Category: Film Review

PEYTON REED’S ANT-MAN — A REVIEW BY NICK CLEMENT

by nlclement, posted in Film Review

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They took an incredibly silly premise and they ran with it and had some fun. Considering the noted behind the scenes turbulence, Peyton Reed’s Ant-Man feels surprisingly coherent and uniform – it’s witty, it’s stylish, and it’s totally disposable in the way that most homogenized Marvel product feels. And that’s not necessarily a knock; say what you want, but the people at Marvel have built a cinematic brand that carries a certain expectation, and this effort, however minor in the grand scheme of the world building of the Marvel universe, is one of the more purely enjoyable. The action scenes pop with fantastic CGI, hurling the audience on a miniature level through all sorts of visual pyrotechnics and chaos; this is basically what a new-fangled version of Honey, I Shrunk the Kids would look like. Paul Rudd, as usual, is self-effacing and very laid back, all sorts of charming, and as always, a great sport. Michael Pena steals some scenes as he always does, and Michael Douglas clearly got a kick out of playing the sage mentor. However, whoever decided that the stunningly attractive Evangeline Lilly should be saddled with that horrendous short black wig should have been fired on the spot – why take away from her naturally gorgeous features? Cinematographer Russell Carpenter (True Lies, Titanic) has a field day with the action set pieces, which are cleverly staged and excitingly rendered; I’m VERY picky with CGI these days and the stuff here looked like it cost a pretty penny. This is harmless, easy to digest nonsense that has a smart sense of humor about itself. Nothing is taken seriously, and as a result, the film has a welcome comic buoyancy that separates it from most comic book/superhero movies.

 

STEVEN ZAILLIAN’S A CIVIL ACTION – A REVIEW BY NICK CLEMENT

by nlclement, posted in Film Review

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One of the best films that John Travolta appeared in during his post Pulp Fiction glory daze, the 1998 social issues drama A Civil Action is still a pertinent and topical piece of adult-minded filmmaking, the sort of film that seems in short supply these days, written and directed by one of the classiest storytellers that Hollywood has at its disposal. Steven Zaillian’s fine-tuned screenplay and sensitive, adroit direction propelled this smart and troubling courtroom drama centering on the polluting of a small town’s water supply, and how big business is only too happy to try and skirt their responsibilities, never fully caring about the ramifications of their sloppy actions. Shot in varying shades of gray, black, and brown by Conrad Hall, the wintry atmosphere is a perfect visual hook for this steely and cold film, with an emphasis on naturalistic lighting and studied camera placement. An excellent supporting cast including John Lithgow, Oscar nominee Robert Duvall, James Gandolfini, Dan Hedaya,William H. Macy, Kathleen Quinlan, Stephen Fry, and Tony Shaloub helped to make the proceedings even more lively and strong, while the almost mournful score by Danny Elfman contributed to the somber, tough minded mood. I’m a huge fan of films of this nature, stories that are about something relevant and universal, because, this could be ANY town in ANY state facing a problem that we take very much for granted.

 

TERRY ZWIGOFF’S BAD SANTA — A REVIEW BY NICK CLEMENT

by nlclement, posted in Film Review

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I can’t believe that Bad Santa (or Badder Santa, whatever version you prefer) is 12 years old. It’s one of the funniest films that I’ve ever seen. It never gets old. It only gets funnier with each viewing. There’s a diseased sense of misanthropy running through the rotted heart of this cheerfully vulgar film, and while it’s got a bit of warmth tucked into the nooks and crannies, this wild masterpiece of comedy ranks as one of the more transgressive cinematic offerings that have come along in many years. Billy Bob Thornton got the role of a lifetime as the ultimate drunk mall Santa, cocked out of his mind, and shambling from one disastrous personal embarrassment to the next. The numerous comedic set pieces in this film never seem like they’re competing with each other in an effort to out-due the last bit, but rather, everything is perfectly paced, with Thornton truly appearing totally smashed all throughout this movie; it’s a sublime and bravura performance when you really boil it down. His idea to knock off the various malls that he appears in at night with his sidekick, the insanely funny Tony Cox (this movie gets tremendous mileage out of the visual humor associated with a foul-mouthed African-American little person in an elf suit), produced all sorts of hilarity. John Ritter and Bernie Mac are both tear-inducingly-funny in their scenes, and when they appear together, the results are outrageous. And then there’s the kid, Thurman Merman, played with total innocence and deadpan charm by Brett Kelly; I’ll always wonder just how much he understood while filming, and just how much he was actually exposed too on set. Terry Zwigoff’s acerbic direction mixed perfectly with the hardcore-nasty screenplay by Glenn Ficarra and John Requa (they also wrote/directed the absurdly underrated I Love You, Philip Morris), while Lauren Graham makes for an almost impossibly cute/sexy romantic interest for Thornton, the sort of girl that just so happens to have a sexual fetish for Santa. And just so we’re all clear — Fraggle Stick Car POWER.

In The Heart of the Sea – A Review by Josh Hains

by Josh Hains, posted in Film Review

Ron Howard’s latest cinematic venture, In The Heart of the Sea, tells the true story of the prolific whaling ship The Essex, and the fateful whale attack that later inspired Herman Melville’s Moby Dick, and damn is it ever good. The film opens with Melville interviewing the last surviving crew member of the Essex, Thomas Nickerson, who at the time of the incident was only 14 years of age. The remainder of the film is a faithful, albeit sanitized, account of what really happened in the days both before and after this near mythological event, as seen through Nickerson’s green-horn eyes, though most of the events utilize Owen Chase as the film’s moral centerpiece. This makes sense, given that Chase is such a legendary figure in whaling history, and focusing specifically on Nickerson because he recounts the events would have been a foolish narrative choice, especially given that Chase and the boat’s one-time Captain, George Pollard, have always been the main focus of the human side of the accounts told.

In The Heart of the Sea is the first seafaring adventure I have seen committed to film in years that is not of the Pirates of the Caribbean canon, and is a welcomed addition to the barren genre. I think the popular criticism that the film fails to achieve epic qualities that it supposedly strives desperately toward is a miscalculated notion. The events depicted easily could have been exaggerated to mythological heights, which would have been a step forward in the wrong direction, given that the vast majority of the real events themselves were actually quite intimate and personal in comparison to the commonly exaggerated tale most associated with the event.

I really enjoyed the performances, in particular Chris Hemsworth, and Cillian Murphy as Chase and Joy, respectively, and the visual flourishes. Howard’s now typical use of amber, emerald, and blue hues within the visuals of his most recent works did not exactly meld with Rush, but here actually serves In The Heart of the Sea extraordinarily well, used to near perfection in the night sequences, adding a brooding aura to the nightly events. My only major issue lied within the over abundance of unnecessary CGI over practical effects that would have better sold the near epic quality of the notorious whale.

As a whole, the film works, and oh so very well, but in order for it to work properly, one must set aside bias and arrogance in pursuit of some pure masterpiece, and instead embrace something different for a change. Here is a film that embraces with effortlessness the intimate nature of the real event, cautiously avoiding the kind of overblown blockbuster qualities so many seemed to expect from this film. It is not an epic tale of bravery and courage by macho men in the face of a relentless monster, some epic sprawling adventure with a hero standing stoic and mighty at the end, but rather a cautionary story of remarkable survival filled with desperation, brutality, and an overwhelming bleak atmosphere. The arrogance of Mankind has been the assumption that nature is something controllable by our hand, and not the other way around. The Essex crew embodies our inherent arrogance, savagery, and ignorance while the whale itself takes on the other side; the uncontrollable, the untameable, the wild and free. In The Heart of the Sea marks a high point for seafaring adventure films, and is most definitely far better than some sour souls are making it out to be. Give it a chance, you just might be surprised.

My vote for most dynamic poster of the 2015 film season.

 

JOEL EDGERTON’S THE GIFT — A REVIEW BY NICK CLEMENT

by nlclement, posted in Film Review

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The Gift is a diabolical thriller, less interested in blood and gore, and more interested in mental mind games. Skillfully written and tightly directed by co-star Joel Edgerton (he loves slipping into any role thrown at him, similar to Tom Hardy, but with half the hype), the less you know about this nifty and nasty sort-of-stalker-film the better. Much has been made in the media about the twist ending, and yes, the final act has a couple zigs and zags, with the final one worthy of Hitchcock/Fincher; I did my best to avoid having them spoiled and I’m extremely pleased that I did. If you’ve done the same, then this movie should work you over like a cheap date. Jason Bateman and Rebecca Hall are both very good in somewhat tricky roles, because, as with Edgerton’s sly performance, it’s all about what’s not being said as much as it’s about explicit action. Stylishly if unselfconsciously lensed by the underrated cinematographer Eduard Grau (A Single Man, Buried), The Gift has a sleek and sexy veneer that slowly slips away to quiet, casual menace. And without ever going over the top and sticking to the brass tacks involved on a story level, Edgerton never paints himself into a corner he can’t get out of; he sticks the landing, which for this type of film, is very important. This is a very solid genre entry, and a movie that will certainly have a long shelf life, especially with unsuspecting viewers. And it must be said – TOTALLY screwed up series of final events in this movie! *NO SPOILERS!!*

 

ADAM MCKAY’S THE BIG SHORT — A REVIEW BY NICK CLEMENT

by nlclement, posted in Film Review

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With stunning clarity considering the density of the material and the tendency for excessive jargon, Adam McKay’s phenomenally entertaining dramatization of the 2008 financial collapse shouldn’t be entertaining but it is. All kidding aside, this is a massively fucked up film that details how a group of people got extremely rich while so many were going totally bust, but because of McKay’s zesty filmmaking style, the narrative never gets bogged down in hard to understand plotting or surrounded by characters who we can’t relate too. This is an ensemble in the truest sense of the word, with each major actor doing excellent and generous work, with each performance feeding into the next, which helps to create a full blown tapestry of men pushed to their limits. Christian Bale is low-key awesome here, totally introverted as a genius money man, getting the chance for a number of quietly stellar moments. Steve Carrell is the angry conscience of the piece, representing the frustrations of the common person while also seeing the inner workings of a corrupt system, and after his brilliant work in Foxcatcher, represents another dramatic homerun for him as a dramatic actor. Ryan Gosling is the amoral trickster, and he’s pure energy and comic fizz, getting the film’s single biggest laugh during a small tour de force sequence inside of a men’s room, and Brad Pitt steals a few scenes as the sagacious insider who has become an outsider. All of the familiar faces in the deep supporting cast are terrific, and everyone is used to maximum effect via the long lens cinematography by Barry Ackroyd (United 93, The Wind that Shakes the Barley), who brings his customarily jittery shooting style to the proceedings, always searching and grasping for off the cuff moments, which appropriately sets the tense mood. When combined with the judicious and extremely sharp editing by Hank Corwin, it’s no surprise that the film keeps the pace of a rushing locomotive, yet never at the expense of coherence or intelligence. The numerous instances of the breaking of the fourth wall are smart and well timed, hilariously using real life celebrities in an effort to help the audience better understand some of the more shadowy and arcane bits of information. McKay has taken a HUGE step up with this film as a storyteller and filmmaker, after repeatedly proving to be one of the best directors of studio comedies over the last 15 years (his blockbuster resume includes Anchorman, Talladega Nights, Step Brothers, and The Other Guys). This is his crowning achievement thus far, a piece of topical entertainment that is as enraged as it is playful. It’s one of the best films of 2015. And last but certainly not least, massive Tracy Letts POWER.

 

Lawrence of Arabia – A Review by Josh Hains

by Josh Hains, posted in Film Review

I have been blown away many a time by many a film, though as time passes by at breakneck speed, so few are able to blow me away time and time again in repeated viewings. Lawrence of Arabia is one of those few. While David Lean’s glorious masterpiece (a word I do not toss around often) is not my favourite film, it does sit high upon a pedestal of the greatest films I have ever seen. I can not think of another film of equal or greater length that has managed to sustain my interest as consistently as Lawrence of Arabia does in its nearly 4 hour runtime. Much of what keeps me entertained does not have to do with the plot, the score, or most of the supporting performances, but rather, that eccentric leading performance from the late Peter O’Toole, as T.E. Lawrence, and that absolutely gorgeous cinematography.

The first time I saw the film, I was completely hooked by the time Sherif Ali makes his grand entrance, initially appearing as nothing more than a speck on the screen, before slowly materializing into a full blooded, and violent figure. I can not think of too many other films that dedicated that much time and effort to introduce a character. I do not think I can name another film that took the time to showcase the rising of a bright orange sun that fills the sky with its warm glow as gracefully as Lawrence of Arabia did. Nor can I think of such a magnetic, yet eccentric and carefree performance as the one Peter O’Toole delivers. Whether he is uttering blunt thoughts or speaking through his eyes, his Lawrence chews up every scene with a delightful cheekiness, spontaneity, and flamboyance. You can hardly take your eyes off him for even a second as he completely dominates every scene he is featured in. At the end of the day when all the dust settles, when I find myself reflecting upon this magnificent work, I am always quietly moved by every single frame of this gorgeous film. I can not find a single visual flaw, a singular moment that sticks out as odd or misplaced or weird. Every frame blends together splendidly, coherently, and perfectly. Lawrence of Arabia, with such a wide visual scope and a story of truly epic proportions, is one of those rare films that makes you feel as small and insignificant as an ant. To see Lawrence in his ceremonial garments, a small silhouetted figure standing against an enormous sky, is to be reminded of how enormous our world really is, and just how beautiful this film truly is.

I honestly believe that the best kinds of films invite you into their worlds, captivate your heart, mind, and soul, and in doing so, help provide you with an escape from the hardships of your life, if only for a couple of hours. The greatest films one can ever watch not only do that, but are of such marvellous quality, one often finds themselves wishing they would never end and that you could continue the journey for hours more. Lawrence of Arabia is one of the finest examples of this ideal, a true cinematic gem. What a wonderful experience.

PETER STRICKLAND’S THE DUKE OF BURGUNDY — A REVIEW BY NICK CLEMENT

by nlclement, posted in Film Review

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Methodical, erotic, and exquisitely photographed and edited, The Duke of Burgundy is one of the more memorable films from 2015, a piece of work that’s in love with the very foundations of cinema and the endlessly possible ways that the moving image can transport the viewer to a richly atmospheric and highly seductive world. A romance, a thriller, a psychological horror story, and above all, a strangely sexy exploration of mental and physical domination, there isn’t a shred of nudity in this hot-blooded independent film, but that doesn’t matter; your pulse will race just from the sight of a person touching another’s leg. Writer/director Peter Strickland has made a film that Brian De Palma would and should be envious of; you feel the stylized filmmaking in this intoxicating and highly artsy effort right from the start, much in the same way that a De Palma film traffics in self-reflexivity and heightened stylistic flourishes. The Duke of Burgundy moves at a purposefully slow pace, inviting the audience into its esoteric and enigmatic playing field, where you observe the back and forth between two very particular women, and how they use sex, lust, power, and potentially love, in an effort to one up each other emotionally and mentally. Chiara D’Anna and Sidse Babett Knudsen are both spellbinding in this film; you literally can’t take your eyes off either of them, if not out of wonder about what they’ll do next, but rather, they’re just so strikingly photogenic in very unique and unexpected ways. The costumes and lingerie featured in this film are also major strengths; the undergarment supervisor is even given an on screen credit which is something I’m not sure I’ve ever noticed before! The entomology subplot puts things into thematic context while allowing Strickland some amazing opportunities for impressionistic filmmaking, while the entire film feels wholly unique in and of itself; there’s very little that I can think of that this film compares too. While not likely for everyone, this is one of those amazing pieces of dreamy and velvety storytelling that will produce a charge out of patient and artistically inclined viewers. The film also features an unsettling and nervy musical score, one that raises the tension levels while still hitting some lovely, romantic beats of sophistication. Available to stream via Netflix and also available on Blu-Ray and DVD.

 

Room: A review by Nate Hill

by natewatchescoolmovies, posted in Film Review

It’s hard for me to fully express the staggering impression that Room left on me using only the written word, but I’ll have a go at it anyway. First I’ll say that it’s hands down my favourite film of the year thus far, and I left the theatre with many emotions swelling in me, affected in a way the only a small group of films have been able do for me. It’s a patient, mature study in psychology and a sweeping symphony of complicated emotions revolving around a terrible, tragic situation that seems like a well of hurt and pain until in climbs it’s way out into a tenderly heartfelt, incredibly life affirming resolution that never dips into half assed melodrama and feels earned and appropriate. The film casts such a powerful spell that it briefly changed the concept of time for me; Upon arriving near the end, I felt as if years had actually passed for me in theatre since I embarked on the film’s journey. The camera, script and actors kept me so intimately close to the characters for the duration of the piece and made me love and care for them so much that it brought me right into their timeline with an intimacy that rarely happens for me in cinema. Now on to the actors. What brave, compelling work from every single performer on screen, right down to the bit parts. Every role castes with a sharp eye for detail and reverent contemplation of who is right for what, creating a roster of heavy hitters and up and comers to be reckoned with. Brie Larson gives a beyond award worthy turn as Joy, a girl who was kidnapped at a young age and held captive by a horrible man (Sean Bridgers, displaying smouldering volatility in terrifying proportions) who impregnates her. She raises the child in the dour, tiny garden shed he keeps her in. Faced with the unthinkable task of creating a nurturing environment for her little one, she tells him that the shed is ‘Room’, their kingdom, and that the people he sees on their little TV are fake, imparting that they and their captor are the only real ones and there is no outside world. This reminds just how mouldable our minds are when we are small, and the film beautifully explores the psychological ramifications of how we raise our young, how nature vs. nurture comes into play in startling ways during the darkest of times, and the decisions we are forced to make on our own to ensure that our children are safe, even when things have gone beyond wrong, as they have for the poor girl. Old Nick, as she nicknames their captor, rapes her every few days, and treats the two of them like animals. Her son Jack reaches an age where escape becomes vital in his mothers eyes, and she takes her chance, orchestrating a harebrained ditch effort to break free, which is my favourite sequence of the film. It’s also one of the most tension filled, seat gripping scenes I’ve ever seen, as the character buildup has set our personal stakes epically high, which co,vines with the excellent set up makes for a clammy nightmare of an escape. The director makes the fascinating choice not to us any music at all until they reach freedom, which I noted. As soon as they are out, I let out a cathartic, audible sigh of relief, as the dank hell they undeservedly spent almost a decade in gives way to a vibrant, strange new world for little Jack. The camera takes his perspective and pores over every aspect of the outside realm with the patience and curiosity it takes to place us in his psyche, a child viewing the world in its entirety and true form for the very first time, essentially a second birth, a theme which the film handles marvellously. I must speak about Jacob Tremblay, a Vancouver native who plays Jack and gives the most soul wrenching performance I’ve ever seen from a child actor. The levels of sheer intuition and innocent truth he infuses in his work at such a young age are just unbelievable, and he should be in the riding for Oscar gold as well. Larson and him have uncanny chemistry, the love shown in the early scenes a blooming Rose of hope that fends off the looming darkness they dwell in, which is tested by the inevitable complications they face upon entering the real world once again. Larson burst onto the scene with 21 Jump Street and Don Jon, fun but inconsequential fluff. Here she shows us that she means business, and wants to tell stories that are important, and show audiences what it means to be human through her work. I look forward to where this extraordinary girl takes us in her next cinematic journey. Joan Allen makes subtly heartbreaking work as Joy’s mother, William H. Macy is briefly present as her Dad, Tom McCamus makes compassionate work of her stepdad and like I said, everyone else is superb, right down to the day players. I was crippled by emotion and raw with nerve jangling suspense after this one, exiting the theatre soaring on the high I eternally strive for in my cinematic adventures. The fact that only one theatre in Vancouver is playing this one is an affront to the universe. Get down to Tinseltown and see this one before it’s gone. You’ll thank me.  

GREGORY JACOBS’ MAGIC MIKE XXL — A REVIEW BY NICK CLEMENT

by nlclement, posted in Film Review

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Gregory Jacobs’ Magic Mike XXL is a hoot and a holler, and a total 180 from the original, far more ambitious film, which I legitimately feel is great, subversive cinema. With Steven Soderbergh handling the cinematography and editing (under his usual pseudonyms of Peter Andrews and Mary Ann Bernard, of course), the entire tech package of Magic Mike XXL is super-slick and extremely thoughtful on an aesthetic level; there are some dynamic shots, either because of the camera movements or the still placement of the camera, and the editing has a pleasant hum that allows for an easy-going time. The script is nowhere near as interesting as the first film, but it’s really no less entertaining; this is the male stripper movie for those who felt that there wasn’t enough stripping and saucy shenanigans in Magic Mike. Whereas Soderbergh clearly wanted to subvert expectations with his surprise 2012 blockbuster, here, the vibrant looking sequel is more interested in having fun with a capital F, with a general party atmosphere firmly set in place right from the start.

Gone are any discussions of bank loans and start-up capital in favor of a more jocular, rambunctious tone. Channing Tatum is back as our entry point into this wild and wooly world of male entertainment, with most of the original film’s supporting cast making return appearances (notably absent is Matthew McConaughey). The ultra charismatic Joe Manganiello has a terrifically funny scene inside of a gas station convenience store, Twitch from So You Think You Can Dance shows up for some sexy dance routines, and I loved the Cougar Party with Andie MacDowell (she’s looking very fine…!) Also, the extra hot if too skinny Amber Heard shows up for some fun, Jada Pinkett Smith nails her scenes with authority, and the lovely Elizabeth Banks is a stunner in her extra-tight body suit during the protracted and highly spirited finale. There’s a level of innocent cheesiness to the entire thing that helps to make it all very non-threatening and harmlessly enjoyable, and even if it’s not up to the overall brilliance of the original (how could it be?), there’s plenty here to keep you satisfied. And here’s a final thought — now that we’ve gotten TWO high-profile male stripper movies from a major Hollywood studio, how’s about we get Magic Michelle?