Circle

Aaron Hann / Mario Miscione, 2015

IMDB

3/5

There a handful of films (Buried, The Man from Earth, 12 Angry Men, Pontypool, Rear Window and a lot of Hitchcock's work for that matter) that take place in a single location. With a limited setting, you need to have a good script powering the narrative. Because you are going to be stuck with these characters for 90 minutes or so, they NEED to be interesting.

Circle takes place in a single room. A bunch of strangers awaken from an mysterious daze and find themselves placed upon red circles like human board game pieces. They realize quite quickly that they are part of an odd social experiment. When one of them steps off of the red circle that they stand on, they die. Not long after they realize that it's not the only way to die in the circle room. Seemingly at random, the ominous eye at the center of the room zaps an innocent victim. But then they determine it's not random. Not only is it not random, they are actually in control of who gets exterminated. What transpires is a dark social experiment where everyone in the room makes a stand for their life, and also has to play executioner to the people standing around them. What starts off as superficial judging turns into moral examinations. The numbers dwindle down and the experiment turns into pure Survivor-esque strategy. It's interesting that you really don't spend a whole lot of time with the poor people in the room. But because of their dilemma, you are forced to learn a lot about them rapidly. Like they are making a stand for their lives, and because of that they reveal themselves much faster than they would over a cup of coffee where they have all of the time in the world. The end result is a really inventive and unique movie, one that feels like an indie hybrid of Saw, the aforementioned 12 Angry Men and the not-often-mentioned Cube.

Steve Jobs

Danny Boyle, 2015

IMDB

4/5

Not many people in our modern age will likely see such legendary status so shortly after their death as Steve Jobs, who passed away in 2011 after a battle with cancer. After his passing we were treated to stories of what kind of person he was, good and bad. Walter Isaacson’s bestselling biography of Jobs was a warts and all guide to the complicated person.

Aaron Sorkin’s screenplay is built upon the material contained in Isaacson’s book. It’s really a bold approach in terms of it’s cinematic treatment, because it doesn’t pull a lot of punches in showcasing some of Job’s faults. It largely focuses on Jobs negative traits. His obsession with control. His bitterness towards those who wronged him. And quite possibly his biggest flaw as a person, his denial of his biological daughter Lisa. The biopic itself was involved in a long game of hot potato in Hollywood. A lot of names were thrown around to play Steve: George Clooney, Ben Affleck, Dicaprio, Christian Bale. All of the big names that seem to come up with any high profile film these days. The choice of Michael Fassbender was an intriguing one. How could a German-Irish who doesn’t possess any of the physical qualities of Steve Jobs actually play him on screen?

Fassbender handles the role quite well. He seemed to have studied Jobs mannerisms through the seemingly endless sources of media available. There are moments where he was able to capture a few sentences where he sounded almost exactly like the real Steve. But Fassbender isn’t really doing a dead-on impersonation of Jobs, it is more of a reinterpretation or a channeling of a person through a series of fictional scenes based on accounts of others.

There is certainly a lack of Danny Boyle’s stylistic personality to the film. The superimposition of the rocket take off on the hallway wall may be one of the only visual elements that feels like Boyle. Because of this, it feels like a film belonging more to Sorkin. Especially with it being so dialogue heavy. Almost as if the script itself was blowing through the alleyways in Hollywood and finally Boyle stepped on it with one foot and decided to pick it up. Sorkin’s script isn’t just normal people talking. It’s people talking to each other in that very intense, very important manner. Everything that comes out of everyone’s mouth is quotable. But with all of that dialogue comes fatigue. By the third Apple event depicted, you are bound to feel winded.

Frankenstein's Army

Richard Raaphorst, 2013

IMDB

3/5

On paper, it’s a film that probably won’t pull a lot of people in. A group of Russian soldiers push into German territory during World War II, only to stumble upon a building filled with undead monsters. It feels like a tired premise, and Nazi zombies have certainly been touched on before with Tommy Wirkola’s 2009 indie-horror Dead Snow. Some of the early moments of the film feel blaringly under-funded, fighting sequences that are lacking in numbers. You need to move past that. You need to move past the idea of Russian and German troops speaking to each other in English. You need to get past the ridiculousness of a World War II-era found footage film. Because if you can past all of this, the building awaits. This building, is filled with some of the most horrifying, provocative creations ever built in the horror genre. Oh you know, things like reanimated soldiers with sawblades for arms. Army certainly has some hints of fellow brutal indie-horror The Human Centipede. Dr. Frankenstein’s creations that he unleashed upon the outsiders are a showcase of great makeup work and artistic ability. A small treasure of a film that’s just begging to be put on during the Halloween season, it’s a movie that knows what it is and is certainly comfortable enough attaining cult status rather than classic status. If you’re a fan of the genre it’s possible to buy into spending a bit of time in an undead carnage-factory led by an insane genius with a magic switch.

Pressure

Ron Scalpello, 2015

IMDB

2/5

Scalpello's deep sea survival piece feels very much like a blend of All is Lost and Gravity in terms of concept. Basically the entire film is set in the tight pod that houses a crew of men who were sent 700 ft below the surface to repair a pipeline. After rough seas force them to abandon their duties and return to their ship, they learn that their base ship has perished in a storm above them. The limited oxygen in the ship creates a figurative life-clock that they constantly monitor. Their distress beacon can be dispatched but may not have a wide enough range to help them. Even the pressure levels at their depth can create big problems for them. The deep ocean elements basically create a situation that very much feels like being lost in space. They can't exit their vessel without enduring the harsh exterior elements. They have little to no connection with the outside world. Perhaps it's a bit more daunting than being stuck in space, because there are literally just a few hundred feet below the surface of the water right here on Earth.

To the film's credit, the struggle between the men is moderately compelling. The look of worry on their faces, and the challenges that are in front of them are enough to draw some sympathy. But there's something lacking in the film that pushes it lower in the ranks of the really good survival pictures. It's because of lack of story. You are forced to spend 90 minutes in panic with the group that you really don't know much about. You don't know anything about their lives above the surface. We aren't ever really given much backstory, other than in the form of abstract flashbacks that are more confusing than revealing. It's certainly a nice looking deep sea movie with impressive set design. But it just scratches the surface of a really good ocean movie, making it feel more Open Water than 20,000 Leagues Under the Sea.