Sing Street

John Carney, 2016

IMDB

4/5

I have to confess that Sing Street was one of those movies that I watched the trailer for the first time and felt a little annoyed. It was clearly the headspace that I was in at the time. Because the movie surfaced one night through a brief Netflix browsing session with my wife who was looking for something with some heart and not blood. Sing Street would prove to be one of the better 2016 films to watch with my wife.

One of the redeeming qualities about Sing Street is the fact that when the group of high school strangers assemble, their first attempts of making music don't actually suck much. In fact even their first tune that they make is actually pretty catchy. By doing this it eliminates a lot of technical build up like in School of Rock where students literally have to learn from the ground up in terms of form. A device used is to sort of skip over the rudimentary obstacles is to plug in character Eamon (Mark McKenna) who not only is a multi-instrumentalist but he is even able to provide practice space because his father is in a cover band. School of Rock is a fitting movie to bring into this conversation because there are obvious parallels. Young school kids making music together, all bringing their own life experiences and using music as a form of expression. But the differences between the two are stark. Admittedly a lot of it is cultural. With Sing Street being an Irish production, the story is set in the rigid and strict confines of the UK educational system in the 1980's. The landscape is gloomy. There is an obvious sense of authoritarian rule. Bullying is rampant. School of Rock was more about a wild teacher finding a way to connect with a classroom. Sing Street is more about a young man dealing with all of the normal angst-ridden things that teenagers have to deal with and finding a way to deal with it. While a lot of what lead character Conor (Ferdia Walsh-Peelo) are common teenage problems, they are all illustrated in a way that makes it compelling on screen.

Perhaps the only negative that exists with Sing Street is the fact that its filled with the conventional teenage movie tropes. Frustration toward your parents. Not having a lot of friends. Not liking your teachers. The crush on the unattainable girl. Escape through music. But Carney finds a way to put blend these elements on screen that make it feel fresh and charming. This is likely to do with it with being an Irish production and having fresh faces on screen. It speaks well for international film, telling stories that might not be completely unique but telling the story in a place that doesn't get as much attention as it probably should. Its obvious that Sing Street would be a much different movie if it were set in New York City with American actors. But it wasn't. Instead it's a sweet little Irish film that will have "Drive it like you stole it" in your head for a few days after viewing.

A Most Violent Year

JC Chandor, 2014

IMDB

2/5

Chandors follow-up to 2013’s great / under-rated All is Lost is a New York Crime drama starring Oscar Isaac and Jessica Chastain. The two of them are enough to get any cinephile on board. Isaac stars as Abel Morales, a successful business owner that runs a lucrative fuel-oil delivery business but has fallen victim to a lot hijackings of his vehicles. While the pressure builds for him to make changes to reduce the risk of his delivery-men in the field, he is focusing all of his energy into pooling together the funds to close on a neighboring property that would allow him to expand his operation.

The film could be considered a mild character study in the sense that you find yourself trying to get a read on Abel throughout the film. His actions are perplexing at times. He is very ego-driven, not so consumed with the money so much because he has enough of that. He seems to be another character completely focused on power, making that step to the next level. He is not very willing to let anything get in the way, even if it involves putting his employees and family at risk. His stubbornness becomes very frustrating in the story. You can feel the pressure mounting through the story while he stands back in his brown trench-coat staring at the walls thinking.

For a film to be called “A Most Violent Year” and have it be based on the most crime-filled year in the Big Apple, you would actually expect the film to be more violent. A more fitting name for the film would probably be a “A Most Non-Violent Movie”. Not that you NEED violence to fuel a film, but the rather unhurried rhythm of the film never really picks up and maintains that pace throughout the entire 125 minute running time. There isn’t a lot of chemistry between Isaac and Chastain. At times the script even feels quite weak. To the film’s credit it tries to explore some different avenues in the New York crime category by focusing on an entrepreneur rather than a group of gangsters, but it is ultimately too fruitless. Unfortunately Chandor’s followup to the great All is Lost is A Most Unmemorable film.

Scrooged

Richard Donner, 1988

Can I Stream it?

3/5

On paper, Scrooged seems like a pretty good idea. Create modern version of the classic Christmas Story and add Bill Murray, and infuse it with some meta elements of making a staged classic Christmas Carol television special during the updated retelling. Sprinkle in some campy zombie makeup, give Murray the obligatory 80's mullet, and of course add Bobcat Goldthwait. And although it carves out its own little niche in the Christmas genre, there isn't a lot of warm fuzziness to Scrooged. You won't really come away with it with a good feeling like you will with some of the other versions of Dickens' "A Christmas Carol". Instead there's more of a prolonged icy blackness that mostly just subsides over the latter moments of the film. Perhaps its the gaudy contemporary aesthetic to the corporate atmosphere in much of the film. Murray's character does arch, but it's not a complete moral makeover like you would see in Groundhog Day. But to give him credit, he has only had a few days to gain a different perspective and not hundreds of years. In a sense it's probably because his character is just downright bitter. There's not a lot of nuance to Frank Cross the person. Instead, he's just a nasty man who by the end of the film has you convinced he has had a moment of clarity. But is it really that convincing that it will stick? In a sense it doesn't really matter. Because the journey is still entertaining, witty enough, dark enough when it needs to be, and cheery enough when it needs to be.  (with some good meta elements involved), dark enough when it needs to be, and cheery enough when it needs to be.

Funny Farm

George Roy Hill, 1988

Can I Stream it?

3/5

Andy Farmer (Chevy Chase) and his wife Elizabeth (Madolyn Smith) decide to get out of New York City and pursue a more peaceful life north in Vermont. But when they arrive in the town of Redbud, it's not the tranquil paradise that they imagined it would be. 

There was was once a period of time when Chevy Chase was a comedic force in Hollywood. Coming off of the success of such iconic films as Caddyshack, Fletch and a couple of the National Lampoon's Vacation films, he was one a few go-to comedic actors of the period (Bill Murray, Steve Martin, Dan Akroyd, John Candy among others). Chase's style is certainly distinct, and ultimately quite two dimensional. The oblivious but sentimental thirty-something. The guy who has some heart to invest in a situation but doesn't necessarily have the grace to see it follow through properly. Funny Farm is an under-appreciated film, and probably one of the best outlets for Chase's dry humor. Though undeniably flawed, there are certainly some memorable elements to the movie. Paying the town’s residents $50 a piece to emulate a Norman Rockwell painting so that they can turn over their cursed home and get the hell out of dodge. Excitedly going home with the new dog, hoping to further reinforce the country living they are so desperate to do - only to have the dog IMMEDIATELY run away. Realizing that the phone you had installed in the new home is a pay phone. It's forgivingly corny and worth a look around the holidays.

Planes, Trains & Automobiles

John Hughes, 1987

Netflix

3/5

Neal Page (Steve Martin) is a marketing executive rushing to catch a plane from New York to Chicago two days before Thanksgiving. Struggling to flag down a taxi cab, he has to pay a stranger off quickly to take theirs only to have it abruptly stolen from him by shower-ring salesman Del Griffith (John Candy). Little does he know his confrontations with Del would continue to become unavoidable as an unlikely friendship forms over the bad circumstances that he continues to fall into.

A heartfelt picture, light on story but carrying comedic weight. Made in a time when Steve Martin was making crowds laugh, and not making them listen to him playing banjo. You are hit with the stick of the time period early on with the very present synthesizer sounds. You continue to be constantly reminded that you are in the 1980's with the automobiles, clothing, vibrating beds, primitive credit card machines with paper carbon slips, smoking indoors. Bad karma has struck Neal. His misfortune continues to mount, as Chicago continues to feel further and further away. Opposites attract because they have to when you are unavoidably stuck with the other person. Interestingly the sense of the film being dated is felt with the evident homophobia when they wake up in bed with each other and have to force a Chicago Bears reference to prove to each other, you know, that they aren't into that kind of thing.

The obvious concept quite early on is that they are living in very different worlds. Not only from a social class perspective. When any little conflict may arise in Neal's day, his whole world is shaken up. Not a good way to live your life, as it only sets you up for constant disappointment. Your flight is cancelled? Big deal. You can get the next one. Car broken down? Big deal, it can be fixed. It can always get worse. And it will. Life is not about stepping over everyone around you to get to your destination. It's about community, living in the moment, savoring the experience - regardless of how horrible it can be. While Del Griffith's character is an exaggeration of the annoying heavy-set guy (the coughing in the motel room is a bit much), he is likable nonetheless because of his obvious sense of optimism. He's been in the run down motel rooms before. He knows how to make the best of a situation. Neal is so caught up in his own life that he barely gives Del's life experience any thought. By the time that he does during a reflective state, Hughes has to wrap up the film quite quickly. And while the final moments of the film are played out effectively, they do feel a bit rushed and ultimately predictable. So clearly the film is not without it's flaws, but to be fair it was not made to break ground. To it's credit - the story opens up, delivers consistent laughs, and wraps it all up nicely. Perhaps it could be credited with influencing later slapstick films with stranded pairs like Dumb and Dumber or Tommy Boy. It's an amusing Thanksgiving story with a lot of situational comedy. Loaded with characters like a lot of Hughes' other work. And it certainly makes you miss the late great John Candy.

Prince Avalanche

David Gordon Green, 2013


3/5

Responsible and self sufficient Alvin (Paul Rudd) and unsophisticated Lance (Emile Hirsch) are two road workers who tediously paint the yellow lines on the Texas pavement after wildfires ravaged the state. At night they camp on the roadside, and they occasionally have the opportunity to travel to town to socialize and gather supplies before they have to get back to the grind.

David Gordon Green pushes the quirk in this minimalistic limited storytelling piece that at times feels like a love letter to Wes Anderson. There are points in the film where it almost feels like a car may pull up and Bill Murray may get out. It's a piece that's largely filled with abstraction and vulnerability. Some may not be so satisfied with images of a mustached Paul Rudd dancing by himself with a fishing pole in hand. Others may credit him for taking a risk with another independent role. He certainly puts himself out there as the dorky outcast just looking for some validation. He doesn't hide his love for Madison, and continues to write her letters like he has gone off to war. And perhaps he has, in his mind. But strangely there's not much urgency to finish his work and return to the general population. Without her presence she feels very imaginary. Alvin is searching for something while he is isolated in those woods. Perhaps he is rebuilding like the world around him. And Lance is fighting his own kind of war as well. Hormones raging, he returns to town seeking short term flings and without which leaves him feeling empty. Emile Hirsch delivers a particularly impressive performance as the inexperienced oafy hand to Alvin. The humor in his character is subtle but memorable. The dynamic between Alvin and Lance is unstable, and why wouldn't it be? Basically opposites stuck together in the middle of nowhere. At times hating their job, other times indulging in the freedom. But at the end of the day their companionship is going to be more fulfilling than their monotonous daily grind. They both have something to offer one another.

Green took a risk with making the film as it won't appeal to all crowds. The fortunate thing is it feels like he succeeds in what he set out to do. The theme of self-discovery while slowly walking the Texas pavement almost gives it a Wizard of Oz feel. At times the film drags very much like the painting machine they push slowly through the day, and at times it feels like it circles in one spot. It could certainly be a better film if there was more meat on the bones. But there's certainly something here worth watching.