Hot Tub Time Machine 2 - Movie Review by Eric Forthun

Hot Tub Time Machine 2  

Starring Adam Scott, Rob Corddry, Craig Robinson, Clark Duke, and Gillian Jacobs

Directed by Steve Pink

Rated R

Run Time: 93 minutes

Genre: Comedy

Opens February 20th

By Eric Forthun of Cinematic Shadows

Hot Tub Time Machine 2 opens with a nipple joke and closes with a dick joke. It's quiet poetic, considering the asinine attempts on display of repeating the previous film's successes to lesser, more vulgar degrees. While the original HTTM had a sense of nostalgia and a lighter comedic tone, the characters on display here are mostly repugnant and unlikable. By having Lou (Rob Corddry) take over as the main character of the film, the story is asked to navigate around a modern-day Caligula who has no likable traits or moral decency. So when we're asked to view the film through his eyes and watch his character supposedly change, it's off-putting and mostly uncomfortable. Yet the film's biggest fault comes from its belief that every one of its jokes is amusing, including homophobic jokes and outdated references to scarcely watched shows like Fringe. The film just doesn't have a clue as to how to spruce up its thin premise, falling into the trap of repeating its predecessor in almost every way. It's unoriginal, mostly unfunny, and a huge misfire.

The film picks up after the events of the first film, with Lou (Rob Corddry) inventing his knock-off brand of Google and being considered one of the biggest tech geniuses in the world. He's a billionaire, and his son, Jacob (Clark Duke), is the classic slacker of a rich father who doesn't aim for all that much. Nick (Craig Robinson) is still churning out hit after hit ever since he introduced the world to "Let's Get It Started," the Black Eyed Peas song he passed off as his own. And Adam (John Cusack) is nowhere to be found, although they believe he may have time traveled for some unknown reason. Nonetheless, at a self-indulgent party that Lou throws, he gets fatally shot in a nether region and faces his mortality; what if the guys went back in time, though, and prevented Lou's manhood from being destroyed? Lo and behold, they get black-out drunk (just like in the first film), Chevy Chase's crazy hot tub operator makes them uncomfortable, and they land 10 years in the future.

What could strike as genius ends up falling flat in almost every way. The jokes don't necessarily revolve around the future so much as more futuristic dick jokes. It's woefully uninspired. The concept of sentient Smart Cars is genius and almost feels like it belongs in a smarter, more adept comedy than this one, since the gags used for it are pretty impressive. How Hot Tub Time Machine 2 attempts to make sense of itself might be the most frustrating part of it all: it throws around supposed logic of alternate universes but doesn't seem to care about appealing to the audience. Instead, it treats the time travel as something that doesn't really matter or shouldn't be understood, even when they put a lot of effort into presenting the rules of the world. Adam Scott and Gillian Jacobs are the two new additions to the crew, and those apt comedic players are reduced to lifeless roles. It's a bland film, not particularly offensive or awful. Just lazy and vapid.

The Last Five Years - Movie Review by Eric Forthun

The Last Five Years  

Starring Anna Kendrick, Jeremy Jordan, Natalie Knepp, Meg Hudson, and Nic Novicki

Directed by Richard LaGravenese

Rated PG-13

Run Time: 94 minutes

Genre: Musical/Romance

Opens February 20th

By Eric Forthun of Cinematic Shadows

It's rare to see a full-bodied independent musical released theatrically in today's cinematic landscape. Told almost entirely through song, The Last Five Years is an unevenly affecting romance told through the eyes of both of its lover protagonists. As each of their careers face the traditional ebb-and-flow associated with artists in New York, one's success leads to another's emotional downfall. Anna Kendrick and Jeremy Jordan both fill their roles compellingly, exuding palpable romantic chemistry and gamely singing the on-the-nose and lavishly obvious lyrics. That's one of the core problems associated with musical adaptations, particularly ones that reveal almost all of their character and story through song. It's frustratingly obvious, a flaw that I found with Into the Woods that originates primarily from Sondheim's influence on stage music. In its adaptation to film, The Last Five Years does explore compelling, open cinematography and a non-linear narrative that challenges the viewer, but it also leaves little past its surface and falls into repetition in its final half hour.

The film focuses on Cathy Hiatt (Anna Kendrick), a struggling actress, and Jamie Wellerstein (Jeremy Jordan), a fledgling novelist, who carry their romance to New York City in the hopes of pursuing their dreams. Cathy helms from Ohio and has failed to find herself in the vast acting world of New York. She's been called for many auditions but had little to no success, trying out for Broadway shows, routine acting gigs, and even settling on bartending in the downtime between those options. She waits five hours at some points in hopes of getting an acting opportunity, but either succumbs to pressure or doesn't know if she wants the role. Simply put, she cannot seem to find herself. Jamie, on the other hand, finds an agent that trusts and respects his work, leading to his success continuing to grow as his first novel finds publication. He often visits with other writers, publishers, and various industry people while Cathy stands on the sidelines as a discontent cheerleader. But she wants to be more than that, and doesn't appreciate Jamie's dismissal of her presence at times when she needs him most.

Writer-director Richard LaGravenese works from the play originally scribed by Jason Robert Brown. There's a semblance of a longer, more balanced narrative in the mix somewhere, as there are notions of familial scenes and stronger supporting characters in the background, but they never come to fruition. While the main characters aren't boring by any means, they are often one-note and repeat the same emotions, albeit in different songs. The music, however, is quite absorbing and always insightful, even if it is a bit too agreeable for narrative advancement. Kendrick is thoroughly phenomenal in a role that gives her plenty to work with, and Jordan often giggles through his happy songs and falls into the role of potentially manipulative man in the film's latter half. They're both great singers, which is a huge plus. The non-linear narrative surprisingly doesn't help or hurt the film, since it gives the audience a broad spectrum of emotions early on that these characters feel, only to narrow them over the course of the film. The Last Five Years finds sincerity in its occasionally derivative romance, and will undoubtedly please musical enthusiasts looking for well-sung, on-point lyrics.

Kingsman: The Secret Service - Movie Review by Monte Yazzie

Kingsman: The Secret Service  

Dir: Matthew Vaughn

Starring: Taron Egerton, Colin Firth, Samuel L. Jackson, Mark Strong, Sofia Boutella, and Michael Caine

The spy movie is defined by the James Bond film series. Whenever the world is in some kind of beyond ridiculous circumstance of peril James Bond is called in to handle the situation with that cool and calm British demeanor. Director Matthew Vaughn, the creative mind behind “Kick-Ass” and “X-Men: First Class”, takes the copied spy formula and adds his own twists of violence and humor to craft “Kingsman: The Secret Service”. From the beginning moments of the film you’ll understand that Vaughn’s outlandish version of a spy film shouldn’t be taken too serious, in fact it works better if you simply sit back and enjoy the ride.

Eggsy (Taron Egerton), a rebellious young man, is on the verge of ruining his life after a car jacking gone wrong. However, a medal given to him by an associate of his late father offers a phone number for a "favor", one that after being called upon immediately releases Eggsy from jail. Waiting for him is a man named Harry Hart (Colin Firth) who is a spy in a secret agency known as The Kingsman. Eggsy is recruited and trained in deadly combat but also in the finer manners of being a gentleman. A billionaire known as Valentine (Samuel L. Jackson) concocts a plan to give the world free phone and Internet service controlled by his global network, one that when initiated with a signal will turn all the users of his service into bloodthirsty maniacs. It's up to Eggsy and the Kingsman to stop the nefarious plan.

"Kingsman" works best when Colin Firth is around to anchor the film with his characters serious tone and demeanor. The film is constantly moving and filled with flamboyant characters, just like any early James Bond film would be, but it takes at least one character to uphold the dramatic elements so that the danger and peril hold substance. When Firth isn't on screen the film spirals with an uneven tone. Though this film isn't the kind to be taken too serious. Even when the film comes off the hinges and succumbs to the excesses of glorious over-the-top violence and narrative winks and nudges that offer a comic homage to the spy movies that came before it, “Kingsman” is still entirely entertaining. Whether the shocking viciousness of a henchwoman with sharpened blades for legs or the “Free Bird” assisted soundtrack that plays amidst the bloody carnage of a no-holds-barred fight to the death inside a church. Just when you think it can’t get more audacious it somehow does.

Samuel L. Jackson plays a great villain, even when he's speaking with a lisp and sporting a sideways baseball cap. Jackson's character is composed of the kind of cliché bad guy archetypes that make them so amusing, big ego and even bigger plans. Jackson is clearly having fun with the character. Newcomer Taron Edgerton is also good, playing Eggsy with equal parts authority defying confidence and reluctant self-consciousness. It's a nice composition especially when the character is challenged with a unnerving task.

“Kingsman: The Secret Service” incorporates some very interesting aspects, the connection to King Arthur’s roundtable and the gentlemanly weaponry are just two of the fun elements that transcend this film beyond others like it. Even though the film pushes the preposterous components sometimes too far, it also strangely works within the realms of a spy film. Matthew Vaughn is a good director who has established his unapologetic and at times controversial style of filmmaking, a quality that assists in lifting this film above many of the trappings it should fall into.

Monte’s Rating

3.50 out of 5.00

Fifty Shades of Grey - Movie Review by Monte Yazzie

Fifty Shades of Grey  

Dir: Sam Taylor-Johnson

Starring: Dakota Johnson, Jamie Dornan, Eloise Mumford, Jennifer Ehle, Marcia Gay Harden, Luke Grimes, and Victor Rasuk

Fairy tale? Sexual awakening? Wish fulfillment? Whatever it may be E.L. James’ bestselling novel “Fifty Shades of Grey” has a devoted following filled with people who love and loathe the sexual charged relationship story. Sam Taylor-Johnson, who directed the adoring John Lennon focused film “Nowhere Boy”, adapts James’ book mostly exact except for a decrease in the extensiveness of sex varieties explained in the novel. However, the film still has near twenty minutes of R-rated sexual content.  Though the film starts with promising potential, accommodated by a great performance from Dakota Johnson, “Fifty Shades of Grey” gets lost in the physical sensations and forgets about keeping the character and story compelling and dynamic.

Anastasia Steele (Dakota Johnson), an English major on the verge of graduation, is tasked with conducting an interview for her roommate with a billionaire businessman named Christian Grey (Jamie Dornan). Upon meeting each other they are immediately enamored with one another. Anastasia captivates Christian, he shows up at her work and pretends that it was coincidence. They go out for coffee and the attraction grows, but Christian unexpectedly leaves, telling Anastasia that he’s not the kind of guy she is looking for. They don’t stay apart for long as Anastasia is opened up to Christian’s world of dominating sexuality, one that incorporates contracts and control.

“Fifty Shades of Grey” is focused on sex while also attempting to convey something about the complicated nature of relationships. The problem with this film isn’t the sex, which is dialed way back from the graphic renditions depicted within the pages of the novel, but instead lies within the characters. As the desires of these two people become more complex and complicated so should the characters ambitions and choices. Instead the averting one-dimensional qualities of Christian Grey continue to undermine the growth of the characters and their courtship. Nothing seems to change between the characters, as Anastasia blossoms sexually and Christian guides her into unexplored territory the same scene of the two characters wanting to transition towards the next step is proposed but never taken. Anastasia is left indecisive and conflicted about Christian’s wants. It’s frustrating but understandable considering the film is a trilogy and room needs to be left for further examinations.  This aspect of narrative structure keeps the film from being nothing more than a waiting game for visual stimulation, and there is nothing wrong with that. The comic book movie, the horror film, every Michael Bay movie, have long been successful by offering nothing more than a visual experience with little worry about narrative cohesiveness.  With a movie released on Valentine’s Day weekend what else would you expect but a little romance, albeit a sensationalized romantic drama with hallmark movie sentiments topped with hard R-rated sexuality.

Dakota Johnson is quite good in the role of Anastasia, her plain yet still attractive appearance and somewhat naïve perspectives accommodate the development of the character. In one of the best scenes Anastasia is talking to her mom and is overcome by the unusual and confusing situation with Christian. Trying to withhold the emotions, a teary eyed Ms. Johnson simply listens and reacts. Unfortunately Jamie Dornan feels miscast. The authoritative and dominating side of the character that is also composed with elements of fear and to an extent pity never feels committed, which renders his mysterious eroticism mute.

While “Fifty Shades of Grey” tries to be a daring examination of sex and gender, it’s unfortunately overly formulaic and conventional. It ruminates from a romantic comedy into a place of melodrama and continues this structure after each sexual encounter. Though there are moments when the director and writer attempt to correlate deeper implications into the nature of sexuality, it is undermined by superficial trappings.  Though I wonder if I am being too critical of a film that looks to impose no more than two hours of playfulness in the safety of a movie theatre?

Monte’s Rating

2.00 out of 5.00

Kingsman: The Secret Service - Movie Review by Eric Forthun

Kingsman: The Secret Service  

Starring Colin Firth, Samuel L. Jackson, Michael Caine, Mark Strong, and Taron Egerton

Directed by Matthew Vaughn

Rated R

Run Time: 129 minutes

Genre: Action-Adventure

Opens February 13th

By Eric Forthun of Cinematic Shadows

Kingsman: The Secret Service is an anarchistic, pessimistic, and caustically funny spy caper that stands as the most thrilling action film to be released by a major studio in years. While most will peg the film as a British actioner in the vein of James Bond due to its source material, cast, and even most of its crew, that typecast defies every convention that the film aims to undermine. Throw away predictable spy tropes and intense action scenes without any care for the violence they are inflicting; the audience here is asked to revel, revolt, and altogether examine why we must senselessly watch long bouts of extreme violence. Every moment is infused with character, empathy, sophistication, and humor. It's a difficult, near impossible mix of tone and quality that are unrecognizable in practically any way; I have, simply put, never seen a seething satire with as much skip in its step and weight in its heart as this one. Director Matthew Vaughn has made his best film to date, and one of the decade's most distinct, thrilling visions of modern socio-political world affairs.

Harry Hart (Colin Firth) is a veteran agent within a secret service in the United Kingdom. They call themselves the "Kingsman" service, a name that comes from the store that makes all of their tailor-made suits and acts as their unofficial headquarters. Enter through practically any dressing room and there are weapons hiding in secret compartments, an elevator that heads down hundreds of feet to an underground transportation system in the center of England, and of course the standard mirrors and hooks to ensure people fit their suits correctly. After the death of one of Harry's co-workers, he realizes the deceased saved his life and heads home to console the wife and newborn son. He provides them with a necklace engraved with a number that, when called, will provide them help when they need it most. That child turns out to be "Eggsy" (Taron Egerton), a rebellious teenager living with his downward-spiraling mother and newborn sister. His family life is hell because his stepfather is a repulsive, abusive man, so naturally he acts out and gets himself into far too much trouble.

In comes Harry to save the day, and their journey begins. World leaders are being kidnapped around the world without any hint of their location; it's at the whim of a madman, one who turns out to be a billionaire tech genius named Valentine (Samuel L. Jackson) with a lisp and all of the power in the world. When he unveils his new product to the masses, everyone lines up for the free technology that will obviously carry ulterior functions. Harry and crew, including the resourceful Merlin (Mark Strong) and the old-blood Arthur (Michael Caine), aim to take down Valentine and save the world from a deadly, greedy, and evil plan. While many of these elements sound conventional and commonplace in the traditional spy film, Kingsman takes them and infuses every one of their occurrences with comedy and social awareness. Valentine acts as a man driven by greed and power who has gone practically insane, while people like Harry and Eggsy come from lower social rank and feel the weight of the wealthy leaders' actions. That's one of the many themes explored underneath the action-packed surface.

Kingsman ends up being an absolute blast without a care for audience expectation or predictability. There's something inherently zany and exciting in practically every scene, yet almost every moment is prefaced with concrete context and the stakes at hand. The audience is never left as pure spectator, but almost taking place within the picture itself. Vaughn asks us to introspectively revel at the action when incredibly violent scenes take place, yet they often end with the "hero" either facing a certain realistic peril or regretting their mayhem. Even a scene within a Southern Baptist Church where members spew hate is filled with a certain level of sympathy; that's a huge testament to the filmmaking power on display here. Major characters also die more often than expected and the film uses remarkably unconventional action, including an amazing villain with blades for legs. A random, loving ode to The Shining gains social meaning while the peril of children and even dogs are not used to excite, but to terrify. Kingsman: The Secret Service respects the audience, asks them to enjoy the ride, and simultaneously makes them feel weary about everything they have just seen. It's an amazingly confident, brutally honest take on the action genre.

Fifty Shades of Grey - Movie Review by Eric Forthun

Fifty Shades of Grey  

Starring Dakota Johnson, Jamie Dorman, Jennifer Ehle, Eloise Mumford, and Marcia Gay Harden

Directed by Sam Taylor-Johnson

Rated R

Run Time: 125 minutes

Genre: Romance

Opens February 13th

By Eric Forthun of Cinematic Shadows

Fifty Shades of Grey is an effectively erotic and self-amused film until its second half, when it falls into the much-talked about BDSM sex scenes that continue to titillate everyone's imagination. It may come as a surprise, then, that director Sam Taylor-Johnson's approach is reserved and mostly sensual in nature, with Seamus McGarvey's impressive cinematography allowing for the kinky visual metaphors and color-drained imagery to soak up the Northwestern landscapes. As far as controversial romances go, Fifty Shades has held the attention of the masses for the past year, with everyone hyping it up as a shock-and-awe type love story that so decidedly goes against what we've seen before in cinema. Yet it's all very rote and familiar, minus the handcuffs and whips. It's not misogynistic, nor is it disgusting; rather, it treats the concept of explorative sexuality as a means of understanding someone and their upbringing. The film empowers Dakota Johnson's Ana, even if Jamie Dornan's Christian is a sadomasochistic nutcase with clear power issues and familial struggles. It's just a traditional romance in the guise of something more exploratory.

The film opens with Anastasia Steele (not a porn star's name, oddly enough, but Johnson's virginal protagonist) heading into Grey Enterprises to interview the man behind the company. Her friend, Kate (Eloise Mumford), was supposed to interview him until she came down with a sickness; now, Ana gets ten minutes with the intimidating Christian (Dornan). Even if she feels threatened by his billionaire aggression, she is clearly attracted to him; when she walks out into the rain and becomes soaking wet, it's clear that the visuals are telling us something far more self-revelatory. Christian won't leave her mind but also won't stop showing up in her life. He appears in the hardware store where she works when she's not at school studying English literature and even shows up on her night out with Kate and friends. He simply won't let her be, and that's because he, too, is attracted to her. While most people would find these actions stalker-ish, Christian sees them as a normalcy because he's used to using his power to get what he wants. Since Ana won't give it to him, that complicates things.

Look, Fifty Shades of Grey serves its target audience very, very well. It appears to follow the book religiously (based on the girl next to me reacting giddily for most of the film), minus the complaints about misogyny, and gives its central character Ana plenty of amusing confusion surrounding her whole situation, including some unexpected humor. There's not much chemistry, though, between the two leads because Dornan's Grey is given so little charm. Johnson plays her role convincingly and showcases a virgin being sexually awakened in pretty much every way she can be; it's like ordering a sampler on a restaurant's appetizer menu, except your sampler includes physical pain and sexual arousal. Depending on your type of restaurant, that metaphor might connect with you. Taylor-Johnson's film isn't backed by a particularly strong script from Kelly Marcel, considering most of the dialogue focuses on characters like Christian talking in abstracts about their life. It's frustrating, because there's plenty underneath the surface when the film wants to explore those moments. They're just few and far between.

The much-discussed sex scenes aren't necessarily graphic, although there's plenty of frontal nudity by women. Men, eh, not so much. I suppose that stems from the film being more concerned about commercial appeal, including Danny Elfman's mostly inoffensive score being littered by pop staples like Ellie Goulding's "Love You Like I Do," which blares over a helicopter ride. Strangely enough, though, I found the film quite intelligent, more so than people will expect. While the romance is one-note and tiresome after the 125-minute running time due to a repetitive structure, there are some hilarious moments that stem from the main couple's lingering attraction. One shot early on zooms in on a pencil that Ana is biting right when the word "Grey" appears for the camera. You don't need to be a lit major to read into that metaphor. There's also their first meet-cute in her hardware store where he's buying what she deems "serial killer" items. I found it oddly off-putting, then, when the film grows self-serious in its conclusion in favor of overblown melodrama. As a Valentine's Day romance, it fulfills many standards. Whether those standards are appropriate for romantic filmmaking is another story entirely.

Jupiter Ascending - Movie Review by Monte Yazzie

Jupiter Ascending  

Dir: Andy and Lana Wachowski

Starring: Mila Kunis, Channing Tatum, Eddie Redmayne, Sean Bean, Douglas Booth, and Tuppence Middleton

PG-13

127 Minutes

The best way to describe the Wachowski’s newest science fiction film is to relate to it to a buffet. And just like a buffet, filled with good-looking fare, you’ll get a little of this and little of that. Put it all on the plate and some of the entrée will be exceptional while other selections will be terrible and others will be spoiled simply because of the mixture of everything on the plate. “Jupiter Ascending” looks great from the outside, with some incredibly accomplished special effects making for adrenaline pumping moments, however with so many ideas floating aimlessly in and out of scenes and a narrative that operates without much cause for coherency, the result is a film of squandered potential.

A young caretaker named Jupiter Jones (Mila Kunis) dreams of a life with more than just her unruly family and dirty toilet bowls. She wakes up each morning, coaxed repeatedly out of bed into the same routine day after day. However, Jupiter’s life is far from normal. Her place in the universe is one of royalty, an heir from a family that controls with the power of planets. The ruthless son (Eddie Redmayne) of this powerful family targets Jupiter for his own domineering plans. However, Jupiter is saved from assassins by a hunter named Caine (Channing Tatum), a genetically engineered warrior who takes Jupiter to a far away planet and protects her from the numerous forces looking to take advantage.

The filmmaking flair that the Wachowski’s are known for is in full display here. The special effects are impressive, from the painstakingly complex chase at the beginning of the film that weaves and dodges through the skyline of Chicago, to the dazzlingly choreographed fight scene between a gravity defying, speed skating-like Channing Tatum and a giant reptile with wings. The cities are exquisitely rendered, one in the midst of an enormous hurricane of fire and chaos while another is within the overpopulated confinements of a bureaucratic big city. It’s all very interesting to look at. Unfortunately all these great sights exist within a narrative that is confusingly overblown with seemingly every idea the Wachowski’s have ever wanted to incorporate within a film. The worst part is that there are actually some very interesting thoughts proposed. Some that if is expanded on more thoroughly could offer an exceptional film. The film moves quickly from one thought to the next, never giving appropriate time or proper explanation to the proposed concepts. Instead, this swift moving surface examination makes the film feel detached from scene to scene. There is also an obvious predictability, one that the Wachowski’s fall victim to often, seen throughout the film. The viewer can telegraph when the romantic connection will happen, when the hero will swoop in to save the day, and when the villain will gain the first upper hand of the film, it becomes exceedingly formulaic as the film proceeds.

It’s easy to get swept up into the visual enjoyment of “Jupiter Ascending”, though it’s unfortunate that the narrative doesn’t match the beauty of the design. Even with the help of some accomplished actors the script is lacking material for them to build upon, Channing Tatum is left to float around being chased by spaceships and bounty hunters while Eddie Redmayne is relinquished to whispering threateningly. While “Jupiter Ascending” struggles from the very beginning, there are enough thought-provoking concepts proposed here to indicate that these filmmakers still have places to explore.

Monte’s Rating

2.25 out of 5.00

Jupiter Ascending - Movie Review by Eric Forthun

Jupiter Ascending  

Starring Channing Tatum, Mila Kunis, Sean Bean, Eddie Redmayne, Douglas Booth, and James D'Arcy

Directed by Andy and Lana Wachowski

Rated PG-13

Run Time: 127 minutes

Genre: Action/Sci-Fi

Opens February 6th

By Eric Forthun of Cinematic Shadows

Jupiter Ascending is a cinematic marvel, if only because it's such a blundering misfire on a narrative and emotional level. While the prominent special effects are often exciting and altogether well-produced, the story surrounding them resembles a toddler who plays with toys and dreams up a story full of twists and turns without any character development or foreshadowing. Unlike the filmmakers' brilliant, toweringly ambitious Cloud Atlas or even the zippy Speed Racer, the writer-director-producer siblings have assembled a misguided assortment of storytelling clichés. At times, there are hints of the film aiming for Star Trek-level ensemble space exploration, with other times feeling like it borrows the best of Star Wars and other space capers. There's no semblance of an original voice, theme, or message. It's a vapid film with miscast leads and an even campier, more awful turn from Eddie Redmayne as the soft-talking villain. It's an overblown, exasperated take that epitomizes the film's misjudgments from inception.

The film follows a young destitute maid named Jupiter Jones (Mila Kunis). Her father loved astronomy and, after his unfortunate passing, her mother succumbed to his wishes and named her after his favorite planet. Jupiter lives with her Russian family, starting the film with narration talking about her being an "illegal alien" (cue obvious metaphor). While preparing for a medical donation, she has a run-in with Caine Wise (Channing Tatum), a half-Lycan half-human that travels across space to protect whom he considers a special woman. Jupiter finds out through him that she may have the exact same DNA coding as a famous queen from another race of humans (bear with me, here). Her genes could be a "recurrence," as the film names them, a quasi-form of cloning that links itself to the Abrasax family. The arrogant, power-hungry brother at the helm of their dynasty is Balem (Eddie Redmayne), who wants Jupiter captured from Earth so that he can mine the world for their resources. In this case, that means human lives. That leads to another long-winded metaphor surrounding natural resources and presumably genocide, but the editing makes for a muddled film with even more confused thoughts, characters, locales, and motivations.

It's shocking how inept Jupiter Ascending becomes over time, a solid explanation for Warner Brothers' decision to delay the film from a late summer release to work on improving special effects and more. That "more" are probably a trimmed running time, more linear narrative, and the ensuing hodgepodge. It doesn't feel like the same type of film from the people behind Cloud Atlas, which was also a box office disappointment for Warner Bros. despite a tremendous cast. With leads like Channing Tatum and Mila Kunis, their latest should be a resounding success. Yet it's tracking poorly amongst younger viewers and doesn't even have a discernible set of characters, which becomes more apparent with its thin supporting crew and a significantly weaker thematic pull. The film is simply thin on narrative meaning and full of repetitive special effects. No matter how compelling they may look, they don't drive the story. There are shreds of a longer, more ambitious narrative here, but Jupiter Ascending testifies that the Wachowskis were given far too much freedom in a narrative that falls flat on its head.

Your Favorite Movies - Mark Stolaroff

What are Your Favorite Films?

For the 2015 Phoenix Film Festival we encourage you to Find Your New Favorite Movie! As we approach the festival we’ve started a new series on our site where we ask some Phoenix Film Festival filmmaker alumni about some of their favorite movies.

Sheri Lindon of The Hollywood Reporter says of The House That Jack Built, “Using Bronx locations and a strong cast of Caribbean-Latino actors, director Henry Barrial constructs a convincing portrait of a neighborhood and its Nuyorican culture, staying true to the scale and sensibility that filmmaker Joseph B. Vasquez envisioned for the movie.”

The film’s producer, Mark Stolaroff, represented at PFF 2014, accepting three awards: Best Picture; Best Director – Henry Barrial; and Best Screenplay – Joseph Vasquez (sadly, Vasquez died in 1995, never to see his last screenplay produced).

This week, Mark shares a few of his favorite films to add to your list!

What is your …

• Favorite Comedy

Monty Python And The Holy Grail.  I saw this film when it came out in the theater. I was 10, and was already a fan of the Pythons from late night TV.  I just thought this was the funniest film I'd ever seen, starting right off with the credits.  Honorable Mention:  Kentucky Fried Movie, Animal House

• Favorite Drama

This is tough, but probably The Godfather.  Just such a perfect film. I was reading a book recently on visual language and then saw the film again, and it was like seeing it anew.  There is so much going on with just the camera.  Gordon Willis was a genius. And Coppola was utterly inspired. Honorable Mention: Godfather Part 2, Chinatown

• Favorite Documentary

This is really hard because there are so many great ones, but I'm going with a film that many people aren't familiar with, despite it winning the Oscar for Best Documentary. Murder On A Sunday Morning. Brutal, enlightening, moving film.  And still so relevant.  Maybe more so today.

• Favorite film you saw on the circuit

Obvious Child.  Saw this at Sundance and fell in love with it and Jenny Slate.  A great movie for Jews!

• Favorite film that you think most people have never seen, but should?

Oh, Man, that's a hard one. I see a lot of films!  There's a great little film by a really talented filmmaker named Sean Baker called Starlet. It won some awards and got some attention, but not what it deserved.

• Do you have a favorite film poster?

Maybe the poster for 127 Hours.  In the film, the guy climbs between rock walls in the desert and then gets stuck. He only has so many hours to get free before he dies.  The poster shows a guy climbing between two rock walls, but when you look closer, you see that the rock walls form the shape of an hourglass, and the boulder in between is like a grain of sand.  I mean, how clever is that!

Following PFF, Mark tells us that The House That Jack Built played a number of festivals, and won eight more awards.  “We're showing it to distributors and we hope to have a deal soon.”   www.thehousethatjackbuiltmovie.com

– Laurie Smith

Black Sea - Movie Review by Monte Yazzie

Black Sea  

Dir: Kevin Macdonald

Starring: Jude Law, Scoot McNairy, Ben Mendelsohn, David Threlfall, Tobias Menzies, Michael Smiley, Karl Davies, Daniel Ryan, Konstantin Khabenskiy, Bobby Schofield, and Grigoriy Dobrygin

By Monte Yazzie

Many films have found success by putting a group of people in a confining space and letting human nature take its strange course. Place variables like an alien trying to get into a barricaded room, the decision lingering for a jury of clashing personalities, or the quest for gold at the bottom of the ocean inside the belly of a claustrophobic submarine and you have the makings of good storytelling. That finishing submarine scenario is the subject of Kevin Macdonald’s underwater thriller “Black Sea”, a film that succeeds in building suspense and remaining exciting even though it becomes a familiar and predictable story.

A recently laid off submarine captain named Robinson (Jude Law) comes across valuable information concerning a German U-boat that was lost in the depths of the Black Sea and contains a life-changing amount of gold Russia paid Germany during World War II. Robinson is angry with the company that he loyally served, a job that kept him away from his family and created a rift in his marriage that ultimately led to a divorce. Robinson dreams of better times with his family but only awakens to unhappiness; this leads him to an American financer who endorses the voyage to the depths in a corroding submarine with a group of men equally as discontent.

Greed and desperation are two themes that Macdonald utilizes effectively. At the core of this story is simply a group of men trapped in a submarine, a vessel filled with hopefulness that quickly turns into a container of deteriorating life support. Robinson lets the men know from the beginning that the treasures will be split equally, it doesn’t take long for the men to realize that less people means more money and greed takes over. This leads to disaster for the submarine then desperation for the men and their lives, but also their fortune that is within grasp. On board the submarine is a diverse crew of Russian and British men, a device cleverly used by Macdonald to instantly draw the lines of allegiances between the groups. Add into the mix the role of an American broker named Daniels (Scoot McNairy) and a young homeless teenager named Tobin (Bobby Schofield) and the narrative becomes prime with character motivations.  Unfortunately these characters all fall into easily identified categories that make decisions that become overly predictable. While this isn’t always a bad thing, especially in a film like this, it does make the holes in the narrative seem even larger. The decision to limit the transitions between underwater scenes that display a moving submarine and the interior confinements of a submarine creates great claustrophobic atmosphere, though in parts it also restricts the space inside the submarine making the movements throughout seem somewhat confusing.

Jude Law is excellent here, changing Captain Robinson emotionally throughout the journey. He begins as the levelheaded leader and moves into an obsessed tyrant with ease. The remaining cast is also good even though they are unsurprising and familiar characters, however the performances keep together the loose ends that periodically snag the viewer out of the film.

“Black Sea” is one of those films that pleasingly occupies time for an impromptu movie decision. While there is nothing terribly wrong with this film, there is also not much that is especially memorable either. Amongst the weekly barrage of new releases at the movie theater, it’s still nice to have something that is purely and simply entertaining.

Monte’s Rating

3.25 out of 5.00

Two Days, One Night - Movie Review by Eric Forthun

Two Days, One Night  

Starring Marion Cotillard, Fabrizio Rongione, Catherine Salée, Batiste Sornin, and Pili Groyne

Directed by Jean-Pierre and Paul Dardenne

Rated PG-13

Run Time: 95 minutes

Genre: Drama

Opens January 30th

By Eric Forthun of Cinematic Shadows

Two Days, One Night refers to the amount of time that Sandra (Marion Cotillard), a young Belgian mother, has to convince all of her fellow workers to keep her job. Her co-workers were posed with an opportunity that was misleading yet enticing: not everyone could be kept at their factory, so by cutting off one employee, all of them would be provided a raise. Due to the working class infrastructure of these families and their desire for a higher income, the decision was simple; they wanted to keep their jobs and didn't want to be fired, so naturally they'd get rid of another worker. But the workers were misled by their supervisor, leading Sandra to plead for a recount on Monday and give the others the weekend to deliberate. This simple premise allows for Jean-Pierre and Luc Dardenne, the talented Belgian writer-directors, to explore a human in her most fragile state. The result is one of the finest films from 2014, a beautiful examination of a struggling woman put in the hands of her comrades.

Sandra has a nervous breakdown that causes her to leave work for a considerable amount of time. During her time away, the workers realize that they can cover her hours, working slightly longer each day, and making more money in the process. The management ends up convincing the employees that Sandra is redundant, and the greater pay (in addition to the proposed "bonus," which is simply a distribution of Sandra's yearly wages) leads almost all of them to vote in favor of her dismissal. Sandra, then, uses the weekend to plea with these people that she once considered her friends, at least in the workplace. Now, she must get a majority vote or else she will be passed over. This leads to some traumatic attempts at convincing others to sacrifice what they have now been promised (their raise) in favor of giving this woman a second chance at restarting her life after it almost fell to pieces. Her life on the domestic front hasn't eased matters either, particularly with her post-breakdown depression involving a lot of sleep and dependence on prescription pills.

The Dardenne brothers have crafted a delicate feature that truly glistens in its dialogue. Much like other foreign directors that want to shine a light on their country's economic state and the humanity that must endure, the filmmakers have explored the nature of the workplace and the breakdown of trust when certain circumstances challenge those relationships. Particular scenes that shine include a discussion with a man coaching a soccer team as Sandra feels defeated after multiple rejections, and a conversation with a man and wife that both have different emotions toward her in two drastically different scenes. Marion Cotillard was a surprise Oscar nominee this year, her second after her win seven years ago for La Vie en Rose. She's one of my favorite actresses working today simply because she embodies every role with a commanding humanity; here, then, the role is perfect. Two Days, One Night delivers a solemn ending, reminding the audience that the film is decidedly anti-Hollywood in its narrative and aims for a more realistic dictation of society.

Match - Movie Review by Eric Forthun

Match  

Starring Patrick Stewart, Matthew Lillard, and Carla Gugino

Directed by Stephen Belber

Rated R

Run Time: 92 minutes

Genre: Drama

Opens January 30th

By Eric Forthun of Cinematic Shadows

Match takes place almost entirely in an apartment, which reminds the audience of the source material's adaptation from a stage play. It recalls Roman Polanski's ensemble piece Carnage, a film that utilized a cast confined to interiors and made the most of its material, bringing every insecurity and imperfection to the surface. Here, three terrific performances emerge from the cast, with Patrick Stewart leading the way in an outstanding role that emphasizes longing, regret, and a missed opportunity. As a professor of dance at Juilliard, Stewart's Tobi Powell lives a fairly lonely life involving cross-stitching, smoking weed, and keeping to himself when not motivating young talents. One day, he's called upon by a woman (Carla Gugino) and her husband (Matthew Lillard), the former of which is working on her dissertation for dance in 1960s New York. They begin at a diner, then move to Tobi's apartment, where the interrogations grow increasingly personal and begin to reveal that something else is amiss in their journey.

Toni lived a promiscuous life in the 1960s, with many of the questions aiming at his romantic interests, particularly a young female dancer with whom he was involved with for a short while. According to him, everyone was experimenting back in those days, whether it meant with drugs, sexuality, or really any kind of lifestyle. He describes those moments in his life with fanfare and nostalgia, a clear divide in his psyche as only the audience has seen just how empty and quiet his life is today. Gugino's Lisa feels more adventurous than her husband, including smoking with Tobi, while Lillard's Mike is a police officer from Washington who isn't shy when it comes to bending or avoiding the law. Clearly everyone is hiding something from each other, so the film plays out awkwardly and unevenly for much of its opening moments. The middle act, though, particularly as the central reveal emerges and lays out all of the film's dramatic force, is especially pointed and challenging. Questions of ethics and goodness boil underneath the surface of every conversation, while sympathy and antipathy run rampant in these characters and their pasts, presents, and prospective futures.

Match features one of Patrick Stewart's best performances in his illustrious career. His character is a flamboyant bi-sexual dancer that doesn't seem to have a need to hide anything, but elements of his past that have haunted him simply cannot be avoided when examining his own actions during the 1960s. Stewart plays the role with confidence and chews every bit of scenery in the apartment; considering much of the film relies on the confinements of those walls and allows us to see every square inch of his living space, Stewart breathes life into every one of those moments. His character has a nagging place in his heart where his past continues to gnaw away at who he is and what he has become; if only, if only. That sense of personal regret and tragedy underly his character and allow Lillard in particular to dichotomize him masterfully. It's one of his finest performances as well in a career that hasn't allotted him many great roles. This is one of them. The film's conclusion is a little rushed and tied in a neat bow, but the journey is wholly fulfilling and proof that micro-budget independents can be thematically and emotionally powerful.

Cake - Movie Review by Monte Yazzie

Cake  

Dir: Daniel Barnz

Starring: Jennifer Aniston, Adriana Barraza, Anna Kendrick, Sam Worthington, Felicity Huffman, Chris Messina, and William H. Macy

Rated R

102 Minutes

There is a moment in Daniel Barnz’s film “Cake” when the lead character stares at a blank wall where a significant picture once hung. The grief on the characters scarred face is visible, displaying the effect of time with wounds both physical and emotional. Jennifer Aniston plays Claire, a woman who was in a car accident and is struggling with constant pain amongst other upsetting issues from the past. Aniston is quite good in the lead role, bringing a performance that holds the otherwise predictable and oversentimental story together.

Claire is introduced in a group therapy session for people dealing with chronic pain. A large poster of a young woman named Nina (Anna Kendrick) sits on a chair in the front of the room. Nina recently committed suicide and the group is sharing their thoughts and feelings in a discussion. The question “Will you forgive me?" is asked by the group counselor (Felicity Huffman), referenced as if Nina were asking the group. Claire, biting her tongue long enough, is asked how she is feeling about the situation. A scathing and offensive response is given and Claire is kicked out of the group. This mask of aggression coincides with the pain that is controlling Claire’s life.

The narrative moves ever familiar from one transition to another. Claire begins in a very bad place, searching for pain medication hidden throughout her expensive, memory shadowed home and yelling at her physical therapist who is clearly tired of hearing the same excuses from her. Then Claire begins to pick herself up with the assistance of her sympathetic maid, played by an exceptional Adriana Barraza, and begins to confront the ghosts of her past and present. The rest of the journey is as foreseeable as they come. While there is absolutely nothing wrong with a film that indulges in these simplicities, there are moments where the film touches on some very interesting aspects of the healing process, specifically the people that help you along the way. Adriana Barraza plays Silvana, a character that accepts Claire with all her faults regardless of how terribly Claire treats her. Silvana knows all the personal details of Claire’s past, even handling the grieving process in her own way by helping Claire without question. In one excellent scene Silvana’s own daughter questions why she puts up with Claire. The response from Silvana is simple yet somehow still complicated, exposing more than any other scene, the character of Claire through the changed relationship experienced by Silvana. It’s unfortunate that these insightful scenes are overlooked, instead replaced with situations that offer nothing more than movement from scene to scene.

Jennifer Aniston is given the opportunity to showcase her talent. The portrayal of Claire is more than just grimaces and guarded motions, Aniston ventures to make more of the character than what is on the surface. And for the most part she succeeds. It’s unfortunate that other characters, ones that could have offered more for Aniston to work against, were terribly underwritten. “Cake”, at the focus, attempts to examine the process of grief. While Jennifer Aniston offers an exceptional performance, the narrative doesn’t offer more to make the healing journey more compelling and meaningful.

Monte’s Rating

3.25 out of 5.00

Cake - Movie Review by Eric Forthun

Cake   

Starring Jennifer Aniston, Adrianna Barraza, Anna Kendrick, Sam Worthington, Felicity Huffman, and William H. Macy

Directed by Daniel Barnz

Rated R

Run Time: 102 minutes

Genre: Drama

Opens January 23rd

By Eric Forthun of Cinematic Shadows

Jennifer Aniston delivers the performance of her career in the uneven and familiar Cake. She brings to light a character quietly marked by tragedy and a hope for triumph, even if that end doesn't seem in sight. Aniston's Claire Bennett is first seen in a support group for chronic pain, surrounded by other women mourning the loss of one of their own, Nina (Anna Kendrick). As the leader of the group, Annette (Felicity Huffman), explains, Nina recently committed suicide because her pain was simply too much. Claire doesn't seem all that sentimental, interested, or even human, but rather makes a callous comment about the nature of the suicide and then is formally asked to leave the group. She's not particularly liked by many because she doesn't try and doesn't seem to care. Her housekeeper and confidant, Silvana (Adrianna Barraza), doesn't think she's trying hard enough to overcome her pain and self-pity, but Claire mostly doesn't listen to her and instead opts for drinking wine and taking pain killers as a cathartic escape.

Not only is Claire an addict, but she's also recovering from a personal tragedy. Her husband, Jason (Chris Messina), wants to collect all of his belongings from the house and doesn't seem to love Claire like he used to. There are suggestions as to what happened to her but never a description of the events that transpired; I'll leave out the details that are given for fear of spoiling any undisclosed plot details. Nonetheless, Claire is ravaged and in constant pain. She had pins in her legs for a year and must now learn how to walk and live comfortably without the support of those in her body. Water therapy, a permanently reclined car seat, and various aids to her pain can't seem to alleviate the constant self-hatred and loathing she feels. She externalizes everything and makes others feel terrible, while also being haunted by Nina everywhere she steps. She meets her widow, Roy (Sam Worthington), who can't even live with his son because the young boy can't stand staying in the house anymore.

The film wallows in pain and starts to feel like it revels in our sadness toward these characters. Patrick Tobin's screenplay, though, is aware of its nature and handles most of its tragedy with gentility. I was surprised by how many clichéd elements and subplots pop up that seem to still fit in this narrative; I didn't so much have a problem with them as I found them predictable. Daniel Barnz's direction, then, is even further graceful and elegant, not necessarily providing new insight into the narrative so much as letting Aniston occupy almost every frame. There are some hackneyed visual cues that remind us of her drug addiction and struggles with reality, which are unnecessary, but Aniston owns those scenes. She's such a commanding force throughout the film, bringing intensity when needed but mostly playing it cool and composed. Her face says it all. She's been a talented comedic actress for most of her career, but there's endless potential on this new path she's explored. Cake handles personal tragedy with occasional grace despite its familiar narrative, yet Aniston's performance remains the biggest, most affecting takeaway.

Winter Sleep - Movie Review by Eric Forthun

Winter Sleep  

Starring Haluk Bilginer, Melisa Sozen, Dermet Akbag, Ayberk Pekcan, and Serhat Mustafa Kilic

Directed by Nuri Bilge Ceylan

Not Rated

Run Time: 196 minutes

Genre: Drama

Opens January 23rd

By Eric Forthun of Cinematic Shadows

Winter Sleep is a sweeping, universally compelling epic that probes at the heart of its characters' moral and ethical dilemmas. The dialogue stings like a scorpion and pierces like a just-sharpened spear, diving farther and farther into the psyche of these individuals and the way that saying one thing incorrectly can drastically change the tone of both a conversation and friendship. Encompassing 196 minutes, the film is an impressive achievement in absorbing the audience and keeping their attention; that's a wholehearted testament to Anton Chekhov's source material and the Ceylan's sensitivity and perseverance. As director, Nuri Bilge Ceylan has created a world marked by the sad, cold emptiness of winter and a longing for a life not lived nor explored. That sense of hope and, unfortunately, hopelessness makes for wholly compelling, twisty scenes of dialogue. The film loses focus in those long-winded conversations but never strays from acting as a morality fable, and feels like one of the stronger foreign works released in the past year.

The main character is Aydin (Haluk Bilginer), a former actor who runs a small hotel in central Anatolia with his young wife, Nihal (Melisa Sözen), and his sister, Necla (Demet Akbar). He has a fiery relationship with the former, one with its fair share of ups and downs, and the latter is a woman who simultaneously supports his writing endeavors but also wants him to strive for greater things. Her recent divorce has put her in the doldrums and her recovery period leads to some nagging conversations between the siblings. As the snow begins to cover the landscapes and winter takes on its full emotional and physical force, the family begins to disintegrate in front of Aydin's eyes, mostly due to his selfish absorptions and empty-minded actions; he doesn't seem to care about people so much as what good they are to him. The catalyst of the story is simple: a young boy throws a stone through Aydin and his friend's car window, leading them to chase down the boy and take him back to his drunkard of a father. This leads to a distraught relationship between all of them, followed by Aydin's decisions to have the family take care of the car lead to his relationships further growing past their ability to be mended.

Winter Sleep is reminiscent of many cinematic styles, both modern and nostalgic: the influence of Iranian filmmaker Asghar Farhadi is uncanny in Ceylan's approach to human life and the banality of conflict that can become compelling in cinema, while the visual flair (or lack thereof, depending on who you talk to) of French New Wave approaches lead to a calculated visual style. Yet past that influence, the star of the film is not the central actor, Bilginer, who is outstanding, but the film's script. It navigates lengthy, ten-plus minute conversations surrounding ethics, ambition, sympathy, and virtually any other human emotion or conflict that can arise in everyday life. It's so engrossing that each individual scene shines. Their cohesion leaves a bit to be desired, feeling much more like vignettes with a lot of power that do not mesh into a single message. But that's probably intentional, considering the morality fable underlying the central narrative. Even if Winter Sleep leaves the viewer a little bit cold and detached, it mirrors its central character and has the heart grow fonder of these people over such a long duration. It's a rewarding film.

The Boy Next Door - Movie Review by Eric Forthun

The Boy Next Door  

Starring Jennifer Lopez, Ryan Guzman, Kristen Chenoweth, John Corbett, and Ian Nelson

Directed by Rob Cohen

Rated R

Run Time: 91 minutes

Genre: Thriller

Opens January 23rd

By Eric Forthun of Cinematic Shadows

Sleazy, repugnant, misogynistic, and somehow unintentionally hilarious, The Boy Next Door is an unintelligible disaster on all levels. Featuring a self-serious narrative with sexual euphemisms dominating much of its vernacular, the film occupies an ugly territory in the thriller genre. It's not confident enough to be a slasher nor is it exaggerated enough to be a satire of the genre itself; rather, it wallows in sexual violence and aggression toward women while employing a passive, depressing lead character in Jennifer Lopez that seems just as shocked by everything as we are. Hailed as a $4 million success story of micro-budget filmmaking, Lopez and company have crafted a narrative that never employs logic or continuity checks because, well, money can only buy so much. There's no room for caring about the audience or their journey, just in reveling in clichéd notions of obsession, emotional regret, and homoerotic montages of shirtless men punching the air. Wait a second, maybe they're onto something new with that last one...

I digress. The film opens with Claire Peterson (Jennifer Lopez) running through the forest for a morning jog. Naturally, her clothes expose cleavage and show her trying to escape the feelings that torment her past. Those flashbacks include her recent divorce from Garrett (John Corbett), a sleaze ball that cheats on her with his secretary on business trips to San Francisco. Claire teaches at a San Fernando Valley high school that her son, Kevin (Ian Nelson), also attends. Her life is tumultuous with Garrett continuing to be in her life and attempting to reconcile the relationship with family trips to a favorite place of the past, but Claire won't have it. Help indirectly comes in the form of her new neighbor, Noah (Ryan Guzman), a 19-year old boy who lives with  his senile great uncle that's looking for a bone marrow transplant. Noah provides a friendship to Kevin and also helps Claire with her garage and around the house. He also enjoys her cookies, as he repeatedly says. Get it? Cookies.

No surprises come when Noah turns out to be hiding a secret past. That includes being a skilled computer hacker with the ability to forge signatures, quoting Homer's The Iliad off the top of his head, and essentially having the ability to seduce any woman on command. Here's where the film falls from campy romp to grotesquely unsettling romance. Noah effectively coerces Claire into sex in a scene that involves her having a little bit of wine in her system, refusing to have sex with Noah, and having him strip her of her clothes and forcing her to change her mind. It's not seduction, but force. He takes advantage of her as she seems to recoil at first, with pain switching to ecstasy and having the audience forget that the scene started with gross insinuations. The film does linger on her satisfaction, a rarity particularly in as misogynistic of a film as this one. Claire's mistake of sleeping with Noah leads to an obsession that runs rampant, involving him stalking her (but he lives next door, so that joke pops up because it's simply too easy to avoid), writing her name on the wall in the bathroom during Spring Fling, and banging her son's date to said dance. All in what feels like a ten-minute sequence.

Things turn ugly quickly, and the film hits every cliché in the book in an attempt to follow a rote, overdone formula. Repetition escalates matters and the familiarity of the narrative makes every note predictable. I whispered to a friend a few times what I thought would happen and, sure enough, they happened, as did his predictions. Stupidity is a given for characters in a film like this, and Noah is the biggest example, with him keeping criminal actions on his computer from years before and trusting Claire far too much with sensitive information when he already has the upper hand. Claire's passive approach to handling men in the film is perhaps the most frustrating: what could've stood as an empowering narrative for women fighting against men who become obsessed instead devolves into submissive, "damsel-in-distress" material for Lopez. She's better than that. Rob Cohen's film has no semblance of creativity or nuance, even if it does involve some good jokes with a senile old man and an eye-popping closer that brings the film to an abrupt stop. The Boy Next Door is just bad on all levels of filmmaking, as it is both an incompetent and hilarious film for all of the wrong reasons.

King of Herrings - Digital video release review by Monte Yazzie

King of Herrings Dir: Eddie Jemison and Sean Richardson

Starring: Eddie Jemison, Joe Chrest, Laura Lamson, Andrea Frankle, David Jenson, Wayne Pére, John Mese, and Carl Palmer

“King of Herrings” starts in a bar with a group of friends who have known each other for too long. The typical banter and storytelling of these round table revelries ensues, escalating in emotion and culminating in a shouting match that introduces the beginning of the end for the ever-so-thin bonds holding a long friendship together. The situation sounds like the beginning verse of the blues song, the music that identifies the New Orleans streets this ragtag group of men traverse. Written and directed by Eddie Jemison and Sean Richardson, “King of Herrings” is darkly humorous and at times a richly poignant portrayal of friendship and masculinity.

Ditch (Eddie Jemison) is a one of those friends everyone knows; he is loud, egotistical, and brash, that friend that rubs everyone the wrong way. Though Ditch has found his merry men, a group of guys that seem to accept him and all his faults, his attitude has finally exhausted his friends. During a night of poker dissension is created within the group, leading to a split of allegiances between Ditch and The Professor (Joe Chrest), a seemingly self-given moniker by another friend in the group. The situation intensifies with more words cutting deeper rifts into the disagreement leading to destructive threats and unforgivable revenge ploys.

Character plays an integral and important aspect in this film and from the opening moments, the film builds an interesting quality of identifiable people. The leader with a Napoleon complex, the supportive to a fault friend, the peacemaker who keeps everyone calm, the friend who is waiting to take over, the lonely woman on the verge of self-discovery; these characters are all well rendered here. It’s a compliment to the narrative structure, which moves somewhat aimlessly, that these difficult characters remain believable amidst all the underhandedness that transpires. Though it’s easier to accomplish this when you have such a talented cast. Eddie Jemison is in the spotlight and accomplishes the task of becoming a loathsome character in the first few minutes of screen time. This continues throughout as Ditch vehemently muses on aspects of love, sex, marriage, and friendship. It’s comic yet wholly serious, a thin line that displays Jemison’s skill. Joe Chrest does a great job as The Professor, moving from an insufferable smart aleck, to a revenge-seeking degenerate, to a confused suitor; you never know what aspect of the character is genuine if any at all. The best character in the mix comes along unexpectedly in the form of Laura Lamson who plays Ditch’s wife Mary. Her character is mistreated and degraded by Ditch throughout, relinquished to an almost captive state as a lonely woman desperate for escape and the self-esteem to stand up to her husband. Lamson starts off subdued but slowly emerges as the strongest character amidst a group of men whose misguided masculinity in a way becomes their vulnerable limitation.

While the film may linger in spots, taking too much time reiterating a theme already told, it’s never boring, but in fact remains consistently stimulating. The characters are well executed and the black and white aesthetic works charmingly within the New Orleans streets. Whether about the trappings and misunderstandings found in masculinity, the emergence of feminine strength, or the complexities of relationship in different ways, “King of Herrings” explores challenging subject matter and difficult characters with a keen eye and a healthy dose of dark comedy.

Monte’s Rating

4.00 out of 5.00

An interview with Eddie Jemison by Michael Clawson

Eddie Jemison discusses King of Herrings

by Michael Clawson of Terminal Volume

To C-word or not to C-word. When given the choice, Eddie Jemison C-words.

Which is why he spent some time shrugging his shoulders at little old ladies at festival screenings of King of Herrings, a film he wrote, co-directed and starred in that follows four on-again/off-again buddies who are not shy about dropping the taboo word that many American audiences still cringe at.

“The Sex Pistols called each other c**ts. That was just their way. It was their scene and their language,” Jemison says of the word. “But a lot of people are turned off by it. Old ladies, as it turns out, don’t like it. I don’t blame them. I just apologize. On the other side, though, people hear the word and laugh; they aren’t grossed out.”

Jemison admits the word is tempered not by his four male stars, but by the film’s female lead played by the lovely actress Laura Lamson, the actor-director’s real-life wife. Lamson plays Mary, much-better half to Jemison’s Ditch, the wildly offensive leader to his circle of misfits and miscreants. When Ditch pushes his caustic sense of humor a little too far within the group, The Professor (played by Joe Chrest) plans a retaliatory strike by befriending Mary, Ditch’s lonely seamstress wife.

“Whenever people start thinking the movie goes too far, it really centers all back around on Mary. It’s her movie,” Jemison says of King of Herrings, which played at last year’s Phoenix Film Festival and is available digitally Tuesday.

Jemison, as the pig-headed misanthrope, plays against type; he is widely remembered as a dweebish character actor, frequently playing mild-mannered men in technical positions usually involving numbers or computer code. He’s had small parts in Waitress, HBO’s Hung and Bruce Almighty, but he’s most recognizable in fellow Louisiana State University alum Steven Soderbergh’s films, including as sweaty computer expert Livingston Dell in the Ocean’s 11 movies.

“Of course, I’m usually typecast. I’ve always hated that, but what can you do? For this, though, I cast everyone against type. Me more obviously, but also Joe Chrest, who’s easily the most assertive of all of us,” he says. “It was a blast being a big jerk with a Napoleon complex.”

The film came to be during an acting workshop in which Jemison was asked to write a script. “I had this scene I wanted to write where a guy says ‘c**t’ a lot,” he says, adding that the class got involved and the film blossomed in front of him. “Everyone wanted to know the end of the story, so I knew I had something there that was working.”

The film works not only because of its delicate sleight of hand with the star of the film -- as Jemison says it, the film may play like a boys club but it’s really about Mary -- but also because its characters chew the screen. They live in a world that must smell like old cigarettes and cheap beer. Cracked vinyl seats, flickering fluorescent lighting, bowling alleys, dog tracks, laundromats. The world is lived in and worn, and the four characters are in no big rush to leave it. The film was shot in color, but given a high-contrast black-and-white treatment in post-production, a look that solidifies the film’s forgotten time and place. It looks very indie and cheap, but in this case that works quite splendidly.

This is Jemison’s directorial debut, which he shares with co-director Sean Richardson. Much of the cast, and some of the crew, go way back to their LSU days, back to around the time Soderbergh was filming sex, lies, and videotape, and casting many of King of Herrings’ actors in his early movies. Jemison hopes Herrings is enough of a success that he can take the LSU crew down to New Orleans and film a new project “with the exact same actors, like repertory cinema.”

One actor who was easy to work with was Lamson, his wife in and out of the movie. “She’s so good in this movie. I would tell her stuff, but she would really just take over. And as I would be busy directing, she would direct me. She would remind me to give more and to not hold back,” he says, repeating again that Lamson’s Mary calms Herrings’ more sinister verses. “She provides the balance the film needs. When we were showing this movie early on, it was getting really dark responses. But the more people who saw it, the more who started seeing through the film’s more menacing tone. They were finding this sad character in it, and she was cutting through all the rawness.”

“It’s a weird, hard movie,” he admits. “But we’re very proud of it.”

King of Herrings is available on VOD Tuesday.

King of Herrings releases on DVD and VOD by Eric Forthun

Winner of the Breakthrough Filmmakers Award at the 2014 Phoenix Film Festival, King of Herrings releases this Tuesday, January 20th on DVD and VOD platforms.

 

Starring Eddie Jemison, David Jensen, Joe Chrest, John Mese, and Andrea Frankle

Directed by Eddie Jemison, Sean Richardson

MPAA Rating: Not Rated

Run Time: 82 minutes

Genre: Comedy

Releases January 20th on VOD/DVD platforms, including iTunes

 

By Eric Forthun of Cinematic Shadows

King of Herrings characterizes an offbeat friendship with cold compassion and biting retorts. Eddie Jemison's comedy is one that, like the classical structure, falls into tragic elements in its conclusion that underly the nature of these people and their manipulative, backstabbing ways. They're all antiheroes in a world that doesn't craft particularly heartfelt or inherently connectable characters, yet they remain compelling on screen due to the strong performances from the ensemble and the zippy, spontaneous nature of the script. Jemison's work has been described as a mixture of Woody Allen and Tom Waits, which feels fitting considering the former's emphasis on character-driven narrative with the latter's offbeat sensibilities. In using those two artists as his main point of reference, the film feels like a twisted homage to the two with a touch of his own creation, even using black-and-white cinematography to explore the black-and-white arguments that haunt these characters. The film's humor is vulgar, a characteristic I enjoyed, but it'll be off-putting to some, yet the foundation of the film thrives when it relies on the connection to the mostly unlikable, potentially earnest men at the center.

The film focuses on Ditch (Eddie Jemison) and company, including the Professor (Joe Chrest), Gat (David Jensen), and Augie (John Mese). They're a ragtag group of friends that always seem to fight over trivial matters in New Orleans. The catalyst for the story involves a debt of nine dollars that's completely asinine in the grand scheme of things, but to these men means everything. It's a semblance of respect and honor that they cannot seem to fulfill that haunts their decisions and leads to increasingly disrespectful actions: adultery, threatening, violence, and anything else that could possibly destroy friendships. The characters aren't relatable in their actions but in their emotions; I cared for the characters when I could see compassion shining through their tomfoolery. Characters need heart and Jemison's film allows them that, even if there are slight bouts of misogyny that pervade the men's decision-making. King of Herrings meanders in the middle as the characters' actions begin to feel a bit strained, but the conclusion is worthwhile and a reminder that comedies must have notes of tragedy or else, well, what are we laughing at?

A Most Violent Year - Movie Review by Eric Forthun

A Most Violent Year  

Starring Oscar Isaac, Jessica Chastain, David Oyelowo, Albert Brooks, Alessandro Nivola, and Peter Gerety

Directed by J.C. Chandor

Rated R

Run Time: 125 minutes

Genre: Crime Drama

Opens January 16th

By Eric Forthun of Cinematic Shadows

A Most Violent Year bites with confidence and leaves the impression of a master filmmaker telling a story of building one's future in America. Writer-director J.C. Chandor's third directorial feature is a staunchly astute and caustically biting film about an immigrant attempting to accrue a fortune with a gas oil company in 1981 New York. After making two drastically different cinematic worlds with the talkative, socially critical Margin Call and almost wordless, contemplative All is Lost, Chandor makes his most conventional, accessible, and altogether compelling characterizations to date. By hiring the two hottest actors in Hollywood today, Chandor has the benefit of Oscar Isaac and Jessica Chastain embodying his strong forces on screen as the divided, composed husband to the quiet, ruthless wife, respectively. They each hold their own in a world that makes them feel inconsequential, but the endless devotion to their company and, perhaps more importantly, keeping their pride and family alive, makes the story a universally appealing, beautifully rendered aspiration toward the American Dream.

Abel Morales (Oscar Isaac) runs Standard Heating Oil, a company that largely ships through trucks around New York City but has recently faced some thefts on their routes. The business is already competitive with plenty of other rivals being potential suspects, but Abel has no semblance of who it can be. It's costing his company by the minute, though, and he can't let it keep up. None of his men are armed or prepared for such turbulent drives, and the people taking advantage of them know just that. Abel's weakness is that he hasn't committed to protecting his company at all costs, and his domestic life begins to brew with dissension. His wife, Anna (Jessica Chastain), keeps tallies on the company and knows where they need to make up for discrepancies. She handles the finances, but she's not a glorified secretary; she's a strong woman that holds a much larger grasp on the company than even Abel realizes at times. That makes for a wonderful dichotomy that grows stronger over the film, whether that be through dinners with potential investors or on the domestic front as they dispute the future and potential of the company.

The film opens in the vein of The Godfather and never really lets up tonally or thematically. Alex Ebert's score underlies every scene hauntingly and powerfully. There's a growing sense of unease over the course of Abel's pursuit of happiness in an American landscape that looks down on his immigrant status and aims to benefit those already in power. The film's most powerful scene is one that's been discussed often, rightfully so: Abel's presentation of his business model to future employees not only shows the way he wants his employees to think, but also the way he does his own work. He's slyly manipulative and justifies every reprehensible action with an intelligent reason. Isaac makes him one of the most compelling protagonists of the year, and follows up his amazing work in Inside Llewyn Davis, with an equally complicated, well-drawn figure. Chastain is the more subtly powerful force; her scenes are magnetic. Chandor's film oozes with confidence and is shot excitingly, particularly when the action scenes amp up. A Most Violent Year is confident and aware of its own footing, making for a terrific, thought-provoking feature.