Hello friends. If you're reading this, I want to first apologize for my lack of posts these past few months. It's been a rather tiresome semester, and I am beyond relieved to have a few weeks off over Christmas break. Though I haven't had much time for blogging, I have done plenty of writing nonetheless. Between film essays, screenwriting, prose fiction, and the weekly Technician articles, I feel like I could fill a short book with everything I've written this semester. You can find all my latest movie reviews and other articles here: http://www.technicianonline.com/search/?t=article&d1=1+year+ago&q=Kevin+Schaefer+. I've done a lot of writing about pop culture lately, now that I'm on the Features staff.
In addition to my writing and school, I am also heavily involved with Intervarsity Christian Fellowship at NC State and Meredith. I'm co-leading a men's Bible study with my friend Ben, who was my leader last year. I've thoroughly enjoyed getting to know these guys, and I look forward to another semester with them. Anytime you see God work in the lives of others, it's always something indescribable. And He's done quite a lot in me recently. A few months ago I had a bad fall while I was getting ready to take a shower. I was bleeding heavily, and my Dad had to wait with me until the paramedics came. Fortunately everything worked out, and I recovered within a few weeks. While times like that are never fun, they do make you realize how much all of us need God in our lives. I know I forget it all too often, and it occasionally takes a wake-up call such as this for me to remember.
Back in October I had the pleasure of co-writing and producing a short film with some friends for NC State's Campus Movie Fest. This is an annual competition in which student teams are tasked with making a movie of 5 minutes or less in a week. It was a great experience, and our film made the top 16! Having it shown on the big screen was pretty sweet, and I look forward to participating in CMF in the years to come. Here's the link to our film: http://m.youtube.com/watch?v=PHryFwoUUag. When my friend James (who directed the film) came to me with the idea about an old guy hanging out with college students, I knew that I wanted in. With a great cast and crew, we were able to make something which I'm rather proud of. Hopefully this is just the beginning of a long career in film.
In fiction writing this semester, I wrote a sci-fi story about a superhuman agent who returns from vacation to find that the alien world he's assigned to protect has been overrun by an intergalactic warlord in his absence. It is also a love story, and I definitely intend to continue with this project in the future. Whether I tell it through comics or screenplays (or both), I'm eager to see where this story will go and how the character will evolve.
When I'm not writing, I usually hang out with friends on the weekends and chill on campus. Over break I'm looking forward to reading whatever I feel like and not something assigned to me. I'll probably have time to do more blogging as well.
Well, now that I've done my fair share of internet rambling, I guess it's time to go back to my comic book collection and enjoy what time I have off. Farewell friends and Merry Christmas!
Monday, December 16, 2013
Wednesday, July 31, 2013
The Wolverine
****
Dir. James Mangold
After a mediocre summer of flashy blockbusters and over bloated action movies, The Wolverine is a refreshingly compelling comic book film and a nice addition to the X-Men franchise. Being more of a character study than an explosive epic between heroes and villains, James Magold's adaptation of the comic book miniseries by Chris Claremont and Frank Miller delivers quality entertainment for fans and casual moviegoers alike.
Opening in WW2 Japan as the nuclear bombs are being dropped on Nagasaki, the first heroic feat we see Wolverine (Hugh Jackman) perform is saving a young soldier named Yashida (Hal Yamanouchi) from being annihilated. As his instant healing abilities enable him to be unharmed by the massive blast, the image we see of him here is both gloriously mythological and dynamic in its execution. This intro provides a solid gateway into the film's overarching plot.
The story then shifts to years later as our hero has been hiding in the wilderness for some time (this takes place after the events of X-Men:The Last Stand). Struggling to cope with the death of his former lover Jean Grey (Famke Janssen), Logan's nostalgia and internal struggles are portrayed here through a film noir style which Mangold executes brilliantly. As his animalistic instincts guide him, Logan is torn between his destiny and his longing for a normal life. We then meet a warrior named Yukio (Rila Fukushima), who informs Logan that Yashida is on his deathbed and wishes to say goodbye to him and thank him once more. Grudgingly, the washed-up mutant soldier accompanies her to Tokyo.
From there, the film is centered around the struggles and civil disputes within Yashida's corporate empire. As Logan finds himself in the middle of this conflict, he is determined to protect Yashida's granddaughter Mariko (Tao Okamato) from the capitalistic monsters seeking to kill her; while confronting his own demons in the process.
Unlike the failure of X-Men Origins: Wolverine, this film is a much more thoughtful examination of the character. The main question posed to Logan is would he be better off a mortal. Having lived for over a hundred years and watched all his loved ones perish, death appeals more and more to him every day. While this flick contains plenty of action, the heart of the conflict is more internal and symbolic.
James Mangold (Walk the Line, 3:10 to Yuma) demonstrates his understanding of both comic books and film noir. Whether it's his utilization of the cinematography by Ross Emery or the juxtaposition of Wolverine's nightmares with his not so different reality, this is quality storytelling.
Furthermore, the screenplay by Mark Bomback and Scott Frank correlates well with Mangold's vision. With solid pacing and well crafted dialogue, one of its highlights is the romance that ensues between Logan and Mariko. Rejecting the love at first sight cliché, this is instead a nicely developed relationship which provides a good subplot. Even with an excess of supporting characters and a ridiculous conclusion, the story provides the basis for the film's entertainment and intrigue.
Needless to say, Hugh Jackman's fifth time portraying this pop-culture icon (not counting his cameo in First Class) is as stellar as ever. His embodiment of the character is especially great here as the film centers around his internal conflicts. Okamato, Fukushima, and a list of other Japanese actors and actresses also deliver compelling performances in their respective roles. While a couple of the villains were slightly less developed than others (a seductive assassin named Viper is pretty much the Marvel version of Poison Ivy), the cast is very effective nonetheless.
While the X-Men franchise has had its ups and downs, The Wolverine has a lot to offer and definitely ranks among the better films in this series. Although I still like First Class and X2 better, this one's worth seeing. Also be advised to stay for a post-credits scene which you don't wanna miss.
Dir. James Mangold
After a mediocre summer of flashy blockbusters and over bloated action movies, The Wolverine is a refreshingly compelling comic book film and a nice addition to the X-Men franchise. Being more of a character study than an explosive epic between heroes and villains, James Magold's adaptation of the comic book miniseries by Chris Claremont and Frank Miller delivers quality entertainment for fans and casual moviegoers alike.
Opening in WW2 Japan as the nuclear bombs are being dropped on Nagasaki, the first heroic feat we see Wolverine (Hugh Jackman) perform is saving a young soldier named Yashida (Hal Yamanouchi) from being annihilated. As his instant healing abilities enable him to be unharmed by the massive blast, the image we see of him here is both gloriously mythological and dynamic in its execution. This intro provides a solid gateway into the film's overarching plot.
The story then shifts to years later as our hero has been hiding in the wilderness for some time (this takes place after the events of X-Men:The Last Stand). Struggling to cope with the death of his former lover Jean Grey (Famke Janssen), Logan's nostalgia and internal struggles are portrayed here through a film noir style which Mangold executes brilliantly. As his animalistic instincts guide him, Logan is torn between his destiny and his longing for a normal life. We then meet a warrior named Yukio (Rila Fukushima), who informs Logan that Yashida is on his deathbed and wishes to say goodbye to him and thank him once more. Grudgingly, the washed-up mutant soldier accompanies her to Tokyo.
From there, the film is centered around the struggles and civil disputes within Yashida's corporate empire. As Logan finds himself in the middle of this conflict, he is determined to protect Yashida's granddaughter Mariko (Tao Okamato) from the capitalistic monsters seeking to kill her; while confronting his own demons in the process.
Unlike the failure of X-Men Origins: Wolverine, this film is a much more thoughtful examination of the character. The main question posed to Logan is would he be better off a mortal. Having lived for over a hundred years and watched all his loved ones perish, death appeals more and more to him every day. While this flick contains plenty of action, the heart of the conflict is more internal and symbolic.
James Mangold (Walk the Line, 3:10 to Yuma) demonstrates his understanding of both comic books and film noir. Whether it's his utilization of the cinematography by Ross Emery or the juxtaposition of Wolverine's nightmares with his not so different reality, this is quality storytelling.
Furthermore, the screenplay by Mark Bomback and Scott Frank correlates well with Mangold's vision. With solid pacing and well crafted dialogue, one of its highlights is the romance that ensues between Logan and Mariko. Rejecting the love at first sight cliché, this is instead a nicely developed relationship which provides a good subplot. Even with an excess of supporting characters and a ridiculous conclusion, the story provides the basis for the film's entertainment and intrigue.
Needless to say, Hugh Jackman's fifth time portraying this pop-culture icon (not counting his cameo in First Class) is as stellar as ever. His embodiment of the character is especially great here as the film centers around his internal conflicts. Okamato, Fukushima, and a list of other Japanese actors and actresses also deliver compelling performances in their respective roles. While a couple of the villains were slightly less developed than others (a seductive assassin named Viper is pretty much the Marvel version of Poison Ivy), the cast is very effective nonetheless.
While the X-Men franchise has had its ups and downs, The Wolverine has a lot to offer and definitely ranks among the better films in this series. Although I still like First Class and X2 better, this one's worth seeing. Also be advised to stay for a post-credits scene which you don't wanna miss.
Monday, July 15, 2013
Pacific Rim
Not del Toro's best, but a very enjoyable flick nonetheless.
http://www.technicianonline.com/arts_and_entertainment/article_0431f936-ed69-11e2-93c3-0019bb30f31a.html
http://www.technicianonline.com/arts_and_entertainment/article_0431f936-ed69-11e2-93c3-0019bb30f31a.html
Saturday, June 15, 2013
Man of Steel
Proof that an awesome trailer does not guarantee an awesome movie. Read my review here on Technician's website:
http://www.technicianonline.com/features/article_146bdd3e-d564-11e2-a00c-001a4bcf6878.html
http://www.technicianonline.com/features/article_146bdd3e-d564-11e2-a00c-001a4bcf6878.html
Saturday, May 18, 2013
Star Trek Into Darkness
My review for this film has been published in Technician. Follow this link to read it on our website:
http://www.technicianonline.com/features/article_395370b8-bf24-11e2-a7da-001a4bcf6878.html
http://www.technicianonline.com/features/article_395370b8-bf24-11e2-a7da-001a4bcf6878.html
Saturday, May 4, 2013
Iron Man 3
***1/2
Dir. Shane Black
This third installment in the popular franchise is a satisfactory, decent kickoff to this year's string of summer blockbusters. While no match for the cleverness and fluidity of the first film in 2008, Shane Black makes a valiant effort to give the Marvel character a darker and more compelling edge.
Opening with a voice over by Tony Stark (Robert Downey Jr.), the superhero/cocky philanthropist remains altogether traumatized by the events which took place in The Avengers. With his opening line being "We create our own demons", the head of Stark Enterprises recounts his first encounter with a rival by the name of Aldrich Killian (Guy Pearce) in the late 90s. Also revisited is a brief love affair with botanist Maya Hansen (Rebecca Hall), which comes back to bite him in this story.
Now posing a threat for Iron Man and the rest of the country is a Bin Ladin like terrorist known as The Mandarin (Ben Kingsley). Plagued by threats of national security as well as his own internal conflicts, this iconic hero is driven most by the love of his life Pepper Potts (Gweneth Paltrow). In a battle of epic proportions, the stakes are the highest we've seen yet for Iron Man (at least on the big screen).
Following the forgettable sequel of 2010, it was certainly refreshing to see Black bring a new and gritty vision towards this film. With the director of the first two (Jon Favreau) serving as Executive Producer of this one, a definite correlation between his style and Black's proves to be effective. Nevertheless, trying to bridge the gap between gritty and comical does present some noticeable problems. For instance, the fight sequences are mixed with nicely composed shoot outs (evidence of Black's work with Lethal Weapon), followed by pretty corny images of Mandarin's henchmen breathing fire. Some will think that cool, I found it a bit too much.
Another evident drawback of the film is the editing. It unfortunately feels very Michael Bayish at points through rapid pacing and some pretty sloppy shots. This inevitably creates a distraction at points that are intended to be really engaging.
While Black and Drew Pearce's script is not without its flaws, it nonetheless ties the loose ends of the previous installments in a very coherent manner. Through emphasis on Stark's shattered psychological state of mind, it is a unique script for a comic book movie in that it makes effective use of subplots. Further developing the relationship between Tony and Pepper opens doors for some well crafted dialogue. The story also continues to utilize the military ties of Tony's right hand man Col. James Rhodes/War Machine (Don Cheadle), even though his suit is way cooler in the last one.
Parts where the script could've improved on, in my opinion, would be with the introduction and background of Killian's character. One of the highlights of the first film is how effectively Favreau and the screenwriters depict Obadiah Stane (Jeff Bridges) as the antagonist. For once, there's a comic book bad guy that doesn't come out at the beginning and say "hey I'm the villain". I feel like Black and Pearce tried so hard to match that when they were writing the scenes with Killian. Attempting to live up to the original is always a problem with sequels.
Fortunately, despite the more gritty tone of the film, the Tony Stark we all know and love remains as cocky and careless as ever. This of course leaves room for Downey Jr. to deliver a string of unforgettable one liners in the same manner as he's done before. Having embraced the character so dynamically, the chemistry between him, Paltrow and Cheadle is all the more vibrant. Needless to say, Pearce and Kingsley also give effective performances, stepping into the villain's shoes without fear and possessing a wealth of imagination.
Overall, Iron Man 3 is an enjoyable, nicely crafted sequel that effectively pays tribute to the original. While disappointing at times, it nevertheless makes for a solid Friday night flick.
Dir. Shane Black
This third installment in the popular franchise is a satisfactory, decent kickoff to this year's string of summer blockbusters. While no match for the cleverness and fluidity of the first film in 2008, Shane Black makes a valiant effort to give the Marvel character a darker and more compelling edge.
Opening with a voice over by Tony Stark (Robert Downey Jr.), the superhero/cocky philanthropist remains altogether traumatized by the events which took place in The Avengers. With his opening line being "We create our own demons", the head of Stark Enterprises recounts his first encounter with a rival by the name of Aldrich Killian (Guy Pearce) in the late 90s. Also revisited is a brief love affair with botanist Maya Hansen (Rebecca Hall), which comes back to bite him in this story.
Now posing a threat for Iron Man and the rest of the country is a Bin Ladin like terrorist known as The Mandarin (Ben Kingsley). Plagued by threats of national security as well as his own internal conflicts, this iconic hero is driven most by the love of his life Pepper Potts (Gweneth Paltrow). In a battle of epic proportions, the stakes are the highest we've seen yet for Iron Man (at least on the big screen).
Following the forgettable sequel of 2010, it was certainly refreshing to see Black bring a new and gritty vision towards this film. With the director of the first two (Jon Favreau) serving as Executive Producer of this one, a definite correlation between his style and Black's proves to be effective. Nevertheless, trying to bridge the gap between gritty and comical does present some noticeable problems. For instance, the fight sequences are mixed with nicely composed shoot outs (evidence of Black's work with Lethal Weapon), followed by pretty corny images of Mandarin's henchmen breathing fire. Some will think that cool, I found it a bit too much.
Another evident drawback of the film is the editing. It unfortunately feels very Michael Bayish at points through rapid pacing and some pretty sloppy shots. This inevitably creates a distraction at points that are intended to be really engaging.
While Black and Drew Pearce's script is not without its flaws, it nonetheless ties the loose ends of the previous installments in a very coherent manner. Through emphasis on Stark's shattered psychological state of mind, it is a unique script for a comic book movie in that it makes effective use of subplots. Further developing the relationship between Tony and Pepper opens doors for some well crafted dialogue. The story also continues to utilize the military ties of Tony's right hand man Col. James Rhodes/War Machine (Don Cheadle), even though his suit is way cooler in the last one.
Parts where the script could've improved on, in my opinion, would be with the introduction and background of Killian's character. One of the highlights of the first film is how effectively Favreau and the screenwriters depict Obadiah Stane (Jeff Bridges) as the antagonist. For once, there's a comic book bad guy that doesn't come out at the beginning and say "hey I'm the villain". I feel like Black and Pearce tried so hard to match that when they were writing the scenes with Killian. Attempting to live up to the original is always a problem with sequels.
Fortunately, despite the more gritty tone of the film, the Tony Stark we all know and love remains as cocky and careless as ever. This of course leaves room for Downey Jr. to deliver a string of unforgettable one liners in the same manner as he's done before. Having embraced the character so dynamically, the chemistry between him, Paltrow and Cheadle is all the more vibrant. Needless to say, Pearce and Kingsley also give effective performances, stepping into the villain's shoes without fear and possessing a wealth of imagination.
Overall, Iron Man 3 is an enjoyable, nicely crafted sequel that effectively pays tribute to the original. While disappointing at times, it nevertheless makes for a solid Friday night flick.
Monday, April 29, 2013
42
***
Dir. Brian Helgeland
This depiction of how baseball legend Jackie Robinson (Chadwick Boseman) changed the way of the game is a decent, yet unremarkable addition to the genre of sports movies. Writer/director Brian Helgeland for the most part does justice to this great historical figure, but the film is ultimately nothing we haven't seen before.
The film chronicles primarily the early stages of Robinson's career, leading up to the history-making signing with the Brooklyn Dodgers under the guidance of team executive Branch Rickey (Harrison Ford). At a time when racism had enraptured the country, Robinson and his wife Rachel (Nicole Beharie) must withstand relentless hatred as he pursues his career. Between angry fans, cold-hearted teammates, death threats, and redneck opponent Ben Chapman (Alan Tudyk), Rickey is for a long time one of Robinson's only supporters. In the end, Robinson rises to the challenge of overcoming adversity and earning the title of American legend in the history books.
To me, the main drawback of the film is the script. Although Helgeland presents himself as a solid director, his writing lacks a certain quality. Trying to bridge the gap between documentary and drama, his dialogue comes across as relatively weak and unnatural. Lines such as "You give me a uniform, you give me a number on my back, I'll give you the guts" just don't deliver in the impactful way which Helgeland was aiming for. For instance, a scene in Rickey's office takes place right after the opening montage. Out of nowhere, Rickey announces he wants to have a black man on the team, without any real build-up or expository explanation for this decision. His associates are taken aback, and the ridiculously corny soundtrack doesn't help improve the quality of this moment. While it was intended to evoke a sense of realism and historical significance, it comes across as overtly staged in the manner of its execution.
Nonetheless, a solid cast makes for one of the stronger elements of the film. Ford masters the forceful, dynamic, God-fearing components of Rickey's character. Boseman also gives an effective performance, highlighting Robinson's loner persona and internal conflicts. The relationship between him and Rachel provides one of the few subplots in the film, and it is refreshing to see solid chemistry between the two. There's also Andre Holland as Wendell Smith, one of the first black sports writers and the narrator of the film; and Christopher Meloni as manager Leo Durocher.
The themes of conquering racism and achieving glory in the face of adversity have been beaten to a pulp in sports movies (and within any genre for that matter), making it all the more difficult for these films to really engage viewers. Yet what makes ones like Cinderella Man and the masterpiece that is Raging Bull so great is that that isn't the only idea expressed. While the main story in each of these films is centered around this concept, other plot lines help maintain the flow so as to correlate with the narrative elements. 42 is a very conventional film which is dictated by a singular approach.
I recently saw on ESPN a documentary entitled Survive and Advance, which chronicles the 1983 NC State basketball team under the leadership of the late Jim Valvano. That is no doubt a remarkable film, partly because Hollywood wasn't involved. By making it a documentary, the filmmaker was really able to capture the significance of this time period and the events surrounding it. While 42 is a nice display of patriotism and celebration of Jackie Robinson's life, it doesn't quite hit its target.
Dir. Brian Helgeland
This depiction of how baseball legend Jackie Robinson (Chadwick Boseman) changed the way of the game is a decent, yet unremarkable addition to the genre of sports movies. Writer/director Brian Helgeland for the most part does justice to this great historical figure, but the film is ultimately nothing we haven't seen before.
The film chronicles primarily the early stages of Robinson's career, leading up to the history-making signing with the Brooklyn Dodgers under the guidance of team executive Branch Rickey (Harrison Ford). At a time when racism had enraptured the country, Robinson and his wife Rachel (Nicole Beharie) must withstand relentless hatred as he pursues his career. Between angry fans, cold-hearted teammates, death threats, and redneck opponent Ben Chapman (Alan Tudyk), Rickey is for a long time one of Robinson's only supporters. In the end, Robinson rises to the challenge of overcoming adversity and earning the title of American legend in the history books.
To me, the main drawback of the film is the script. Although Helgeland presents himself as a solid director, his writing lacks a certain quality. Trying to bridge the gap between documentary and drama, his dialogue comes across as relatively weak and unnatural. Lines such as "You give me a uniform, you give me a number on my back, I'll give you the guts" just don't deliver in the impactful way which Helgeland was aiming for. For instance, a scene in Rickey's office takes place right after the opening montage. Out of nowhere, Rickey announces he wants to have a black man on the team, without any real build-up or expository explanation for this decision. His associates are taken aback, and the ridiculously corny soundtrack doesn't help improve the quality of this moment. While it was intended to evoke a sense of realism and historical significance, it comes across as overtly staged in the manner of its execution.
Nonetheless, a solid cast makes for one of the stronger elements of the film. Ford masters the forceful, dynamic, God-fearing components of Rickey's character. Boseman also gives an effective performance, highlighting Robinson's loner persona and internal conflicts. The relationship between him and Rachel provides one of the few subplots in the film, and it is refreshing to see solid chemistry between the two. There's also Andre Holland as Wendell Smith, one of the first black sports writers and the narrator of the film; and Christopher Meloni as manager Leo Durocher.
The themes of conquering racism and achieving glory in the face of adversity have been beaten to a pulp in sports movies (and within any genre for that matter), making it all the more difficult for these films to really engage viewers. Yet what makes ones like Cinderella Man and the masterpiece that is Raging Bull so great is that that isn't the only idea expressed. While the main story in each of these films is centered around this concept, other plot lines help maintain the flow so as to correlate with the narrative elements. 42 is a very conventional film which is dictated by a singular approach.
I recently saw on ESPN a documentary entitled Survive and Advance, which chronicles the 1983 NC State basketball team under the leadership of the late Jim Valvano. That is no doubt a remarkable film, partly because Hollywood wasn't involved. By making it a documentary, the filmmaker was really able to capture the significance of this time period and the events surrounding it. While 42 is a nice display of patriotism and celebration of Jackie Robinson's life, it doesn't quite hit its target.
Monday, April 15, 2013
Evil Dead
Dir. Fede Alvarez
**
The central problem with this remake of Sam Raimi's classic is that the marketers spent so much time hyping it up as "the most terrifying film you will ever experience". In spite of it being boldly grotesque and disturbing, the final product is ultimately nothing more than mediocre horror, solely relying on gore to immerse viewers.
As with the original, the film features a small group of young adults who spend a weekend in a remote cabin in the woods. David (Shiloh Fernandez) seeks to establish a better relationship with his mentally ill sister Mia (Jane Levy). Scarred by the death of their mother, who died in a mental institution years earlier, each sibling remains tormented by the past. The other members of the group include David's annoying girlfriend Olivia (Jessica Lucas), their nerdy friend Eric (Lou Taylor Pucci), and a dumb blonde named Natalie (Elizabeth Blackmore).
When Eric discovers an occult book in the basement, an ancient force of evil returns to torment this helpless band of mortals. The most absurd moments in the film are when David tries to convince the others there's still hope for Mia after she's transformed into a demonic figure and began eating people. How long is it gonna take for you to realize you're dealing with the supernatural!
Both Natalie and Olivia are only there so the producers have a sufficient number of people to kill off in an hour and a half, and David suffers from Fernandez's weak performance. Eric and Mia were to me the only remotely interesting characters. Beyond that, Mia is virtually the only one that undergoes any kind of actual development. That said, there is a nice twist at the end which Alvarez incorporates, one that is not the same as the original.
In spite of the script not being a replica of Raimi's, possessing a fair amount of cleverness in answering certain questions within the story, it nonetheless fails to really enrapture audiences. Using every cliche technique known to moviegoers, I found myself able to predict nearly every moment where Alvarez makes a futile attempt to frighten viewers. With one exaggerated gory sequence after another, whatever thrill exists at the film's beginning is quickly diminished by its blatant predictability. Although the original possesses a comical tone, I found the characters and story much more intriguing nonetheless.
I'm not a horror fan in the first place, but I felt it refreshing for a director to exceed the limits of relentless gore in this genre. However, his vision is shattered by a pretty pathetic cast (with the exception of Levy and Pucci) and an over-reliance on cliché tactics. These obstacles prevent Alvarez from delivering a genuinely unique horror film.
While this film offers a different take on an iconic tale, paying tribute to it at the same time, it is at most a decent reimagining. Hard-core fans will rush to see it, but I found it to be passable in spite of its anticipation.
**
The central problem with this remake of Sam Raimi's classic is that the marketers spent so much time hyping it up as "the most terrifying film you will ever experience". In spite of it being boldly grotesque and disturbing, the final product is ultimately nothing more than mediocre horror, solely relying on gore to immerse viewers.
As with the original, the film features a small group of young adults who spend a weekend in a remote cabin in the woods. David (Shiloh Fernandez) seeks to establish a better relationship with his mentally ill sister Mia (Jane Levy). Scarred by the death of their mother, who died in a mental institution years earlier, each sibling remains tormented by the past. The other members of the group include David's annoying girlfriend Olivia (Jessica Lucas), their nerdy friend Eric (Lou Taylor Pucci), and a dumb blonde named Natalie (Elizabeth Blackmore).
When Eric discovers an occult book in the basement, an ancient force of evil returns to torment this helpless band of mortals. The most absurd moments in the film are when David tries to convince the others there's still hope for Mia after she's transformed into a demonic figure and began eating people. How long is it gonna take for you to realize you're dealing with the supernatural!
Both Natalie and Olivia are only there so the producers have a sufficient number of people to kill off in an hour and a half, and David suffers from Fernandez's weak performance. Eric and Mia were to me the only remotely interesting characters. Beyond that, Mia is virtually the only one that undergoes any kind of actual development. That said, there is a nice twist at the end which Alvarez incorporates, one that is not the same as the original.
In spite of the script not being a replica of Raimi's, possessing a fair amount of cleverness in answering certain questions within the story, it nonetheless fails to really enrapture audiences. Using every cliche technique known to moviegoers, I found myself able to predict nearly every moment where Alvarez makes a futile attempt to frighten viewers. With one exaggerated gory sequence after another, whatever thrill exists at the film's beginning is quickly diminished by its blatant predictability. Although the original possesses a comical tone, I found the characters and story much more intriguing nonetheless.
I'm not a horror fan in the first place, but I felt it refreshing for a director to exceed the limits of relentless gore in this genre. However, his vision is shattered by a pretty pathetic cast (with the exception of Levy and Pucci) and an over-reliance on cliché tactics. These obstacles prevent Alvarez from delivering a genuinely unique horror film.
While this film offers a different take on an iconic tale, paying tribute to it at the same time, it is at most a decent reimagining. Hard-core fans will rush to see it, but I found it to be passable in spite of its anticipation.
Wednesday, April 10, 2013
Watchmen (2009)
Dir. Zack Snyder
*****
With Snyder's Superman reboot just two months away, I thought I'd review what is to me the director's masterpiece. Following the enormous success of Christopher Nolan's The Dark Knight, Watchmen is a further reflection of the comic book film's capacity for a much darker and thought-provoking tone.
Set in an alternate 1985 society where President Nixon is serving his third term, this adaptation of the groundbreaking graphic novel by Alan Moore and Dave Gibbons is a unique and invigorating experience. As with the source material, the film opens with the murder of an ex-superhero known as The Comedian (Jeffrey Dean Morgan). From there, the mysterious and equally legendary Rorschach (Jackie Earle Haley) investigates his old friend's death, with concerns of a plot to eliminate masked vigilantes. Although viewed as a paranoid conspiracy theorist, the shadowy figure is relentless in warning his former colleagues and discovering the truth behind a series of strange events. With Cold War tensions escalating by the minute, fear of nuclear war reaches an all time high. What Rorschach and the other Watchmen will soon discover is a far more diabolical scheme than their own demise that will threaten the entire existence of the world they know.
The ingenuity of this apocalyptic tale is found primarily through the precise detail devoted to bringing each of these iconic characters to life on the big screen. As outlandish as they are in both the comic and the movie, the manner in which they reflect elements of classic mythology is exquisitely dynamic. Rorschach is a hard-core detective whose mask is splattered with ink blots that continually change shape. Comedian is presented as blatantly amoral, always carrying weapons that appear to be illegal, and through his perception of society is as critical of it as Rorschach.
Then there's Dr. Manhattan (Billy Crudup), practically a walking H-bomb. Continually emitting radioactive particles from his body, this godlike figure is the most powerful and misunderstood of this band of misfits. While it would seem difficult to take a naked, blue man seriously, Snyder presents the character as a Zeus of sorts. The most intriguing aspect of him is his inability to understand humans, as his former identity as renowned physicist Jon Osterman is all but diminished. We also meet his lover Laurie Jupiter/Silk Spectre II (Malin Akerman). Having been sucked into the vigilante world in order to fulfill the wishes of her mother Sally (Carla Gugino), she struggles with the burdens of her mortality and past regrets, while living with a man who could potentially live forever. Also accompanying the group is Dan Dreiberg/Nite Owl II (Patrick Wilson), who is in essence the Batman of this universe. Lastly, the wealthy businessman and supremely intelligent Adrian Veidt/Ozymandias (Matthew Goode), continually seeking to expand his already vast empire.
What has often been called an impossible book to adapt is done remarkable justice by Snyder and screenwriters David Hayter and Alex Tse. In spite of it not being feasible to capture the full essence of Moore and Gibbons' work, the visions of both teams are nonetheless greatly consistent with one another.
While I wasn't a big fan of 300, Snyder's slow motion, exaggerated techniques are much more effective for this film. The visceral and exquisitely detailed lighting effects correlate well with the gritty atmosphere and graphic images.
Another highlight of the film is its soundtrack. From classic songs by Bob Dylan and Simon and Garfunkel, to a well crafted score by Tyler Bates, the music is a further reflection of the darkened elements within this Armageddon story world.
In spite of Nolan's Batman being a more entertaining film, Watchmen is a great demonstration of Snyder's capacity for cinematic ingenuity, while also being one of the best pictures DC has given us.
*****
With Snyder's Superman reboot just two months away, I thought I'd review what is to me the director's masterpiece. Following the enormous success of Christopher Nolan's The Dark Knight, Watchmen is a further reflection of the comic book film's capacity for a much darker and thought-provoking tone.
Set in an alternate 1985 society where President Nixon is serving his third term, this adaptation of the groundbreaking graphic novel by Alan Moore and Dave Gibbons is a unique and invigorating experience. As with the source material, the film opens with the murder of an ex-superhero known as The Comedian (Jeffrey Dean Morgan). From there, the mysterious and equally legendary Rorschach (Jackie Earle Haley) investigates his old friend's death, with concerns of a plot to eliminate masked vigilantes. Although viewed as a paranoid conspiracy theorist, the shadowy figure is relentless in warning his former colleagues and discovering the truth behind a series of strange events. With Cold War tensions escalating by the minute, fear of nuclear war reaches an all time high. What Rorschach and the other Watchmen will soon discover is a far more diabolical scheme than their own demise that will threaten the entire existence of the world they know.
The ingenuity of this apocalyptic tale is found primarily through the precise detail devoted to bringing each of these iconic characters to life on the big screen. As outlandish as they are in both the comic and the movie, the manner in which they reflect elements of classic mythology is exquisitely dynamic. Rorschach is a hard-core detective whose mask is splattered with ink blots that continually change shape. Comedian is presented as blatantly amoral, always carrying weapons that appear to be illegal, and through his perception of society is as critical of it as Rorschach.
Then there's Dr. Manhattan (Billy Crudup), practically a walking H-bomb. Continually emitting radioactive particles from his body, this godlike figure is the most powerful and misunderstood of this band of misfits. While it would seem difficult to take a naked, blue man seriously, Snyder presents the character as a Zeus of sorts. The most intriguing aspect of him is his inability to understand humans, as his former identity as renowned physicist Jon Osterman is all but diminished. We also meet his lover Laurie Jupiter/Silk Spectre II (Malin Akerman). Having been sucked into the vigilante world in order to fulfill the wishes of her mother Sally (Carla Gugino), she struggles with the burdens of her mortality and past regrets, while living with a man who could potentially live forever. Also accompanying the group is Dan Dreiberg/Nite Owl II (Patrick Wilson), who is in essence the Batman of this universe. Lastly, the wealthy businessman and supremely intelligent Adrian Veidt/Ozymandias (Matthew Goode), continually seeking to expand his already vast empire.
What has often been called an impossible book to adapt is done remarkable justice by Snyder and screenwriters David Hayter and Alex Tse. In spite of it not being feasible to capture the full essence of Moore and Gibbons' work, the visions of both teams are nonetheless greatly consistent with one another.
While I wasn't a big fan of 300, Snyder's slow motion, exaggerated techniques are much more effective for this film. The visceral and exquisitely detailed lighting effects correlate well with the gritty atmosphere and graphic images.
Another highlight of the film is its soundtrack. From classic songs by Bob Dylan and Simon and Garfunkel, to a well crafted score by Tyler Bates, the music is a further reflection of the darkened elements within this Armageddon story world.
In spite of Nolan's Batman being a more entertaining film, Watchmen is a great demonstration of Snyder's capacity for cinematic ingenuity, while also being one of the best pictures DC has given us.
Tuesday, April 9, 2013
RIP Ebert
Like many film buffs, I was rather saddened to hear of renowned critic Roger Ebert's death last Thursday. To even remotely describe Ebert's contributions to the film society over the years isn't feasible to put in words. Nevertheless, I owe the man a blog post for impacting me personally.
I've always loved and been fascinated by movies. No other medium has the ability to capture a person's imagination in quite the same way; a principle which I believe Ebert clung to very passionately as well.
Beyond being a brilliant writer, Ebert taught us that film is so much more than a great pastime on weekends. His reviews encouraged us to look deeper into cinema, challenging us to open our minds to new and invigorating experiences. While I was always mesmerized by the thrills of going to the movies, I didn't quite understand how to fully engage until I began reading Ebert's work.
Ebert has been my go to critic ever since I started reviewing. Whether it was a summer blockbuster or Oscar nominee, I was always eager to see Ebert's opinion. His work was an instrumental component in training me to be a better critic and a better writer in general. And while he is no longer with us, he left behind a legacy which I'm sure will continue to have a long-lasting impact.
I picked up a book of his while I was in NYC last year, and this anthology of reviews is one I continually reference. This volume rests on my desk, surrounded by an assortment of other novels, plays, comics, and newspapers. To the left is my television set and DVD player, with the 3-disc special edition of Close Encounters of the Third Kind in front of it. That is but one of a library of films on my shelf. These and all my books are categorized, although I do misplace items from time to time. As I like to think of this room as my Fortress of Solitude/Bat-Cave, I wonder what Ebert's room looked like when he was my age.
Ebert's legacy is demonstrated by his innate passion for film, and how that passion drove his remarkable career. While I don't know I could ever match his superior ability as a critic and writer, he is nonetheless one I shall continue to aspire to. May he rest in peace.
I've always loved and been fascinated by movies. No other medium has the ability to capture a person's imagination in quite the same way; a principle which I believe Ebert clung to very passionately as well.
Beyond being a brilliant writer, Ebert taught us that film is so much more than a great pastime on weekends. His reviews encouraged us to look deeper into cinema, challenging us to open our minds to new and invigorating experiences. While I was always mesmerized by the thrills of going to the movies, I didn't quite understand how to fully engage until I began reading Ebert's work.
Ebert has been my go to critic ever since I started reviewing. Whether it was a summer blockbuster or Oscar nominee, I was always eager to see Ebert's opinion. His work was an instrumental component in training me to be a better critic and a better writer in general. And while he is no longer with us, he left behind a legacy which I'm sure will continue to have a long-lasting impact.
I picked up a book of his while I was in NYC last year, and this anthology of reviews is one I continually reference. This volume rests on my desk, surrounded by an assortment of other novels, plays, comics, and newspapers. To the left is my television set and DVD player, with the 3-disc special edition of Close Encounters of the Third Kind in front of it. That is but one of a library of films on my shelf. These and all my books are categorized, although I do misplace items from time to time. As I like to think of this room as my Fortress of Solitude/Bat-Cave, I wonder what Ebert's room looked like when he was my age.
Ebert's legacy is demonstrated by his innate passion for film, and how that passion drove his remarkable career. While I don't know I could ever match his superior ability as a critic and writer, he is nonetheless one I shall continue to aspire to. May he rest in peace.
Friday, February 22, 2013
Update
Hello cinephiles! Just wanted to say this semester is going well but is very busy. As such, I'm not as able to post as many reviews as I'd like. I just got a job writing for NC State's newspaper the Technician, so look for my articles online. Hopefully the next film I'll be seeing in theaters will be Sam Raimi's Oz: The Great and Powerful, as it comes out over my spring break. Since there aren't many good movies playing in mainstream cinemas at the moment, I'll wait to spend my money on something quality. Until then, tune in to the Oscars this Sunday (only drawback is that it will be going on the same time as a new episode of The Walking Dead).
Friday, January 25, 2013
My Oscar Picks
There are still a few I have to see before I can make a top ten films of 2012 list, but I thought I'd share my picks for the 85th Academy Awards.
1) Best Picture: Argo
2) Best Director: Ang Lee- Life of Pi
3) Best Actor: Daniel Day-Lewis- Lincoln
4) Best Supporting Actor: Philip Seymour Hoffman- The Master
5) Best Actress: Jessica Chastain- Zero Dark Thirty
6) Best Supporting Actress: Anne Hathaway- Les Misérables
7) Best Original Screenplay: Quentin Tarantino- Django Unchained
8) Best Adapted Screenplay: Tony Kushner- Lincoln
9) Best Animated Film: ParaNorman
10) Best Foreign Film: Amour
11) Best Visual Effects: Bill Westenhofer, Guillaume Rocheron, Erik-Jan De Boer and Donald R. Elliott- Life of Pi
12) Best Cinematography: Roger Deakins- Skyfall
13) Best Costume Design: Paco Delgado- Les Misérables
14) Best Original Score: Mychael Danna- Life of Pi
15) Best Original Song: Adele- Skyfall
16) Best Film Editing: William Goldenberg- Argo
17) Best Makeup and Hairstyling: Peter Swords King, Rick Findlater and Tami Lane- The Hobbit: An Unexpected Journey
18) Best Production Design: David Gropman (Production Design); Anna Pinnock (Set Decoration)- Life of Pi
Other very noteworthy films I've seen this year include Flight, Cloud Atlas and Prometheus. Unfortunately, I have yet to see Beasts of the Southern Wild, but it is certainly on my list. And although 2012 was a great year for movies, there were plenty of stinkers we had to suffer through nonetheless (i.e. Wrath of the Titans, Battleship, Red Dawn, and the deplorable Twilight conclusion Breaking Dawn: Part 2). Thanks for reading, and I look forward to what's playing in 2013.
1) Best Picture: Argo
2) Best Director: Ang Lee- Life of Pi
3) Best Actor: Daniel Day-Lewis- Lincoln
4) Best Supporting Actor: Philip Seymour Hoffman- The Master
5) Best Actress: Jessica Chastain- Zero Dark Thirty
6) Best Supporting Actress: Anne Hathaway- Les Misérables
7) Best Original Screenplay: Quentin Tarantino- Django Unchained
8) Best Adapted Screenplay: Tony Kushner- Lincoln
9) Best Animated Film: ParaNorman
10) Best Foreign Film: Amour
11) Best Visual Effects: Bill Westenhofer, Guillaume Rocheron, Erik-Jan De Boer and Donald R. Elliott- Life of Pi
12) Best Cinematography: Roger Deakins- Skyfall
13) Best Costume Design: Paco Delgado- Les Misérables
14) Best Original Score: Mychael Danna- Life of Pi
15) Best Original Song: Adele- Skyfall
16) Best Film Editing: William Goldenberg- Argo
17) Best Makeup and Hairstyling: Peter Swords King, Rick Findlater and Tami Lane- The Hobbit: An Unexpected Journey
18) Best Production Design: David Gropman (Production Design); Anna Pinnock (Set Decoration)- Life of Pi
Other very noteworthy films I've seen this year include Flight, Cloud Atlas and Prometheus. Unfortunately, I have yet to see Beasts of the Southern Wild, but it is certainly on my list. And although 2012 was a great year for movies, there were plenty of stinkers we had to suffer through nonetheless (i.e. Wrath of the Titans, Battleship, Red Dawn, and the deplorable Twilight conclusion Breaking Dawn: Part 2). Thanks for reading, and I look forward to what's playing in 2013.
Sunday, January 13, 2013
Zero Dark Thirty
****
Dir. Kathryn Bigelow
Even though viewers know Bin Ladin is dead going into this movie, Kathryn Bigelow's innate ability as a filmmaker makes for an intense and gritty dramatic thriller. After she and screenwriter Mark Boal blew critics away with The Hurt Locker in 2009, this team returned to make a film depicting the greatest manhunt in American history.
After opening with recordings from 9/11, the film chronicles the process which CIA operatives used to bring down the former Al-Queda leader. Dan (Jason Clarke) and Maya (Jessica Chastain) are agents working together in Pakistan, tasked with the job of interrogating prisoners and compiling as much data as they can in regards to this radical organization. Maya is a top level member of her division, recruited straight out of high school. The early years of her career are devoted entirely to finding a man regarded as one of the most dangerous people alive.
Between the graphic torture scenes and terrorist attacks, it's pretty remarkable how Bigelow is able to immerse audiences into this distorted world which most Americans only know about through what they see on the news. Most war films attempt to strive for a realistic approach, but are nonetheless plagued by Hollywood components. That is not the case here. From the moment the film begins to the closing sequence, viewers are transported to the fear and confusion of the Middle Eastern atmosphere. The cinematic techniques which Bigelow uses to capture this dismal setting is what makes the experience of watching this picture so compelling.
Nevertheless, what separates this film from The Hurt Locker is that there isn't quite as much emphasis on character development. Although the acting is great, the action tends to overshadow the story at points. It's not bad, but it is what keeps the film from being riveting in my opinion.
However, Jessica Chastain gives a remarkable performance. Whether it's her facial expressions during the interrogation sequences, or just her sheer presence on screen, she embodies the internal and external conflicts of her character very effectively. Clarke also does a great job, portraying a more original and believable tough guy. He makes trained killers look like they wanna go cry to their moms, and yet he still possesses the desire for an ordinary lifestyle. Kyle Chandler also has a nice deal of screen time as their boss Joseph Bradley, and is well suited for the role.
Like a lot of films released around this time, this one is up for best picture and several other Oscars. I still think Argo deserves to win, but I thoroughly enjoyed the artistic attributes of this picture. While not as groundbreaking as Bigelow's previous works, it's definitely one to see.
Dir. Kathryn Bigelow
Even though viewers know Bin Ladin is dead going into this movie, Kathryn Bigelow's innate ability as a filmmaker makes for an intense and gritty dramatic thriller. After she and screenwriter Mark Boal blew critics away with The Hurt Locker in 2009, this team returned to make a film depicting the greatest manhunt in American history.
After opening with recordings from 9/11, the film chronicles the process which CIA operatives used to bring down the former Al-Queda leader. Dan (Jason Clarke) and Maya (Jessica Chastain) are agents working together in Pakistan, tasked with the job of interrogating prisoners and compiling as much data as they can in regards to this radical organization. Maya is a top level member of her division, recruited straight out of high school. The early years of her career are devoted entirely to finding a man regarded as one of the most dangerous people alive.
Between the graphic torture scenes and terrorist attacks, it's pretty remarkable how Bigelow is able to immerse audiences into this distorted world which most Americans only know about through what they see on the news. Most war films attempt to strive for a realistic approach, but are nonetheless plagued by Hollywood components. That is not the case here. From the moment the film begins to the closing sequence, viewers are transported to the fear and confusion of the Middle Eastern atmosphere. The cinematic techniques which Bigelow uses to capture this dismal setting is what makes the experience of watching this picture so compelling.
Nevertheless, what separates this film from The Hurt Locker is that there isn't quite as much emphasis on character development. Although the acting is great, the action tends to overshadow the story at points. It's not bad, but it is what keeps the film from being riveting in my opinion.
However, Jessica Chastain gives a remarkable performance. Whether it's her facial expressions during the interrogation sequences, or just her sheer presence on screen, she embodies the internal and external conflicts of her character very effectively. Clarke also does a great job, portraying a more original and believable tough guy. He makes trained killers look like they wanna go cry to their moms, and yet he still possesses the desire for an ordinary lifestyle. Kyle Chandler also has a nice deal of screen time as their boss Joseph Bradley, and is well suited for the role.
Like a lot of films released around this time, this one is up for best picture and several other Oscars. I still think Argo deserves to win, but I thoroughly enjoyed the artistic attributes of this picture. While not as groundbreaking as Bigelow's previous works, it's definitely one to see.
Sunday, January 6, 2013
Promised Land
***
Dir. Gus Van Sant
This film has particular significance in our society today. Between the fiscal cliff and various economic troubles over the last decade, much of it has to do with the rise of major corporations clashing with older ways of life. Contrasting the lives of small town farmers with those of big city people can have a powerful effect within this medium.
Promised Land tells the story of Steve Butler (Matt Damon), a salesman for a natural gas company. When he and his partner Sue Thomason (Frances McDormand) are sent to a small town so the corporation can tap into available resources, both think it'll be an easy job. Yet because the area has been hit hard in recent years by the economy, people like schoolteacher Frank Yates (Hal Holbrook) aren't as receptive to the innovative businessmen trying to crush their way of life. As tensions rise, Butler and Thomason are then met by Environmentalist Dustin Noble (John Krasinski), there to combat the company's actions. As the mission turns into a political battle, Butler's morals and mentalities are questioned. By the end, he undergoes a spiritual journey which transforms his character.
Director Gus Van Sant (Good Will Hunting) presents a film which is very relevant to Americans everywhere. Whether you're a suburban or farmer in a small town, the message is applicable to a wide range of viewers. Sant's direction works really well with Damon and Krasinski's script. Although the pacing is pretty slow, there's a really nice twist in the plot at the end which makes up for it. The story flows very well, and effectively enhances the character development. Butler's internal conflicts reflect the various themes presented, and I really like how he changes over the course of the picture.
As far as the acting goes, you can see from the cast that there's definitive quality. While not Damon's best, he is nonetheless well suited for this role and has very solid chemistry with McDormand and Krasinski. This is a pretty light-hearted, more humorous drama, and the cast executes Sant's vision very effectively.
Between the business ethics and character intrigue here, this is certainly worth seeing. While nothing remarkable or as good as Sant's previous works, it is a very good film nonetheless.
Dir. Gus Van Sant
This film has particular significance in our society today. Between the fiscal cliff and various economic troubles over the last decade, much of it has to do with the rise of major corporations clashing with older ways of life. Contrasting the lives of small town farmers with those of big city people can have a powerful effect within this medium.
Promised Land tells the story of Steve Butler (Matt Damon), a salesman for a natural gas company. When he and his partner Sue Thomason (Frances McDormand) are sent to a small town so the corporation can tap into available resources, both think it'll be an easy job. Yet because the area has been hit hard in recent years by the economy, people like schoolteacher Frank Yates (Hal Holbrook) aren't as receptive to the innovative businessmen trying to crush their way of life. As tensions rise, Butler and Thomason are then met by Environmentalist Dustin Noble (John Krasinski), there to combat the company's actions. As the mission turns into a political battle, Butler's morals and mentalities are questioned. By the end, he undergoes a spiritual journey which transforms his character.
Director Gus Van Sant (Good Will Hunting) presents a film which is very relevant to Americans everywhere. Whether you're a suburban or farmer in a small town, the message is applicable to a wide range of viewers. Sant's direction works really well with Damon and Krasinski's script. Although the pacing is pretty slow, there's a really nice twist in the plot at the end which makes up for it. The story flows very well, and effectively enhances the character development. Butler's internal conflicts reflect the various themes presented, and I really like how he changes over the course of the picture.
As far as the acting goes, you can see from the cast that there's definitive quality. While not Damon's best, he is nonetheless well suited for this role and has very solid chemistry with McDormand and Krasinski. This is a pretty light-hearted, more humorous drama, and the cast executes Sant's vision very effectively.
Between the business ethics and character intrigue here, this is certainly worth seeing. While nothing remarkable or as good as Sant's previous works, it is a very good film nonetheless.
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