The One I Love

Charlie McDowell, 2014

Can I Stream it?

3/5

At the suggestion of their couple's therapist, Ethan (Mark Duplass) and Sophie (Elizabeth Moss) venture to a secluded retreat in an effort to rekindle their love for each other. But soon after arriving to the beautiful property they realize that the guest house has supernatural powers.

The One I Love is a smart little movie that someone could probably convince you was written by Charlie Kaufman and not Justin Lader (Bottom Floor, Errand Boys). Some of the mind-bending romantic elements are something out of Eternal Sunshine of the Spotless Mind. The layers of confusing exposition are something out of Adaptation. Some of the comedic imagery is something out of Multiplicity. Both Moss and Duplass are good together on screen, with Moss being the sensitive and emotional type and Duplass being the more cynical detached type. Both are struggling to keep the romance alive. They have reached a point of staleness in the relationship. The honeymoon phase is long gone. They are left with fading memories of what once was great, the more recent memories not being so favorable. Regardless, they decide to give it one last shot. The two manage to juggle the heavy mind-load of the movie, while also juggling their own multiple personalities. It fails to tie up some of the loose ends in the end, but it goes far enough into the abstract realm that it gives you quite a bit to come away with.

Holy Motors

Leos Carax, 2012


4/5

Mr. Oscar (Denis Lavant) is a man with a busy schedule, spending the day traveling around Paris via limousine. Each stop he makes involves him changing his wardrobe, speech and overall persona to fit that particular appointment.

It's a Surreal Art-House piece that's so confidently artistic, so boldly eccentric that you spend most of the film in sheer confusion as to what you are watching but can't take your eyes off the screen. It's an abstract piece that is likely controversial in terms of its appeal. This is not a film with a three-act structure. It's not even necessarily a film with a beginning or end. Oddly, Certain elements of the film reminded me of Eyes Wide Shut. Without a doubt one of the strangest films I've ever seen. I had thought initially that there would be some kind of significant reveal at the end of the film, but I soon realized that it doesn't even matter. It's a film that changes form, much like Mr. Oscar's attire. At times you feel as if you are watching a performance art piece. At others, a musical. In the end, it's a wild ride but a provocative one.

The Cabin in the Woods

(REWATCHED)

Drew Goddard & Joss Whedon, 2011


4/5

          A group of college buddies decide to venture into the woods for a camping weekend of the typical college recreational stuff - getting high, drinking beer, having sex. When they get to the cabin they discover the cabin has a dark history... and it only gets worse for them from there.
          You will likely hear that plot-line and dismiss this film thinking that is sounds like EVERY other horror film made in the past ten years. And it does. But that's the point. Anyone who is going into this film hoping its a mind-numbing teen-screamer (like Scream, Wrong Turn, Texas Chainsaw Massacre) is likely going to be disappointed. It's smarter than that and deserves more credit. It's one of the most under-rated films of 2011 (and was actually shelved and not released until 2012). It's more of a satirical piece written in a three-act structure that transcends the typically overused horror techniques. It's fresh, innovative, imaginative, creative, suspenseful, surprising. It deconstructs the cliche slasher and brilliantly exploits the predictable twists with the aid of some well-timed comedy. It's masked as an poor man's Evil Dead that really morphs into a clever psychological thriller. It will satisfy the horror purists with some bloodshed and some Friday the 13thesque aesthetic but will also appeal to those who are more dismissive of the horror genre and are looking for something more heady that doesn't just play on freak-factor. At the beginning of the third act there is a scene (and you will know exactly which one I'm talking about) that's so creative, beautifully gory and shocking that I've gone to YouTube to re-watch it several times.