Jake’s Review of Crimson Peak

Director Guillermo Del Toro is widely known for his crafty and artistic vision on dark or relatively dark films. He also clearly has an eye for fiction and fantasy. What I’m starting to gather is that he has great concepts and ideas, but when it comes to working out the kinks and details of his story, not all comes together. His largest claim to fame (for those who have seen it) would be Pans Labyrinth. However, he did give us a few hits with the Hellboy films, bookending Pans. The Devils Backbone was well received and Pacific Rim had it’s moments, but all in all I think we’re waiting for him to give us this master class work that we all know he has in him (again exclude Pans). Crimson Peak unfortunately doesn’t give us that said masterpiece. Hopefully one of the dozen projects he works on will turn out to be the diamond among all the, not necessarily ruff, but say, metal alloy. Still pretty and looks good, just not the highest quality we all know is capable of being produced.

That being said, his visuals in Crimson Peak are undoubtedly diamond status. Everything on the actual grounds of Crimson Peak, as well as the nineteenth century setting is captured with great sets, costumes, make up, and overall crisp and clear effects. The entire film is very visually appealing to the eye, something straight out of a painting even. Like previously mentioned, the movie is very moody in its lighting, set design, and captures Del Toro’s iconic gothic feel. If he’s mastered anything, its that.

Other than perfectly capturing the gothic and dark tone of the film, there are a few issues I have overall. The ghosts, as crafty as they look, they aren’t scary. I went in to the movie expecting a drama with horror elements to it, and thats what I got. But even still, the story isn’t anything new or something we’ve never seen before. The new things Del Toro tries to bring to the table are either not given to us enough, or could simply be taken out of the story entirely. Without giving examples due to spoilers, there are just simply a few components to the film that could be exempt from the story and virtually nothing would change. I recently watched an interview with Del Toro, and it seemed that he had a specific vision for the movie, which confuses me even more so. It feels very misguided in its story, and as far as structure goes, the first act, although necessary, does not flow with the following two acts very well at all. They almost feel like two entirely different movies. The film undoubtedly picks up upon its second act in terms of story, as well as getting a look at these ghosts so often brought up. Like the set and costumes, the ghosts have a very unique look to them too.

Like this years action extravaganza Mad Max, the ghosts are given a pretty vibrant and almost gooey red to go along with the color scheme and stick out to the viewers. I enjoyed this, but it still doesn’t do enough to scare you. Despite unoriginality, its still interesting and layered. Just told a few times before. There are many mysteries to keep you hooked throughout, and it unfolds in a decently paced fashion. This unfortunately leads to another flaw. Parts of the story are revealed to the audience here and there, but a lot of it can be foreseen, so when the information is no longer a mystery, the outcome is not nearly as exciting as it should be. It’s almost like beating a video campaign for the third time. It’s enjoyable and exciting, but you already know whats coming.

But I will say this, Jessica Chastain is quickly cementing herself as one of the best actresses working today. Nothing Oscar worthy in this film, but what it does do is add to her resume of well acted roles. She’s been nominated before, but expect her name to rise very quickly to the Hollywood “A” list. Her character Lucille Sharpe is a troubled woman with a rough past, but very clever in her plotting ways. Her backstory is fascinating and adds a lot to her already compelling character. Definitely the most intriguing and well acted in the film. Her brother Thomas Sharpe, played by Tom Hiddleston does a good job here as well. An unsuccessful entrepreneur of sorts, traveling from town to town with no buyers or even interest, is filled with desperation and passion as well as a close connection with his sister. The two actors have good on screen chemistry, and each add to the mysteries of the story with their acting. Our protagonist is Edith Cushing, played by Mia Wasikowska, who marries Thomas Sharpe and moves with him to Crimson Peak and is immediately curious of its creepy ways. She has her moments as well, in fact, its really just Charlie Hunnam who I wasn’t a fan of. He really needs to work on his accents. His good looks will only get him so far. He plays Dr. Alan McMichael who grew up with Edith and has a love for her before and after she is swept off her feet by Hiddlestons character. He isn’t bad, but damn it lose the accent.

Overall the all have good on screen chemistry and play their parts from decent to very well. The main flaw is the story itself. The writing isn’t overall bad, the plot and backstory as well as the characters are all layered and interesting. It’s mainly just a tale we’ve all seen or heard before with an identity crisis. Other than the gothic eye candy, Del Toro’s Crimson Peak lacks anything original, but is still an enjoyable work of cinema nonetheless.

Rating 7/10 

October 29, 2015 by Andrew Auger Categories: ReviewsTags: 7/10, Charlie Hunham, Guillermo Del Toro, Horror, Jake, Jessica Chastain, Mia Wasikowska, Review, Romance, The Middle Seats Season 4, Tom Hiddleston Leave a comment

Andrew’s Review of The Intern

A common criticism of director Nancy Meyers’ films is that they take place in a reality that is separated from, you know, reality. It’s a criticism I can certainly buy into, as my biggest complaints with films such as Something’s Gotta Give and It’s Complicated is that they are films that consistently divorce themselves from character consequences and conflict in return for a milquetoast, watered-down representation of upper middle-class society. These films have their place in our film history, but not in my heart.

Unfortunately, The Intern is Meyers’ most egregious violation of that critique yet. The film is built around the relationship between an elderly retiree looking for purpose in the world and his adventures with his new fresh-faced, quirky “I ride my bike inside the office” boss looking for guidance in the workplace. The Oscar-winning combo of Robert DeNiro and Anne Hathaway embody the two roles with a dignity that the writing does not afford them. This is a decidedly light, mushy film without much in the way of emotional substance or realistic writing, but the leads don’t let that drag them down with the ship.

To be more specific about the story, DeNiro is Ben, a 70 something cheerful fellow who spends most of his days looking for ways to spend most of his days. He’s happy, but without direction now that his career has come to a close and his wife’s life has ended (in fact, plenty of his friends lives have come to an end, as punctuated by a number of funerals that he attends). Looking for a fresh start, Ben applies to the “Senior Intern Program” at About The Fit, an interactive, social media based fashion retail company that started as a small idea from Jules (Hathaway) and quickly grew into a small empire over the course of just a few years. Jules is reluctant to take Ben in as her intern, but things are starting to get rocky for her, and she finds comfort in the elder statesman’s wisdom and optimism.

You can pretty much tell where The Intern is going from here, as Meyers takes the rest of the time to dwell on various plot threads about the two characters that somewhat intersect with each other in not all that convincing ways. Ben finds time to flirt with the office masseuse (Rene Russo), Jules spends time with her stay-at-home husband Matt and their precocious child Paige (Anders Holm and the adorable JoJo Kushner), Ben spends time with the child and husband, Ben runs an errand, Ben and Jules talk about the deep issues of life. Much of it is highly episodic and feels sitcom-ish, and none of it is terribly compelling.

That wash-rinse-repeat touch that Meyers brings to the story carries over to the film’s main themes. For example, did you notice how in this review I keep mentioning Ben’s age? Well The Intern tries to dwell on that dichotomy between old age and new age but never gets to a point where it’s interesting. Sure, Ben can wear a suit to a job environment that doubles for Hipster Central, and sure his interactions with other people are certainly more formal than his practically diapered counterparts, but what makes that any more interesting than any old versus new conflict we’ve seen before?

The cast does what they can with this material. DeNiro and Hathaway are both seasoned vets at this point, and neither seems to be phoning this one in when they certainly could have gone down that route. It helps that they have excellent chemistry together, and the timing of their interactions feel lifelong. Unfortunately, Ben and Jules exist in a sterile, devoid of conflict universe. In Meyers’ The Intern, there are no real people of color, the rules of reality do not apply (especially in a ridiculous sequence that feels like if Ocean’s 11 met Meet the Parents), and any major, potentially life-damaging issues can be tidied up with just the tightest of Christmas bows. Maybe I was looking for realism in the wrong place, but even the glass confines of About the Fit’s office feel cold and fake. The Intern is not funny enough or emotional enough to fight through its artificiality. Ben and Jules are simply not real people, no matter what the stars behind them have to say.

Rating: 4/10 

October 24, 2015 by Andrew Auger Categories: ReviewsTags: 4/10, Andrew, Anne Hathaway, Comedy, Nancy Meyers, Review, Rober DeNiro, The Intern 2 Comments

Jake’s Transcribed Review of Sicario

SICARIO. THE MOVIE TRAILERS OFTEN TOLD US THAT IN MEXICO, THE WORD MEANS HITMAN. BUT I HAVE A FEELING THAT FOR AMERICA, IT’S GOING TO MEAN SOMETHING MUCH DEEPER. THE MOVIE FOLLOWS KATE MACER (EMILY BLUNT) ON HER MISSION TO WORK FOR THE HIGHER UPS AND HELP END THE WAR ON DRUGS IN AMERICA. SPECIFICALLY BETWEEN THE U.S. MEXICO BORDER. BUT WHEN OUR LEAD CHARACTER IS LEFT IN THE DARK ON A LOT OF THE ASSIGNMENTS, IT SOON BECOMES CLEAR THAT NOT ONLY IS SHE IN OVER HER HEAD, THERE MAY BE AN OVERLYING REASON. THE MOVIE IS VERY DARK, VERY ATMOSPHERIC, AND HAS MANY COMPONENTS TO ITS HEAVY PREMISE.

DIRECTOR DENIS VILLENEUVE IS SLOWLY BECOMING ONE OF THOSE TRADEMARK DIRECTORS. TARANTINO HAS GREAT DIALOGUE, TRUNK OF A CAT SHOTS, AND A FOOT FETISH. SCORSESE LIKES VOICEOVERS FREEZE FRAMES AND TRACKING SHOTS, AND FINCHER LIKES TO TRACK THROUGH OBJECTS LIKE WALLS, PLAY WITH THE LIGHTING AND DARKNESS OF A SCENE, AND UNHAPPY ENDINGS. VILLENEUVE IS QUICKLY BECOMING A MASTER OF INTENSITY AND PLAYING WITH A STORY’S MISDIRECTION. HIS OPENING TEN MINUTES MADE ME ACCOMPLISH THE NEAR IMPOSSIBLE FEAT OF PUTTING MY CANDY DOWN, AND HIS LAST TWENTY FIVE MINUTES WERE SOME OF THE MOST HEART POUNDING, ARM REST CLENCHING MINUTES I’VE RECALLED IN A LONG TIME. HERE’S A BRIEF CLIP OF SOME OF THE INTENSE ACTION. AND WE CAN’T FORGET TO MENTION THE CINEMATOGRAPHY OF TWELVE TIME OSCAR NOMINEE ROGER DEAKINS. LETS JUST SAY IT WOULDN’T EXACTLY BE AN UPSET IF HE GOT THAT LONG TIME AWAITED OSCAR FOR THIS FILM. ONE STAND OUT SCENE THAT GOES UNDERGROUND CAN’T GO WITHOUT MENTION. I WAS VISIBLY HUNCHED OVER IN MY CHAIR DUE TO THE FRAMING OF AN UNBELIEVABLY WELL SHOT CLAUSTROPHOBIC SCENE.

NEWCOMER TO THE SCREENPLAY SCENE IS ACTOR TAYLOR SHERIDAN. HIS WRITING FOR OUR THREE LEADS IS EXTREMELY WELL CRAFTED, AND HIS CAPABILITY TO QUESTION OUR MORALS AND HANDLING OF CERTAIN SITUATIONS IS, BY THE END, OUTSTANDING. THE CHARACTER DEVELOPMENT IS PURPOSELY AND MASTERFULLY FILLED WITH THE USE OF MISDIRECTION TO SHOW US WHAT TRULY MEANS SOMETHING IN THE GRAND SCHEME OF THINGS, AND WHAT DOESN’T. HE SUCCESSFULLY ALLOWS US TO CARE ABOUT THE CORE CHARACTERS, AND REITERATE THEIR MOTIVES SO THEY’RE LOGICAL AND MEANINGFUL.

EMILY BLUNT IS QUICKLY BECOMING A HOUSEHOLD NAME AFTER HER WORK LAST YEARS INTO THE WOODS AS WELL AS EDGE OF TOMORROW, AND HER PERFORMANCE IN SICARIO IS CERTAINLY A CAREER BEST. DEFINITELY IN THE RUNNING FOR AN OSCAR SO FAR. HER BACKGROUND IS BROUGHT UP HERE AND THERE, BUT IT’S REALLY HER MOTIVES AND MORALS THAT ARE SO WELL PUSHED TIME AND TIME AGAIN THAT MAKE YOU REALLY GET ATTACHED TO HER CHARACTER. SHES PROVEN SHE CAN HANDLE THE ACTION SCENES BEFORE, BUT HER BEST WORK COMES IN THE MOST EMOTIONAL SCENES WHICH SHE ABSOLUTELY NAILS, ONLY DRIVING HOME YOUR CARE FOR HER. HERE’S A CLIP OF ONE OF THE MANY WELL DIRECTED ACTION SCENES. AS GREAT AS BLUNT IS, IT IS EVIDENTLY BENICIO DEL TORO WHO STEALS THE SHOW HERE. ESPECIALLY IN THE FILMS THIRD ACT. DEL TORO PLAYS ALEJANDRO, AN FBI WORKER, WHO REALLY DABBLES IN ALL KINDS OF AREAS. WHEN BLUNTS CHARACTER ASKS HIM WHO HE WORKS FOR, HE SIMPLY REPLIES, WITH A BIT OF AN ATTEMPT TO ELUDE THE QUESTION, “I GO WHERE I’M SENT” WHICH ONLY ADDS TO THE MYSTERY OF THE MOVIE. DEL TORO IS MORE THAN SUCCESSFUL WITH HIS CAPABILITY TO WORK WITH SO MUCH WHILE SAYING SO LITTLE, AND COMMANDS THE SCREEN IN EVERY SCENE HE’S IN FOR THE LAST HALF HOUR. HE MAKES A SOLID CASE FOR THE MOVIE CENTERING MORE AROUND HIM THEN IT DOES BLUNT. ONLY CREDITING VILLENEUVE WITH THE INTENSITY BUILDING WOULD BE A CRIME, BECAUSE DEL TORO PUTS AS MUCH FEAR INTO YOU AS VILLENEUVE DOES SUSPENSE.BROLIN IS BETTER THAN AVERAGE, BUT A LITTLE OVER SHADOWED BY THE PREVIOUS TWO. NOT TO BE MISTAKEN HOWEVER, BECAUSE HE DOES GREAT IN HIS COMIC RELIEF SCENES, AS WELL AS HIS HIGH DEAD SERIOUS SCENES.

VILLENEUVE ACCOMPLISHES A GREAT ACHIEVEMENT HERE WITH SICARIO. IT’S POWERFUL, ITS HEAVY, ALMOST A WEIGHT ON YOUR SHOULDERS, AND I CAN’T EMPHASIZE ENOUGH HOW INTENSE IT’S BEST SCENES ARE. THERE IS STILL SO MUCH I’D LOVE TO TOUCH ON, BUT BECAUSE I’M A FIRM BELIEVER IN A SPOILER FREE WORLD, I’LL LEAVE YOU WITH A FEW FINAL WORDS. SICARIO IS DEFINITELY ONE OF THE YEARS BEST FILMS, DESPITE BEING A LITTLE OVERLY TEDIOUS WITH LEAVING THE AUDIENCE IN QUESTION OF WHATS GOING ON, THE PAYOFF IS WORTH IT AND THE FINAL SCENES AS WELL AS THE UNDERLYING MESSAGE ARE EXTREMELY POWERFUL AND WON’T BE EASILY FORGOTTEN.

Rating: 9/10 

October 24, 2015 by Andrew Auger Categories: ReviewsTags: 9/10, Benicio Del Toro, Dennis Villeneuve, Drama, Emily Blunt, Jake, Josh Brolin, Review, Roger Deakins, Sicario, The Middle Seats Season 4, Thriller Leave a comment

Andrew’s Transcribed Review of Black Mass

EVEN IN REALITY, THERE ARE HEROES AND VILLAINS. I MEAN SURE, THERE IS ALWAYS SUCH A THING AS “SHADES OF GREY”, AND OBVIOUSLY HUMAN BEINGS ARE MORE COMPLICATED THAN CHARACTERS NAMED SUPERMAN AND DOCTOR DOOM (TO NAME A FEW PROMINENT EXAMPLES). BUT THERE ARE CERTAINLY THOSE WHO SHADE CLOSER TO THE LIGHT AND THE DARK THAN OTHERS, AND USUALLY HISTORY HELPS FILL IN THOSE COLORS. JAMES “WHITEY” BULGER IS ONE OF THOSE REAL LIFE ROGUES, WITH HIS VISELIKE GRIP ON THE GANGSTER SCENE IN BOSTON DURING THE LATE 20^TH CENTURY REAPING POWER AND MURDER ACROSS THE STATE OF MASSACHUSETTS. BUT WAS WHITEY BULGER REALLY A MONSTER?

I’M BEING MISLEADING TALKING OF BULGER’S LEGACY BECAUSE THAT’S NOT REALLY A QUESTION THAT DIRECTOR SCOTT COOPER IS FOCUSED ON ANSWERING IN BLACK MASS. MORE IMPORTANT TO THIS PRODUCTION IS THE CRAZY STORY OF FEDERAL CORRUPTION AND OLD WEST-ESQUE PRINCIPLES THAT ALLOWED BULGER TO MAKE HIS MONSTROUS, COMICALLY EASY RISE TO POWER. COOPER TELLS THE TALE WITH A PRETTY STRAIGHT, TACTICAL HAND THAT IT RISKS BEING UNMEMORABLE AT POINTS, BUT A SUPREMELY TALENTED CAST AND CREW ENSURE THAT BLACK MASS HITS ALL THE IMPORTANT MARKS OF A GOOD GANGSTER DRAMA.

LEADING THE CHARGE AMONG THE CAST ARE COOPER’S TWO LEADS. JOHNNY DEPP HAS BEEN DUE FOR A CHANCE TO DIVE INTO A CHARACTER THAT IS MORE THAN JUST A COSTUME AND AN ACCENT. IRONICALLY, THE COSTUMING AND MAKEUP DO HALF THE WORK FOR DEPP; HE’S CAKED IN SO MUCH WHITE MAKEUP AND STARES BENEATH SUCH DEATHLY BABY BLUE EYES THAT HIS BULGER LOOKS LESS LIKE A PERSON AND MORE LIKE THE STUFF OF NIGHTMARES. DEPP RUNS WITH THE REST OF THE DETAILS, NAILING THE MENACE AND UNPREDICTABLE OF A TRULY DANGEROUS MAN WHO IS BASICALLY INVINCIBLE. IT’S A MASTER PERFORMANCE FROM AN ACTOR WHO WAS DUE FOR A BREAK FROM THE SHACKLES OF FRANCHISE FODDER.

BULGER HAS THE FREEDOM TO RUN FREE THROUGHOUT “SOUTHEY” PILLAGING AND MURDERING WITH HIS WINTER HILL GANG BECAUSE OF HIS TIES WITH HIS STATE SENATOR BROTHER BILLY (BENEDICT CUMBERBATCH) AND, MORE IMPORTANTLY, THE DEAL HE MAKES WITH CHILDHOOD NEIGHBOR AND FEDERAL AGENT JOHN CONNOLLY (JOEL EDGERTON). FEELING AN OBLIGATION TO PROTECT THE BULGERS, CONNOLLY CONVINCES HIS SUPERIOR OFFICERS TO BRING BULGER IN AS AN “INFORMANT” IN AN EFFORT TO TAKE DOWN BULGER’S ITALIAN COMPETITORS. THE PARTNERSHIP SEEMS TO BENEFIT BOTH SIDES EQUALLY, BUT IT QUICKLY BECOMES CLEAR THAT BULGER IS GETTING THE BETTER END OF THE DEAL.

WITH ITS RATHER EQUAL FOCUS ON THE INNER WORKINGS OF BOTH THE COPS AND ROBBERS, BLACK MASS TAKES A LOT OF CUES FROM THE DEPARTED (WHICH IS FITTING CONSIDERING JACK NICHOLSON’S CHARACTER IS BASED OFF OF BULGER). IT NEVER QUITE REACHES THE GRIT AND MASTERFUL STORYTELLING OF SCORSESE’S FLICK, BUT COOPER MAKES SURE THAT THE FILM REMAINS ENGAGING EVEN WHEN THE STORY READS LIKE A CLIFF NOTES VERSION OF THE ACTUAL EVENTS. HE MAKES THE MOST OF HIS SETTING AS WELL; THE CITY OF BOSTON SOMEHOW LOOKS GRIMY AND GORGEOUS SIMULTANEOUSLY UNDERNEATH CINEMATOGRAPHER MASANOBU TAKAYANAGNI’S HIGH DEFINITION.

EDGERTON IS JUST AS GOOD AS DEPP HERE, SHOULDERING THE WEIGHT OF A ROLE THAT IS CERTAINLY TRICKIER AND COMPLICATED TO PULL OFF CONVINCINGLY. THE CAST IS A WHO’S-WHO OF CHARACTER ACTORS AND UNDERRATED TALENT; CUMBERBATCH, JESSE PLEMONS, KEVIN BACON, ADAM SCOTT, DAKOTA JOHNSON, PETER SARSGAARD, RORY COCHRANE, COREY STOLL, DAVID HARBOUR, JULIANNE NICHOLSON. THAT’S AN IMPRESSIVE LINEUP, AND YOU GET EXACTLY WHAT YOU’D EXPECT FROM EACH AND EVERY ONE OF THEM.

WHEN I SAW THE DYNAMIC, ENERGETIC FIRST TRAILER FOR BLACK MASS AND EYED THE PEDIGREE INVOLVED, IT JUMPED TOWARDS THE TOP OF MY ANTICIPATION LIST FOR THE REMAINDER OF THE YEAR. THE ENERGY OF THAT TRAILER IS DISAPPOINTINGLY NOT MATCHED MUCH, BUT OTHER THAN THAT, COOPER AND CO. DELIVERS ON EXPECTATIONS. THIS IS A ROCK SOLID DRAMA THAT IN OTHER HANDS COULD’VE BEEN A MASTERPIECE. AT THE VERY LEAST, IT’S A REMINDER OF WHAT JOHNNY DEPP CAN DO AS AN ACTOR. WHITEY BULGER MAY HAVE BEEN A VILLAIN IN REAL LIFE, BUT IF HE CAN KICK START A PERFORMANCE LIKE THIS OUT OF ONE OF MORE DORMANT ECCENTRIC TALENTS, HOW BAD CAN HE REALLY BE?

Rating: 8/10

October 24, 2015 by Andrew Auger Categories: ReviewsTags: 8/10, Adam Scott, Andrew, Benedict Cumberbatch, Black Mass, Corey Stoll, Dakota Johnson, Drama, Jesse Plemmons, Joel Edgerton, Johnny Depp, Kevin Bacon, Review, Scott Cooper Leave a comment

Jake’s Transcribed Review of Everest

AS HUMANS, WE ARE DEVELOPING A SENSE OF FULFILLMENT. OF ACCOMPLISHMENT. A SENSE OF OVERCOMING THE ODDS. AND WE ESPECIALLY DON’T WANT TO BACK OUT OF SOMETHING THAT COST US MONEY BECAUSE THAT STUFF’S TOO IMPORTANT TO WASTE. AS A COLLEGE STUDENT, I DROPPED OVER A HUNDRED DOLLARS ON SKYDIVING. YOU CAN’T JUST BACK OUT OF SOMETHING WHEN THAT MUCH MONEY IS ON THE LINE. I ALSO THOUGHT IT WAS GOING TO AN INCREDIBLE EXPERIENCE AND SOMETHING I WAS GOING TO BE HAPPY THAT I DID (AND IT WAS). IT JUST SO HAPPENS THAT THESE ARE SOME OF THE BEST THINGS THE EVEREST SCRIPT DOES, BECAUSE PREVIOUSLY LISTED ARE CHARACTER MOTIVES FOR CLIMBING THE HIGHEST PEAK IN THE WORLD AND IT MAKES THEM PRETTY RELATABLE. UNFORTUNATELY, THAT IS ONE OF THE ONLY POSITIVE POINTS THIS SLOPPY SCRIPT HAS TO OFFER.

WILLIAM NICHOLSON AND SIMON BEAUFOY’S WRITING HERE IS CONSISTENTLY ALL OVER THE PLACEM WHICH IS KIND OF SHOCKING CONSIDERING THEY’VE BOTH WORKED ON GLADIATOR, LES MISERABLES, SLUMDOG MILLIONAIRE, HUNGER GAMES: CATCHING FIRE, AND 127 HOURS. DESPITE BOTH OF THEIR NOTEWORTHY CREDENTIALS, IT SEEMS AS IF THE DUO JUST COULDN’T QUITE PUT IT TOGETHER FOR THIS EXPEDITION DISASTER DRAMA. FOR STARTERS, THERE ARE WAY TOO MANY MOVING PARTS AT THIS SEEMINGLY BEGINNINGLESS MOVIE. IT HONESTLY FEELS LIKE TWO LONG MIDDLE PARTS, AND THE AUDIENCE IS THROWN RIGHT INTO IT. IMMEDIATELY STARTS OFF WITH TRAVELING TO THE VENUE, SMALL TALK AMONG CHARACTERS TO ESTABLISH BACKGROUNDS, WHICH LATER LEAD TO TALKING ABOUT MOTIVES AND THE RISKS, BUT INDEFINITELY SUFFERS FROM A TOO MANY CHARACTERS SYNDROME. EACH CHARACTER IS GIVEN A MOTIVE FOR MAKING THE CLIMB, BUT WE ONLY END UP TRULY CARING FOR A HANDFUL OF THEM DUE TO LACK OF WRITING, SCREENTIME, OR BOTH. IT ESSENTIALLY COMES DOWN TO THROUGHLY ENJOYING JASON CLARKE AS ROB HALL WHO IS ULTIMATELY THE LEAD, ALTHOUGH THAT ISN’T CERTAIN UNTIL LATE INTO THE FILM, IF AT ALL. AND JAKE GYLLENHALL’S CHARACTER SCOTT FISCHER IF NOT FOR ANYTHING BUT GOOD ACTING IN A LIKABLE PORTRAYAL OF A COOL CHARACTER WHO’S KIND OF LIKE EVERYONE’S FAVORITE HIGH ENERGY FUN SPIRITED CAMP COUNSELOR. OTHER THAN THAT, YOU FEEL FOR SOME, FORGET ABOUT OTHERS, AND COME TO TERMS WITH WATCHING A HIKING EXPEDITION GONE WRONG DUE TO WEATHER AND FLAT OUT STUBBORN PERSONALITIES.

THE ONLY OTHER PERFORMANCE I WOULD SAY STICKS OUT IS KEIRA KNIGHTLEY’S UNDERUSED CHARACTER. SHE PLAYS A PREGNANT SOON TO BE MARRIED TO JASON CLARKE’S CHARACTER WHO DOESN’T LIKE HIM HIKING IN THE FIRST PLACE. AND THEN THERE’S JOSH BROLIN WHOS A TEXAN TOUGH GUY WHO THREW DOWN SIXTY FIVE THOUSAND BIG ONES TO MAKE THIS EXPEDITION AND HE’LL BE DAMNED IF HE DOESN’T MAKE IT. MAKE NOTE HOWEVER, THAT THERE IS SOME REALLY GREAT VISUALS AND SOLID CAMERAWORK TO BE DONE HERE AS WELL. EVEN IF HE DOES PULL A MICHAEL BAY AND USE THE SAME SHOT TWICE, YOU KIND OF LET IT GO BECAUSE OF HOW BEAUTIFUL IT IS THROUGHOUT THE WHOLE MOVIE. DIRECTOR BALTASAR KORMAKUR AND CINEMATOGRAPHER SALVATORE TOTINO CAPTURE SOME REALLY GREAT MOMENTS ON THE LEGENDARY SUMMIT THAT IS EVEREST. THE VISUALS ARE EYE OPENING, AND DEFINITELY HELP BUILD THE TENSION WHEN YOU REALIZE THE SERIOUSNESS OF STORM APPROACHING.

THERE’S A GREAT QUOTE FROM LAST MAY’S GODZILLA THAT FITS IN HERE. “THE ARROGANCE OF MAN IS THINKING THAT NATURE IS IN OUR CONTROL AND NOT THE OTHER WAY AROUND.” THAT BECOMES VERY PROMINENT WHEN BLACKENED FROST BITTEN FINGERS COME ONTO SCREEN, AND NO MATTER WHAT THE CHARACTERS DO TO TRY AND MAKE IT BACK TO CAMP, NATURE HAS IT’S OWN AGENDA THAT IS ENTIRELY OUT OF OUR CONTROL. AND FOLLOWING THOSE SCENES ARE SOME PRETTY SOLID WORK FROM A FEW ACTORS THAT MAKE THIS DISASTER MOVIE TOUCHING. ANOTHER CLEVER THING THE MOVIE DID WAS PARALLEL A QUOTE FROM ON SCREEN STAR JASON CLARKE AND WELL CRAFTED CINEMATOGRAPHY. IT GOES ALONG THE LINES OF “IT DOESN’T MATTER, EVEREST MAKES IT’S OWN WEATHER” AND THEN THE SHOTS CAPTURED FOLLOW SUIT IN PRETTY AMAZING WAYS. ALMOST AS IF TO PUT OUR EXISTENCE INTO PERSPECTIVE AND SHOW HOW SMALL WE ARE IN THE GRAND SCHEME OF THINGS. ONE IN PARTICULAR SPIRALS DOWN FROM AN EVEREST BIRDS EYE VIEW TO A CLOSE UP OF A CHARACTER NOT ONLY SURROUNDED, BUT BURIED IN A SEEMINGLY NEVER ENDING SEA OF BEAUTIFUL, YET EVIDENTLY DEADLY WHITE POWDER.

I REALLY LIKED THE THEMES OF NATURE IN THE FILM, AS WELL AS THE SHOTS CAPTURED, AND A HANDFUL OF THE PERFORMANCES. IF THERE’S ONE FLAW, ITS A MAJOR ONE AND LIES IN THE SCRIPT. IT’S DISTRACTINGLY MESSY AND UNSTRUCTURED AND AT POINTS MAKES A SIMPLE STORY FEEL A LITTLE COMPLICATED. IT LOSES TRACK OF IT’S CHARACTERS, AND DOESN’T REALLY GIVE US MORE THAN FIVE MINUTES OF A START AND AN END. JUST TWO LARGE MIDDLE PIECES. THERE’S SOME GOOD MEMORABLE WORK DONE HERE, BUT IN THE END FALLS SHORT OF ANYTHING GREAT DUE TO A VITAL PART OF THE FILMMAKING PROCESS THAT IS THE SCREENPLAY. I MEAN, WASN’T IT LIKE FIFTH GRADE WHERE WE WERE TAUGHT TO OUTLINE BEFORE JUMPING STRAIGHT INTO THE ESSAY TO MAKE SURE THERE’S A GOOD SENSE OF FLOW AND AN AVOIDANCE OF SLOPPY WORK?

Rating: 6.5/10 

October 24, 2015October 24, 2015 by Andrew Auger Categories: ReviewsTags: 6.5/10, Baltasar Kormákur, Disaster, Drama, Everest, Jake, Jake Gyllenhaal, Jason Clarke, John Hawkes, Josh Brolin, Keira Knigtley, Review, The Middle Seats Season 4 Leave a comment

Jake’s Transcribed Review of Steve Jobs

FOR THOSE WHO DON’T KNOW, THIS PROJECT HAD MANY DIFFERENT HEAVYWEIGHTS SET TO WORK ON THE FILM. IT WAS ORIGINALLY HELMED BY DAVID FINCHER, WHO WORKED WITH SCREENWRITER AARON SORKIN ON THE SOCIAL NETWORK, BUT DUE TO TOO HIGH CASH DEMANDS, HE DROPPED OUT. THE PROTAGONIST HIMSELF WAS SET TO BE PLAYED BY LEONARDO DICAPRIO WHO EVIDENTLY DECIDED TO GO WITH THE REVENANT. THEN CHRISTIAN BALE WAS APPROACHED BUT OBVIOUSLY TURNED IT DOWN AS WELL. WITH THE PRODUCERS FINALLY LANDING DIRECTOR DANNY BOYLE AND LEAD ACTOR IN MICHAEL FASSBENDER, IT WAS UNDERWAY.

FOR A FILM THAT SEEMINGLY HAD TROUBLE FINDING ITS LEGS, IT KEEPS UP A FASTER PACE THAN ALMSOT ANY DRAMA YOU’LL WATCH THIS YEAR. RIGHT FROM THE GET GO, WE HAVE STEVE JOBS ACCOMPANIED BY JOANNA HOFFMAN (KATE WINSLET) AND ANDY HERTZFELD (MICHAEL STUHLBARG) TRYING TO FIX AN ERROR WITH THE PREMIERE OF THE MACINTOSH PRODUCT LAUNCH. THE ERROR WOULDN’T SEEM MAJOR FOR MOST, BUT FOR STEVE IT MIGHT AS WELL HAVE BEEN ON FIRE (BECAUSE HE WAS WILLING TO SACRIFICE FIRE EXITS TO GET IT WORKING). THEY HAVE UNDER AN HOUR TO GET IT WORKING, AND IN BETWEEN THAT OPENING SCENE, TO THE LAST OF THE FIRST ACT, THERE ARE A MILLION AND ONE THINGS STEVE DEALS WITH ALL WHILE SIMPLY GETTING HIS PRODUCT TO LAUNCH SUCCESSFULLY.

IT IS WITHIN THIS FIRST ACT (AND MAYBE EVEN SOONER THAN THAT) WHERE YOU REALIZE WHAT KIND OF MAN STEVE JOBS IS. A PERFECTIONIST. A PIONEER. A REALIST. A DREAMER AND AN ACHIEVER. ALL OF THESE QUALITIES OFTEN ASSOCIATED WITH POSITIVITY, ARE ALSO WHAT MAKE HIM SO INTIMIDATING, A FORCE TO BE RECKONED WITH, AND OFTEN STRAIGHT UP COLD. A JOB WELL DONE IS AN UNDERSTATEMENT FOR SCREENWRITER AARON SORKIN WHO REALLY DEVELOPS THIS EARTH CHANGING CHARACTER AND GETS TO HIS ROOTS.

MANY HAVE SEEN THE CLIP OF JOBS TALKING OF HOW MUSICIANS PLAY THEIR INSTRUMENTS AND HE PLAYS THE ORCHESTRA, AND THAT PHRASE ALONE IS PERFECTLY APPLIED THROUGHOUT THE FILM. EACH PART IS A CLEAN CUT THREE ACTS ON PURPOSE. EACH WITH THE RELEASE OF HIS NEXT BIG THING, AND ENTIRELY TAKING PLACE AT THESE EVENTS, IS WHERE HE HANDLES EVERYTHING AND EVERYONE AROUND HIM, JUST REINSTATING THE MADNESS AND HOW MANY FACTORS HE JUGGLED ON A DAILY BASIS. AND LIKE A COMPOSER, JOBS KEEPS COMPOSED THROUGHOUT EVERY DIFFICULT SITUATION THROWN AT HIM, AND HANDLES IT ACCORDINGLY. NEVER CRUMBLING UNDER PRESSURE. WHILE AT TIMES, THIS CAN SEEM NEGATIVE. LIKE SIDE CHARACTERS ARE JUST ANOTHER PROBLEM TO BE DEALT WITH AND HAVE VERY LITTLE TO DO. BUT IN THE GRAND SCHEME, THAT IS HOW STEVE JOBS HANDLED EVERYTHING. A CONTROL FREAK IN EVERYTHING HE DID, AND COULDN’T BE BOTHERED WITH WHAT DIDN’T CONCERN HIM. DON’T MISTAKE THIS COMPONENT AS A POTENTIAL FLAW, FOR ALL CHARACTERS ARE WRITTEN WITH DEPTH AND THEIR OWN MOTIVATIONS AS WELL.

THE ENTIRE ENSEMBLE DOES A GREAT JOB HERE, WITH MANY POTENTIAL ACTING OSCARS TO GO AROUND. SETH ROGEN AS STEVE WOZNIAK WANTS RECOGNITION, KATE WINSLET AS JOANNA HOFFMAN FIGHTS WITH HER MORAL COMPASS AS THE CLOSEST ONE TO STEVE. JEFF DANIELS AS JOHN SCULLEY WANTS WHATS BEST FOR HIS COMPANY, MICHAEL STUHLBARG AS ANDY HERTZFELD, LIKE ROGENS CHARACTER TO A DIFFERENT DEGREE WANTS APPRECIATION AND AND EVEN COMPASSION. KATHERINE WATERSTON AS CHRISANN BRENNAN (STEVES FORMER LOVER) WANTS WHATS BEST FOR HER DAUGHTER AND FOR STEVE TO BE A FATHER, WHO HE DENIES WITH AN ALGORITHM TO BE HIS OWN KID. IT IS ALL OF THIS AND MORE THAT IS JUGGLED IN EACH AND EVERY ACT. SORKIN HAS MADE IT CLEAR THAT THIS WAS AN ENORMOUS TASK, NOT EVEN INDULGING IN HALF OF THE ACTUAL TECHNOLOGICAL ASPECTS THAT STEVE WAS INVOLVED IN. MORE FOCUSING ON THE MAN THAT STEVE JOBS WAS AND THE LIFE HE LIVED. AND BOY DID HE NAIL IT.

AND AS IF THE FILM DIDN’T MOVE FAST ENOUGH, DANIEL PEMBERTON HAS INVENTED A VERY CREATIVE SCORE TO FIT THE ATMOSPHERE THAT DANNY BOYLE AND AARON SORKIN HAVE BUILT. RATHER THAN USE THE TRADITIONAL SYMPHONIC SCORE THAT MANY FILMS DEVELOP, HE PLAYS INTO WHAT STEVE JOBS LOVED MOST AND GOES WITH A VERY TECHNOEY SOUND. NOT LIKE EDC OR DUBSTEP OR WHATEVER THE KIDS LISTEN TO, BUT A COMPELLING AND RAPIDLY PACED COMPUTER SOUNDING SCORE THAT, LIKE THE FILM, HARDLY SLOWS.

THERE IS ONLY ONE MAIN ISSUE IN MY OPINION. I CAN SEE THE UNORTHODOX FEEL OF THE WAY THE FILM IS STRICTLY SET UP INTO THREE PARTS AND THE WAY IT UNFOLDS. I COULD SEE PEOPLE HAVING A PROBLEM WITH THE SIDE CHARACTERS (ALTHOUGH IT IS STEVE JOBS’ STORY), BUT IN MY OPINION, THE PROBLEM LIES IN THE THIRD ACT. FOR SOME REASON, IT DOESN’T QUITE HOLD THE PACE OF ITS TWO PREDECESSORS, AND LOSES STEAM. IT HELD A GRIPPING AND INTENSE FAST PACE FOR ABOUT AN HOUR AND A HALF, PACKED WITH EMOTION AND EXCITEMENT AND STRIKING DIALOGUE, AND WENT FROM A HARD RUN, TO A CASUAL JOG FOR ITS FINAL TWENTY FIVE TO THIRTY MINUTES OR SO. NOT TO KNOCK IT TOO MUCH HOWEVER, THE WRITING DIRECTING AND ACTING ARE ALL STILL VERY GOOD, JUST NOT ON PAR WITH THE REST OF THE MOVIE.

AND AS I WROTE THIS REVIEW, I CAME TO REALIZE THAT I ENJOYED THIS MOVIE FOR VERY SIMILAR REASONS TO WHICH I ENJOYED BIRDMAN. TAKE THAT AS YOU WILL. BUT ITS GOT GREAT WRITING IN ITS STORY AND CHARACTER DEVELOPMENT, ALL WHILE FOLLOWING THE LEAD THROUGH HIS HECTIC LIFE JUGGLING ALL KINDS OF PEOPLE AND WHAT THEY WANT FROM HIM. MOST OF THE MOVIE TAKES PLACE IN ONE PRIMARY SETTING, WHERE HE TRIES TO ACHIEVE HIS DREAMS AND HANDLE EVERYTHING FALLING APART AROUND HIM. AND LIKE BIRDMAN, I WOULDN’T BE SURPRISED IF STEVE JOBS DID VERY WELL WITH THE ACADEMY THIS YEAR.

Rating: 9/10 

October 24, 2015October 24, 2015 by Andrew Auger Categories: ReviewsTags: 9/10, Danny Boyle, Drama, Jake, Jeff Daniels, Kate Winslet, Michael Fassbender, Review, Seth Rogen, Steve Jobs, The Middle Seats Season 4 Leave a comment

Andrew’s Review of Bridge of Spies

The amount of intrigue and paranoia that existed between the United States and Soviet Union during the 1950’s, the height of the Cold War, is prime fodder for a potentially exceptional Hollywood thriller. Steven Spielberg is one of our most exceptional directors, breathing life and significant influence into several genres over the course of his illustrious 40-year career. Tom Hanks is one of our most exceptional actors, as his career highs also span an impressive number of fields. Some of those highs for Hanks came when he was paired with Spielberg, so their reteaming to tell an exceptional true story should be money in the bank of a smart betting man on Oscar Night at the Kodak Theater. Yet, while it does a number of things right, why does Bridge of Spies feel so oddly unexceptional?

“Maybe I’m not being fair,” said my inner monologue. After all, Bridge of Spies is much less of a thriller more so as it is a drama. The decisions by Spielberg and company (notably guest writers Joel and Ethan Coen) forgo to focus on the tensions between passive-aggressive countries, and more with the humanity of the man (or men) that was the main mechanic in orchestrating this story. That decision feels calculated to play into Spielberg’s strengths, as there is a lot more sentimentality than suspense throughout the film. Spielberg’s strengths remain his strengths, but I ended up wondering if that decision was the right one for this particular movie.

I’ll elaborate in a bit, but first let’s talk about the story. Hanks plays Jimmy Donovan, an insurance lawyer who is propositioned by the United States government to defend a suspected Soviet spy in a fair court of law. Donovan certainly has his reservations for a multitude of reasons, some of which are laid out in this scene, where Jimmy’s partners in law plop the case onto his desk for the first time.

That’s Alan Alda as one of Donovan’s partners. The suspected Soviet spy in question is Rudolph Abel, and veteran actor Mark Rylance plays him with great effortless charm and ease. Donovan grows to like Abel’s calm and collectiveness, and tries to put together a solid defense to keep him from the electric chair, which doesn’t necessarily make him the most popular guy in town. Donovan’s actions in the courtroom prove important in the overall scheme of foreign diplomacy when an American spy (played by Austin Stowell) is shot out of the sky and taken capture by the Russians.

From there the action shifts to East Berlin, where Donovan is once again recruited by the government to negotiate with the Soviets for the exchange of Abel and the American spy Powers. Donovan also becomes aware of the capture of a young American school student by the Germans, and tries to pull some strings to bring both men home. These scenes of negotiation and espionage are overly talky, but admittedly some of the best parts of the film, as in this scene where Donovan clearly lays out what’s at stake.

As stated very clearly in that clip, there’s clearly a lot riding on Donovan’s actions, and if he makes one wrong move it could not only mean the end of life as he knows it, but an Earth-shattering step backwards for the United States in their efforts to sustain foreign diplomacy. Where Spielberg falter the most is in his failure to really hammer home how important this moment in history was for all sides involved. The music swells when it really should be inciting tension. The comedic bits are welcome but feel one too many. Hanks plays the role with his usual Jimmy Stewart panache, but the dialogue written for Donovan fails to convey the levity of the situation.

Bridge of Spies is without a doubt a good movie. It’s shot with a confident old-school professionalism, and the acting follows suit. But in a story that was all about consequences, Spielberg makes everything feel very inconsequential; instead of a drama for the ages, we got a drama for a Saturday afternoon on TNT. Spielberg made us fear the water in Jaws, fear the supernatural in Raiders of the Lost Ark, fear the second coming of the prehistoric with Jurassic, and fear the Nazis (if we didn’t already) in Schindler’s List. I never feared anything in Bridge of Spies. I only feared whether a great opportunity had been missed.

Rating: 7/10 

October 24, 2015October 24, 2015 by Andrew Auger Categories: ReviewsTags: 7/10, Andrew, Bridge of Spies, Drama, Mark Rylance, Review, Steven Spielberg, The Middle Seats Season 4, Tom Hanks Leave a comment

Jake’s Black Mass Review

Black Mass is sort of like fast food. The commercial makes you crave it, ever so badly, and although the food is never as good as the advertisement makes it seem, it hits the spot nonetheless. Black Mass is a film I’ve been anticipating for awhile, and the trailer reeled me in from the start, but the movie itself is simply missing something that the trailer seems to advertise. It’s a better than average crime-drama set in Boston, that simply doesn’t quite succeed at giving us anything fresh for the genre. The story, other than being based off true events, isn’t very original, nor is it exceptional. The most memorable part of the film will undoubtedly be the performances.

As expected, Depp shines above the rest as James “Whitey” Bulger, the main focus of the story. It’s nice to see him finally swing his way out of his own slump and show off the acting chops we all know he has. It would have to be a strong year for Depp not to receive a nomination (this would be his fourth) but a weak year for him to get the win. It’s a very good, pretty memorable performance that certainly steals the show, but it isn’t one that will define his career. One thing director Scott Cooper and writers Mark Mallouk and Jez Butterworth do really well, is make Bulger human, but at the same time make him the biggest character on screen in every scene (although credits obviously go to Depp there as well). Depp is intimidating, dark, and seemingly grabs the rooms attention everywhere he goes just by merely adding his presence to it. He’s a smart, calculating character, who is relatively calm and sinister. Yet he has his morals and sticks to them. One of the major qualities that I really loved about this film, is that they made him a true family man as well. The scenes where he lets his elderly mother beat him in a cards game, he gives his son life lessons, talks to his brother over the phone, all make this notorious Boston crime gangster human, and the care in his eyes help you relate to him in a sense. Then there are countless scenes, especially two standouts in the third act that are back to back that make you fear him more than most horror movies can accomplish. For a movie that is telling the tale of Whitey Bulger, they certainly wrote him right, and with great execution.

The rest of the cast is certainly on their game here too. Unfortunately, they get lost in the massive sea that is Bulger’s story. The ensemble of Benedict Cumberbatch, Dakota Johnson, Joel Edgerton, Kevin Bacon, Peter Sarsgaard, Jesse Plemons, Rory Cochrane, David Harbour, Adam Scott, Corey Stoll, Juno Temple, and so many others all do a great job in their respective scenes as well. The unfortunate part is that almost all of said names are underwritten or underused. I could even see a small case for Cumberbatch (as Senator Bill Bulger) and Edgerton (FBI agent John Connolly) to be up for best supporting actor nominations. But they wouldn’t be the only ones if others were given more screen time (looking at Dakota Johnson specifically). Edgerton really does get a lot of the story here however. The most screen time next to Depp, and after his own project The Gift, he’s proving he can do it all lately.

Aside from a great ensemble cast, the movie suffers from a less than exceptional script. Other then the opening and the ending, the middle very much so gets a repetitive feel to it. Once Bulger and Connolly make the alliance deal, the movie becomes a bit of a cat and mouse game, only the cat is being played because his owner grabs his tail every time he gets ready to pounce on the mouse. Because the film focuses on Bulger and his antics, we get a lot of “Bulger does said bad thing that he agreed not to do. FBI goes to officially catch him, he does his informant job, gets them evidence that benefits them, he’s in the clear. Then he goes back to doing whatever bad things he wants and repeat.” They give us some other elements such as his family issues and Connolly’s personal problems during this hectic time, but other than the names being real and the story being fact based, it doesn’t give us enough fresh material to stand out from the others. One thing the screenwriters do relatively well, is tell a potentially complicated story, in an understandable, and even relatable fashion. Don’t get it twisted, Black Mass is no Departed, but The Departed (based off of similar events) feels more complicated than Black Mass does, despite being a much better movie. The rats (that Bulger hates more than anything) are handled smoother and simpler which will play into their favor when audiences watch it, but come a few years time, Mass will still be overshadowed by other gangster crime-dramas that it aspires to be.

Black Mass delivers one of the most memorable performances of the year, but the film itself will most likely be forgotten in a few months time when the rest of Oscar season catches up with it. I can’t see it getting nominated for much more than best actor, make up, and maybe a few select others like Edgerton potentially receiving his first nomination. What I can see though, is one of your local channels making this one of their movies to play time and time again. It’s entertaining enough to be on tv quite often, but not special enough to stand up to it’s predecessors.

Rating: 7.5/10 

September 27, 2015October 24, 2015 by Andrew Auger Categories: ReviewsTags: 7.5/10, Benedict Cumberbatch, Black Mass, Corey Stoll, Dakota Johnson, Drama, Jake, Jesse Plemmons, Joel Edgerton, Johnny Depp, Kevin Bacon, Review, Scott Cooper Leave a comment

Jake’s Transcription Review of “The Visit”

SO TONIGHT, WE ARE REVIEWING THE LATEST M. NIGHT SHYAMALAN FILM. THE MAN WHO MOST PEOPLE IN AMERICA CONSIDER TO BE A COURT JESTER AMONG KINGS, AS FAR AS FILMMAKERS GO FOR OVER THE LAST DECADE. LADIES AND GENTLEMAN, I AM HERE TO TELL YOU THAT IF HE CAN CONTINUE TO MAKE MOVIES SUCH AS ‘THE VISIT’, HE WILL NO LONGER BE A COURT JESTER, BUT MORE OF A CREATIVE AND OBSCURE TOWNSMAN WHO, FOR THOSE VERY REASONS, EVERYONE KNOWS BY NAME AND HUMOR HIS IDEAS FROM TIME TO TIME.

IT SEEMS AS IF SHYAMALAN MAY BE GOING THROUGH A BIT OF A REBIRTH, AND STICKING TO HIS ROOTS, THE THINGS THAT MADE HIM A HOLLYWOOD NAME IN THE FIRST PLACE. THERE ARE MANY REASONS WHY WE COULD POTENTIALLY BE LOOKING AT A SHYAMALAN UPSWING. HE’S GETTING CREATIVE, HE’S USING MORE DIRECTORIAL TRICKS TO EMPHASIZE THE MOOD RATHER THAN LET THE BIG BUDGET DO THE WORK, HE SUCCESSFULLY BUILDS TENSION (WHICH WE HAVEN’T SEEN IN SO, SO LONG) AND HE TIES IN AN EMOTIONAL AND MEANINGFUL SIDE STORY TO THE BIGGER PICTURE AT HAND. ALL THINGS HE DID IN THE SIXTH SENSE, UNBREAKABLE, SIGNS, AND THE VILLAGE, WHICH IN MY OPINION WERE THE ONLY DECENT FILMS SINCE HIS LATEST.

SHYMALAN HAS DECIDED HERE TO ADD HIS OWN TAKE ON THE HAND HELD/FOUND FOOTAGE GENRE, BUT DOES IT TO A GREATER AND MORE REALISTIC DEGREE THEN YOU WILL FIND IN MOST OTHERS. INSTEAD OF A NEED TO SHOW THE WORLD, OR BLATANTLY SHRUGGING OFF THE “WHY ARE YOU STILL RECORDING” QUESTION, HE TELLS IT THROUGH A DOCUMENTARY STYLE. THE DAUGHTER, BECCA (OLIVIA DEJONGE) HAS DECIDED TO DOCUMENT HER AND HER BROTHER TYLER’S EXPERIENCE (ED OXENBOULD) FOR THEIR MOTHER TO SEE. THE MOTHER (KATHRYN HAHN) HASN’T SPOKEN TO THE GRANDPARENTS SINCE SHE WAS IN HER LATE TEENS AFTER AN UNSPEAKABLE FIGHT AND LEAVING FOREVER. BECCA WISHES TO FIX IT BY MAKING A VIDEO FOR HER MOM.

THE FIRST ACT (WHICH EXPLAINS ALL OF THAT) IS INCREDIBLY DULL. THE FIRST TWENTY MINUTES ARE OUTRIGHT BORING AND ARE SIMPLY THERE TO EXPLAIN THINGS TO THE AUDIENCE. NO SCARES. AND EVEN THE COMEDY IS AWKWARD AND UNSURE OF ITSELF. THE MOVIE DOESN’T GET INTERESTING UNTIL THEY ARRIVE AT THEIR GRANDPARENTS HOUSE. NANA AND POP POP ARE PLAYED BY DEANNA DUNAGAN AND PETER MCROBBIE. AWKWARD AND PRETTY OUT OF IT FROM THE GET GO, IMMEDIATELY LEAVES THE AUDIENCE WONDERING WHAT THEIR DEAL IS. IT’S FIRST BRUSHED OFF AS “THEY’RE OLD” WITH EXCUSES OF LOST MEMORY AND FREQUENT ILLNESS DUE TO OLD AGE. BUT THE KIDS IN THE STORY DON’T BUY IT. AND THE AUDIENCE CERTAINLY DOESN’T BUY IT.

THE MAJOR REOCCURRING RULE THE GRANDPARENTS HAVE ARE TO NEVER LEAVE THE ROOM AFTER 9:30. NOT EVEN TO OPEN THE DOOR. OBVIOUSLY THEY DO. (SO WOULD I). BUT THAT’S WHEN THEY START TO REALLY REALIZE THAT SOMETHING ELSE IS GOING ON HERE. THIS IS ALSO WHERE SHYAMALAN DECIDES TO TAKE THE HORROR GENRE FOR A RIDE WE DON’T OFTEN SEE. HIS COMEDY HORROR BLEND IS MUCH MORE THAN COMEDIC RELIEF. HIS TENSION BUILDUP IS WELL DONE. FROM CREEPY NOISES AND CONVERSATIONS FROM THE GRANDPARENTS, TO CHASE SCENES, TO FLAT OUT MYSTERIES, OFTEN END COMEDIC. AS IF THE SCENE’S TENSION BUILDS AND BUILDS, AND ONCE YOU’RE AWAITING THAT BIG SCARE TO END THE SCENE, SHYAMALAN TWISTS IT TO MAKE YOU LAUGH OUT LOUD. IT’S A VERY ODD AND INTERESTING VISION BUT KIND OF WORKS.

SPEAKING OF TWISTS AND THINGS THAT WORK, YES THERE’S A TWIST. AND YES IT WORKS. MANY PEOPLE HAVE PROBLEMS WITH SHYAMALANS TWIST ENDINGS IN THE PAST, BUT THIS ONE IS TOO SIMPLE TO HATE ON. IT COMES WITH ABOUT THIRTY MINUTES LEFT, AND THE DELIVERY AND EXECUTION MAKE THE WHOLE AUDIENCE GET ENGAGED AND ON THE EDGE OF THEIR SEAT. SHYMALAN BUILDS TENSION AND BLENDS IT WITH COMEDY, BUT IN A PARANORMAL ACTIVITY FASHION. HE HAS ODD THINGS HAPPEN DURING THE DAY, AND EVEN CRAZIER THINGS HAPPEN AT NIGHT. BASICALLY, THE THINGS DURING THE DAY CAN BE EASILY EXPLAINED. BUT THE THINGS AT NIGHT SEEM TOO INSANE TO JUST BE BRUSHED OFF WITH AN EXCUSE. EACH NIGHT BRINGS SOMETHING ELSE TO THE TABLE, AND HE CAPTURES IT WELL. WHETHER IT’S SETTING UP A CAMERA OUTSIDE OF THE ROOM (FOR WHEN THE KIDS TRULY DECIDE NOT TO OPEN THE DOOR) OR JUST GIVE YOU A QUICK GLIMPSE OF WHAT THE HORROR IS BY OPENING THE DOOR OUT OF CURIOSITY, THEN QUICKLY SHUTTING IT OUT OF FEAR.

SHYAMALAN ALSO LETS IT LAST JUST LONG ENOUGH TO THE POINT WHERE WE START TO BECOME IMPATIENT WITH UNANSWERED QUESTIONS, ONLY TO THROW THE TWIST OUR WAY, AND IMMEDIATELY UP THE STAKES. IT’S NOT AS CLEVER AS ‘THE SIXTH SENSE’ AND THE STORY ISN’T AS GOOD AS ‘UNBREAKABLE’ BUT IT’S DEFINITELY HIS BEST WORK IN A DECADE. AS FAR AS THE WRITING GOES, IT’S GOOD NOT GREAT. THERE’S PLENTY OF PLANT AND PAY OFF, AS IN GIVING THE AUDIENCE SOMETHING TO THINK ABOUT CONCERNING THE CHARACTERS, AND HAVING IT COME BACK IN A MEANINGFUL WAY LATER. SOME OF IT WORKS. SOME OF IT IS FORCED AND DOESN’T FLOW WITH THE OTHER SCENES. AND SOME OF IT DOWN RIGHT FEELS LIKE HE ALMOST FORGOT TO PUT IT IN, AND IF HE HAD THE STORY WOULD’VE MADE ZERO SENSE SO HE QUICKLY ADDED IT SOMEWHERE TO AVOID PLOT HOLES. ALL IN ALL THE ACTING IS GOOD, THE WRITING IS SOLID, IT’S A FRESH TAKE ON HAND HELD FILMS FOR THE HORROR GENRE AND IT’S WORTH THE WATCH. BUT IT’S NOT PERFECT, AND IT’S CERTAINLY NOT HIS BEST. I HOPE HE CONTINUES TO EXECUTE HIS CREATIVITY IN A SUCCESSFUL MANNER AND AVOID ANYTHING LIKE THE HAPPENING FROM HAPPENING AGAIN.

Rating: 6.5/10

September 24, 2015October 24, 2015 by Andrew Auger Categories: ReviewsTags: 6.5/10, Horror, Jake, M. Night Shyamalan, Review, The Middle Seats Season 4, The Visit Leave a comment

Andrew’s Review of “The Visit”

A lot of times in the film industry, reality mirrors a compelling narrative. The trajectory of certain actors and directors play out precisely like a film. The career of M.Night Shyamalan is one of the ideal examples of that emulation. Shyamalan was quickly deemed by his peers as the next game-changer after the successes of The Sixth Sense, Unbreakable, and Signs, and idea that the director swiftly bought into himself. But like any sort of swelling hubris, the downfall was inevitable. Still, it was shocking how fast Shyamalan fell. His downright atrocious last half decade had studios fearing the toxic reputation of his name, a name that was once proudly presented above the title of every one of his films. Could this once prodigy son be saved from the burden of ego and expectations?

His newest release, The Visit, is at least a step in the right direction. As those giving counsel to those in need of it have said, sometimes the best place to escape your demons is to go home. The Visit is Shyamalan going back to his roots, embracing the things that made him great in the first place. Part horror creepfest, part sardonic comedy, and Shyamalan works with the conventions that he basically trademarked in the late 90’s-early 00’s while also embracing how the genre has changed in the time he’s been gallivanting off with other projects. Not enough of it works for it to be an unqualified success, but there’s real effort present in The Visit, which is at least more than The Last Airbender and After Earth wrought on the world.

When I say Shyamalan is embracing what the genre has become, that’s my way of saying that The Visit is a found footage, for better and worse. Aspiring documentary filmmaker Becca (Olivia DeJonge) and rapping/needs a haircut little brother Tyler (Ed Oxenbould) are on their way to meet their grandparents for the first time, as their mother (Kathryn Hahn) became estranged from them years ago. Determined to get the truth of what happened that day, Becca and Tyler discover there are other problems afoot. Nana and Pop-Pop (Deanna Dunagan and Peter McRobbins) aren’t quite “all there”; Nana spends her nights throwing a fit outside their door, and Pop-Pop has a tendency to become randomly hostile. It’s not long before their distressing behavior escalates to threatening for the two siblings.

As with all the best Shyamalan films, there’s a third-act kicker. This one’s a doozy, and the moments that follow are the only real moments where The Visit becomes the comedy-horror juggernaut it could have been throughout. The first twenty minutes struggle with setup, both with endearing the characters and with making the found footage aspect plausible. Sparingly throughout the film hits a comedic beat or inspires a bit of dread from creepy and startlingly gross ideas (germaphobes may want to beware of a couple scenes). The moments are just a bit too few and far between; M. Night clearly has to shake off some of the rust.

As that third act hits, however, Shyamalan and the performers kick it into third gear. The revelation that comes not only conceivably works, but also it’s a solution that you might be kicking yourself for not thinking about before the rug was pulled out. The intensity ratchets up from that moment on, as does the dark comedy. The actors, both young and old, are at their best in those moments. In particular, Oxenbould shows some strong comedic chops in the moments that are asked of him. DeJonge and Hahn work hard to mine some emotion out of an otherwise schmaltzy core.

I believe we are reaching the third act of M. Night Shyamalan’s career. If The Visit is the beginning of that third act, it’s a good start. Being forced to go back to square one may have humbled Shyamalan, and he’s decidedly more focused and invigorated here than he has been in years. The first act was the rise; the second act was the fall. What will the third act twist bring? I have no clue, but hopefully it involves redemption.

Rating: 6/10 

September 23, 2015October 24, 2015 by Andrew Auger Categories: ReviewsTags: 6/10, Andrew, Horror, M. Night Shyamalan, Review, The Middle Seats Season 4, The Visit Leave a comment