“The Purge: Anarchy” (Film Review)

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By Shane M. Dallmann

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You KNEW this was coming… the major success of James DeMonaco’s THE PURGE last year guaranteed the sequel would be out by now… and at least it was written and directed by the same guy (although the copyright infringement battle has just begun… here we go again…).

THE PURGE: ANARCHY is about as good a sequel as could have been made to DeMonaco’s original–at least it opens up the concept and takes it to a variety of locations instead of trying to re-create the “siege” format of the first film. You know the premise: twelve hours of legal crime (with certain restrictions to protect the New Founding Fathers themselves) every year; they say it’s to cleanse our souls while we know it’s really to eliminate the burdensome, costly underclass one year at a time.

A nameless protagonist with an obvious police/military background (Frank Grillo–get used to him as the American face of the upcoming RAID remake franchise) sits on a bed “getting ready” while photographs and newspaper headlines regarding some guy who was “freed on a technicality” are posted on the wall behind him. There. Now you know everything about this guy, what he plans to do and why he plans to do it. We get the bickering couple on the verge of a separation until a scary masked street gang sees to it that they become free-range targets on Purge Night. And we get the low-income Hispanic waitress and her daughter… Papa has excused himself for the evening and what HE’s doing constitutes one of the more disturbingly effective elements of the sequel.

Circumstances throw all of the above together on a quest to make it to safety and “survive the night.” Bad things continue to happen. But this time (like in DEATH RACE 2000) there’s a rebel faction looking to strike back at the N.F.F.A. (and looking and sounding almost exactly like the Black Panthers in the process, for those few possible audience members remaining that still don’t “get it”).

That’s really all there is to it… but DeMonaco still has the chops to make the terror/violence sequences work quite well… make no mistake, this is a slick and efficient thriller for all its formula…

…that is, until we get to Act III as it were. And on the off chance that you didn’t see this sequence spoiled a thousand times over in the trailers and TV spots, I may as well tell you that at this point we’re essentially thrown into a “HOSTEL meets THE MOST DANGEROUS GAME” scenario and things just get more and more predictable and humdrum from there… right down to the character who absolutely has to spell out in painful detail what any viewer with a reasonably functioning brain has surely managed to figure out for himself. “You mean… they were IN on it?”

THE PURGE: ANARCHY supplies the horror, suspense and action; and at this rate there’s likely to be a third one. The problem is that it has nothing new to say… but insists on saying it anyway.

Doomsday and More in “Batman v. Superman: Dawn of Justice”

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The other day a few sources from the “Batman v. Superman: Dawn of Justice” production reached out and whispered in my ear a few interesting tidbits. Now I have no idea if these are truly factual about the upcoming 2016 film or not, but I figured I would throw them out there for those who enjoy scraping the internet floor looking for breadcrumbs.

I do wonder how long it will take before someone notices these goodies are on here. You see, Obnoxious and Anonymous is not a huge site. We do have a strong and loyal readership, but we’re not on the same playing field (viewer wise) as many of the other film blog websites. However, if what I’m about to type is deemed newsworthy, well… I guess there will be a new big boy seat at the table.

I’m glad. There have been a few times where our original stories have been stolen by other outlets (I’m looking at you Yahoo) and we weren’t given any credit. So let these tasty morsels be a reminder to any big, esteemed websites that act like gods on a throne that the little guys have sources too.

Now that I have your attention, let us begin.

1. The movie opens in a flashback to “Man of Steel” showing the effects the ending had on the characters, both old and new: Clark Kent, Lois Lane, Martha Kent, Lex Luthor and Bruce Wayne.

2. There is an astronaut named Hank Henshaw. The black hole that was created to send the Kryptonians back into the Phantom Zone creates a a mass rift outside the Earth’s atmosphere destroying Hank’s pod. When it closes, the rift reverses and the pod is left whole–but with no Hank.

3. Dick Grayson (aka Nightwing), Tim Drake AND Batman will take on Superman somewhere in the middle of the story. They have been mislead to think that the Man of Steel is their enemy. However, after Superman saves Tim Drake’s life during the battle, Dick Grayson/Nightwing becomes convinced there is something good about him after all.

4. There will be a variation on the Doomsday origin.

When Zod’s Genesis Chamber crashed, there were 12 surviving fetuses. These were then taken by Lexcorp in the panic (cue flashback scenes). Lex has them scanned and notes the genetic difference. He then injects one with with an XO gene causing the baby to mutate and die.

(The XO gene sample is Amazonian–and Wonder Woman is hot on his trail to find out how Lex could have obtained this.)

Lex then extracts a sample from the now dead fetus and injects it into the second fetus and so forth until the 10th fetus not only lives but thrives–creating the abomination known as Doomsday.

The other two fetuses are kept aside (with one becoming Hank Henshaw’s basis for The Cyborg).

Doomsday hates the Kryptonians because his cells seem to remember everything, and his first thoughts are of Jax-Ur experimenting on him by trying grow him without the Codex.

5. There will be a huge battle (storyboarded at 27 minutes) between Doomsday and Superman/Batman/Wonder Woman/Aquaman/Nightwing near the end of the film.

6. Dick Grayson/Nightwing will return in “Justice League” as a member of the team.

7. Near the end of the film when Doomsday bests Superman, Hank Henshaw will assimilate into a cyborg-like organism within one of the two remaining fetuses. (Not to be confused with Victor Stone’s Cyborg character.)

8. Starter villains for the “Justice League” film will be The Cyborg (aka Hank Henshaw), Mongul and Sinestro.

So if this is true, we’re going to have multiple Robins, multiple Cyborgs and all hell breaking loose in this DC cinematic universe. Sounds pretty cool to me and I’m not even an avid comic book reader.

What do you all think?

Please send your scoops/news to obnoxiousandanonymous@hotmail.com

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“Dawn of the Planet of the Apes” (Film Review)

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By Shane M. Dallmann

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I shouldn’t have to go into a lot of detail about an unquestionable summer blockbuster that just about everybody here is going to see anyway, but the PLANET OF THE APES franchise in particular has always been near and dear to me.

Tim Burton, of course, made a fine-looking and perfectly watchable “re-imagining” a while back, but in the end it was pointless and forgettable, adding nothing of lasting value to the concept. It took RISE OF THE PLANET OF THE APES to really re-establish a grip on the material, and while it had “sure thing” branded on it for the opening weekend at the very least, it was actually quite a risk-taker… imagine a PLANET OF THE APES movie with almost no talking apes?! I pegged that one as the start of what was going to be a truly exciting new series… and it should come as no surprise that the sequel did NOT disappoint me…

RISE was often described as a remake of sorts of CONQUEST OF THE PLANET OF THE APES. Well… not really. But DAWN certainly takes more than a mere page from the original series finale, BATTLE FOR THE PLANET OF THE APES. Most people didn’t really care for that one, but that was more due to its threadbare resources than anything else… compared to the original, it was a cheapjack letdown–but I still like it. After all, you still had Roddy McDowall as Caesar, you got Paul Williams as Virgil, you got a finale that managed to come full circle and remain open-ended simultaneously… and the film made its own indelible contribution to the mythology with the intense “Ape has killed ape!” climax. If you ever wanted BATTLE with a budget, well, here you go.

It’s been thirteen years since the foreboding end-title sequence of RISE, and the “simian flu” has done a Captain Trips number on the world. The community of intelligent apes is still living peacefully in Muir Woods, but a genetically-immune pocket of humanity still struggles to survive in the ruins of San Francisco. And the two factions inevitably meet. The humans certainly don’t want or intend to mess with the apes, but they DO need to reach the hydroelectric dam in their territory in order to restore power to their city. And before any sort of cooperation can be established with Caesar (Andy Serkis), the apes are obliged to make a show of strength and make it clear that the nearly-forgotten human race is NOT to interfere with them. Caesar (who now has two sons) knows full well that the human race is not inherently evil and ultimately allows a small faction of their kind (Jason Clarke, Keri Russell and Kodi Smit-McPhee in the main) to accomplish their mission. But of course, there are bad apples on both sides…

The character development may seem a bit slow and obligatory in the early going (“You had a daughter?”) but it all pays off richly in the human and ape camps alike. The teasers and trailers fooled me into thinking that Gary Oldman (as community leader Dreyfus) was going to be the “Governor Kolp” BATTLE figure devoted to exterminating the apes just for a little excitement, but nothing could be less true… Dreyfus is no villain but an experienced combat veteran and leader who has every reason and right to protect his people, as frustrating as that might be to those seeking a peaceful resolution to the escalating situation. And in the “General Aldo” role, we have Toby Kebbell as Koba, who understandably hates humans thanks to his previous existence of torture and mutilation as a lab animal–his demonstration of how to “play the role” in order to disarm the humans in one of the best scenes is a masterful combination of deception and self-loathing. Offering a more hopeful note is the returning orangutan character Maurice (who knew sign language even before Caesar artificially enhanced the intelligence of the ape population); he’s not as loquacious as Virgil, but his interplay with humans and apes alike is one of the sequel’s nicest touches.

Further details would only serve as spoilers–it’s enough to say that DAWN recognizes and honors its roots (right down to the human corral) while simultaneously functioning as its own… er… animal. The quality of the special effects goes without saying in this day and age, but these new ape-meisters (Matt Reeves of LET ME IN took the director’s chair for this outing) paid equal attention to the characters and stories involved and have done what Tim Burton could not… PLANET OF THE APES continues to thrive for an all-new generation AND us old-timers alike.

The Day I Met Oliver Stone

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By Sarah Sherman Soule

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In the Spring of 1993, I was fifteen years old (and in the tenth grade) when my high school history teacher was asked to send two students to Hampden-Sydney College for a lecture series about Vietnam. One of the speakers was going to be Oliver Stone, the Academy Award winning writer/director of “Platoon” and “Born on the Fourth of July”.

Both my friends and classmates knew about my innocent young girl’s dream of someday going out to Hollywood and becoming an actress–so they were all enthusiastically happy when I was chosen to represent our school.

(Either that or perhaps they were just thrilled themselves to not suffer through a bunch of grown adults yapping on about a conflict that peaked years before they were born.)

I didn’t care. “Born on the Fourth of July” was one of my favorite films, and even though Tom Cruise’s acting (and boyishly good looks) had something to do with that, I knew the man responsible for crafting such a dramatically powerful movie was definitely someone I wanted to hear talk.

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And I believe this was right before his new film “Heaven And Earth” opened (starring one of my “Twin Peaks” favorites, Joan Chen) because he was constantly plugging it during his speech.

Of course I didn’t mind. I was simply in awe just listening to a living, breathing, Academy Award winning filmmaker (of whose films I had actually SEEN and LIKED). Definitely not a situation an average high school girl from Virginia finds herself in often.

However, as he continued to speak, I began to feel his eyes returning to find me again and again–practically burning a hole right through my body. It was quite overwhelming, to say the least, and anyone who has seen his many films can tell you how passionate and intense Mr. Stone can be when he sets his sights on something.

I looked around and no one else seemed to be noticing, so I just chalked this feeling up to a fifteen year old girl’s active imagination. After all, there were tons of beautiful, tanned, blonde college girls in the room as well. No way I was being signaled out.

Needless to say I hadn’t even kissed a boy yet at my age, but I just could not shake the feeling that Oliver Stone was focusing his eyes upon me. I thought to myself, “Poor thing. Maybe he’s just nervous and needs someone to look at. Perhaps if I gaze back, that will help him through his speech.” And so I did.

When the lecture finally ended, the audience got up and exited the college auditorium. I was in a daze though. What a weird, strange experience. Nothing like that had ever happened to me before, let alone with one of my favorite directors.

As I began to walk towards the parking lot, a long black limousine pulled up alongside of me and came to a stop. I turned to look as the window rolled down and Oliver Stone was inside.

“It’s you!” He exclaimed with the biggest grin I’ve ever seen. “Come here, beautiful!”

I was stunned and walked over.

Stepping out of the limo, he asked me, “What’s your name?”

“Sarah.”

Mr. Stone then replied, “You know what, Sarah? The only way I got through that fucking symposium was by staring at your beautiful face. Now I want to know you. I want to know everything about you, Sarah.”

Okay… I may have been naive but I wasn’t stupid. I knew at this moment THE Oliver Stone was hitting on me.

Conversely he asked what college I went to. I then had to break it to him that I was still in high school. But his grin only widened. “Ohhhh. You’re jailbait.”

(I was so innocent at this age that I didn’t even know what that term meant.)

Mr. Stone then took my hand, opened the limo door and started singing Frank Sinatra’s “Come Fly With Me” into my ear.

(Lyrics: http://www.azlyrics.com/lyrics/franksinatra/comeflywithme.html)

Not knowing what to say, I just looked at him before blurting out, “You know, I really loved Born on the Fourth of July.”

Without hesitation, he shrugged off that compliment, squeezed my hand and whispered, “Come on, Jailbait! You’re coming away with me.”

(In retrospect, this situation must have happened a lot with him. Richard Rutowski states in the 1997 documentary, “The Road of Excess” that he and Oliver Stone once tried to lure a young, Native American girl back to L.A. before her elders stopped them.)

I then looked at him and said, “Thank you very much, Mr. Stone but I need to get back to school with my teachers now.”

Enthusiastically he replied, “Holy shit! Jailbait’s just turning me on more and more!”

I stood firm. “I think it’s time we said goodbye now.”

Feeling defeated, he asked to hug me and we did. My heart broke. He seemed so sad and lonely, but I’m sure it was just a ploy to feel my tits against his belly.

At this moment, a pretty teacher from my school saw us together and called out, “Sarah, come on! The bus is leaving!”

He then said to me, “Damn! Is that your mom?” I couldn’t help but spontaneously laugh.

Mr. Stone then leaned in and kissed me softly on the cheek. “Till we meet again, Jailbait.”

Looking into his eyes, I could tell he was hurt, that he felt rejected–but the only solace I could give him was to shrug off his comment with a half-hearted smile.

He then got in the limo and drove away, as I began to walk back to the bus.

And that’s the day I met Oliver Stone.

**This post is not meant as a condemnation, but merely a reflection upon a moment in my life. I bear no ill-well towards Oliver Stone and I absolutely wish him the best in life. I haven’t missed a film of his yet.

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(Sarah Sherman Soule – Then and Now)

“Deliver Us From Evil” (Film Review)

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By Shane M. Dallmann

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Director Scott Derrickson arrived on the scene with the compromised HELLRAISER: INFERNO, which needed Pinhead about as much as it needed a… er… pin in the head. The actual film was one of the very few pseudo-HELLRAISER sequels to prove actually worth watching on its own and established Derrickson as a specialist in “true crime” flavored horror.

His theatrical debut, THE EXORCISM OF EMILY ROSE, was heavily criticized by those familiar with the actual details of the true-life case that inspired it–some went so far as to brand it a travesty. Point taken, so be it. As a fictionalized motion picture (which, of course, is exactly what it was), it was a powerful horror/courtroom thriller which treated both sides of the supernatural debate with equal weight.

And SINISTER sealed the deal as Ethan Hawke attempted to prove that the supernatural, of course, had nothing to do with the ghastly crimes he was eager to exploit in a book…

Now comes DELIVER US FROM EVIL, which first made itself known with a much-too-familiar title and a teaser trailer that made it look like the latest variant on PARANORMAL ACTIVITY (though, of course, “inspired by a true story”)–in fact, it was only the name “Scott Derrickson” that made me want to see it at first.

Well, P.A. it ain’t, and it’s not a “found footage” movie in the slightest, either. What the trailer did NOT tell you is that this “true story” (from the memoirs of NYPD officer Ralph Sarchie) is, on the surface, merely the latest re-take on that granddaddy known as THE EXORCIST, starting as it does with the uncovering of an evil force in Iraq and climaxing as it does with… an exorcism. However, DELIVER US FROM EVIL does NOT tell us the same story in between…

Ralph Sarchie (Eric Bana) has been enduring the worst of what humanity has to offer in his Bronx graveyard shift; but he presses on, getting what little enjoyment he can out of his banter with his partner Butler (Joel McHale), putting “the job” ahead of his wife and young daughter (Olivia Munn and Lulu Wilson), and employing his mysterious “radar” to direct him to the calls he knows he has to handle personally.

As our story opens, Sarchie encounters a string of violent acts which involve such linking elements as the frantic scratching of the floor, mysterious losses of power (including holy candlelight) and nastiness involving animals and children alike. The narrative quickly takes us to a terrific set piece in the Bronx Zoo, with only emergency lighting and night-vision goggles available to they officers when they try to track down a dangerous suspect…

…but let’s dispense with the details as much as possible. On paper, they’re either going to lead to spoilers or they’re simply going to sound much too familiar and do the film a disservice. Yes, Sarchie is a lapsed Catholic. And of course a Jesuit priest (Edgar Ramirez as Father Mendoza) is going to persist in dragging Sarchie’s latent faith to the surface even as the evil he’s uncovered threatens to reach out to Sarchie and his unwitting family. But the characters (never mind how true they are to either “real life” or Sarchie’s book–we are watching a MOVIE no matter what they tell us) remain engaging and share good chemistry throughout the film (“I’m N.A., not A.A.!”); the standard manifestations of possession are very cleverly blended with a generous sampling of songs by The Doors (not to mention the old classic “Pop Goes The Weasel”) in one of the best touches; and Derrickson maintains his knack for setting up disturbing, violent and frightening scenes and imagery without ever letting the pace slacken (remarkable for a film of this length in this day and age). So by the time we actually GET to the teaser scene with the ridiculously creepy stuffed owl… well, it’s pretty damn scary at that!

Who needs yet another exorcism movie? Well, substitute any horror trope you like for the word “exorcism” in that question. We keep coming back to this material because there’s a rich AND current history behind it, and because it works. DELIVER US FROM EVIL is a solid, effective shocker no matter what you think of from whence it sprang.

Oh, and opening it on the Fourth of July weekend was pretty much its death knell, so you’d better hurry. But really… REALLY? More people wanted to see TAMMY? Well… maybe it IS scarier… but I’ll never know.

“Snowpiercer” (Film Review)

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By Shane M. Dallmann

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I hadn’t even heard of this film two weeks ago and then all of a sudden it was the rage… the first English-language film of Korean director Park Hoon-Jung (THE HOST, which had some great stuff but which was ultimately over-rated in my book; and MOTHER, which I still haven’t seen) is now here, and while fans are up in arms about the “limited release,” at least they’re getting the full-length version.

So much to process… so what is SNOWPIERCER? It’s a blockbuster-budgeted adaptation of a French graphic novel, for a start. In the not-too-distant, our efforts to curb global warming have resulted in an apocalyptic ice age, and the remnants of humanity have been collected in a massive “supertrain” prophetically designed by a certain forward-thinking scientist by the name of Wilford. As long as the perpetually-powered train keeps circling the globe, those safely inside can survive–to venture outside is near-instantaneous freezing death. Ah, but the powers that be who run the train have ensured that human society will continue as it always has… with the elite enjoying the “good life” in the front section and the common rabble sweating it out in the windowless tail, existing on nauseating “protein bars” and occasionally (and, of course, unwillingly) giving up certain of their number (including young children) to those up front–for whatever reason…

We’re about sixteen years into this situation as the movie kicks off, which means that thirty-something Curtis (Chris Evans) has spent half of his life on the train and barely remembers Earth as it was. He’s slowly and methodically planning a revolution (it wouldn’t be the first one) which will lead “his” people to take over the front of the train by force, but he doesn’t consider himself a “leader” as such… it takes the gentle coaxing of a crippled, elderly former scientist named Gilliam (John Hurt) to groom him for a position he really wants to avoid. Words eventually translate into carefully planned action, and once Curtis secures the services of security engineer Namgoong Minsoo (Kang-ho Song), and his teenage daughter (Ah-sung Ko) he looks to gain access to each and every car in sequence. All that’s asked of him in return is a generous supply of a powerful hallucinogenic forged from industrial waste… but of course the price turns out to be a lot higher…

Conceptually and politically, we’ve seen many treatments of this theme ranging all the way back to METROPOLIS and, most recently, the HUNGER GAMES franchise; the grubby solidarity of the working class and the debauchery of the higher-ups may not be enough in itself to draw a direct line to the latter, but then Tilda Swinton steps in as Marshall Mason… this gaudy/ghastly/genial figurehead may well be cut from the same cloth as Effie Trinkett, but Swinton has no problem whatsoever making Mason her own unforgettable creation in a truly no-holds-barred performance, whether she’s overseeing a remarkably cruel (and symbolic) punishment for subversion or finding herself reluctantly along for the ride…

Mason is, of course, just one of many powerful characters to turn up in the epic narrative, and the HUNGER GAMES, etc. comparisons take a back seat to the unique structure of SNOWPIERCER–the enormously appealing gimmick here is that each open gate leads to a new wonder, a new horror or a new danger; at one moment you may be marveling at a preserved microcosm of the ocean itself; at another you may find yourself with guards armed to the teeth with various sharp implements; or you may find yourself back in grade school (in one of the best scenes, during which I acknowledge that I failed to recognize Alison Pill as the teacher thanks to her platinum-blonde wig). The violence isn’t nearly as off the charts as, for example, a RAID movie, but it’s quite hard-hitting all the same, and the style ranges from brutal hand-to-hand combat in a luxury spa car to a uniquely-staged long-distance gun duel…

There is just SO much going on to hold your attention, but any of it can stop as abruptly as it starts (Happy New Year!) because SOME business just can’t wait… in short, it’s a wild ride indeed, and there’s no excuse to pass it up on the big screen should you be afforded the opportunity… that said, I have to be honest and report my one disappointment. Much as the majority of critics agreed at the time that APOCALYPSE NOW was great until you actually got to Marlon Brando? That’s approximately how I felt about SNOWPIERCER when we actually get to Ed Harris (which is not a reflection on the actor or his performance in any way). By this point in the narrative (especially as it has NOT been cut by 20m as was apparently threatened), we’ve quite been made to understand the point of just what’s going on and why it’s been set up that way, and here we’re subjected to a few too many melancholy reiterations of what we’ve already been told–and even though the action is still raging on in the background, the symbolism starts to get just a bit (dare I say it?) heavy-handed.

That’s not nearly enough to tone down my recommendation, however. This one’s got all the action and excellent special effects you could ask for… but unlike many a brainless “epic,” it keeps giving you MORE.

“Jersey Boys” (Film Review)

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By Shane M. Dallmann

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I never did get to see JERSEY BOYS on the stage, but some sixteen years ago I got to take my wife to see Frankie Valli and the Four Seasons for real… and from the real-life KRML to PLAY MISTY FOR ME to BIRD, you know that our local celebrity director Clint Eastwood loves his music… so, even though this movie doesn’t SEEM to be the sort of thing I’d jump at, the truth of the matter is that from the moment I saw the TV trailer for the first time, I declared “Okay–THIS we’re seeing!”

And I’m a bit surprised at the mixed reviews… this is a perfect “date” movie and my wife and I enjoyed it from beginning to end.

Of course, this is the “true story” (at least as far as a Broadway show re-adapted for the screen can be counted on to be “true”) of the rise, fall and re-formation of you know who and the you know whats… as narrated in the main by various members of the band: as Tommy DeVito, Vincent Piazza actually takes top billing over John Lloyd Young as Frankie himself… also featured are Michael Lomenda as Nick Massi and Erich Bergen as Bob Gaudio.

The story kicks off with the still-juvenile Frankie being warned that he ought to hang out with a better class of friends than such delinquents as Tommy, etc… yeah, they’re up to no good, but they DO have that band and Frankie’s going to get his chance to shine. Oh, and Tommy has connections to local mob boss Gyp DeCarlo (Christopher Walken). Okay, the complaints have already started from some viewers/critics who feel that Eastwood is merely giving us “GOODFELLAS Lite.” Well, what do you want? GOODFELLAS full-strength? We can’t completely ignore this element of Valli’s life and background, and these early scenes include a terrific sight gag involving a safe robbery and the trunk of a car; as well as the gang “innocently” breaking into a church so as to make use of the fancy organ and acoustics… and the fact that we have Walken instead of, say, DeNiro should say it all for the tone as we build up to the discovery of Frankie’s voice and subsequent music.

And here, of course, is the true appeal of JERSEY BOYS… as the band known variously as the Varietones and the Four Lovers gradually establishes its identity and breaks through with their inimitable classic recordings (get ready for a terrific turn by Mike Doyle as Bob Crewe (ironically, he of “Music to Watch Girls By”). Again, I’ve heard that this movie somehow short-changes the viewer when it comes to the music (at least as opposed to the stage show)–well, I can’t speak from experience in that department, but JERSEY BOYS didn’t disappoint in the slightest… at least as a movie WITH and ABOUT plenty of classic music–as opposed to a “musical” as such, if that makes any sense?

Yes, we follow all of the standard “show-biz melodrama” cliches (which, of course, are always based on truth in the end)… we get marital strife, infidelity, distrust, jealousy and (of course) trouble with the mob; but Eastwood (who allows himself a clever cameo of sorts) never lets things get too harsh in the depiction (the saddest event in Frankie’s life is quite sad enough without the details being rubbed in your face, for instance). To some, this is disappointing–to me, it’s exactly the right approach for a movie that’s supposed to be about the celebration of the music. The language is already strong enough for an “R” rating, but after all we’ve seen in countless “dark side of show biz” stories that have gone on before, do we honestly need domestic violence, mob torture or drug-ravaged bodies in order for us to “get” it?

What we DO get is a cast with great chemistry and a superb knack for covering the classics… and with that in place, Eastwood even manages to pull off one of the best end-title sequences since that of BUCKAROO BANZAI itself (I’m not kidding and you’ll know what I mean when you see it)–it’s the perfect capper for a perfectly entertaining time at the movies.

“The Silence of the Lambs” (A Look Back)

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By Gabby Ferro

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As the film opens, the atmospheric score is playing as the protagonist Clarice Starling (Jodie Foster) is fighting hard to complete a complex obstacle course. One that Joanthan Demme, the director of the film, explained was representative of the complex journey she must go on throughout the rest of the film, as she struggles to find out the truth behind the serial killer, Buffalo Bill. This propels you into the mind of Clarice Starling, a character that is given psychological depth, respect and takes the audience along with her on her disturbing yet gripping journey.

The camera work is one of those elements that make it so special. The camera moves around quite freely, and gives incredibly claustrophobic close ups. Especially in the scenes where Clarice is talking to Hannibal (Anthony Hopkins), the camera goes closer and closer to her face, you can almost see her skull. You can physically see how Hannibal is getting inside her head, trying to break down the barrier she puts up as he tries to find out information about her personal life and her past.

Clarice is training to become a member of the FBI, and she is sent to talk to the criminal Hannibal Lecture, who is in a high security prison. He is a cannibal and very dangerous. Dr Frederick Chilton is the man that guides Clarice to Hannibal’s cell. He calls Hannibal a monster, which is interesting as the film makes it clear that it views Dr Chilton as a monster himself. He is very unpleasant, sexist, and talks down towards Clarice, which makes the viewer see him as a pig. This is where you begin to see the film’s feministic tones; it is showing what kind of sexism and prejudice Clarice has to face as a female police officer. It is also showing those who display traditional and negative views of women to be as small minded as they really are (rather than take the side of misogyny as some more old – fashioned films have done).

The film shows Clarice as a very competent, brave and heroic female hero, showing that women too can be effective in roles that were conservatively thought to be reserved for men. It is as Jodie Foster stated, “A film about one young woman trying with all her might to save the life of another young woman” which is in itself subversive.  On another level, with Clarice as the heroine in such an intense, compelling, psychological thriller illustrates that women can carry a film and for that film to be just as interesting as it would be if it were a male protagonist. This is in part thanks to the extraordinary performance from Jodie Foster who is both vulnerable yet incredibly tough. She shows just the right level of emotion and leads the audience with her on Clarice’s journey every step of the way.

I have been fascinated by this film since the first time I watched it a few years ago and I have lost count how many times I have watched it. One of the reasons being that I cannot seem to get over how pitch – perfect the film seems to be. The lighting is beautiful, with wonderful use of shadows and adding atmosphere. The score is haunting and adds to the thrilling nature of the wonderful script, which keeps you guessing and involved with its twists and turns. Anthony Hopkins delivers a spellbinding and creepy performance and Jodie Foster is completely believable with emotion that rings with truth and a fierce intelligence that always comes across when you watch her on screen. This was the first film that actually opened my eyes to the other elements of what make films what they are: the director’s choices, the editor’s, the score, the sound, the cast and more. It was all there for me to dissect and examine, which I loved doing and helped me go on that journey further with the works of Hitchcock and film Noir, and then onto many other types of films, which I still enjoy getting the opportunity to pick apart and see why I find them so great.

I wanted to defend some of the criticism this film received on its initial release. It was called transphobic. This is due to the villain of the film, Buffalo Bill. There is a very deliberate separation between Buffalo Bill and transgendered people. When Clarice asks why there was a moth placed into a victim of Buffalo Bill, Hannibal answers “the significance of the moth is change… Our Billy wants to change, too.” Clarice replies, “There is no correlation between transsexualism and violence. Transsexuals are very passive.” Then Hannibal cuts her off by saying “Clever girl.” After she gives him some more information about the way she grew up he then continues, “Billy is not a real transsexual. But he thinks he is. He tries to be. He’s tried to be a lot of things, I expect…” Billy is someone who hates his own identity, as Hannibal later states, which is not what makes you transgendered. Despite the word transsexual being used (which was the word being used at the time for transgender) there seems to be a clear distinction between Bill and the transgendered community, with the film stating that most “transsexuals are passive”. Also, it is stated that Billy had been rejected several times in his request for a sex change, indicating he is not accepted as transgendered by psychologists who are trained to help transgendered people.

Despite the suggestion by some critics that there is some kind of romantic tension between Hannibal and Clarice, if you pay attention you can see that film dispels these myths directly. Clarice states herself that she is uninterested in any sexual or romantic entanglement and never reacts to the advances by some of the men around her. In fact, in this film alone I have always had a feeling that Clarice is gay. There are many women who would not respond to the men who sexually advance upon Clarice as well, so this is not the sole reason I think this. This could be the influence of having Jodie Foster in the lead who sends off my gaydar whenever I see her. It is also her level of discomfort when men do flirt with her as it seems she is inwardly cringing at this as she always lowers her head and stiffens her posture. Even her attempt to flatter Dr. Frederick Chilton is so bad and false that he doesn’t buy it at all, even though he has been trying to flirt with her up until that point. Her lack of skills in flirting with men indicates that she simply has never wanted to flirt with a man. I also think that she has some chemistry with the character of Ardelia, which I have looked into and it isn’t just me! We see Ardelia running to tell Clarice an update for the case as if her life depended on it. She trusts and admires Clarice that much? Also Ardelia sits down and talks to her with Clarice in her bathrobe and wet hair, so it is obvious she has just come out of the shower, they are obviously very comfortable with each other. They then sit in the laundry room talking about the connectivity of the murders. There are close ups of their face that make them seem even closer together, which I think adds to the chemistry they seem to have in their small scenes together.

The set design and the locations are also fantastic, with Hannibal’s cell locating in a labyrinth, a dark a sinister corridor, filled with other horrifically scary prisoners in cells, with Hannibal at the one at the end behind glass, as he is known for biting or eating those who come to close to him. The film sets to work by trying to get into your brain in a similar fashion as Hannibal does with Clarice. It draws out the tension and suspense throughout the film, leaving moments with high tension and eerily spine – tingling moments and images. It is not aiming to scare, it is aiming to emotionally connect you to the story, invest in the characters and chill you to the bone. It does this so successfully that you will find that once watched, this film is hard to forget.

Sarah Connor is NOT a Femme Fatale

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In this episode, Gabby and I discuss (AMC Theatres’) Amirose Eisenbach’s epic fail of publicly declaring Sarah Connor (of “The Terminator” series) a great femme fatale.

Tsk tsk. You can’t make up your own definition, Amirose.

Femme Fatale(s):

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The Movie Theater Experience

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In this podcast, Heath Holland (of F This Movie!) and I discuss the movie theater going experience, today and yesterday. 

Unfortunately there was a bad video connection so the visuals are choppy, to put it mildly.

Paying more for the middle seats in theaters: http://blogs.indiewire.com/theplaylist/would-you-pay-more-for-movie-tickets-canadas-cineplex-odeon-testing-surcharges-for-best-theatre-seats-20140515

AMC Texting Row: http://firsttoknow.com/text-addicts-rejoice-amc-theatres-add-texting-row/

AMC Margarita Ad: https://www.youtube.com/watch?v=lrJHNNgGjFw

“The Little Mermaid” I-Pad Movie Theater Experience: https://www.youtube.com/watch?v=tYpRQ5Mw2lM

Alamo Drafthouse Texting Trailer: https://www.youtube.com/watch?v=JVz-fO7kxcQ

“Natural Born Killers” Test Screening Card: http://obnoxiousandanonymous.wordpress.com/tag/natural-born-killers/

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