Category: General

Baby Driver (2017) – Film Review

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.

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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.

The Star Wars in “Star Wars”

“Rogue One” takes the worldwide phenomena, entitled Star Wars, and serves up exactly what the title describes better than any other episode has. The final 50 minutes of the film is absolute pure adrenaline, spreading several sequences of space battles out evenly and thickly across the vast sandbox of outer-space.

The rebel X-Wing’s spin through the black, starry backgrounds like whirring darts, while the evil TIE fighters dash confidently after the rebels like submarines on auto-pilot.

The TIE fighters are the unflinching first line of the Imperial’s heavily-equipped military, while the rebels are scrapping more urgently for their lives than for the overall cause. The sense of duty can truly be felt extemporaneously through the genial, average-looking faces of the rebel pilots. Gareth Edwards cuts to the orange-clad pilots in the same manner in which George Lucas did almost 40 years ago.

 

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Edwards builds a feeling of camaraderie, making the fall and destruction of the pilots ever the more devastating. The characters are always trudging up the hill, always facing some sort of strategic disadvantage. We feel for them as a pack of truly unrelenting underdogs.

J.J. Abrams, on the other hand, must have enjoyed playing with his Jedi action figures a lot more than he did with his toy X-Wing models as a young fan. The Force Awakens had a lot to juggle and accomplish in a single 2 hour movie, and it did so fairly successfully. The space battles, however, had no sense of urgency, tension, or excitement.

What makes it all the worse for Abrams is the fact that he had introduced his prodigy pilot, Poe Dameron, as a prominent character in The Force Awakens universe. In the end, Abrams doesn’t put Dameron in a great position to shine, despite Oscar Isaac being a top-notch actor. It’s forgivable, or at least understandable, though, given that Abrams’ job was to slide wet cement under the stepping stones of the franchises’ future sequels.

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Their is nothing workman-like about Poe Dameron. He comes off as surefire and confident. He doesn’t look as vulnerable or homespun as the other rebel pilots. These pilots are essentially flying through dangerous, highly-weaponized atmospheres within the confines of jerky metallic cans. It’s not a job that offers very many long-term benefits other than life insurance, maybe.

The rebel fleet is commonly used as an ex machina plot device, a last resort to sweep in and clean up any leftover storm troopers. They are efficient, skilled professionals, trained like neurosurgeons to locate, maneuver, and eliminate waves of Imperial garrisons.

Luke Skywalker was the ultimate example of a surgical and precise pilot, squeezing his way through narrow tunnels in the Death Star’s hull, searching for the weak chink in the weapon’s armor.

In Rogue One, one of the rebel X-Wings is literally ordered to act as a shield to the rebels on the ground, hovering over the running soldiers of the resistance as if they were some sort of intergalactic secret service agents.

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Rebel resistance pushing through Imperial-controlled beach.
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Rebel ship hovers over to shield rebel soldiers on the beach.

Star Wars: The Force Awakens – Film Review

“The Force Awakens” is everything that the Star Wars prequels weren’t – self-referential, nostalgic, practical, and mythological. It uses the franchises deep well of origin stories to display the vastness of all of the galaxies far, far away.

The Star Wars franchise is a white canvas where the filmmakers, present and future, can draw as many stars, planets, and storylines as they can reasonably fit. It has so much potential to expand beyond the original films. Hopefully, the spin-off films will fill this void, bringing light to unseen corners of the universe.

The mainstream criticism of the first canon-advancing film produced by Disney is that it’s a fancy, dressed-up copy and paste job of the original Star Wars film, 1977’s “A New Hope”. The story template is certainly familiar, but the visual style and characters are a new breed that I like to call iconic shadows.

Many of the new characters appear and act childish and petty, like some of the hardcore fans of the Star Wars franchise. Other new characters are ambitious but yet hesitant, plagued by self-doubt about whether or not the boots they’re trying to fill are just too big and overwhelming.

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General Hux appears overwhelmed and ill-equipped to handle the guilt and sheer power that comes with his Death Star 2.0 device. His imitation of Hitler falls short, though his master plan doesn’t.

General Hux, in some ways, acts as a metaphor of the filmmakers themselves. They feel a duty to complete their mission successfully, though they are uncertain and afraid of the results. JJ Abrams, no matter how confident he felt during the production, couldn’t possibly know how the fans and critics would respond to his highly anticipated film.

Overall, the film succeeds at bringing back old fans of the franchise while also reaching new viewers. With a brisk pace, a fun tone, and plenty of young characters, the future of the force appears to be heading in a good direction.

Mystic River (2003) – Film Review

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Clint Eastwood’s Mystic River props up three childhood friends and puts them into adult, full-grown shoes. It’s one of the few films that pulls off this sort of generational time-lapse premise, mostly as a result of the childhood memories having been constructed in a swift, concise manner. The characters pasts aren’t dragged down by long, overdrawn back stories.

A car pulls up next to three kids on the sidewalk. They are writing their names on a wet concrete filling. A confident man climbs out of the car, declaring himself as an officer of the law to the three kids.

He demands one of the boys to come with him. They don’t realize that the man isn’t wearing a uniform or driving a patrol car, warning signs ignored amidst the oddness of the moment.

The film shifts suddenly to adulthood. One of the boys, Dave, played by Tim Robbins, has a sort of quiet, troubled look in his eyes. It’s clear from the beginning that Dave is an embodiment of suspicion: who knows what had happened after he got in the fake officer’s car?

The other two boys appear to be doing fairly well: Sean, a hothead of a boy, played by Kevin Bacon, now works as a police investigator. The third boy, Jimmy, played by Sean Penn, runs a store, employing his nineteen-year old daughter, the light of his life.

When Jimmy’s daughter doesn’t show up for work, her disappearance meshed with his own past turns into a toxic mix. He doesn’t make a big deal out of it at first and assumes she’s simply slacking off work. But when he spots a crowd surrounding a crime scene, he catches a glimpse of his daughters car. She has been murdered.

Jimmy’s daughters murder begins a long, emotional investigation. Throughout the film we discover more about Jimmy’s past, heightening our expectations of the manner in which he’ll confront his daughters killer, if he does. An extra twist thrown into the mix: the investigator of the homicide is Sean, Jimmy’s childhood friend.

The Invisible War (2012) – Film Review

The Invisible War, directed by Kirby Dick, is a movie brimming with incest and systematic injustice, probing into the issue of sexual abuse in the military in an open, graceful manner.

The film doesn’t back down from the truth. Like many great visual essays before it, it contrasts shocking statistics with real people, warts and all, on screen. The film states that twenty percent of women are raped during their military service.

It then goes on to pound the nail in even deeper with interview subjects explaining the hesitancy women have towards telling anyone, thereby likely doubling or at least highly doubting the statistics released by the military.

It’s a cautionary tale to women on what to expect when going into the service. It makes a strong argument for necessary change in the biased process of enforcement in the military. Hopefully, the culture will turn around for the better and women will be able to enter and serve in the military without fear of being harmed by their own fellow soldiers.

On The Waterfront (1954) – Film Review

“On The Waterfront” has become an American classic through the years, and the most credit, unsurprisingly, has gone to Marlon Brando, the supreme acting force anchoring the film.

Brando plays a washed up boxer, Terry Malloy, whose main source of income stems from mob deals; he works on the waterfront, where whiskey, packed and boarded, are loaded up by the tons in large fishing nets. He works hard, a common everyday laborer, but we soon discover that Malloy is very much entangled within the puppet-like strings of the mob.

Characters are often seen asking questions or talking to bystanders, as if they are talking to a blank wall; the cold hesitancy and isolating fear that the citizens feel about the mobs presence. If they slip up just once they’ve lost the opportunity for a second, or first, chance.

At one point, a box of crates fall upon a man standing directly below it; this seems to be done accidentally, a simple labor accident. Then, however, we see the mobsters smoking and gazing down into the deep cellar. They don’t care how much whiskey they’ve shattered and wasted to stage the killing. Murder is their profession and they are indeed very skilled at knocking off the rotten apples easily and economically.

Foxcatcher (2014) – Film Review

Review by Logan P. Miller

Bennett Miller’s “Foxcatcher” is a deliberately paced mood piece, a feeling of melancholy flowing through every frame of the film. For some viewers, taking the time to watch these characters unfold in slow, drawn out scenes filled with gaps and uncomfortable stares, is a burden and a letdown.

The story the movie’s based on, the toxic relationship between Olympic wrestlers and their benefactor, is deliciously tabloid, a true-crime tale that’s truly intriguing and complex. But “Foxcatcher” doesn’t use the story as a leaping-off point for an over-the-top Hollywood drama, as that was far from what Dupont’s life really was; long stretches of his life really were just spent alone.

The little details matter in this film, the subtle hints at the characters doomed fates. The slightest facial tick, gesture, or grunt from any of the three main characters signals a possible spell, a foreshadowing of the tragedy that we know is coming. And in that sense, “Foxcatcher” is an actor’s movie all the way.

The film stars Steve Carrell in an unusually dark role as John DuPont, the wealthy heir to the DuPont chemical fortune. He inhabits the man, and yet doesn’t turn him into some mutated hunchback or movie caricature, either. Channing Tatum plays Mark, the ape-like surviving younger brother, whose trying to escape the shadow of his brother’s glory. He sees an opportunity to do this following DuPont’s unusually generous offer, and he rides on it, all the way to the Foxcatcher ranch.

Does every acclaimed, intense film these days have to include an on-set story about an actor inhabiting their role so completely that they actually physically hurt themselves? Is it now officially a requirement for a great performance? Bleed like DeNiro did or don’t even bother.

Le Cercle Rouge (1970) – Film Review

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Directed by Jean-Pierre Melville

Melville, I think, is just about equal, or at least comparable, in tact with Hitchcock, even if he has half the worldwide exposure. “Le Cercle Rouge” is a detective story about a man who escapes from the clutches of the law and goes on the run. It features a corrupt ex-cop who always keeps us on our toes, keeps us guessing.

The story begins with Vogel, the con, escaping from the clutches of the inspector and jumping out of a slow-moving train they’re currently traveling, running off as a ‘free’ man into the wild. A good way to start off any movie: with a bang.

He then runs into Corey, played by Alain Delon, who offers his help by hiding him in the trunk of his car, as there are now barriers set-up in order to catch Vogel before he leaves the city. The captain of Internal Affairs tells the Inspector, the man who lost the prisoner, Vogel, in the first place, very coldly, that all men are evil; to not doubt that Vogel deserves punishment, even if he didn’t commit whatever crime he is accused of.

Corey and Vogel create a silent bond, both not very communicative, and decide to pull off a Jewel heist. Vogel knows an ex-cop, Jansen, who can help with the heist.

Jansen walks into the Jewel facility, on the highly guarded second-floor, and acts as if he wants to buy jewels, but mainly is just looking at the locations of the security cameras with the corner of his eye. One of the slickest moments I’ve seen in a movie happens here, when, after the long struggle of climbing inside of the Jewelry building after-hours, without triggering alarms, the three criminals stand before the master alarm.

All around them are alarms that they’ve managed to avoid by stepping over or under. But the master button is on the far wall, past all the glass-encapsulated jewels and Jansen, with his sniper rifle, has to deactivate it with a single shot; (he made special low-density alloy bullets so as to not destroy the button, just activate it).

He puts it on a tripod he’d brought and we see the cross-hairs from his perspective but then, suddenly, he jerks the gun off of the tripod, Corey and Vogel silently gulping and gasping, and shoots the button with only the simple trust of his steady hand and chest: straight in the center. They run off and take all the jewels, alarms disabled.

What essentially makes Melville’s movies so entertaining and fresh is his characters: the plots aren’t particularly complex, but the little quirks of his characters are unforgettable. The gritty cop whose chasing after Vogel is a lover of cats. The alcoholic ex-cop, who joins in on the Jewel heist as the sniper, dresses up for the heist in a suit and tie for no particular reason at all.

It’s these touches, matched with the brilliant direction and cinematography, that makes it an experience not only worthy for the dense, well thought-out plotting, but for the unique, engaging characters as well.

Looper (2012) – Film Review

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Rian Johnson’s “Looper”, starring Joseph Gordon-Levitt as a young Bruce Willis, is a fresh science-fiction film that focuses on the feelings and emotions of its central characters, avoiding the typically contrived structures of action films.

The movie isn’t yet home free, though, considering the surplus of logistical flaws surrounding the proposed time-travel absolutes and the paradoxes they represent. The sheer impact of its ideas, however, are enough to warrant at least one viewing, if not multiple.

The story begins with an introduction to the world itself: a society where time-travel is outlawed to the general public and used only by the most sneaky and highly-skilled criminals. It’s challenging to write a sci-fi script in a way that explains the world-building details of the new society or time period while not hovering over these ideas for too long.

Director Rian Johnson hands over the expository duties to the main character, Joe, who explains the various types of lingo throughout various voice-overs. The balance between voice-over and visual context within the action is a tricky tightrope to tinker with.

The narration could have been broken down and explained organically throughout the course of the film, even though other visual storytellers prefer to pull the heady sci-fi information out of the box as soon as possible. Bring it up to the surface, let the ideas and concepts simmer and cook thinly across a film’s lengthy running-time.

The concept of “closing the loop”, where the Looper is forced to turn their blunderbuss weapon over towards their much older, future self. The character of Seth, played by the eternally-scrawny screwup, Paul Dano, introduces the audience to the “closing the loop” concept fittingly: by having to close the loop on himself.

Everything that happens to Seth seems to be foreshadowing what will happen to the younger Joe. It feels like an excess of exposition: why introduce Seth and his hasty demise when it’s the same violent end that Joe will be forced to face, sooner than later?

Despite a few questionable narrative decisions, the action is stylish and enthralling. Seeing Bruce Willis play an old man bent on revenge never gets tiresome, especially given that Willis reaches a near manic state, blood flowing down his face and neck as he shoots down a series of henchmen with a sturdy set of automatic-rifles hoisted up on his shoulders.

The performances are very effective, even Gordon-Levitt’s, whose lip and facial transformations flew past the gimmick stage and started to just feel right. For all it’s worth, Bruce Willis plays across from Gordon-Levitt with rugged but tangible chemistry. Willis pulls off a fatherly, concerned tone.

Jeff Daniels adds some spice to the ensemble cast as a rugged mob leader from the future. He’s the orchestrater for the Loopers and their time-traveling assignments.

When young Joe meets with old Joe, the screen is filled with dualism and constant provocation: we are only shown a single scene featuring the two men sitting down, having a nice, regular conversation, disappointingly so, though.

Gordon-Levitt and Willis are the two most enigmatic and engaging people in the film. Every other scene involving the two consist either of violent gun spraying or yelling/arguing about their self interests, given that they’re separated by such a massive age gap.

Emily Blunt stars as Sara, a farm-owner, whose son has mysterious and powerful abilities. The son can alter the timeline, a unique and rare gift. There are some inventive futuristic technology shown on the way, such as a pesticide droid that flies down the long rows of crops, spreading an equal amount of water across the crops.

Sara turns out to have a will and a temper of her own. Her character is brought to the forefront in the third act. There are plenty of philosophical debates that bother the characters and hold them back from moving forward. Nature vs. nurture, sacrifice yourself or save your future loved ones.

The films final ending is memorable and visually electric. It’s filled with earned, real poignancy, even if it renders everything that had came before it almost totally meaningless.

“Looper” is one of the best sci-fi noir films of the 2000s, and introduces Rian Johnson to the mainstream public as an unrestrained, creative, and inventive young filmmaker.

Deleted Scenes from P.T. Anderson’s Boogie Nights

Take a look at a few deleted scenes from Boogie Nights, starring Mark Wahlberg and John C. Riley. These short clips are filled with the intensity of the actors, showing them in an almost improv-like manner. It’s easy to look at the scenes and point out flaws or make reasons why they deserved to be cut after the fact, but they’re still pretty great gems to check out atleast once.

Notice director P.T. Anderson rarely does more than two different setups in a scene: In fact, most of his shots are continuous throughout. With that breezy, lofty effect, one can barely even notice the presence of the camera.

I can see how this scene didn’t make the cut: It slashes subtlety and straight out dictates to us how much Dirk obsesses over himself, while also not adding anything to the narrative. By the time the movie ends, this theme is clear enough.

Some great, babbling actors.