulative situations in a natural way, where it feels right for the superheroes to be meeting, as the film’s title promises.
There’s a right and a wrong way to integrate characters into a universe, or a story, or a first film. And they’re all unique and require a certain sensitive, graceful directorial touch. It can’t feel like an inspection at the airport: you’re required to do this first before we can all get together and head towards our desired destination.
The way that these intros are put together can and often does determine the quality of the rest of the film. If the director treats the short introduction as a meaningless requirement and not a vital opportunity to show off a character’s personality and style, then the rest of the film probably won’t put much attention or emphasis on such details either.
Note: all members of the Justice League are included in the grading, not only the characters who haven’t had a solo film or been in any DC films yet. Superman’s inclusion is a bit of a technicality, but I counted his late-in-the-game arrival anyways. Also I decided to add a short bit on Alfred’s introduction – so he’s in there too.
I definitely enjoyed the isolated scene introducing Batman in Justice League. He’s usually brooding as Batman or as Bruce Wayne at some party he doesn’t want to be at. Here, we see him perched on a building top in what seems to be a simple job: grab the thief, tie him up, hand him to the police; classic but unexciting Batman. Instead, he hangs the thief off the edge of the building.
“Fear…I can smell it,” he says, which in any other context would be a very corny line. But it has a very literal purpose in this scenario. The flying creature that Batman is tracking is attracted to fear like moths to a light. He pulls the man back onto the building top and jumps onto the flying creature.
It gets some exposition done while also showing off Batman’s great suit and overall look, almost demon-like. It’s just enough for a character that nobody needs to get more familiar with. We’re on board with Batman: we like him, we know him – he’s cool.
Batman/Bruce Wayne introduction: B+
It might be a very small detail, but I really like how they bring Alfred into his first scene/moment. He doesn’t join the action with a funny quip such as, “You’re at it again, I see” or, “What a surprise, you’re out at night..”
Alfred, in the comics at least, is an essential character, not a comedic one. He’s in Batman’s ear, assisting him with information, radar, locations, etc. And that’s how Justice League introduces him. He makes a statement about the situation in a frank manner, as if he’s seen and done this a thousand times before, which he has.
Michael Caine was very good as a more fatherly version of Alfred, but Jeremy Irons’ no nonsense portrayal is just more fitting for Ben Affleck’s battle-worn, aging Batman.
Alfred introduction (albeit a short one): A
Wonder Woman/Diana Prince
Gal Gadot as Wonder Woman is arguably the best aspect of the DC film universe thus far. She’s magnetic yet filled with inner and outer strength. She’s opinionated and has a backstory that meshes well with interesting scenarios. And that makes it all the more disappointing that her brief introduction involves having to thwart the plans of this boring ass, hat-wearing terrorist:
Now, I understand that we know who Wonder Woman is and they just wanted to sweep through her intro and get to the characters that we haven’t met yet. But why even have a solo scene involving her if you’re going to phone it in like this? No creativity whatsoever.
A bomb. Hostages. Slow-motion (hi Zack!). Soldier-types with assault rifles. And a couple of corny lines to cap it all off: “I don’t believe it…what are you?,“. Ha. Ha. Heh. “I’m a believer,”. So she just repeated a similar sentiment back to him, but with added confusion: Is Diana saying that she believes in herself? That’s no surprise – she’s an Amazonian superhero; there’s no reason for her to not believe in herself. Thumbs up, screenwriters…Diana and Gal deserve better.
Wonder Woman/Diana Prince introduction: D+
They handled Cyborg’s introduction really poorly. All exposition and brooding. How are we supposed to get attached to this vital member of the league if his first scene is comprised solely of him complaining about his “curse”?
It isn’t a compassionate father-son relationship: Victor yells at his dad and exclaims that he’s made him into a MONSTER! Sound familiar? Nervous scientist tries to calm raging man with confusing newfound abilities? It’s been done before. And this repeat of such a scenario doesn’t bring anything new to the table.
It only detracts from Cyborg’s arc or lack of an arc. If they could have added a little bit of character interplay, like a football game featuring Victor where his father shows up or doesn’t show up, either way. Anything that brings us into their relationship on some emotional level.
Or ignore the father, as they mostly did here anyways, and just show us what Victor is all about, walking through the city streets, going to school, etc. To just drop Victor, distraught about his “monstrous” condition, onto the audience’s lap is a shame and a bit of a disgrace to his comic book legacy.
Conflict should arrive after something good or at least authentic happens, writers. Otherwise why should we feel bad or care or feel pity for Victor? The only impression I got from his first scene is that he’s very dramatic, whiny, and pretty outwardly cruel to his father. What’s that one quote about how crisis reveals character? No revelations here..
If you didn’t know about his storyline from the comics, it would be easy to think that he was going to lash out at his father and become the villain, eventually meeting up and battling it out with the league.
One saving grace as a result of Victor being a smug, angry teenager in his introductory scene: it gives Diana the opportunity to breathe as a character and act as a sort of motherly figure. She has a sense of responsibility, the sort that’s required of her as a major leader within the league.
Cyborg/Victor Stone introduction: D
The problem with bringing Aquaman to the big screen has always been the fact that he’s Aquaman. He talks to fish, as Batman lightly quips in their first scene. The screenwriters desperately want to tread within that fine line of creating a serious, complex character while also somewhat acknowledging his silly origins. He doesn’t jump ten feet into the air and plunge into the water in a half-spin torpedo dive. He does this:
He flops backwards and slides underwater, disappearing. It’s kind of funny, really. The writers so badly want to avoid any form of mockery about the character and his abilities that they don’t really show them off much at all to begin with, and when they do, the shot is held for a total of .5 seconds. Blink and you’ll miss the back-flop into the water.
We see these cave-like drawings on the wall earlier in the scene:
The simple sketches create a mythic aura to the character. Batman doesn’t know who he is, apparently, even though he has a dossier on every other league member or future member. Curry doesn’t want to talk to or be a part of Batman’s plan.
It’s kind of meta: the character that the audience and Batman have never met is annoyed for having to explain himself, for having to give any form of exposition. They barely have a conversation before suddenly the shirt is off and he’s plunging down into the ocean. Aquaman doesn’t need to talk too much: his powers are very tranquil and highly visual in concept.
It’s not a thrilling or action-packed scene, but they don’t all have to be, especially considering the very friendly serving of it later on in the film. It’s teasing his potential, which is huge and awe-inspiring in scope. They got most of the cultural stigmas/comedic aspects of his character out of the way.
“Can you at least point me to Atlantis?,” Bruce Wayne asks, a sly, knowing look on his face.
Affleck delivers it perfectly: he’s not making fun of him, he’s just giving him a bit of a hard time. A quarter smile – he doesn’t even think it’s all that funny, just intriguing. If Bruce started laughing heartily, smiling ear-to-ear, slapping Arthur on the back in jest – then we’d have a problem. But that doesn’t happen.
Batman is the leader and organizer of the league, so logically it makes sense that he would be the one to make the trek to Arthur’s location and try to recruit him. It just happens to work out that Batman is the most well-known person in the league and in real life – he has the most movies, toys, everything – so it evens out nicely to have the comfort of the known confronting the new. The interplay between them is a give-and-take: Batman and his stoic stiffness and Aquaman with his pessimism and disinterest.
Arthur even has a slight ideological difference with Batman, creating conflict within the league, an important part of any superhero team-up movie; they can’t all get along the second that they lay eyes on each other. A solid, subtle introduction of a tricky, easy-to-fumble superhero.
Aquaman/Arthur Curry introduction: B+
The Flash/Barry Allen
Whereas Cyborg’s introduction had too little emotion, The Flash’s intro has a bit too much sappiness. It’s important to explore his past, but this scene right here shouldn’t be our first look at The Flash:
It’s a quick way to explain a general summary of his past and catch up on where he’s currently at in his life. They decide to cut straight to the prison, to this sad sequence of pure dialogue. Billy Crudup delivers an intense, authentic plea to Barry to stop visiting him and live his life. He speaks slowly and intently, as if he’s been thinking about this for a long time, practicing the words to perform for Barry and try to get him to move on.
The introduction is brief and only memorable for Crudup’s short but impactful performance late in the scene. It’s a huge contrast to Barry’s later role as the comedic relief, although there’s not much relief: he’s extremely unfunny. Bad timing, delivery, and some pretty awful writing, to be fair. The quips just fell really flat for me.
The Flash/Barry Allen introduction: D+
Superman’s resurrection is a bit convoluted and overlong. It features a bit too much slow-motion considering the fact that the main catalyst in the plot/scene is THE FLASH.
The fight between Superman and the rest of the league is visceral and exciting, yet entirely pointless as well as contradictory to the premise of a team of superheroes. Superman can destroy them easily; he’s more powerful than all of them combined.
So basically the film is making the assertion that the Justice League is a group of back-up heroes in the event that Superman dies and isn’t there to swiftly clean up any mess. There is a league in the comics meant for those who apply to be a part of the league and aren’t accepted. I forget what the secondary group is called, but I know it’s not “Justice League”.
It’s admittedly pretty cool to see all of the heroes vulnerabilities come to light as well as all of Superman’s unlimited strengths. It’s a moment of bigness: I’m better, you know it, try to deal with it. It doesn’t add or continue any plot strain from Man of Steel or BvS: it’s an isolated, one time zombie-Superman break out.
It isn’t the worst way to introduce a major character late in a film, but it isn’t ideal for it to be unconnected to the past or the present in any meaningful way other than, “we can’t do this without him!”.
Superman/Clark Kent re-introduction: C-
And that’s all, folks. I don’t have anything to say about the rest of the film, both in the positive sense and in the sense that it’s been covered and dissected in every corner of the internet already. It’s not a bad movie; it’s got many good qualities and moments. But it also unfortunately falls a part many times, unable to withstand the pressure of juggling so many comic book entities in a single film.
One of my earliest Guillermo del Toro films that I’d seen and loved was Cronos, a small little flick about an ancient artifact that grants eternal youth. It featured a great supporting character, the nephew of an old wealthy man, played by a young Ron Perlman. Perlman really chews up the role and the scenery, bringing a sort of omnipresent, vibrant energy to the ancient mythology within the films narrative. The Shape of Water has del Toro returning to these character-centric roots, filling the frame with well-defined, and often funny, characters.
Set in the 1960s, del Toro uses the period as a lift to his films overall atmosphere, packing the mise en scene with mossy green highlights, narrow hallways, and plenty of gargantuan laboratory devices to house the creature in; each scene gives off a very steampunk-like vibe.
The film stars Sally Hawkins as Elisa, a mute cleaning woman working in a semi-secret government facility (how secret can it be if these cleaning ladies are flying in and out-of-doors as if they were working at a Holiday Inn?) alongside her friend, Zelda, played sympathetically by Octavia Spencer.
There may be a satirical effort being made for the reason that the two women have free range access to the labs, as if the men of the 60s felt that women were so puny and impressionable that it wouldn’t matter what they saw or heard.
Richard Jenkins, typically a terrific but minor character actor, brings a refreshing amount of depth to his character, Giles, a proverbial ‘starving artist’ whose only friend is Elisa. Given that he’s a gay man in the 1960s, Giles struggles to express himself or create meaningful relationships, making it either ironic or just very on-point that his best friend, Elisa, is mute and can’t speak at all. But that doesn’t stop him from rambling on about Old Hollywood musicals and the like.
The creature in The Shape of Water isn’t your typical one, though he may look and move a lot like Abe Sapien, the aquatic creature who happened to appear in del Toro’s Hellboy series. There is an espionage war over the ‘asset’, as they refer to him as, with the Russians infiltrating the facility by way of Dr. Hoffstetler, though Hoffstetler’s heart is more on the side of scientific ethics than it is with the goals of his government.
Michael Shannon plays the clear-cut actual “monster” of the movie, though even his character has an added layer of complexity. Director del Toro explores the values and feelings of an everyday American family man in the 1960s, fresh with a fancy teal car, a nice home and a cold, mentally unstable interior life.
The fact that The Shape of Water is critically acclaimed and earning del Toro a series of directing awards is a fitting cap to del Toro’s fantastic filmography and career. It wouldn’t feel like a lifetime achievement award if he ended up winning best director at the Oscars. The Shape of Water is a sensitive and highly imaginative piece of film art, drawing very close to the same incredible awe and gravitas of del Toro’s undisputed masterpiece, Pan’s Labyrinth.
A fantastic short film about a man and his baby…and diapers. I can’t pinpoint it exactly, but “The Argument” really was a unique experience for me. It amplified my fear of the responsibility of children, something I’d like to avoid. The story is about a man whose spouse is frustrated with him (we only hear her at the beginning, never see her) and is left alone with his baby when it needs to be changed and there aren’t any clean diapers.
There’s a great tracking shot, cut up into several segments, but all following the father from behind as he carries his baby through the streets and into the grocery store. The baby is crying as he rocks him slightly. There is a distinct lack of music throughout, only the sounds of the crying and the dialogue from the various characters.
After grabbing a pack of diapers recommended by a nearby customer, presumably a mother, he gets in line to buy them. He gets a few looks from other customers; we really feel like we are peering through the eyes of a desperate father scrambling to keep his domestic life together. He ends up finding out that he doesn’t have any money on him. The clerk is stubborn and doesn’t budge despite his pleas.
The clerk says herself, “It’s not my store”, so it doesn’t make a whole lot of sense that she then goes on to chase after him through the parking lot, almost getting run over by an oncoming vehicle. She could have simply yelled out, “thief!”, and the manager wouldn’t or at least shouldn’t have put any blame on her. Maybe there’s a sign in the employee lunch area stating the requirement to physically chase any thief by foot; I don’t know.
A great ‘day-in-the-life’ short film; simple, but powerful in its depiction of the anxieties of parenthood.
The opening to Edgar Wright’s “Baby Driver” feels a bit braggadocios, a bit indulgent, and a bit too similar to a recent Apple commercial. All in one take, the opening tracking shot follows our main character, Baby, played by Ansel Elgort, as he walks freely through the streets, crossing roads, passing murals, and avoiding bystanders. Each set piece he walks by correlates with the words in the song he’s listening to with his signature earbuds, always at hand and usually blaring full volume.
It’s a clever opening, though very self-referential: “Shaun of the Dead” featured one of the greatest one take tracking shots ever with Simon Pegg’s character bumbling through his town, ignorant of the blood and zombies surrounding him as he yawns his way through the vacant streets. The movie slows down a bit after the opening street dance/music video, getting into the reality of Baby’s life as a getaway driver for low-life, high-stake criminals.
The leader of the operation is Doc, played smugly by Kevin Spacey. Jamie Foxx plays the confrontational character, even having a line in the movie commenting about the crazy position being filled already, by him. Jon Hamm plays a more sedated role as Buddy, another member of the crew; he wants to get the job done and get out of town with his girlfriend as soon as possible.
Baby drives as a result of a traumatic childhood experience involving a car wreck and the death of his mother. He has permanent ringing issues in his ears as a result of the accident, hence the constant music. The soundtrack is the lifeblood of the movie: the characters question it constantly, but when the music starts, Baby switches gears and turns into an 11th grade version of Ryan Gosling in “Drive”. He’s slick and intelligent, knowing the routes by heart, able to intuitively escape from seemingly inescapable scenarios.
Lily James plays Deborah, a young girl that works as a waitress at the diner where Baby’s mother used to wait tables. He’s a regular at the diner and soon garners her attention with a few of his songs and some friendly conversation. They have a runaway vibe throughout, though their relationship can’t be entirely filled out due to his responsibilities to Doc as the whiz-kid driver.
The movie has a lot of heart and clearly a lot of passion for the art of fast-speed driving. The coordination that had to happen to clear the roads and perform the spinning, sliding car donuts must have been exhausting. “Baby Driver” is an exhilarating chase movie made by one of the most inventive action directors of the decade.
“It” wasn’t supposed to garner the biggest September box office opening of all time. “It” had been in development turmoil for awhile, swapping directors, dropping Will Coulter as the actor to play Pennywise, and generally being bogged down by a bad streak of Stephen King movies. The Dark Tower was a disaster both financially and critically. But despite all of the doubts, the team behind “It” moved past it through great casting, a distinct visual palette, and a star turn from Bill Skarsgard as Pennywise the Dancing Clown.
Finn Wolfhard, the main character from Netflix’s Stranger Things, plays the wise-cracking Richie in “It”, a change in tone from his earnest TV persona. He swears and brags about sex he’s never had. He brings a great comedic lightness to the movie, an important glue character that ties the group of troubled kids together.
Bill, played by Jaeden Lieberher, is the stuttering older brother of Georgie, the infamous victim of Pennywise’s sewer tricks. He has an emotional arc surrounding his brother that’s very intense and heartfelt. It’s made all the better by the filmmakers choosing to focus only on the characters as children, not flashing back and forth between their adult years. That will be the sequel, apparently.
Sophia Lillis plays Beverly, the tomboy girl with both an undeserved reputation at school and a hostile relationship with her heated father. She’s looking for someone to latch onto, and the losers, the main group of kids that hangout together, including Bill and Richie, a sympathetic fat boy and a home-schooled outsider, are the first she finds. She is more mature and even looks three years older than all of them. She fits in within their little squad very quickly.
Pennywise isn’t just a scary killer clown; he’s a monster capable of transporting and morphing into different entities. His mouth can shape-shift into a long, wide black hole filled with a hundred spears of teeth. But the natural physical gestures performed by Bill Skarsgard are plenty creepy enough.
An “It” producer said in a press interview that they consciously created a strategy to keep Skarsgard out of the late night circuits and press junket interviews. By doing this, the producer explained, the viewer would see Pennywise the monster first and Skarsgard the actor second. His piercing eyes and odd lip movements are huge aspects of the performance, and his real-life interviews don’t mask these intense features/expressions that landed him the role in the first place. If his face were all over magazine covers, the mystique of the Pennywise look wouldn’t be as immediate or as thrilling. Viewers would look at the clown and be able to point out the quirky gestures of the Swedish actor.
Bill Skarsgard made some sort of comment comparing his performance as Pennywise to Heath Ledger as the Joker in The Dark Knight. I don’t know the context of his actual statement, but if he was saying that he had taken inspiration from Ledger’s Joker, it’s very apparent within the film. He shakes his head and laughs hoarsely at the kids, mimicking their state of absolute terror in the same way Ledger laughed as he was beat down by Batman while being interrogated. The reckless, unfiltered joy in the chaos and violence. They share a lot of common qualities in their performances, though Ledger’s makeup was dried and peeling and Pennywise’s face has been intricately painted and adjusted with CGI effects.
The new Stephen King adaption is a definite success on a long checklist of big-screen failures. “It” is a classic, well-known story with a tantalizingly creepy, enduring villain. If you’re worried about “It 2: The Adults”, be reassured that Pennywise will return and be as welcome as he has been in 2017. He’s a timeless character that will always hold some sort of grasp on audience’s fears.
Get Out is a marvel of a movie in an age where explosions and VFX are the main magnets that pull popular audiences out and into a comfy multiplex armchair. On the surface, both in the trailers and in the first act build-up, it’s a story about characters and social interactions. It plays off cultural stereotypes and commonly misused/abused racial phrases, contrasting some very real and at times shocking attitudes without pulling any punches. Yet it all seems too on the button, too hyper-focused and self-aware to be a movie that’s just about a family not accepting their daughters black boyfriend. And it’s not just that; there’s much more to it.
Daniel Kaluuya plays Chris, an excited but hyper-nervous boyfriend. He leans on his girlfriend, Rose, played by Allison Williams, helping to ease her worries through cute jokes and quips. Rose’s innocent, red-cheeked demeanor feels like a sort of android or human replicant that acts exactly like a stereotypical white college girlfriend acts. She’s way too accommodating to him; there isn’t any real drama between the two of them, only love and kisses, smoke and mirrors.
The films marketing campaign focused heavily on the concept of a white young woman bringing her dark-skinned, African-American boyfriend out to the families farm estate.
The advertisements didn’t reveal much about the intricate plot details. With a very reasonable budget of 4.5 million, the producers of Get Out were hoping that, as a hybrid 2017 horror movie, the film would work best as a word-of-mouth product as opposed to releasing it in a more traditional manner through relentless TV marketing.
The studios certainly didn’t need to buy big TV ad spots in the end. As of mid-April, Jordan Peele’s horror film has grossed an impressive 184 million.
With overwhelming critical approval and praise, as well as the instant name recognition stemming from Peele’s hit show, Key & Peele, the film’s producers had very good reason to take a step back and let the quality of the movie speak for itself.
Director Jordan Peele has always professed a love for horror films, good or bad or atrociously bad. He has also expressed his fairly unique perspective on race. Peele is a half black man raised by and growing up alongside a predominantly white family.
A major part of GetOut involves small interactions between Chris and Rose’ parents’ white, country-club friends. These encounters are sometimes staged bluntly for comedic effect or in a more subtle manner to help build ambiguity and mystery.
At times, the social satire veers towards being a bit too transparent, such as when the father, Dean Armitage, played by Bradley Whitford, insists to Chris that he would definitely vote for Obama for a third term, ifhecould.
A white man complimenting an African-American man on his “prowess” or “muscular strength” may appear to be a compliment at face-value, but those on the receiving end of the compliments clearly feel uncomfortable. They feel like they are being evaluated. It’s as if their body and entire being are being mentally measured and weighed for current or potential value, similar in a way to the extreme scouting tactics used on young, pre-teen athletes.
The story arc comes and goes without any lingering moments dragging down the fast-paced narrative. The first half introduces us to the characters and scenarios, giving the audience time to think about the direction of the story, to ponder about the potential twists and turns. Peele buys himself enough time in the first half of the movie to convince the audience that we know what kind of movie we’re watching, only to have the rug firmly pulled out from under us in the final act.
Some of the plot points don’t entirely add up, though I won’t go into spoiler territory. I think It’s important, though, to think more about the social and cultural messages rather than the labyrinthian, complex narrative.
The story details don’t 100% hold up upon multiple viewings, but the entertainment value remains the same. There’s plenty to talk about, and part of the fun is seeing it with someone for the first time and helping them fill in the pieces to the puzzle. Compared to the multitude of uninspired and unoriginal horror films being punched out these days, Get Out should get an oscar nom.
Overall, Get Out is a thoughtful look at race relations in America. It’s both funny and bleak in the way that it shatters stereotypes that people still commonly use to this day. A piercingly bold and occasionally frightening ride through the eyes of a young African-American man.
“Whiplash”, a deservedly praised, knockout hit, is the first feature film of Damien Chazelle, a clearly talented young director. It follows a college-aged drummer, Andrew, played by Miles Teller, as he struggles to achieve his highly ambitious musical goals.
Young and consumed by equal parts doubt and confidence, Andrew ends up in the crazed hands of a vulgar, extremely intense composer and instructor, Terrence Fletcher, brilliantly played by a wide-eyed, spit yelling J.K. Simmons.
The film explores the pressures put upon those who participate in elite, highly-competitive orchestras. The writer/director, Damien Chazelle, has had direct experiences within the field of musical performance.
The movie has a very specific idea that it poses to us on an even narrative strand throughout its running time. And that is: how far should a person be pushed and pressured towards absolute perfection? Is there such a thing as too far? Is being healthy but lesser better than being great but maniacal?
These aren’t easy questions to answer, and that’s what makes them compelling to both ask and watch unfold, as Andrew is humiliated and berated by his teacher in order to come out the other side as the best drummer he can possibly be (which he would never know, the film asserts, if he wasn’t pushed in the first place).
The screaming dialogue fiercely performed by J.K. Simmons must have been a riot to sit down and actually write. It seems like such a contradiction to see a man teaching beautiful and archaic symphonies one minute, and then violently screaming imaginatively-worded obscenities the other.
Andrew walks into a bar late one night after recognizing his old instructors name plastered on the marquee outside. We witness Terrence actually performing, his face calm, his eyes closing slightly in an unusually serene expression of peace.
The feisty former instructor seems very much at ease as he plays the melodic piano music. But what does the man love the most? The literal sound of the music or the sense of perfection felt from hitting all the right keys? Does he cherish his abilities in contrast to all of the cues his students fail to hit?
A Most Violent Year focuses on a few small pixels in a larger, more dangerous canvas of events. Set in New York City in the year 1981, where crime-rates are quickly rising to an epidemic level, the story sets its eye on an immigrant man, Abel, as we follow his bumpy ride up towards his homegrown American dream.
The film stars a stone-faced Oscar Isaac, playing the ambitious immigrant as a mix of quiet intensity and disgruntled vulnerability. It’s hard for him to accept even the most simplest of things. Alongside him is Jessica Chastain as his shady wife. Chastain’s scenes with Isaac’s Abel are absolute dynamite, a constant battle of wits and ego sparking off of each other. Two of the best young actors/actresses working today.
The films premise is basically a sub-plot from a lot of other sprawling, ensemble mobster flicks. Remember in Goodfellas, when Jimmy Conway holds up a delivery truck, unloads the goods, and drives away? Well, that’s essentially the main problem in A Most Violent Year, only it’s shown from the microcosmic perspective of the driver and the effect such thievery has on that particular company.
There are a few other key distinctions between the two, though. In Goodfellas, the drivers are complicit: they aren’t getting paid enough to risk being shot in the face, and it’s usually made mutually-beneficial for them anyways. In A Most Violent Year, the driver is a young immigrant man whose not complicit, doesn’t want to be robbed.
The face and owner of the company, Abel, doesn’t want his drivers to back down, although he doesn’t want them to be armed, either. So, waxing in an intelligently cyclical manner, he’s essentially explaining to his low-end drivers that they should be willing and prepared for possible injury or death while delivering the many gallons of oil that will one day make him rich; a very morbid pep speech by any standard.
Through the course of the movie, Abel’s character slowly shapes and grows into his true dimensions. With each conversation or argument he has with others, we’re given small chunks of information about his past; the fact that he’d bought the company from his wife’s father, or that he himself used to be a driver.
It’s these small, subtlety placed nuggets that change not only our perception of him as a character, but also the overall tone of the film as well. With each piece of new knowledge, we cast increasing doubt on the legitimacy and honesty of Abel and his business.
With breathtaking cinematography and a handful of brilliantly brooding performances, A Most Violent Year is an unusually intelligent and entertaining mob film.