“Be careful, Charley. Romania can be a very dangerous place.” That’s the bit of advice Charley (Will Payne) gets from his prof, Gerri Dandridge (Jaime Murray) right after she threatened to kill him. All must go hush-hush for the time being since another student, and Charley’s love interest, Amy (Sacha Parkinson) somehow wandered onto the scene. It’s a game of cat and mouse for a good while as Charley and his prof must make time to go over whether or not he should die. Maybe he could stop by after lunch?
This is a stylish sort of scary. It’s actually not that easy to get it right and “Fright Night 2: New Blood” gets it right. It comes out on DVD and Blu-ray on October 1. It’s light horror with high production value. Like “Buffy the Vampire Slayer,” it has its own sense of humor but it knows to respect the scary stuff.
If you’re looking for a great double feature, you should try two sci-fi blockbuster action flicks with a lot in common, “Elysium,” in theaters now, and “Oblivion,” new to home entertainment. Director Neill Blomkamp has come a long way since his hit, “District 9.” For the bean counters monitoring the box office, it may seem like Blomkamp still has a way to go but whatever. The heart and soul of this movie is in the right place. It is an accomplishment when you can entertain and provide some sort of message.
You’ve got such an intense activist like Matt Damon as your star, and you throw in power-to-the people red meat for him to devour, and it works! Something similar is going on with “Oblivion.” Another promising director, Joseph Kosinski, is coming into his own. And he also throws in red meat at another intense actor, Tom Cruise, and that works too! Comparing the two movies is understandable given the renewed interest from Hollywood in sci-fi. You can just imagine the boardroom meetings: “Star Wars is going to eat our lunch!” And so sci-fi projects are getting the green light left and right. These two are similar movies but with different enough temperaments to keep us hopeful about big budget sci-fi.
There is a parallel reality at play in both movies. “Oblivion” is shrouded in mystery but the two worlds of “Elysium” are very clear. It’s 2154 and what’s left of Earth is for the poor to fight over. The one percent have set up nicely in a space station that houses a luxury version of Earth. It will be up to Max (Matt Damon) to save all of humanity. In “Oblivion,” it’s 2077 and Jack Harper (Tom Cruise) is part of the elite, as far as he knows, at the start of the movie. He and is partner/lover, Victoria Olsen (Andrea Riseborough), take orders from a central command back on Titan, one of Saturn’s moons, while they act as the final clean-up crew before they too must depart for Titan. It will only be after digging around, and nearly getting killed, that Jack discovers what’s really going on.
“Elysium” proves to be the more clear-cut cat and mouse game. Max is way over his head attempting to confront the very powers of Elysium but he’s the man to do it. “Oblivion” is a great case of trying to figure out who exactly is who and who or what is in charge. In both cases, the hero is attempting to save his fellow humans. One movie takes a more hot direction. The other takes a more cool direction. Do it now or wait until later, but together they make for one great double feature.
FAT, SICK, AND NEARLY DEAD, a documentary about what happens when a rich guy discovers he’s gone to the buffet way too often and put his life at risk, came out in 2010 and I totally missed it. In 2010, I also missed PASSION PLAY, starring Bill Murray and Megan Fox so, of the two, I’d be more inclined to catch up on that one. But there was something about this documentary that seemed like an offbeat take on Morgan Spurlock’s SUPER SIZE ME that I couldn’t resist. This is a person who has the means to indulge in a quest. The question is whether or not you should come along. Continue reading →
“In the Land of Retinal Delights,” oil on canvas, 1968, by Robert Williams
ROBERT WILLIAMS MR. BITCHIN’ is now available on DVD and VOD. It is a unique documentary, distributed by Cinema Libre Studio, on Robert Williams, a significant artist that has done a lot to usher in the zeitgeist as the leader of the Lowbrow art, or Pop Surrealism, movement.
We take for granted today the mash-up of high and low culture. It is considered common knowledge that we do this mashing up. Everything is oh so “mashable.” Media empires rely upon it. How cute and comforting it all may sound now but there was a time when the lines between the art world establishment and the outsider were far more clearly drawn. Never mind the myth of such bad boy artists as Jackson Pollock or even Andy Warhol. It was the art world, taking its orders from a closely knit New York elite made up of a handful of blue chip galleries and high end art magazines that decided which bad boys, with the occasional bad girl thrown in, would go on to be crowned art royalty. It was something that artist Robert Williams could hardly not notice since, during his early career, his art was on the wrong side of the established line. As the years progressed, Mr. Williams would find the whole line not only switching in his favor but becoming blurred. This, in no small part, was due to him.
A new documentary, “Robert Williams Mr. Bitchin,” provides us insight into this process of becoming acknowledged as a professional fine artist as well as what it takes to make groundbreaking art, to really make art history. This is the highest achievement an artist can seek and that is what we see Mr. Williams set out to do and ultimately achieve. It is truly an inspiring story that clearly shows you how the mysterious art world climate can change despite itself. It is an argument that lead director Mary C. Reese and co-director/writer Nancye Ferguson are more than happy to make a case for with Mr. Williams as their prime example. And Mr. Williams, an amiable person, is quite adept at helping connect the dots to his own career.
The whole style of this documentary seems to suit its subject’s nonconformity well. It’s not a high end production, per se, and is ready to practice what it preaches as it presents a more casual shaggy dog presentation as opposed to your typical “art” documentary that can be restrained and clinical. There are no polished dramatic pauses, for instance. Design is pretty basic. But, at the same time, that is not really a problem at all. There is more of an honest blue collar approach that undercuts any need for too much in the way of heightened experience. The interviews, archival footage, and art speak for themselves quite nicely. And, where the budget allowed, you see some nice additional touches as in the multi-layered observation of the actual artwork.
You can tell that the filmmakers were going for a more familiar feel in many of the exchanges between Mr. Williams and the camera. At one point, he jokes that, as far as he understands from Werner Herzog, cinéma vérité is passé, implying he’s not so sure he wants to be followed too closely. The response behind the camera is a good-natured shrug and, “It’s Okay.” Mr. Williams shrugs back with a wink, “Okay.” In another scene, he sort of mocks concern over his interviewer’s lack of knowledge in anthropology. He is also quick to say he is more than happy to defer to his wife, Suzanne, and her expertise. This all adds up to showing Mr. Williams in a relaxed and trusting mood. We even see the couple riding unicycles.
Back to art history, the documentary does well with its facts and there are inspired moments as when we are swept away to the greener pastures of post-war Los Angeles. Everything cool, from Betty Page to hot rods, is happening out there. It was some pretty heady stuff decades ahead of its time, particularly for the East Coast establishment. This was the culture that Mr. Williams knew and loved. This is what Mr. Williams drew and painted. Along the way, he created iconic work, including naked women lounging on top of giant tacos, and inspired a new generation of artists.
We follow his career from his work with Big Daddy Roth through to his falling onto the general public’s radar with his painting, “Appetite for Destruction,” becoming the album art for the legendary rock band Guns N’ Roses. And onward to Mr. Williams’s answer to Art News and the like, his creation of the influential art magazine, Juxtapoz, and his own work being recognized by today’s art world establishment. “Robert Williams Mr. Bitchin'” proves to be the right mix of respectful tribute and irreverent fun.
Tuesday, July 30 – Screening at 7:30pm at The American Cinematheque (Egyptian Theatre, 6712 Hollywood Boulevard, Hollywood, CA 90028). Q&A to follow with Robert Williams, Suzanne Williams and filmmakers Nancye Ferguson, Stephen Nemeth, Mary C. Reese, Doug Blake, Michael LaFetra and special guests! Details: http://www.americancinemathequecalendar.com/content/robert-williams-mr-bitchin%E2%80%99-0
DVD and VOD street date – July 30th available at major retail outlets and digital platforms (Hulu, Amazon Instant and more!)
ABOUT CINEMA LIBRE: Cinema Libre Studio is a leader in distributing social-issue documentaries and features by passionate filmmakers. Headquartered in Los Angeles, the Cinema Libre team has released over one hundred films including the Sundance Audience Award‐Winning FUEL, THE END OF POVERTY?, Rachid Bouchareb’s LONDON RIVER and Oliver Stone’s SOUTH OF THE BORDER. The studio is developing John Perkins’ best‐selling memoirs, CONFESSIONS OF AN ECONOMIC HIT MAN, into a major motion picture. For more information and updates, please visit: http://www.cinemalibrestudio.com and follow on Facebook and Twitter.
“The Incredible Burt Wonderstone” reminded me a bit of another comedy about another delusional magician, 2008’s “The Great Buck Howard,” starring John Malkovich. That is a case of a drama with a touch of comedy. “Wonderstone” falls into a special brand of comedy, high on irony, with touches of drama. It stars Steve Carell, Steve Buscemi, and Jim Carrey, all masters of that form, in this hilarious, and heartfelt, movie.
This is a buddy movie. It’s the story of two partners in magic, Burt Wonderstone (played by Steve Carell) and Anton Marvelton (played by Steve Buscemi). We follow them into the spotlight and a long run at a major Las Vegas casino. It turns out to be a much too long run, as far as the casino tycoon Doug Munny (played by the late James Gandolfini) is concerned and he’s ready to end his contract with the guys. The act has become a caricature of itself, beyond stale, with the same lame old stunts played out to Steve Miller Band’s “Abracadabra.”
It wasn’t always so sad. The first scenes with the kid versions of the leads, Mason Cook as teen Burt and Luke Vanek as teen Anton, are pretty moving. Back when “Abracadabra” was a hit, everything was so fresh and full of promise. It was magical! When Burt, after suffering yet another thrashing from bullies, is given a magic kit as a birthday gift, his future suddenly seems brighter. He pops in the VHS tape and there’s Rance Holloway (played by Alan Arkin) ready to sweep him away from his worries and open up a whole new world of magic. He shares his new insights with his best pal, Anton, and they’re off and running.
Over the years, we’ve had some very successful comedies, from Mel Brooks to Judd Apatow, that have had us pull back from traditional sentiments and yet still invest something in the characters. When all the stars are in alignment and the story is properly synchronized, it can make for some surprisingly good results. Who would have thought that “The 40 Year Old Virgin” would have gotten to you on more than the most superficial level? Well, comedy is a very funny thing. Director Don Scardino (2 Broke Girls, 30 Rock) should know. And screenwriters Johnathan Goldstein (The Adventures of Old Christine) and John Daley (Bones) also know. If one buys into a premise, no matter how full of silly jokes, it is possible to create something meaningful.
For a comedy that you’d think should not be taken seriously, it packs some good lofty thinking. There’s quite a bit of angst and searching for meaning going on here. Burt and Anton are at a major crossroads. Their whole existence is being called into question. They are in the throes of an identity crisis. And to add to it, an ominous figure emerges, Steve Gray (played by Jim Carrey), who taunts Burt and Anton by having them doubt their very purpose in life. Steve Gray represents the new breed of illusionist who mocks the traditional craft of magic tricks and has become famous for his stunts, like going a week without urinating. He is supposed to be the future. And Burt and Anton are supposed to be the past.
Things only get worse before there’s any hope of them getting better. Just as Burt appears to have suffered through all possible humiliation, he crosses paths with his old mentor, Rance Holloway. Alan Arkin, a legend in comedy, is quite up to the task of providing the heart and soul that could makes things right. Add to that, there is Burt’s mistreated assistant, a sexy young woman, Jane (played by Olivia Wilde) who, by all rights, shouldn’t even be anywhere near Burt. But, as if my luck and magic, Jane remains nearby doing her part to provide incentive for Burt to fully redeem himself.
Comedy and magic share a lot in common. They can both be very direct pure entertainment. They can both have the quality of being very unreal while affecting us in a very real way. This story about magic is handled with love, and the right amount of irreverence, to keep it relevant and magical. It’s impressive how artful this movie really is. When you stop and think about it, Steve Gray, the flashy illusionist, is there, despite himself, to push Burt. He’s delusional to a toxic level but he’s also, inadvertently, confronting the whole purpose and intent of entertainment in general. Does the public only want spectacle? Wow. The talent behind “The Incredible Burt Wonderstone” has got some answers for that and they will also make you laugh.
By the way, if you have caught the magic bug, you’ll want to check out Market Magic Shop here. And, if you’re in Seattle, you can visit them at Seattle’s Pike Place Market. Since I’m in Seattle, I get to visit whenever I want. My last visit inspired me to write this movie review. Here’s a look at me dabbling with a little magic:
And be sure to visit “The Incredible Burt Wonderstone” official website here.
Talk about girls in trouble. Two current films tackle the subject in very different ways: Sofia Coppola’s “The Bling Ring” and David Wnendt’s “Combat Girls.” While these two films are miles apart, they also share some distinct similarities. In both cases, these are stories of young women adrift. When you are lost, you just might grab at anything that will make your life work, whether it’s joining a gang of thieves or joining a gang of skinheads. What we expect to see is these girls wise up as soon as possible. In both of these films, the young women must do what they do and let the consequences follow.
“The Bling Ring” is now in theaters. “Combat Girls” becomes available on DVD, VOD and Digital Download for the first time ever on July 9.
THE BLING RING
Emma Watson and Katie Chang in “The Bling Ring”
Let’s start with Sofia Coppola’s latest excursion into disconnected youth. Each of her films seems like a light and delicate soufflé. They are a treat, no doubt. But you always wonder, since “The Virgin Suicides,” if they might fall flat or require an added bit of indulgence. Ultimately, you leave savoring your meal, don’t you? That’s the thing to keep in mind. Like Wes Anderson films, there are certain ingredients that go into the mix and it’s best to be patient and see what happens.
A few years ago, a band of bratty kids from the San Fernando Valley went on a crime spree breaking into the homes of Hollywood bratties like Paris Hilton and Lindsay Lohan. They were ultimately caught and their story was immortalized in an article published by Vanity Fair. All this raw material was just waiting to become the material for a Sofia Coppola movie. All the characters in this story defy any sympathy. And that’s the point of this story.
While the subject and the story may seem light, the overall effect of this film is actually pretty potent. A story like this one that subverts the conventional path to redemption is not at all shallow. It reminds me a bit of Gus Van Sant’s 1995 “To Die For,” starring Nicole Kidman, as an aspiring TV personality who will kill to gain the spotlight. While these girls aren’t killers, they are well on their way.
Rebecca, the ringleader, played by Katie Chang, is the most unlikely of leaders, ready to betray her friends and easily distracted. Nicki, played by Emma Watson, is a fine example of the rest of the gang in her ability to disconnect from reality. She does such a good job of it that she manages to create a good distance between the crime and herself. She ends up serving very little time and, in the end, it’s like it never happened, just a growing experience on her way to becoming an upstanding leader of society. I has to be said that Emma Watson “steals” the show in her role.
While the girls in “The Bling Ring” are not exactly rewarded for their bad behavior, they find the consequences to be minor at best. It’s almost like it leaves them hungering for yet a bigger thrill. Perhaps, years from now, that will be the material for another Sofia Coppola movie.
“The Bling Ring” is now in theaters. DVD Release Date is estimated to be November, 2013.
COMBAT GIRLS
Alina Levshin and Jella Haase in “Combat Girls”
When we first see the band of hooligans take over a train and dominate the passangers, for a fleeting moment, they appear capable of anything. The posturing, the thumping and hypnotic music in the background, and the wild aggression make for quite a scene. But we quickly see they are cowards and only capable of inflicting pain. Director David Wnendt is a rising star and “Combat Girls” is his breakout film in the United States.
This film takes a more traditional route to redemption but does it with such a palpable urgency. This is a remarkably elegant and artful film, considering its rough subject. It is so lean and well paced that it casts you under its spell of intrigue, that rises to the level of Hitchcock. You may not be expecting so much going on in one film but this one is working on many levels.
Lost youth. The sins of a nation and its people. The burden of the past. Director David Wnendt’s goal, much like Sofia Coppola’s in “The Bling Ring,” is to speak on many factors all at once. As much as the past is the past, it haunts us and, given a chance, it will, like a virus, attach itself to new hosts. The legacy of Nazi Germany becomes the burden shouldered by two young women, one rich and one poor. The poor one, Marisa, played by Alina Levshin, is entrenched in all the rituals and life of the neo-Nazi: her boyfriend, her friends, her whole life. At 20, she is looking forward to nothing else.
For Svenja, at 15, she has many advantages open to her. She excels in school and has a bright future amid an upscale background. However, she has a creepy stepfather who dominates her life. He is so bent on having her quit smoking that he forces her to smoke a whole pack of cigarettes in his presence. As much as a lark than an outlet, Svenja takes up with one of the local skinheads. It’s only a matter of time before she has to prove her mettle to the relentlessly demanding Marisa.
And then there’s some twists of fate. First, Marisa’s thug boyfriend is hauled off to prison leaving Marisa untethered. This leads to the turning point in her life that happens abruptly but ends up having plenty of time to fester. Marisa has done something very bad but she doesn’t know to what extent. The only person who can provide her with any solace is her grandfather who is dying in hospital and has contributed far too much to Marisa’s fragmented life.
What happens next is extraordinary. Marisa, at still a young age, learns there is more to life than she has ever known before. It seems like it’s never to late to turn a page but, in Marisa’s case, the consequences of change may prove too severe.
Artsploitation’s release of COMBAT GIRLS will arrive on DVD, VOD and Digital Download for the first time ever on July 9, 2013. The DVD extras include an interview with Alina Levshin and an 8-page booklet.
At a pivotal moment, our hero (played by Henry Cavill), asks a pastor for guidance. His advice on whether or not to trust the humans is, “You must take a leap of faith. Trust will follow.” “Man of Steel” proves that a leap of faith will be rewarded. Both Warner Bros., and its audience, have taken the big leap. Warner Bros. chose to create a movie with some bite to it. And audiences have chosen to give it a chance. Since “The Dark Knight,” it seemed all superhero movies were destined to go dark. However, the script by the same talent behind “The Dark Knight,” David S. Goyer and Christopher Nolan, remains true to Superman’s innate power to uplift.
“Man of Steel” mines fertile ground in what is far more than just an origin story. This is simply one of the best Superman stories, period. The trailer and the publicity photos don’t do it justice if you can imagine that. You really just need to see it. I wasn’t sure what to expect but this is an exceedingly good movie. It’s as if everything you know, or thought you knew, about Superman has been cleared aside and you go into this completely fresh.
Come to think of it, you do briefly see a young man out in the Alaska wilderness in one of the trailers. That’s the spirit to this film: cut to the chase, rough and tumble, direct and honest. You’ve got Zack Snyder (“300,” “Watchmen”) directing so you can expect a gritty vibe. Snyder lets all his men be manly men with a strong sense of purpose. You get impressive male performances, notably from Russell Crowe, as Jor-El; Kevin Costner, as Jonathan Kent; and Michael Shannon, as General Zod.
Looking back to 1978 and Richard Donner’s “Superman,” what “Man of Steel” accomplishes is to naturally present a thoroughly contemporary Superman. There is room for pauses, and even hesitation, but it’s at a quicker and steadier pace. There is a sense of urgency running throughout “Man of Steel” that is a lot of fun to watch. Does Henry Cavill measure up to Christopher Reeve? Does Amy Adams measure up to Margot Kidder? Yes, in very different ways. It’s a more no nonsense approach. You won’t find Henry Cavill endlessly fumbling with his fedora or Amy Adams looking just a bit hung over from partying with a rock star. There just isn’t time for it. Even the name, “Superman,” is barely uttered by Lois Lane before the plot pushes us elsewhere. There is so much invested in this very purposeful story that we don’t even need to worry about Clark Kent, ace reporter, at all. Save that for another story.
Krypton is anything but window dressing in the story. The opening scenes on Krypton are so vivid and well put together that you feel you could linger there much longer. Russell Crowe commands the screen as Jor-El. The dispute over how to save Krypton escalates out of control. Michael Shannon, as General Zod, makes for a satisfying villain with just the right sense of menace. In this case, it’s not mere jealously or some maniacal thirst for power that drives the bad guy. General Zod sincerely believes in what he’s doing and will stop at nothing to get there. The fact he’s trying to save his people gives our plot that added weight and clarity.
Thankfully, this Superman movie got it right. It just feels right. It’s the Superman movie for these times without trying too hard to be so. Henry Cavill gets to be a young man trying to find himself without once coming across as a brooding self-loathing Eddie Vedder wannabe. Maybe if he’d worn a hoodie that would have been too much. But no hoodies to be found here. Amy Adams is so natural as Lois Lane that we don’t even care that she’s not a traditional brunette Lois. And yes, she’s every bit a woman matched up to the salty Margot Kidder. And leading the Daily Planet is editor-in-chief, Perry White, played with gusto by Laurence Fishburne. An Afro-American as Perry White in 1978 would have raised some eyebrows but not today.
1978’s “Superman” seems to have had the luxury of playing things a bit slow and off tempo and hardly veering off the well-worn path Superman movies and comics had known since they’d started. But, in 2013, you snooze and you lose. Superman might have appeared a daunting task to get right but “Man of Steel” found a way to make it look easy.
“Man of Steel” keeps that leap of faith flying steadily in the air. It will not only make you believe a man can fly. It will give you faith in more Superman movies to come.
It’s not like Elijah Wood woke up one morning eager to play the role of a psychopath. Or maybe it was. Hell, it worked for Anthony Hopkins in “Silence of the Lambs.” And it sure works for Elijah Wood in “Maniac.” Now, is this an essential horror movie? I would say yes, it is.
Nora Arnezeder and Elijah Wood in MANIAC
There’s a style to this one that is undeniable and it has as much to do with a willingness to go to extremes as it does with artistic vision. The deal that is struck between the film’s creative team and the audience is that of willing to see something get really bloody disgusting for the sake of saying something new. The actors are good for it as we have a solid cast led by a dynamic, and demonic, Elijah Wood, as Frank. This is followed by Nora Arnezeder as the love interest, Anna.
Nora Arnezeder in MANIAC
“Manaic,” originally a 1980 grindhouse movie by director William Lusting, has been transformed into a very cool and detached thriller by director Franck Khalfoun. There is no getting around the fact that the killer scalps his victims so that’s the bargain you have to enter into.
Sharing less with grindhouse and more with arthouse, “Maniac” falls in with such classics as “Peeping Tom” and “Psycho.” The main character of Frank in “Maniac” shares an eerie quality with Norman Bates and Mark Lewis. We all know that Norman Bates was a serial killer who could easily keep to himself having inherited his mother’s motel. And so is the case for the lesser known, Mark Lewis, in “Peeping Tom.” He’s a serial killer who inherited his father’s home that he sublets. Both men seem to have control over their destinies but clearly don’t. Both have major mother issues. In the case of Frank, he too is a serial killer and he has inherited the family business, a creepy one, the restoration of mannequins. And you better believe he has mother issues.
Keeping with tradition, Frank becomes attracted with one particular woman that he places in much higher esteem than his usual victims. We can see this coming from a mile away but it is exactly what we hope for. Both Elijah Wood and Nora Arnezeder are great as the doomed couple. While we never really want to sympathize with the Frank character, we are given reasons to consider it. Of course, poor Frank is too far gone for us to ever think Anna can save him. Before we can even see a glimmer of hope, we’re right back into the classic horror movie concern: Will the girl be alright?
Like “Psycho” and particularly “Peeping Tom,” we see a lot of the action through the killer’s eyes, so much so that our first glimpse of Frank is from a mirror. “Maniac” gives us a troubled loner with a sharp contemporary edge. Elijah Wood’s Frank shares something with his audience: disconnected, struggling to connect. Without reading too much into it, Frank serves as an apt symbol for society’s dysfunction. His outlet: scalping women to death. Pretty gruesome stuff and, getting back to the bloody disgusting, classic horror entertainment.
MANICA OPENING THEATRICALLY @ THE IFC CENTER AND ON VOD JUNE 21, 2013
View the MANIAC trailer and get more details here.
Meet Stanley Farmer (played by Charlie Floyd). He’s an aspiring filmmaker. Only problem is he has a psychotic way of expressing himself. But, as this dark and witty horror film makes clear, a lot of people are willing to overlook such a thing. Putting one’s life in danger, even pretty much guaranteeing your life is in danger, won’t stop some from seeking a touch of glamour and fame, even if it’s of the most dubious sort. We live in such a disposal and alienated society. Some would call it, hyperreal. Times like these demand a good shock to the system that a good meta horror movie can deliver.
One moment, you could be passively lurking on your laptop and, the next, you could be inside some stranger’s home on the verge of engaging in something. Something? That’s what each person who answers Stanley’s ad is wondering about. What is the “something” that will happen if they choose to spend the night in his basement? Stanley won’t tell. It would ruin the surprise. He explains to each of his potential victims, or…actors, that he is after authentic responses to fear. And like perfect lemmings, each one readily accepts the reality television model.
One participant, a pert and lovely young woman named Sylvia (played by Jessica Green) only asks for some nominal reassurance, “You’re not going to kill me at all?” Stanley lays on what still sounds like a suspicious charm and that is enough for Sylvia to follow him into the basement. What makes such a scene work so well is that it rings so true.
We don’t know what is real anymore, do we? Well, sure, we do but–do we, really? The clever self-aware quality of “Do You Like My Basement?” provides the right amount of satirical bite that pulls you into the humor as well as the horror. Writer/director/producer Roger Sewhcomar set out to create something special, an intelligent horror film, and he truly succeeds. This is a thoughtful thriller with references to the Michael Powell 1960 classic, “Peeping Tom,” but with an utterly contemporary sensibility. Camera work is both slick and jittery when needed. A strong cast will keep you glued to your seat. The contrast between pleasant big city apartment and dank and creepy basement is truly jarring and, even if the characters are easily lured in, it will prove an effective reality check for you, the viewer.
Early on, we witness a tragic murder caught on tape, a little “something” that occurred at some point. By the time we view the first audition to Stanley’s experimental film, we’re so invested in the safety of the poor young man, Chad (played by Devon Talbott) that even the slightest sign of danger leaves us queasy. Adding to the suspense and disturbance, again, is how easily Chad is willing to put up with insults, innuendo, and unveiled threats of danger. The screws keep being turned, people keep entering Stanley’s apartment and not leaving. Stanley even gets a bit sloppy, seeming not to care if he gets caught. But he’s also a resilient chap as you’ll come to see for yourself.
On Wednesday, May 29th, NewFilmmakers presents its Experimental Documentary Series, a Short Film Program, and the new horror feature, DO YOU LIKE MY BASEMENT? View details here.
And be sure to check out the DO YOU LIKE MY BASEMENT? website here.
I watch a lot of movies and I sometimes take it for granted that you do too, that you’ve already seen this or that cool movie. Or maybe I’m stacked to the gills with pop culture and it’s hard sometimes to know which direction to point my noggin in and start writing. Case in point, SAFETY NOT GUARANTEED Wow, I think there’s a lot of folks out there that are still playing around with the meme that inspired this fine indie flick. It has, for starters, the hero of indieland, Mark Duplass. That man was born to command the indie screen. Catch him in YOUR SISTER’S SISTER with the ever lovely Emily Blunt.
Anyhow, this was one story and then it became quite another more intricate one. As for where the meme came from, the early age of the internet, 1997. A popular magazine about rural living entitled, “Backwoods Home Magazine” had some extra space to fill on one of its pages. So, senior editor John Silveira filled it with a poetic fake ad. Pretty decent, a decade before Twitter: Someone to go back in time with me…Safety not guaranteed. I have only done this once before.” Jay Leno picked it up for his stupid ad routine on “The Tonight Show,” even though it doesn’t reveal someone for being stupid and so a meme was eventually born.
Next up for that delightful little meme, director Colin Trevorrow and writer Derek Connolly turn it into a fanciful, quirky movie. We begin with a meeting at a slick Seattle magazine. Everyone is throwing out ideas. An editor decides he’d love to do something with this oddball ad so a team is created: one cynical reporter and two very green interns. They all jump into an SUV and, if they’re not careful, this will just be another hack job by Jeff (Jake Johnson). The two interns appear to be useless. Arnau (Karan Soni) seems to be an uptight killjoy. Darius (Aubrey Plaza) seems to be an apathetic slacker. But, given a little time, magic occurs in more ways than one. It turns out, that Darius isn’t really a slacker. Given the opportunity, she invests in turning their questionable quest into a worthwhile story.
But there’s more. Kenneth (Mark Duplass), the guy who wrote the oddball ad about time traveling isn’t an obvious nut job. He’s kind, intelligent, and somebody that Darius can’t easily dismiss. And, you guessed it, Jeff and Arnau also grow as characters but in unexpected ways. It’s the evolution of Darius and Kenneth that really captivates. With a delicate touch, this movie will make you believe anything is possible.
So, yeah man, this the prefect time to support this movie. As you probably know, there is a more to the life cycle of any movie that its initial theatrical release. SAFETY NOT GUARANTEED is now available on DVD and Blu-ray. Visit the movie’s website here.
Movie Review: ‘The Bling Ring’ and ‘Combat Girls’
Talk about girls in trouble. Two current films tackle the subject in very different ways: Sofia Coppola’s “The Bling Ring” and David Wnendt’s “Combat Girls.” While these two films are miles apart, they also share some distinct similarities. In both cases, these are stories of young women adrift. When you are lost, you just might grab at anything that will make your life work, whether it’s joining a gang of thieves or joining a gang of skinheads. What we expect to see is these girls wise up as soon as possible. In both of these films, the young women must do what they do and let the consequences follow.
“The Bling Ring” is now in theaters. “Combat Girls” becomes available on DVD, VOD and Digital Download for the first time ever on July 9.
THE BLING RING
Emma Watson and Katie Chang in “The Bling Ring”
Let’s start with Sofia Coppola’s latest excursion into disconnected youth. Each of her films seems like a light and delicate soufflé. They are a treat, no doubt. But you always wonder, since “The Virgin Suicides,” if they might fall flat or require an added bit of indulgence. Ultimately, you leave savoring your meal, don’t you? That’s the thing to keep in mind. Like Wes Anderson films, there are certain ingredients that go into the mix and it’s best to be patient and see what happens.
A few years ago, a band of bratty kids from the San Fernando Valley went on a crime spree breaking into the homes of Hollywood bratties like Paris Hilton and Lindsay Lohan. They were ultimately caught and their story was immortalized in an article published by Vanity Fair. All this raw material was just waiting to become the material for a Sofia Coppola movie. All the characters in this story defy any sympathy. And that’s the point of this story.
While the subject and the story may seem light, the overall effect of this film is actually pretty potent. A story like this one that subverts the conventional path to redemption is not at all shallow. It reminds me a bit of Gus Van Sant’s 1995 “To Die For,” starring Nicole Kidman, as an aspiring TV personality who will kill to gain the spotlight. While these girls aren’t killers, they are well on their way.
Rebecca, the ringleader, played by Katie Chang, is the most unlikely of leaders, ready to betray her friends and easily distracted. Nicki, played by Emma Watson, is a fine example of the rest of the gang in her ability to disconnect from reality. She does such a good job of it that she manages to create a good distance between the crime and herself. She ends up serving very little time and, in the end, it’s like it never happened, just a growing experience on her way to becoming an upstanding leader of society. I has to be said that Emma Watson “steals” the show in her role.
While the girls in “The Bling Ring” are not exactly rewarded for their bad behavior, they find the consequences to be minor at best. It’s almost like it leaves them hungering for yet a bigger thrill. Perhaps, years from now, that will be the material for another Sofia Coppola movie.
“The Bling Ring” is now in theaters. DVD Release Date is estimated to be November, 2013.
COMBAT GIRLS
Alina Levshin and Jella Haase in “Combat Girls”
When we first see the band of hooligans take over a train and dominate the passangers, for a fleeting moment, they appear capable of anything. The posturing, the thumping and hypnotic music in the background, and the wild aggression make for quite a scene. But we quickly see they are cowards and only capable of inflicting pain. Director David Wnendt is a rising star and “Combat Girls” is his breakout film in the United States.
This film takes a more traditional route to redemption but does it with such a palpable urgency. This is a remarkably elegant and artful film, considering its rough subject. It is so lean and well paced that it casts you under its spell of intrigue, that rises to the level of Hitchcock. You may not be expecting so much going on in one film but this one is working on many levels.
Lost youth. The sins of a nation and its people. The burden of the past. Director David Wnendt’s goal, much like Sofia Coppola’s in “The Bling Ring,” is to speak on many factors all at once. As much as the past is the past, it haunts us and, given a chance, it will, like a virus, attach itself to new hosts. The legacy of Nazi Germany becomes the burden shouldered by two young women, one rich and one poor. The poor one, Marisa, played by Alina Levshin, is entrenched in all the rituals and life of the neo-Nazi: her boyfriend, her friends, her whole life. At 20, she is looking forward to nothing else.
For Svenja, at 15, she has many advantages open to her. She excels in school and has a bright future amid an upscale background. However, she has a creepy stepfather who dominates her life. He is so bent on having her quit smoking that he forces her to smoke a whole pack of cigarettes in his presence. As much as a lark than an outlet, Svenja takes up with one of the local skinheads. It’s only a matter of time before she has to prove her mettle to the relentlessly demanding Marisa.
And then there’s some twists of fate. First, Marisa’s thug boyfriend is hauled off to prison leaving Marisa untethered. This leads to the turning point in her life that happens abruptly but ends up having plenty of time to fester. Marisa has done something very bad but she doesn’t know to what extent. The only person who can provide her with any solace is her grandfather who is dying in hospital and has contributed far too much to Marisa’s fragmented life.
What happens next is extraordinary. Marisa, at still a young age, learns there is more to life than she has ever known before. It seems like it’s never to late to turn a page but, in Marisa’s case, the consequences of change may prove too severe.
Artsploitation’s release of COMBAT GIRLS will arrive on DVD, VOD and Digital Download for the first time ever on July 9, 2013. The DVD extras include an interview with Alina Levshin and an 8-page booklet.
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Tagged as Entertainment, Film, Film Reviews, Germany, Hollywood, Movie Reviews, Movies, Nazis, neo-Nazis, Pop Culture, Social Commentary, Youth, Youth Culture