Swiss Army Man

Dan Kwan & Daniel Scheinart, 2016

IMDB

3/5

There hasn't been a movie made quite like Swiss Army Man, and theres a good chance there wont be another. Surely nobody has seen a movie about a morose castaway that befriends a farting corpse. Perhaps the best way to describe this film is to say its like Cast Away on mushrooms. The movie is almost entirely Paul Dano's Hank character interacting with deceased Manny, played by Daniel Radcliffe. Hank is on a small deserted island and has lost all hope. He's about to commit suicide and end it all for good when he sees Manny's body wash ashore. So desperate for human contact of any kind, he decides to scrap his plans for suicide and finds inspiration in silent Manny.

What follows is one of the most quirky films made in some time. A zombie bromance story. An imaginary friend movie. It's for the most part an incredibly quirky comedy, but there is certainly some heart in this film. Hank's character is truly tragic. Like the trash he discovers in the forest, he is a person disregarded by society - even before he was stranded. He is able to discover so much about himself through Manny. In a sense he is forced to rediscover everything that makes someone human, as Manny has no memory of his past life and Hank needs to start from square one. An unsettling revelation in the final moments of the film wrap things up quite nicely. Swiss Army Man has a place somewhere but it's definitely in a category of it's own.

Captain Fantastic

Matt Ross, 2016

IMDB

4/5

Captain Fantastic is one of those films that seemed to slip between the cracks over the course of 2016. Which is strange because on paper it looks like an interesting movie. Viggo Mortensen stars as father of six kids who live remotely in the Pacific Northwest forests and struggles to maintain order within his family after his wife suddenly passes away. It feels like an easy sell. And makes you wonder why this film didn't really generate a lot of buzz over the course of the year. Perhaps because it's so indie-feeling. Some of those quirky indies, if they aren't directed by Wes Anderson, struggle to float to the surface among the many bigger budget films that distract from these smaller ones over the course of the year. Mortensen is becoming one of those actors that, like Clive Owen, are so consistent that you know you are going to get a good performance from them in any film. He's able to bring an energy to his Ben character that makes it hard to picture anyone else in his place.

Theres a certain degree of hypnosis pretty quickly when a Sigur Ros tune starts playing in the background and you are treated to some superb cinematography with some beautiful lighting. Basically a showcase of their forest spread. Giving you the indication that they have been there, roots are pretty deep, comfort is there. Some of this daydreamy vision that exists in the film is reminiscent of The Spectacular Now, which also had a lot of ambition and heart but not all of it landed like it does with this film. Some of the quirkiness is reminiscent of a Wes Anderson piece, particular the way Anderson approaches some normally morbid subject matter. In fact this film could be regarded as the 2016 Wes Anderson movie that he didn't do. The forest world that's constructed is reminiscent of the The Kings of Summer, another indie that slipped by a few years back and should have received more praise.

This is a film that should be seen. There are things that are done here that haven't been the same way before. Brutally honest moments at a dinner table. Umcomfortable moments at a funeral that haven't been seen since Harold and Maude. The way the film deals with death late in the film has an intrepid black comedy approach that is heartbreaking but also emotionally rewarding.

Me Earl and the Dying Girl

Alfonso Gomez-Rejon, 2015

IMDB

3/5

With a title like "Me Earl and the Dying Girl", you probably immediately anticipate something snappy, and the title itself almost sounds like a bad television sitcom starring Jason Lee. While the title may get you excited for a potential zombie rom-com like My Boyfriend's Back (deep pull alert), alas, it's a film about a girl with cancer. But hold up. It's more of the anti-film to last year's I dare you not to cry tearjerker A Fault in Our Stars. Fault puts the weight of the world on a relationship of two young kids stricken with cancer. Me Earl is more realistic in terms of showing a relationship between two people without being manipulative with oxygen tubes and Vance Joy songs. It even has hints of Jason Reitman's beloved snappy hipster-film Juno.

The movie focuses largely on high-schooler Greg (Thomas Mann). Greg is admittedly a neutral force in the world. He passes swiftly through the halls of the high school. He feels it's unnecessary to get involved with one particular clique of people, which may upset his balancing act that he has carefully orchestrated over his time there. A side effect of this is he never has to fully engage with another human on a deeply emotional level. So when his parents inform him of classmate Rachel's illness (Rachel being played by the delightful Olivia Cooke), he is concerned, but not DEEPLY concerned. He is pressured to hang out with Rachel, and humorously, they both acknowledge the obligation.

Greg's narration early in the film gives you the heads up that it's not going to be a cheesy love story. Instead the film for the most part runs on a different kind of energy. An energy that tends to be more upbeat, more quirky, more engaging. It ends up being a rather moving small film that has a lot to say about a particular period in life. That really selfish high school phase. That phase where all you can really think about is yourself and your future. And there's nothing wrong with admitting to living with that particular mindset. It's a period of pressure for most people. But this story shows us that while some people are focused on moving on to college, there's an unfortunate percentage of people that may be moving on to the next stage of chemotherapy. And that's just part of life.

The Grand Budapest Hotel

Wes Anderson, 2014

Can I Stream it?

4/5

Wes Anderson has some of the most recognizable features to his body of work: quirky sensibility, recurring actors (Jason Schwartzman, Owen Wilson, Bill Murray are the recurring ones here), well-defined color patterns and arrangements, prominent score. In Budapest he revisits some familiar themes. Love separated by an age gap like in Rushmore. Ed Norton playing a person of authority, here as a police officer, tracking down a target as he did in Moonrise Kingdom as Scout Master Ward. There's the mentor / protege dynamic just like we saw in Rushmore between Bill Murray and Jason Schwartzman's Max and Herman characters. And there's the dysfunctional family theme, as seen in The Royal Tenenbaums.

The multiple story threads are all built around a murder-mystery plot. When Madame D. is murdered, Gustave is framed for the murder by certain family members of Madame D who are angry that Gustave was included in her last will and testament. Most of the film is Gustave attempting to clear his name while also guarding the valuable "Boy with Apple" painting that was bequeathed to him. There isn't one bad shot in the film. Everything is perfectly framed. Everything is neatly packed in the distinctive Wes Anderson universe. The set design is most similar to his past work in The Life Aquatic with some obvious stage pieces but also some remarkable use of stop motion (the slalom pursuit down the snowy hill is one of the most memorable sequences in the film). It's some of Anderson's most gory & violent work (you don't expect dismemberment, and also manages to make the tired gunfight sequence artful), but it's also some of his most exciting. Anderson gets great use of Fiennes. It's easily some of Anderson's best work, and the somewhat-complicated story never becomes disorienting. 

The Darjeeling Limited

Wes Anderson, 2007

Can I Stream It?

2/5

Three brothers unite on a train in India a year after they lost their father in an attempt to reconnect and have a bonding experience together.

Like all of Wes Anderson's work, the film is easy on the eyes. But despite it's visual perks, it doesn't have a lot going for it. Ironically even though the colorful train is bound to the steel rails, the picture feels quite aimless and all over the place. Their mission together feels quite detached, as if they are mostly on a train killing time by smoking cigarettes and drinking native concoctions that are delivered to their personal sleeper cart. The attempt at multiple story threads (on-board romance, break up grief, family animosity) doesn't really stick. It feels like Anderson really wanted to make a movie in picturesque India. He was so excited that he quickly boarded the plane with Jason Schwartzman and Bill Murray and forgot half of the script at home. It's understandable, because the best attributes about the film are probably some of the many amazing shots he managed to get. Heads sticking out of the train window as it passes through the night. The group passing through a bustling marketplace. Various angles of the interior cabin with the aging colorful decor sticking to the walls. It's an Anderson piece that requires more gazing than thinking. Even though it feels like a confused film it does seem to make sense that Anderson would want a picture like this in his library. It fits in well in that respect. You can take in the set pieces with the (very underrated classic rock band) Kinks playing in the background, which at the end of the day really isn't the worst thing to endure.

The Station Agent

Thomas McCarthy, 2003

Can I Stream It?

2/5

Fin (Peter Dinklage) is a train enthusiast who was born with dwarfism. When his friend dies and the train shop closes, he decides to relocate to the property he inherited to live a life in isolation.

McCarthy succeeds in drawing the sympathy early. Fin's world in Hoboken is an unforgiving one. He is laughed at by the children in the streets, pointed at by the people in the grocery store. When his friend passes, you can't blame him for wanting to get the hell out of the hell he is living in. The only thing that Hoboken had to offer was a job and a companion. Both of those are gone. He hasn't even seen the small bit of land he inherits but assumes it's an upgrade from the status quo. The backdrop of the run-down rail-yards and miles of power lines doesn't necessarily paint a warm landscape. Fin is a man who has been faced with adversity all of his life but also struggles with geographical limitations. Getting through his days are work, not because of physical limitations but because of the world around him. He appears to be on the edge of complete surrender by the time that he walks to Newfoundland. He's convinced that the one genuine person has died, and there's not another one left in the world. When he arrives in the small town, the ridicule is diminished but still present. When the friendly souls surface, it almost feels as if he is the one who passed and he is in some kind of strange afterlife. The film has a certain mythical quality to it in that sense. Food truck Joe is too friendly, to the point of being disconcerting. This works against his character too, because he truly seems like a person of unlimited patience and persistence. While McCarthy's simple story is earnest, at times it feels like it's dragging. While Dinklage is clearly a talented actor and provides a layered performance, when he finally opens up to Joe and Olivia he doesn't lay a lot out there. That's disappointing because the film  is really a character study, built for Fin. He succeeds in constructing the beaten man, but fails at showing us a man who has truly opened up even though the story forces him to. Not that he needed to make an embellished character arch with a happily-ever-after conclusion, it would have been nice to see Fin truly conquer something within himself, rather than just crack a smile.

In a World...

Lake Bell, 2013

Can I Stream It?

3/5

Carol (Lake Bell) is struggling to find her place in the working world. Living in the shadow of her legendary father Sam Soto (Fred Melamed), the voice-over industry seemed to be dominated by men with little room for a twenty-something female. That is until she surprisingly books a gig for herself which motivates her to keep at it - and that isn't met with cheers by everyone around her.

Lake Bell proves that she is a triple-threat in this film in which she writes, directs and stars in. It has a lot of similarities to fellow tom-boyish female-led indie Juno, although a bit more grown-up and more plainspoken. Bell's final product is a well put-together story of an aimless female dealing with adversity. This adversity takes many forms. She is trying to endure family dysfunction, mostly caused by her self-absorbed father. She is trying (or maybe not trying but feeling expected) to find romance. Although her friend Louis (Demetri Martin) is lurking in the periphery, their moments never feel opportune and come off awkwardly. Martin, who is usually a forgettable face on screen, is an appropriate casting here as the blundering but like-able friend who wants to be more than a friend but doesn't know how to make his move. She is trying to find her own independence, so she isn't feeling like a mooch on her sister Dani's (Michaela Watkins) couch. In a World contains some rather sporadic laughter, with some of the many throw-aways falling flat. They don't all need to hit their mark because Bell gets plenty of points for her effort. And her efforts didn't go unnoticed. She received a lot of appropriate acclaim for her work here, taking home the Waldo Salt Screenwriting Award at Sundance among many Critics Association nominations for things like Breakthrough Film Artist or Most Promising Filmmaker. Bell succeeds in getting you behind Carol early and sticking with her. Her hardship should feel identifiable for anyone who was young and didn't know what the hell they wanted to do in life, which is who, all of us? 

American Hustle

David O. Russell, 2013

Netflix

3/5

Russell's latest work is actually a difficult film to explain to someone when they ask you to describe the plot. "Okay.. so there's this con-man and his lover who cheat desperate people out of black market loans who then get caught and have to assist the FBI in taking down some politicians while also at the same time try to handcuff the investigation to the mob by promising Middle Eastern financial backing in rebuilding the Atlantic City casinos. You got all of that right?"

Scorcese gave his keys to Russell and told him to bring it back in one piece. He did, and he took it for a nice long spin in this con-artist crime drama/gangster story/quirky comedy/period piece. The nod to Scorcese is blatant: the narrative, the tracking shots, MOS sequences set to music, the gangster motif, the Big Apple backdrop. The casting office even called for a couple of Boardwalk Empire's guys. But it's also very David O. Russell. At times the film solicits laughter reminiscent of his comedic style in Flirting with Disaster. Russell puts on his Sounds of the 70's compilation and plays with one of his signature elements of taking that classic song you've heard a million times and putting a visual component in there that makes it seem like you're hearing it differently. 

Christian Bale morphs into his role as chubby con-artist (hair piece included) Irving Rosenfeld and continues to prove that he's one of the best actors working today. If his character didn't possess the nuance that Bale was able to bring to the role, it just wouldn't work. Jennifer Lawrence takes her already great performance in Silver Linings Playbook and goes off her meds, taking it to another level as a vindictive hot mess. Her distorted reality from being confined at home. The manipulative tendencies. Seething jealousy. Bradley Cooper's character is similar to his character in The Place Beyond the Pines in the sense that he's a government worker trying to make his mark. He's always been overlooked. He can almost smell success, it's so close. He wants it so badly. Amy Adams plays the classy Sydney Prosser, who wants nice things and is willing to trade her morals for companionship. Renner's performance as Camden Mayor Carmine Polito is more subtle but it has a certain plangency to it. You know whats going to happen to him. And it should bother you even after the film is over. Some surprising faces even turn up - one of which is un-credited.

Enough can't be said about the performances in the film. The cast deserves much praise, as well as Russell for being able to collaborate with such a pool of talent. It's especially impressive to discover that 20% of the film was improvised which again speaks well for the Russell's confidence. But outside of the great performances, the film feels too elaborate. While Russell's The Fighter and The Silver Linings Playbook had a more youthful feel -  American Hustle seems to be a film made for the older crowd. Probably the crowd who grew up the 1970's. It's surely a subjective movie (aren't they all), likely to be lauded by many and not so much by others. But either way you're bound to feel satisfaction on some level because the acting gives you your money's worth an hour into the picture. 

Grabbers

Jon Wright, 2012


3/5

A small Irish community is is shaken up when an alien creature lands in the sea. As residents begin to vanish, a newly-paired Guard duo tries to find its weakness. Upon discovering that it feeds off of blood, they attempt to poison their own blood by consuming large amounts of alcohol at the hometown pub.

In this silly beer-soaked sci-fi horror, Grabbers possesses some of beats of similarly-themed Attack the Block but also has some of the laughs-in-the-middle-of-chaos of Shaun of the Dead. The lead characters are easy on the eyes newbie good-girl Lisa Nolan (Ruth Bradley) and jaded lonely sad-sack Ciaran O'Shea (Richard Coyle). Nolan can't wait to fulfill her duties as Guard while O'Shea can't wait to wade through the monotony of his day, so his liver can do the bulk of his daily work at the local watering hole. When the two are assigned together early on there's a bit of tension between the two that makes you anticipate the predictable shift to romance. It doesn't take long to introduce the antagonist alien sea-beast (the first scene actually). Introduced at first using the effective what you don't see is more scary technique, when you it does finally show itself it's not disappointing. As the town bands together to fight it off using their best tool, their ability to put down the pints. The normally quiet town gets a shot in the arm when the beast arrives, and the sense of inebriated community between them all is inviting and amusing. Although the film may push the Irish stereotypes, as soon as "The Irish Rover" starts playing in the pub you wish you were right there with them singing along, Guinness in hand.

A film that could quickly become distracting with lame CGI and poor acting really isn't at the end of the day. There's impressive camera work involved, a fitting score, and a medium-sized cast that really deliver satisfying performances. The lack of a back-story and rush to create a romance between the two Guards feels a bit far-fetched, but then again its a movie about a giant alien squid who pukes up drunkards so who is really judging it on that level? Besides, there are moments in the film where it could venture down over-used roads and it actually pulls back. For what the movie is it's good. It knows what it is, and what it needs to accomplish. 

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.

Our Idiot Brother

Jesse Peretz, 2011


3/5

Ned (Paul Rudd) has run into some tough luck with some legal troubles and a breakup with his girlfriend Janet (Kathryn Hahn). He turns to his three sisters, who all seem to be preoccupied with their own lives to provide support.

An ensemble cast fuels the film with a lot of the usual suspects of the modern comedy world. Paul Rudd brings his very Paul Rudd persona to the film, and that's never really a bad thing. His character in this film would be the equivalent to his character in Wanderlust if he lived in the commune for years and were suddenly evicted. He possesses a certain naivete that doesn't really help him elevate him in any kind of professional capacity but he certainly should sleep better at night than his sisters do. He means well. Tries to do the right thing. A happy failure. Failure is a subjective term though. Is he a failure because he doesn't have the house, or the children, or the job? His sisters play hot potato with his couch surfing, and don't really feel any kind of familial gravitational pull. Miranda (Elizabeth Banks) is completely obsessed with making her mark in her journalism career. Liz (Emily Mortimer) is wrapped up in with her children and seemingly disinterested husband. Natalie (Zooey Deschanel) is just wrapped up in herself. Maybe they all are. All of these different lifestyles, but with one common theme. They all push Ned away despite the fact that he is really the one force that can help them. How does he help? That's sort of complicated. Hard to say really. You could say things have to get bad before they get better? Sometimes you need a good shakeup in your life? Testing the foundation? Maybe all of those. Ned comes in like a hippie tornado, and completely disrupts their lives, and the whole time has this whole "Whoa, was just trying to help... didn't mean for all of this to happen!" approach to it all. And that feels genuine, and quite charming.

And it's a modern comedy so of course it has its flaws. The attempt to ugly up Rashida Jones is quite obvious, and quite honestly... still fails. You need more than a giant pair of dorky glasses on her face to do that. Why did she need to be "uglied up" in the first place? Let her be her. Is it Peretz' attempt to make her more of the tomboy lesbian type? In the end, not really important and not so pertinent to the overall plot. Emily Mortimer's English accent leaks throughout the film. The attempted backdrop of New York City feels completely absent. The fact that those are the flaws actually speaks well for the film. Everything is actually put together quite nicely. The funny hits the target when it needs to (often having an effective Improv-ish tone), and the dramatic moments hit close enough.

Beetlejuice

Tim Burton, 1988


(REWATCHED)

4/5

Adam (Alec Baldwin) and Barbara (Geena Davis) realize that they are deceased. Bound to their country home they loved dearly, they want to do anything they can to stop the new residents from getting too comfortable. They seek the help of "Beetlejuice", a "bio-exorcist" who assists them in scaring the new homeowners away.

A classic for children of the 1980's, any probably scary to young ones of today. One of Tim Burton's best, probably second best (with Edward Scissorhands in the lead). He uses the innocent Vermont backdrop to showcase quirky caricatures and his own bizarre creations. You venture into the white farmhouse only to discover the model home Adam has been working on so detailed, and comes alive as soon as they are dead. There are so many moments in this film that have a lasting impact. Walking out of the house and landing in the sand-worm's dimension. The waiting room of the case worker's office. The possession scene at the dinner table. And most of Beetlejuice's antics. Keaton is so buried in his role. One must wonder who or what he used to channel this performance. He probably should have been nominated for an Oscar, but it was a very competitive year with Dustin Hoffman winning Best Actor for his role in Rain Man. The film still took home an Oscar for Best Makeup, and for good reason.

Tim Burton's older films are so much better than his newer films. Why? Age? Did he lose that edge as he got older? Probably a lot of reasons. But he certainly took more risks in the 1980's. This film was so out there for it's time, it could have completely flopped. But it didn't. It was made on a rather modest $15M budget and ultimately grossed $73M. At times it has an almost Cronenbergy feel to it. But also very much unlike Cronenberg's films in the sense that the characters never really take themselves seriously. Adam and Barbara are very quickly accepting of their own death, and jump into a more defensive mode in trying to maintain ownership of the house. The most serious person in the film is likely Lydia (Winona Ryder), but her lack of fear of communicating with her deceased housemates certainly diminishes any kind of serious tone and only adds to the comedy.

The New Year

Brett Haley, 2010
 

3/5

Sunny (Trieste Kelly Dunn) drops out of college to return home to Pensacola to take care of her sick father. She gets a job a the local bowling alley and dates Tai Kwon Do instructor Neal (Kevin Wheatley). After reuniting with high school friend Isaac (Ryan Hunter), she becomes eager for a change in scenery.

There are a lot of Indie pictures that have a similar construct. High school buddies reuniting, underemployed at the embarrassing job, stale relationships. It's just a matter of its done well. Here it is done well. That's largely due to Trieste Kelly Dunn's performance as Sunny. Kelly Dunn possesses the physical qualities of Rebecca Gayheart combined with the quirky demeanor of Aubrey Plaza. Sunny is a complicated person. Shes interesting, because while she keeps a lot of her emotions locked away she is still quite expressive to those around her. Spontaneously eccentric like Ellen Page's character in Juno, but with more unpredictability. She returns to Florida, not exactly thrilled, to take her of her father after he is diagnosed with cancer. Her mother nowhere to be found, all that remains is photographs on the refrigerator door. Her father, who appears defeated by the disease, also bears a sense of guilt over keeping Sunny around but is clearly appreciative. There is no manipulation or guilt trips. You get a sense of good parenting on his part, because Sunny takes care of him on her own accord. She feels the weight of being his live-in nurse, but obviously doesn't want to waste whatever time she has left with him. Clearly someone who puts others first, she finally gets a taste of the outside world when she runs into Isaac. Isaac, amateur stand-up comedian, did what she wasn't able to do. He was able to take a risk and just leave Pensacola to see what was out there. Not really confident that his stand-up career will pan out, he can at least pat himself on the back for giving it a shot. Sunny feels the clock is ticking, and she can almost feel the roots growing.

The film is quite character-driven and they all have some colorful and comedic qualities. Sunny's best friend Amy (Linda Lee McBride) is a good example of the friend who settled into her hometown and grew roots. She's sort of the opposite of Sunny's character in the sense that she's very extroverted and attention-seeking. She's married to wannabe-G Bobby (David McElfresh), who barely speaks himself and lets her do all of the talking. There's something really funny about his character, still stuck in his high school thug persona. You have her boyfriend Neal who takes great pride in his martial arts school. He's a nice guy, and is good to her but doesn't have the same urge to leave Pensacola. She can see him doing the same thing ten years later and she doesn't want to look that far ahead. It's an accessible piece because it feels real, and that's all you really need. If you can get invested in Sunny's character, it's going to work for you.

Wanderlust

David Wain, 2012


4/5

George (Paul Rudd) and Linda (Jennifer Aniston) get over their head in expenses after purchasing an apartment in New York City. After George loses his job, and Linda's documentary gets turned down by HBO they decide to get out of the city. They venture down to stay with George's brother in Georgia. On the way down they decide to stop at a bed and breakfast which turns out to be a hippie commune. The freedom and positive energy that is connected to the lifestyle becomes attractive to them and they contemplate staying.

This comedy by Wain (Wet Hot American Summer, Role Models) blends some social commentary with some slapstick elements. Because the film jumps head first into the story the characters feel like caricatures. Once things get moving that fades away and the film really maintains a steady pace using solid characters. It effectively uses a lot of the same actors as Wet Hot but provides them with much better writing. The picture itself at times feels like a much more grown up version of Wet Hot. It examines the communal lifestyle, which of course in real life has proved to be a failed experiment over and over again. The human emotional spectrum always precedes the ideals of an attempted Utopian community, and no matter how many good vibes you try to spread - there's still going to be conflicts that are unavoidable (jealousy, deception, greed). Wain examines a lot of these through comedy, and very effectively at that. Nudism, Free love, Organic farming, New age pregnancy techniques, Primal screaming, hallucinogenics. Some really stand-out performances in the picture. Paul Rudd, who is always consistent, is particularly good in this. His brother, Rick (Ken Marino), is perfect as the douchey brother who surrounds himself with materialism to peacock his success. His character comes off as very Apatowian, reminiscent of Bradley Cooper's character Sack Lodge in Wedding Crashers. Some of the scenes felt like you were watching a good improv group at work (ie. the truth circle, or Paul Rudd talking into the mirror). It will be interesting to see what Wain does in the future. Some of his past work felt loosey-goosey, but he had some solid writing here to work with. Hopefully he keeps the same people on board for future work.

Plagues and Pleasures on the Salton Sea

Chris Metzler & Jeff Springer, 2004


3/5

The Salton Sea was a rapidly growing tourist destination. A accidentally created man-made oasis in the California desert, it looked as if it were going to be another Palm Springs. Unfortunately, the engineers didn't foresee the increased levels of salinity caused by agricultural runoff, or the varying water levels which would eventually flood the area. This would ultimately cause a fish die-off, which didn't exactly smell inviting. The vacationers stopped coming, and by the 1990's the only people who remain are nostalgic retirees and eccentric loners.

John Waters does a good job in narrating this quirky documentary. The archival footage of the Salton Sea really paints a vivid picture of an exciting vacation spot. The remaining residents are left with nothing other than distant memories of a thriving local economy, and all that remains are salt-encrusted abandoned buildings. The images of the corroded building skeletons feel apocalyptic. The current community, who look like people who got lost on their way to Burning Man, don't exactly give you the sense that your home would be safe unlocked. From the nudists to the urban dodgers who wanted to escape the L.A. gang-violence, the rough-talk and vulgarity doesn't appear to be a family-friendly environment. There is not one view of an educational establishment or grocery store. The unofficial mayor greets passer-bys by mooning them. There doesn't even seem to be a police presence. When you see building lots on sale for as low as $400, it seems as if they are just giving away land now, and even that price feels inflated. Unfortunately the innocent 1950's water-sports has given way to teenage keg-parties and opportunistic desert-thieves. The wet-paint on the motel sign has dried and decayed. All that remains is the scattered arrangement of RV's on the cracked desert landscape. Sonny Bono tried to save the area but his untimely-death only seemed to reinforce the Salton Sea's inevitable demise. Some optimism remains of the Salton Sea being restored, but I am not one of the believers.

Meatballs

Ivan Reitman, 1979


2/5

          Tripper (Bill Murray) is a fun-seeking camp counselor who is trying to make sure all of the kids at summer camp have a good time, including the outcasts. He tries to boost the confidence of quiet Crockett (Russ Banham), while also trying to win the various competitions against the rival Camp Mohawk.
          This is Bill Murray's first starring role and a predecessor to other successful Reitman film's Stripes, Ghostbusters & Ghostbusters II. It has the typical high jinks and quirky humor that one would come to expect from Murray, but ultimately falls flat because that's really ALL it has going for it. A good portion of the film feels unscripted, which is fine, but there's just not a whole lot there to laugh at. Most of the film feels very dated 34 years later. While Meatballs clearly influenced future Summer Camp films (Heavyweights, Wet Hot American Summer), it's guilty of not maintaining enough structure as its counterparts. It contains a lot of slapstick humor, combined with a lot of physical comedy that treads common themes (bullying the geeks, poking fun at the fat kids, awkward teen romance, social cliques). Groundhog Day, Ghostbusters and pretty much EVERY Wes Anderson film that Bill Murray has been in proves that he needs to have some framework in order to pull it all off. Seeing him dance by himself to disco music is hilarious, don't get me wrong, but not for an hour and a half. For me the more minimalist, restrained Bill Murray has always been the most effective comedically (Life Aquatic, The Royal Tenenbaums, Rushmore). Meatballs is trumped by the laughs in Wet Hot American Summer, likely due to the fact it's main energy source is child acting and not Michael Ian Black or Paul Rudd.
          Meatballs pops up on a lot of lists of people's favorite Summer Camp films. This is likely because there really aren't a lot of good films in that genre. That's surprising, because one would think it could be a very manageable type of film to create seeing as you don't need a big budget for set design (you can just shoot at one rural location) and all you really need is good comedic acting and a good writing staff.

Wet Hot American Summer

David Wain, 2001

3/5

It's the last day of camp and the hormones are running high. The camp counselors are in a heated offensive to hook up with a member of the opposite sex before everyone has to pack up and go home. While not everyone may have the same luck in the romance department, they are all pursuing closure in one form or another.
In this satirical take on 1980's summer camp films (written by original staff members of the cult-classic MTV series The State), WHO KNEW that all you really need is some isolation in a camp cabin and a couple sticks of gum? You are immediately served with some familiar faces (Elizabeth Banks, Paul Rudd, Bradley Cooper, Michael Ian Black, David Hyde Pierce, Amy Poehler), and you will continue to see more throughout the film. There is a youthful innocence to the camp staff, and everyone is likable in some way. The stand-out performance is by Christopher Meloni, who plays Gene, someone you rarely see playing a comedic role. Seeing Molly Shannon made me miss Molly Shannon! Be prepared to witness so much tongue-kissing that it leaves you wondering how fast the mononucleosis spread throughout the set. After watching I wondered what I would think of this film had I seen it ten years ago. Maybe I've become jaded... or GROWN-UP - but I feel I would have enjoyed this film much more when I was younger. That was a constant thought throughout: "Okay, that's funny even if I'm not laughing". I enjoyed The State back in the day, so that was a selling point for me here. It's not a perfect film, but its not meant to be. Wain succeeds in exaggerating some the common themes of the 80's summer camp genre (teen love, social stigmas, nerd outcasts, montages). What's admirable about this film is it doesn't take itself seriously. It has its flaws and it knows it does. So what if for every funny scene there is another to match it that trips over itself? While I wasn't amazed by it, nor laughing every second, I have to admit that I was entertained. It's an important film that has its place.

Jeff, Who Lives At Home

Jay & Mark Duplass, 2011


3/5

          Jeff (Jason Segel) is running an errand for his mother, who he still lives with (surprise) when he gets caught up in a chaotic whirlwind of too-real marital drama involving his brother Pat (Ed Helms) and his wife Linda (Judy Greer).
          This comedy is directed by brothers Jay and Mark Duplass (The League). In the beginning of the film, they do one of those introductory scenes where you see photo-shopped photos of all of the actors in the film at various points in their lives. I wonder if there is a GO TO graphic designer in Hollywood who excels at making these. While the film at times feels like paint-by-numbers comedy, there is a noticeable sense of smart writing and impressive acting. Segel and Helms fit into their roles really well as brothers, and the real moments between them feel authentic. Segel is particularly impressive in his role as the introspective loner who is on his own path to enlightenment. His eyes are open, and he's looking for answers. Susan Sarandon really displays her natural acting chops - there's a hypnotic effect to her acting that I have really come to respect. That being said, although she provided some veteran acting to the film, I wondered while watching: was her character even necessary? Shouldn't the film just be focused solely on the dynamic of the two brothers? The film effectively examines an interesting concept of a brother who hasn't left the nest, and is living life on his own terms and own pace is ironically the one who is together mentally. The brother who is out of the house and married may live up to society's standard but is actually impulsive and not in touch with his own emotions.
          While the writing and acting are the most impressive elements of the film, the cinematography is not. Jas Shelton's camera work is guilty of having too much shaky-cam and erratic close ups. I think the scenes would have been better served by medium shots where you can see the two parties conversing. In a film where there doesn't seem to be an emphasis on style, there should have been room to let the actors breathe in the shot.
          I wonder how much of the relationship between Jeff and Pat is loosely autobiographical of the two Duplass brothers. With the over-saturation of horrible comedies out there nowadays, there are refreshing features to this film and I am curious to see what the Duplass brothers do in the future.

Flirting With Disaster

David O. Russell, 1996


3/5

          Neurotic Mel Coplin (Ben Stiller) welcomes a baby into the world with his beautiful wife Nancy (Patricia Arquette), but while deciding what to name the baby, struggles with the fact that he has never met his biological parents due to the fact that he was adopted as a baby.
          I like David O. Russell's films. He taps into a psychological component that I identify with. I don't know if it's the awkward confrontations, the abrupt chaos or the quirky humor. This film possesses those qualities but also shines with a sometimes reckless skill-set that Russell clearly refined as his career progressed.
          A heavily loaded cast fuels this film. Stiller is effective as the introspective, non-threatening intellectual guy. His overt 90's attire is at times distracting, but he fits into his character really well. Seeing Patricia Arquette in this film really makes me want more Patricia Arquette. Where has she been? Shes so beautiful, her acting ability is so natural. She's clearly the most talented out of her family. Is that even up for debate? I didn't realize until now that she kind of reminds me of Kristen Stewart. Tea Leoni delivers the best performance I've seen from her. While her character had her flaws, she provided a sense of vulnerability and impulse that was delivered effectively. Richard Dawkins and Josh Brolin also provide great performances, which is expected from those two, but its definitely in a different light than you are used to.
          Act 1 had me feeling had me lingering on liking/disliking this film, but it wasn't until Act 3 that I was captivated and convinced. Act 3 settled into a rhythm that reminded me of Raising Arizona. It possesses the same intellect and comedy but it lacks in warmth and organization. Flirting has its flaws, and most of them are evident in the first act. There are elements that are certainly far-fetched such as Mary Tyler Moore's cartoonish overacting early on, or the unrealistic car swap later in the film. The early scene with the van on the highway was unfunny and unnecessary. But to the film's credit, there is a snowball effect. You are served with bits of smart writing early on, but it's not until the climax that you indulge in a lunatic coagulation of chaos at a dinner table in New Mexico. Lily Tomlin and Alan Alda talent is immediately evident and they take you on a journey. The third act of Flirting is so smart and so well-crafted that it redeems itself and you overlook some of the deficiencies that are in the first half of the film. Flirting with Disaster feels dated, but its interesting to see Russell's early work and some of the familiar elements that appear in his later films.

Moonrise Kingdom

Wes Anderson, 2012

4/5

First off, I'll just say I'm a big Wes Anderson fan and I'll see anything he makes. Some say hes over-rated. I think some people just want to have a contrarian attitude with him. He creates these beautiful worlds in his films that I would love to spend some time in. This film is full of that same innocence, colorful, dry & quirky elements that are in all of his other films. They jump right into it with the camera panning through the summer camp with Ed Norton inspecting the various scout stations. The camp is settled on a fictional New England island. I wish it was a real place. I'd spend my summers there.