reigntall Reviews

True History of the Kelly Gang (2019)

Naked Lies

[8/10 · 20 February 2020]

Forget everything you know about Ned Kelly. Or don't. It doesn't really matter as this film, is not even attempting to be an accurate historical film. "The True History of the Kelly Gang" by Australian director Jeff Kurzel, is based on the 2000 novel of the same name which gives a fictionalized account of the famed 19th century Australian bandit.

Many historical films have the tried and true phrase 'based on a true story' and then go on to distort, misrepresent, and fabricate. This film is honest in its dishonesty: the opening text says that nothing you're about to see is true. As the other words fade, the 'true' lingers and becomes part of the title. This itself is a lie, because this this depiction of Ned Kelly is a blend of lie, legend, as well actual true facts about the Kelly gang. There are layers upon layers of subtext and metatext in this film on the topic of posthumous storytelling. Ned Kelly is the perfect subject: he is a man haunted by his past and the lies leveled against him, a man who wrote lengthy letters giving his side of the story, and to this day is still hailed a hero and a villain.

Another misdirect by the film, is that this is not about the crime-spree of the Australian outlaws but focuses much more heavily on the life of pre-infamy Ned Kelly. Edward "Ned" Kelly is the eldest son of a poor Irish family. His father is sent to prison when Ned is young and a variety of potential father figures - some law enforcement, some criminals - flow quickly in and out of his life. The constant is his mother with whom he has strange, deep yet toxic relationship. Ned is shown to mostly be a good person but has pushed him into a life a crime through unjustified (but also justified) persecution. His decision to become an outlaw seems to be done as an act of protest. It seems everyone in his life is tied into the eternal struggle of authoritarian police and anarchist outlaw, which is extrapolated further to be a conflict between the English and the Irish, centuries old rivals.

Despite being the focal point of the film, Ned remains an enigmatic figure throughout. He wordlessly stares for an uncomfortable amount of time, the gears turning in his head, before suddenly acting and the reason for his decision is often left for the viewer to decipher. This also gives the sense that some of the plot lines weren't fully developed. Perhaps cutting back on certain scenes to focus more on others could have also helped the uneven pacing. The film is a slow burn that doesn't so much gradually grow into madness, but suddenly lurches headfirst into the depths. George MacKay is captivating as he goes from the wide-eyed nervous staring, to the chaos that is the final act. Kurzel has a great eye and even during the slower segments, there are enough beautiful and intriguing shots to keep viewers engaged; some may find the journey to the brilliant climax to be arduous. And it would be a shame if people gave up before the end. Kurzel's 'Macbeth' is bookmarked by inventive and memorable action scenes and in the same vein, 'The True History of Ned Kelly' culminates with one of the most adrenaline pumping action scenes in film. It is bloody; it is brutal; it is grotesque; and most importantly, it feels real. Many blockbuster action films give a sense of being an observe to highly-choreographed, consequence-free twirling. The combination of visuals and sound design in this film make the viewer feel like they are part of the chaotic firefight.

Beyond just the sound design, the score deserves great praise as well. The composer Jed Kurzel (director's brother) uses string, percussion, and folk instruments to create a rich sonic atmosphere. There are fun, adventures songs where the bass is cheerfully plucking away, but where Kurzel excels is in the intense. Though this core may not be overall as haunting as his masterful work on 'Macbeth', there are still pieces where low notes pound away like an oppressive heartbeat as the abrasive, off-key high strings become almost overwhelming.

This movie is not without controversy. Despite telling the audience from the first sentence that this is not a factual depiction, you can find numerous angry user reviews and articles from Australians upset at two aspects of the film: the cross-dressing and homoerotic undertones. The Kelly gang is not trying to be women; they adopt dresses as part of their battle dress (pun intended) in a way that can be interpreted to be an act of protest to masculine ideals. The world of cops and robbers is hyper masculine. Men size each other up, posturing to be the tougher man, sticking guns in each other's faces. The constable's desire to subdue Ned is like a passionate obsession. Robin Hood is oft joked to be gay, living in the woods with his merry men, and Ned Kelly being the Australian Robin Hood... It seems to me as a logical progression, and a delightful deconstruction of the ultra-masculine.

So, did we learn anything about the Kelly gang at the end of this two-hour journey? With fact so entwined with fiction it's hard to say. So instead, one can mull over the multitude of ideas and themes and meta-commentary that this film provides long after it's over. Not that there are any clear answers there either. Or one can just appreciate the moments of great acting, interesting visuals, top-notch score or memorable finale.

Midsommar (2019)

Red Summer Nights

[10/10 · 23 July 2019]

So you want to be a writer-director. In film school you develop your passion project idea. You work on it, meticulously rewriting every line, every word until it is perfect. You run through it countless times, trying to get the pacing just right. And if you're lucky, after 10 years of working on it, constantly improving it, your script actually gets picked up and you get to make your film. And it's a smash hit! So now the studio throws a ton of cash and tells you to make another one. And you only have two years to get it done. Previous victims of the sophomore slump include Neil Blomkamp following up "District 9" with "Elysium" and Dennis Hopper going from "Easy Rider" to "The Last Movie". I felt fearful for Ari Aster's second feature length film was to be released a year after his first, despite "Hereditary" being one of the favorite films of 2018. Seeing "Midsommar", I felt a different kind of fear.

Mental disorders, anxiety, grief, cults, and rituals are all notable aspects of both of Aster's films. The similarities between the two are especially prominent in the first act, before the Americans venture to Sweden, but this is not a rehash. Though "Midsommar" does not have any scenes that are as profoundly impactful and gut-wrenching than the accident sequence in "Hereditary", this film is overall a more complete film. Most noteworthy, is that unlike Aster's previous film which goes off the rails in a laughable manner in the final act, "Midsommar" manages to drive up the tension and stakes whilst remaining believable. All the laughs - there are a plethora of dark humor moments - are intentional. Toni Collette, as the female lead of "Hereditry", had a memorable, manic performance, though, understandably, some found it to be over the top and ridiculous. Florence Pugh's character is much more subdued, but she gives an equally powerful performance. A director is responsible for pulling out the best performances from the actors and Aster has a perfect record thus far.

The setting of the film is a folksy village in Hälsingland, Sweden full of flower children in folk clothing, folk dancing and folk singing and folk everything else-ing. One of the American visitors is quite unnerved by the fact that even at 9 pm, the sun in shining brightly in a bright blue sky. One the surface, it may seem like an animist utopia, but seeing one villager playing a flute as another two are locked in an overly long and intimate embrace, you get the sense that it is all too good to be true. As you spend more time with in the commune, you learn about all their bizarre and disturbing traditions.

Horror, like sci-fi, works best when used as metaphor or allegory and about more than just killing people and scaring the audience. "Hereditary" went a step further and for most of the film is a family drama lacking overt horror elements. There are more traditional horror elements - body horror and gore - throughout "Midsommar", but it still retains a strong emotional core. A seemingly utopian love-empathy cult is the perfect setting for a break-up movie. Dani is an anxious person who needs a lot emotional support, but her boyfriend, Christian - and with a name like that, should you really be going to pagan villages? - is not as invested in the relationship. Their relationship deteriorates as does the situation in Hälsingland.

Once again, Aster shows how he is a master of unease and tension. The feeling of dread and danger builds slowly over two and half hours. Though at times there might not be a lot going on in the foreground, the cinematography is so wonderful, that the film never drags. Every shot either has something weird going on in the background, or is beautifully composed, or is it simply cool. Characters take psychedelics and the special effects of them experiencing the visual hallucinations - faces being distorted or the breathing trees - is top notch and hypnotizing without going over the top. His depiction of anxiety via Dani is also spot on. The opening shot is of bright summer Swedish nature with folk singing which suddenly cuts to silent winter scene. Aster often uses this technique of edits with sharp visual & aural contrast which stops the audience for getting a proper emotional footing. And of course, there is a perfect creepy horror score that incorporates the local folk songs. There are no jump scares, but meticulously crafted mood.

Ari Aster is a filmmaker to look out for. For a second time he has mastered cult horror and I hope he will branch out and make just as great films in other genres. Hopefully, he teams up once again with cinematographer Pawel Pogorzelski, because that duo is something special. A lot of movies are created to be entertainment, which is especially true for the horror genre. "Midsommar" is not just entertaining, it is art.

Border (2018)

Grim Fairy Tale

[8/10 · 7 March 2019]

Border is a fairy tale. It is not a happy-go-lucky Disney princess story. Despite some similarities, it is not like last years Best Picture Oscar winner, The Shape of Water. It is most akin to old-school, traditional Grimm fairy tales. Just replace all the limb dismemberment with child pornography. Border is horrific, but also, at times, sweet and beautiful. This is unsurprising considering it is based on a Lindqvist short story, who also wrote Let the Right One In.

Tina is the fairy tale 'princess' of this story. She has the magical ability to literally smell wickedness as well as being whimsically in tune with nature. However, there is one caveat stopping her from being the traditional princess. Simply put, Tina is ugly. This is not some "Hollywood" ugly; she resembles a caveperson. It is no surprise to hear her lament how she was teased throughout her life. And we see plenty of people give her long, bewildered glances behind her back. However, she doesn't face much conflict due to her abnormal appearance. She gets along with her colleagues, has a sort-of boyfriend, and her neighbors are friendly. Sweden really is the tolerance capital of the world. One of the main themes of the films is the desire for a sense of belonging, so it would have been nice to see more challenges for Tina in fitting in. However, the films greatest accomplishment - besides the fantastic work by the make-up department - is, that the movie itself does not gawk at its protagonist. This is not a circus freak show. Border is full of intimate close-ups and there are only a few short scenes without Tina. For many, her appearance may be off-putting, but thanks to Ali Abbasi's delicate direction - and Eva Melander's subtle performance -, it doesn't take long to stop focusing on her looks, but rather her inner beauty.

This is not to say that the film doesn't want to elicit strong emotions of discomfort and disgust. Early on, Tina meets Vore, a fellow uggo with a grotesque and creepy smile. There is one scene in particular where I couldn't decide if I should cover my eyes or burst out laughing at the almost surreal quality of it. While some of these negative emotions are invoked due to the appearance of the main characters, mostly Vore, the stronger feelings are generated not by the visuals, but from Tina's investigation into a child pornography ring. There you will find perfectly normal, attractive looking people, who are the real monsters on the inside.

Border is not all darkness and ugliness, though there is a lot of that. There is a lot of beauty. The timid Tina grows more confident and learns a lot about herself. Seeing her feel free and with an unrestrained smile warms the heart. It is unlikely, however, that you'll leave the theater with warmed heart. The themes of the film - like what defines who you are, what does it mean to belong, can an outsider ever truly belong - are not neatly wrapped up by the end.

It Follows (2014)

Creepy, but not scary. Atmospheric, no tension. Missed opportunity.

[6/10 · 7 July 2015]

There are many types of horror movies: gore porn, slasher movies with jump scares galore, and the slow paced creepy and eerie atmospheric films. It seems with the success of "Paranormal Activity" and "The Conjuring", the latter style is becoming more and more popular. "It Follows" follows in the same vain.

It is slow, but well-paced, has a great accompanying soundtrack which build on overbearing sense of dread. However, what it is not is scary. The problem lies within its premise. It is unique and interesting – an STD that comes with your own personal spirit-thing that tries to kill you. It slowly and unendingly walks towards you, and if it gets you, it kills you. The emphasis here is on the word slow. It doesn't even walk at a normal speed. You could just briskly walk away from it. At no point was there tension; at no point did I fear for the main character's life. All the atmosphere in the world can't save the film if I don't think the spirit is capable of killing their intended target.

47 Ronin (2013)

Has lots of action among beautiful landscapes and costumes, but all very anti-climactic

[6/10 · 20 December 2013]

It is a serviceable film in the whole eye-candy department and does give an interesting insight to the notions of honor of feudal Japan, but all-in-all a forgettable film. This movie is based on a true story, one of better known stories in Japan, of 47 ronin (masterless samurai) that sought revenge for the death of their master knowing they would die doing it. The story taps into the ideas loyalty and honor that prevailed in feudal Japan and among the samurai. As a very white man with some knowledge of Japanese history, the film seems like a fairly accurate depiction of feudal Japan. Though one thing that bothered me was that among the words like seppuku, shogun, bushido, etc. that are used in the film, the lords are just called lords rather than daimyos. It seemed strange to not use the more accurate word. But overall, a realistic depiction… well, except for all the magic and mystical creatures. The movie is an interesting blend between reality and Japanese myth, featuring Tengu, witches, etc. The special effects are top notch.

I was worried, since the film featured Keanu Reeves on the poster so heavily, that this would be another The Last Samurai situation where the white man comes to save the poor, lowly Japanese. I was pleasantly surprised that not to be the case. Though Keanu Reeves character Kai (who is a half-breed raised by demons. So not really all that white) is an integral part to the ronins' quest, he isn't really the main hero. The film focuses heavily on the head samurai, Oishi (Hiroyuki Sanada). It is his quest to avenge his fallen master and reclaim honor for his land. The acting in the film was good overall. Some deliveries were a bit weird, but just might be due to the fact that all the Japanese actors spoke with a slight accent. I am a fan of Keanu Reeves; dude has been in a lot of great action movies. In this film, he doesn't do all that much, emotional range wise. He is pretty much serious, gloomy, morose, or angry throughout the whole film. I don't think he smiles once. Poor, sad Keanu.

The main problem I have with the film is the pacing and the climax. There is so much action throughout the film and various setbacks that they suffer. When it is finally time for the climax and Oishi faces off the evil Lord Kira (Tadanobu Asano) it all feels sort of anticlimactic. The moment doesn't feel heightened from the rest of the film. The witch with heterochromia (Rinko Kikuchi) is an interesting character. She is chaotic and seeks power. You feel that even though she pledged herself to Lord Kira, she might have something up her sleeve. But nope, she was just his lackey by the end – very disappointing. Well the end-end is a good and not your cliché Hollywood ending, which is nice.

tl;dr nice visuals, decent action, decent story, but anti-climactic. 6 out of 10 beheadings

Thor: The Dark World (2013)

One of the better entries in the Marvel series

[7/10 · 31 October 2013]

Thor: The Dark World is the next entry in the high quality series of Marvel movies over the 7 years or so and it is one of the best. Its funny, its got action. And did I mention its funny? Honestly, I think this movie had more sarcastic comments, wise cracks per minute than it did hammer punches to the face.

Story is fairly generic. Super evil guy thought long dead wants super evil thing. Thor and crew doesn't want him to get it. It's straighforward enough. However, for a movie titled Thor, it sure does spend a large amount of screen time with other people, Natalie Portman, the other scientists when Natalie Portman is in Viking Land, Loki, the bad guy, Loki again. Actually, I don't really mind the Loki part. I hate him as a character, but he is fascinating. He truly is the god of mischief, you never know what side he is on, though usually its his own side. I don't understand how anybody trusts him ever.

Every character always has something funny to say. Every side character is comic relief, and Thor is pretty funny himself too. With so much casual comedy all the time, the incredibly sad and dramatic moments create a jarring tonal shift. Then after a short while its back to jokejokejoke. For most of the movie, the action isn't that mind blowing or fascinating. But the movie makes up for it with the final fight, full of chaos-inducing wobbly gravity and warping all over the place.

tl;dr a fun, entertaining super hero movie, with jarring tonal shifts, but one of the most fun final action sequences.

Jackass Presents: Bad Grandpa (2013)

Unfunny and dated

[1/10 · 30 October 2013]

Simply put, there is no reason for this movie to exist. It tries to be funny, but is not. It tries to tell a heartwarming story, but it doesn't. It is a film in a niche genre of hidden camera movies and every part of it is inferior to Sasha Baron Cohen's "Borat" (2006) and "Bruno" (2009).

Johnny Knoxville is made to look like an old man. It is well done and probably the best part of the film. He goes on a cross country trip with his "grandson". The humor is generally of the gross out variety or the inappropriately foul mouthed child/elderly person. This type of humor cannot carry a film; it might work for a bit or a sketch, but not for an hour and a half. It tries to make situations funnier by showing real people's reactions. However, the people's reactions aren't that funny. At least in Bruno and "Borat" the way people react to the title characters also reflects some sort of societal message or commentary. There is nothing profound in any of the Bad Grandpa sketches. Also, one bit, the raunchy child's beauty pageant, is taken straight out of "Little Miss Sunshine" (2006). It was funny then, but not so much now. It isn't shocking, since it's been seen before.

Even though the crux of this genre is people's reactions to various situations, it is accompanied by some sort of overarching story. In Borat, it was Borat's desire to kidnap Pamela Anderson and take her as his wife: a ridiculous plot to a ridiculous character. In Bad Grandpa, however, the plot is more realistic. The grandpa has to take his grandson, who he isn't fond of, to his biological father, but the father is a low-life. But in the end, Johnny Knoxville's character decides to take care of the child. The relationship grows primarily through conversations between the two as they drive. However, these scenes are surrounded by scenes of the two pulling pranks on real people. This juxtaposition makes the scenes between just the two of them seem incredibly fake and not believable in the slightest.

tl;dr This movie is awful, not funny, and came out 7 years too late. Only watch it if you enjoy dick jokes and laugh at swear words.

About Time (I) (2013)

Lots of love, not much else going on

[7/10 · 4 October 2013]

About Time stars Domhnall Gleeson as Tim, a socially awkward young adult who finds out he can travel in time (within his own past) and decides to use his powers to find love. The target of his pursuits is the also somewhat awkward Mary (Rachel McAdams). There are definitely some issues regarding the specific mechanics of the time travel, but it is not a big issue, since this is a romantic comedy with time travel elements and not a sci-fi film about time travel. It seems that the film will be a sort of self-induced Groundhog Day with repeated attempts to make Mary fall in love with Tim. Surprisingly, the time travel mechanic is not used much. In the second half of the film it is only used two or three times.

This film is a romantic comedy, meaning it has to check two important boxes: romance and comedy. There is definitely chemistry between the leads. Tim and Mary are very similar: they are both a bit socially awkward, shy, but also very witty. The dialogue between them highlights their similarities and feels very real. Romance: check. The dialogue in the film overall is fantastic, with its British dry wit. Contributing greatly to the comedy are the supporting characters surrounding Tim and Mary like Tim's quirky free-spirited sister or his bitter playwright of a landlord. The scenes between Tim and his father (Bill Nighy) are some of the best in the film. Every character is unique and quirky almost to a fault. Comedy: check Where the movie fails, however, is the plot and plot structure, which is unfortunate considering the interesting concept. A tried and true format for films is to have an overarching conflict that the protagonist tries to solve throughout the film with many obstacles along the way. This keeps the audience invested in every scene. This film does not do that, rather is an episodic series of minor conflicts. There are a scene or two of conflict introduction, then a scene of the conflict being resolved, and then a scene or two of just Tim and Mary just being in love, repeat. The conflicts rarely involve Tim and Mary's relationship at all. For better or for worse it isn't the incredibly formulaic romantic comedy plot structure and on paper this format actually makes sense in keeping with the themes of the film – living life and appreciating life's ups and downs. But this does not translate to screen well. The lack of central tension results in boredom. Also, it means there isn't much of a character arc to Tim. Therefore, when the movie ends, it just sort of happens.

Speaking of the ending, the similarity between this film and Richard Curtis' earlier success Love Actually (2003) is very noticeable. Firstly, the ending of About Time is stylistically identical to the opening of Love Actually, complete with a disembodied voice talking about life and love over shots of random residence of London. The plot missteps can also be traced to the 2003 film. Love Actually is an ensemble comedy with each character having their own conflict and resolution. Lacking one central conflict it works in that film because there is no central protagonist. About Time, on the other hand, is a single protagonist film with a multi-protagonist film structure.

Overall the film is enjoyable despite its shortcomings. There are plenty of embarrassing and hilarious situations that Tim finds himself in. And for those looking for romance, Tim and Mary's relationship is exactly what you want. But the film could've been so much more, with a better structure to the plot and better use of the under-utilized time travel aspect.

Elysium (I) (2013)

More action than sci-fi

[6/10 · 18 August 2013]

Neill Blomkamp's previous film, District 9, is one of the best sci-fi movies of the past decade. Unfortunately, his second effort, Elysium, is a sci-fi movie not suited for hardcore sci-fi fans, rather it is targeted more at the typical summer action movie fan.

The plot of the film is promising. The wealthy have left the diseased Earth to a space station utopia called Elysium. Max (Matt Damon) is a man with nothing to lose whose goal is to get there by any means necessary. However, the world that is created is filled with unanswered questions. What sort of government is left on Earth, as it seems that the same robots of Elysium keep order on Earth? How does the air stay on Elysium, since there is no sort of solid roof? Even Max's robot suit thing that is heavily featured in the trailers doesn't make much sense. He has the metal parts screwed into is flesh and bones. Any sort of serious blow on the metal parts should make the screws move and break his bones. There are several more questions that can be raised (which I won't at risk of spoilers), and they may seem nitpick-y, however the sci-fi genre is all about creating a believable futuristic world that follows the rules of science.

One thing I appreciate about the plot is that it isn't preachy. After seeing the trailer I worried it might talk waaaaaaaay too much about the whole 1% thing. Instead it seems to be more about race. It doesn't talk about it. It's just that most people shown on Earth are Hispanic while essentially everyone on Elysium is white, well except for president Patel. I thought Elysium was for the rich people of Earth. What, Oprah isn't rich enough? OK, so the plot is kind of shaky, but one part of District 9 which isn't lost is the interesting characters. Max is not quite the typical action star. He isn't out to save the world or restore order and justice. He is just out to save himself; he just doesn't want to die. The villains of the film, Delacourt (Jodie Foster) and Kruger (Sharlto Copley, the lead of District 9) are great. Jodie Foster may be a bit more of a cliché super power hungry evil person, but Kruger is fascinating. Unfortunately, I can't get into too much detail at risk of spoilers, but that man is crazy. And Spider (Wagner Moura) should also be mentioned. Blomkamp knows how to make interesting characters.

Another reason this feels like a generic action film just in a sci-fi setting, is the emphasis put on Max's love interest Frey (Alice Braga). She seems like an unnecessary character. She is there to provide him with more motivation and a character arc, but that role could've been filled by his friend Julio (Diego Luna) just as easily, without some necessary romance.

Looking at the film as an action film it works: great action sequences, cool futuristic weapons and plenty of explosions. Just don't look for a classic sci-fi film like District 9.

tl;dr more action than sci-fi, interesting characters, plot notsomuch

The To Do List (2013)

A satisfying comedy with fun characters

[7/10 · 17 August 2013]

As can be expected from the title, trailer, poster, and concept of the film, The To-Do List is chock full of penis and vagina jokes. It isn't a high-brow comedy, but the sex jokes and gags are funny without feeling as juvenile as they do in many other films, like the countless American Pie movies. Also, amazingly, there is no actual nudity. Though the plot falters here and there, overall it is a satisfying comedy.

The plot is quite straightforward, the virgin high school valedictorian, Brandy played by Aubrey Plaza, is looking for sexual experience and to lose her virginity before going to college. Her target is Rusty Waters, a college guy she works with at the local pool. The plot however, starts to fall apart a bit at the end of the second act. There is a rival pool club introduced, people start exploiting Brandy, and other things where is minimal to no payoff. There are also really cliché final monologues by Brandy about sex and love, which aren't funny at all and feel out of place.

I am a huge fan of Aubrey Plaza. April Ludgate from Parks and Recreations is fantastic. This is just her second leading role in a feature after Safety Not Guaranteed. Overall, her performance is great and she is funny. However, there are a few instances where her lines felt a big forced. I think the larger problem was the character. Conceptually it is an interesting character, A-student approaching sex in a systematic way and eventually becoming a sexual deviant. While this should be a subtle character arc, in this film Brandy becomes a completely different person almost immediately. While her dialogue is generally consistent, her actions are not. It feels like the character was written into situations, instead of thinking what situations the character would find herself in. Speaking of character arcs: Bill Hader's character Willy. Bill Hader is hilarious and the character is great, but the way he is used the plot is strange. It seems like he may have initially had a lot more scenes that were cut.

The rest of the characters in the movie are great though. The interactions between Brandy and her sister lead to many a lols. Brandy's parents are also the source of a lot of humor. (People keep mentioning Brandy's dad is a judge, though it never comes to play. Am I missing a reference? The whole time I was waiting for him to do something judge-y. But I digress). Brandy's two best friends are funny as well. They are more sexually experienced than Brandy and offer her amusing advice and it is slowly revealed that almost as ignorant as Brandy. Cameron (Johnny Simmons) is the sort of cliché 'male best friend who is desperately in love with her but she doesn't realize her feelings till the end' character. But in this film he is quite a wimp, crying and moping around often. Rusty Waters also might seem like a cliché on the surface, but in the end he isn't the typical movie 'jerk who she is in love with and doesn't realize he is a jerk'. Also, it's great to see recognizable faces like Donald Glover, Andy Samberg, and Christopher Mintz-Plasse in minor roles.

The time period is also another character in the film- the 90s. Every scene is riddled with things pure 90s America- beepers, waterbeds, furniture covered in plastic, various posters of 90s bands and TV shows. Most of the time they are more subtle jokes and aren't in your face, though a few instances feel like it's a bit much.

tl;dr Sex jokes… sex jokes everywhere; great for anyone who grew up in 90s America, fun characters, don't think about the plot too much.

The Bling Ring (2013)

An shallow film about shallow characters

[4/10 · 22 July 2013]

There are an increasing number of movies "based on actual events." Usually, the events depicted are interesting or are made interesting; there is drama. This is not the case in The Bling Ring where nothing really happens. It is just one robbery after another. The majority of the film is them going from house to house. There is a mild attempt at rising action, as the heists become a bit more extreme, but it doesn't lead up to anything. The beginning of the film shows that they are eventually captured by the authorities, but that event itself is very anti-climactic. You don't feel the chase, it just sort of happens.

Though they generally rob in groups, it is Marc (Israel Broussard) film. There is a laughable attempt to give him backstory – he is a typical high school "loser" and has no friends. But magically makes friends with Rebecca (Katie Chung) on his first day at a new school. The film never shows the start of the character arc, rather we only see Marc as a vapid, and clothes obsessed thief. He is a very boring character overall. He initially meekly mumbles that they shouldn't rob these houses, but makes no effort to stop himself or the others. It would have been much more interesting if the film focused on Katie Chung's character. She was the real instigator of the robberies and seeing into her psyche would have been much more fulfilling. I would have preferred to know the motivation of her actions rather than Marc's, who just wanted friends, and to be liked and feel beautiful.

Overall, the problem is lack of tension or drama. In this sense it is not very dissimilar to Sofia Coppola's earlier film Lost in Translation (2003), but at least in that film, there are engaging and interesting protagonists. The film is more of a portrait of the vapid Hills teens that never itself delves beneath the surface. There are moments of attempted social commentary, about how people are obsessed with Bonnie & Clyde type figures. However, it is surrounded by scene after scene of partying, trying on clothes and doing drugs, so they few lines of insightful dialog become lost in the shuffle.

The film isn't all bad, excluding the plot and story. There are a few laughs here and there. The soundtrack is great for anyone fond of hip-hop, featuring songs by Kanye, Frank Ocean, and others. Also, for anyone really into fashion this movie is for them. Personally, I don't care fashion at all. The characters in the film can't help squealing with joy at every piece of clothing, be it Chanel, Alexander McQueen, or various French and Italian names that I won't embarrass myself by trying to spell. Also, seeing Hermione as a vapid rich white girl in California is quite hilarious and honestly the main reason most people went to see this film.

tl;dr: Nothing happens. Shallow characters and plot. Soundtrack is good though, and Emma Watson is funny. Watch if you really like fashion.

The Kids Are All Right (2010)

This indie style comedy/drama captures real life.

[8/10 · 17 February 2011]

"The Kids Are All Right" features Annette Bening and Julian Moore as a lesbian couple. Their children contact their sperm donor played by Mark Ruffalo. The plot circles around the family and the troubles that arise.

Initially, it seemed to me that they were making the fact the parents were lesbians a bit overt, that it makes one say "I get it already!" But luckily, this doesn't last. Otherwise, the acting is fantastic and very realistic. Julian Moore's character is sort of "meh" personality wise. Bening somewhat reprises her fantastic role in "American Beauty" by being the money maker of the household and being strict and condescending. And Ruffalo is a guy who enjoys life, is smooth- he rides a motorcycle, owns an organic garden and restaurant. All the parts are played well. The two children aren't really that important to the plot and don't make much of an impression.

What is striking about the film is the realness. The first time the children meet their father, there is very awkward conversation with uncomfortable pauses. Seemed unscripted at points.

The genre is actually hard to define- there are funny moments, but not too much and there is some drama, but that doesn't dominate. It falls into the life-like in between with a little bit of both.

8/10

The Truman Show (1998)

A great movie, that is way ahead of its time.

[10/10 · 28 December 2010]

The plot circles around Truman (Jim Carrey). His entire world (a small town) is just a giant movie set. There are hidden cameras and everybody else is an actor/actress. He, however, has no idea. There are a couple of scenes that show people just glued to the TV watching the show. And apparently it is the most popular show on TV. The amazing thing about this unique plot is, that it was released in 1998, when there weren't all that many reality TV shows. The show becomes more and more relevant with its message of people being hypnotized by reality TV and forgetting to live their own lives.

Jim Carrey is amazing. Unlike his other works (Dumb and Dumber and others) he doesn't do over the top comedy. The humor in this movie is of a different sort. It is more subtle. This is Carrey's first serious movie, and it is astounding how he didn't get an Oscar nomination for his performance. He proves himself as an excellent actor, not just a funny man. It is a shame he hasn't taken on more roles in similar dramas.

The supporting cast is also great, including Ed Harris, who got nominated for best supporting actor for his role as director of the show.

It is a very unique movie with an underlying commentary on society and is full of great subtle comedy. All of that is capped by Jim Carrey's Oscar-worthy performance.

SLC Punk! (1998)

Good script, good acting, and very entertaining

[10/10 · 12 December 2010]

An entertaining tale of two punks in SLC, with a good supporting characters, and a strong performance by Lilliard.

Salt Lake City (SLC) is a very conservative place, and the two main characters Stevo (Lilliard) and Bob (Goorjian) are in a very small minority. There isn't much of an overarching story, though there is an underlying message, but rather a collection of events, including flashbacks. These are introduced by Lilliard's narration. The anecdotes themselves are so entertaining, that ride is still very enjoyable. One tale for example, involves the gang getting alcohol from the next state over, and the shopkeeper believing they have been taken over by Satan. There are also serious, dramatic moments, which are effective, as all the characters involved are likable. Lilliard puts on a compelling varied performance, and it is a shame that he wasn't recognized as the great actor he is, and didn't/hasn't become more mainstream. A lesser known film with a great script, great acting, and very entertaining, with some sort of underlying message.

About Schmidt (2002)

A beautiful, emotional piece of cinema.

[10/10 · 21 November 2010]

It's a tale of an old man, who's life sucks. Nobody cares about him, nobody need him. He is greatly disappointed in who his daughter is going to marry, and tries to be controlling, which is not a necessarily a good quality, but the viewer still feels sympathy for this poor old soul. The only person Schmidt is able to confide in is the child in Africa he is sponsoring. It is in his letters that he can express what he is really feeling.

Jack Nicholson has one of his best performances ever, and that's saying something, considering his fantastic career. It isn't all depressing scene after depressing scene, because if a movie is too sad, it isn't enjoyable. There is plenty of humor, dark or otherwise, along the way to lighten the mood.

It's in an emotional journey from beginning to end and is one the most human movies ever.

10/10

Catch Me If You Can (2002)

Entertaining chase movie with all-star cast

[10/10 · 18 November 2010]

This is one of the greatest "cops and robbers" chase movies ever, directed by Spielberg, and featuring an all-star cast.

I'm not a big fan of movies where the main character is a criminal, but this is the exception. DiCaprio is great as always and his character is so clever and likable, that you just want to see how he cons "the system" next. The cop chasing him is Tom Hanks. He has a goofy accent, but he is still also likable, even though he gets really obsessed with catching DiCaprio. Christopher Walken is also there for a few scenes as Leo's dad, and he is great as always.

What makes this movie even more amazing, is that it's based on a true story.

It may seem a bit shallow, since it is basically just one man conning the system in creative ways, but it is very entertaining.

10/10

Daybreakers (2009)

Unique take on the vampire genre

[7/10 · 12 November 2010]

Daybreakers has the misfortune of being released in 2009, during the whole vampire craze. This movie was made in 2007, and if it had been released then, it would probably have done much better, but due to the overpopulation of the genre, it got pushed to the back in the belief that it's just another one.

However it is quite unique.

This movie starts off very strong. About 10 years before the film, a disease apparently caused people to turn into vampire. Now the vampires rule the world, and the unchanged humans have been hunted into almost extinction, because of the need for their blood. The film is successful in making an image of the world if the cold immortals were to rule, complete with underground tunnels, and cars with "daytime" driving modes. It has a very dark, gloomy atmosphere, somewhat like 'Underworld'.

Ethan Hawke is in the lead role, a solid actor. He is a vampire, named.....Edward. ARGH! I know, it's terrible, but this movie was made before Twilight. And this Edward is much cooler than the other one. Anyway, he is researching to find a blood substitute, and not so much as to ensure the vampires don't starve, but more so that humans wont be hunted. It also stars a relatively unknown actress Claudia Karvan, as a human, and William Dafoe with a weird accent that makes him even creepier, as if that were possible. Also Sam Neill as the 'evil' vampire.

The first half is solid, but there is a major mood shift halfway through the movie. It suddenly gets very violent and action-y. The plot doesn't fall apart completely, but the atmosphere and uniqueness are completely forgotten and it seems to be trying to appeal to the violence seeking audience.

An interesting note in this movie is the special effects. Mostly, they are fine, in the sense they aren't obviously noticeable as special effects. But then there are a few that look like bad sci-fi movie effects, like blood in some scenes.

For the first half of the movie, I'd give an 8, maybe even a 9. But the second half is so mediocre, not terrible, just not all that good, that the final rating is: 7/10 Check it out.

Everybody's Fine (2009)

Good, but missing something

[7/10 · 10 November 2010]

So as seen on the poster, this movie has a great cast: Robert De Niro, Sam Rockwell, Kate Beckinsale, and Drew Barrymore. However, the supporting characters are on screen for only a short while, and your mostly going to see little old Bobby. Of course this isn't necessarily a bad thing, since De Niro is great as usual. It's a story of an old widower who is trying to reconnect with his kids. It's sort of like About Schmidt (2002), but doesn't have the same effect as the other movie. It gets sad towards the end, and the final scene is sort of sappy, but it just isn't as powerful as the other movie I mentioned.

The plot is decent enough, a person story and the acting is great (though there could be more Rockwell. There could always be more Rockwell). It's just missing a little something. It's not bad, but I recommend seeing About Schmidt instead if you want to see a film about a sad, lonely old man.

Disco and Atomic War (2009)

An insightful and entertaining documentary

[9/10 · 10 November 2010]

Disco and Atomic War is an entertaining and intriguing documentary about a lesser known aspect of the later years of the Soviet Union. It focuses on how people in Northern Estonia were able to peek out from behind the Iron Curtain through Finnish television and radio, which enables the people to learn about things such as, well, Disco.

The way the information is presented is entertaining. They use clips of television shows and commercials of the time and tell amusing stories of the inhabitants of Tallinn (the capital of Estonia, located in the North), and of the powers that be, who tried to somehow control the "westernizing" of the local people.

The stories are somewhat absurd, and provide some fun humor into this documentary, a genre of movie which usually isn't all that "entertaining".

The effects of the subject matter, TV and radio, on the fall of the Soviet Union is blown a bit out of proportion, but that is normal for a documentary.

This is an excellent film about a topic, that is not as well known, even by the younger people in Estonia, who weren't alive at the time.