POOR THINGS Review

When I was in high school in the early aughts it was the peak of "emo" culture as the wave of pop-punk music and hairstyles had fully enveloped the youth. Punk rock had completely overtaken the music scene that had previously belonged to the pure pop acts at the turn of the millennium. A good portion of what would have previously been categorized as the "mainstream" crowd was now more than happy to sport t-shirts from Hot Topic toasting their favorite bands; the more undiscovered, the better. At seventeen and eighteen this was more than enough to pique my interest in the shifting allegiances and blurred lines of high school cliques in the real world yet the bigger revelation that came out of this was an examination of the "goth" community. Beyond their shared interests in (again) music, I began to question what it was that motivated them to dress so distinctly and so differently. Furthermore, why the need to take it to such an extreme? My initial thought was simply that: to be different. Maybe that's exactly what it was or maybe it served as a signal to those who also dressed that way that they were of like minds. While this was certainly a probable explanation the overarching intent of the intensity of their look was seemingly to stand out and stand apart. This naturally led to internal inquiries of what is exactly different about you if what you're doing to be different is solely for that reason. And then, if there is this whole group of people who dress the same solely to be different then aren't they just another clique themselves? Of course, these social circles are formed due to similar interests, participation in the same activities, churches, tax brackets, and so on but as someone who likes to think of themselves as moderate in every facet of life the difference in "goths" and every other clique went back to the question of intent. Was there meaning behind the mohawks and dark make-up? 

While I never fleshed these questions and ideas out with anyone, this was the beginning seeds of understanding the rather broad (and simple) lesson that how you present yourself physically wasn't the aspect that would ultimately determine what makes you different from someone else. This isn't a slight against the goth crowd either, but more an observation and kind of affirmation that such exterior effort shouldn't be necessary in order to feel seen and valued. There's no shame in wanting to feel singular and validated - high school today must be a thousand times more complicated in these regards with what a mess social media has made in not only feeling the need to stand out in your bubble, but against the entirety of the internet - but if there is nothing beyond the desire to be different than simply being different that is when we enter the territory of someone's entire personality consisting only of being non-conforming because that's what they do. When considering all of this through the lens of high school circles, weird for the sake of weird began to feel as hollow as the goths no doubt assumed most of the jock's heads were. Weird for the sake of being weird is what brings me to Poor Things and whether or not the way it presents itself was simply to set itself apart or if the attempts to subvert and push the envelope were in fact to serve a bigger, more well-rounded series of ideas. That, or at least be in service of lampooning some very specific, but recognizable facet of the world in which viewers could relate to the point their opinion of the film might transcend the intentionally strange, possibly superficial surface.

ONCE UPON A TIME IN...HOLLYWOOD Review

I've been trying for over a week now to figure out exactly why Once Upon a Time in...Hollywood, the latest opus from auteur Quentin Tarantino, hit me the way it did. As someone who's never visited California or more specifically, Hollywood, and as someone who wasn't born until nearly two decades after the year in which the film takes place there were no personal nostalgic ties to what is very clearly a very nostalgic movie for its writer and director. I love the movies as in "the movies", sure, both for their fascinating behind the scenes processes as well as certain aspects of the business and I adore the idea of crafting this love letter to a bygone era that, in many ways, is reoccurring at this very moment even if the players are very different in the similarly circumstanced game. Any piece of work that provides insight into any aspect or era of the movie business is typically something I'm game for, granted, but even my affinity for films and television shows produced in the late fifties through to the end of the sixties is low and wouldn't justify the instinctively adoring reaction these impossibly detailed re-creations of such receive and no doubt deserve. There is plenty to like and appreciate within the massive two hour and forty-minute runtime Tarantino has assembled with his latest, but it is difficult to pinpoint what exactly it is that occurs within those (nearly) three hours that not only made me long once more for days consisting of more innocence, but also genuinely made me love what I was watching and want to remain in this world he was enchanting us with. After a week of mulling over the film though, of continuing to go back to certain scenes, countless performance moments and a hundred other facets I hadn't yet considered day after day the bigger picture came to be that it wasn't necessarily any one thing in what will from now on be referred to as OUaTiH, but more it was the effect each of these elements had on one another; the meticulous re-creation of 1969 informed and enhanced the performances of these fictional characters which were in turn heightened in the context of the film by the real-life events that Tarantino weaved through his narrative so as to create a sense of familiarity while still holding tight to the destination he's driving towards. Ultimately, this stands as one of Tarantino's best, most introspective works as it delivers the feeling one wants to leave the theater with after having experienced a Tarantino flick while the experience in and of itself is something of an unexpected and surprisingly soulful one.

THE NICE GUYS Review

From the moment The Temptations' "Papa Was a Rollin' Stone," kicks in and the old Warner Bros. logo flashes across the screen one can't help but be hooked by The Nice Guys. It's been eleven years since Shane Black made his directorial debut with Kiss Kiss Bang Bang after toiling away in the writers room for years and while it's been much too long since I've seen that Robert Downey Jr./Val Kilmer crime caper I have to imagine the cult following it has amassed since its release over a decade ago is happy to see Black back behind the helm of what he does best. Though Iron Man 3 may be the most divisive Marvel film of the bunch, Black clearly has a knack and a love for crafting stories from a time in which he obviously remembers fondly and nostalgically despite those times being admittedly reckless and ill-conceived. We are dropped into 1977 Los Angeles immediately, the music blaring, the now goofy clothes worn with honor, and a smog settling in over the skyline that immediately sets the tone of something being slightly askew. The magic of Black's touch in crafting the exact right tone he desires is that of not making this skewed feeling strictly pertain to the events of his story, but more it applies to the characters that will operate within this series of events that Black has crafted to more or less exploit the type of characters and the type of relationships he finds interesting and funny. That is all to say the plot actually matters very little here, but instead it is the chemistry of our two leads and the understanding with which they convey Black's dialogue and character qualities that make The Nice Guys more of an exception than the rule. Sure, there might have been two other actors that might have pulled this off in a similarly successful fashion and I'd even be willing to bet that replacing Russell Crowe with someone along the lines of a Liam Neeson or Kyle Chandler might have yielded better results, but Gosling absolutely owns his role and is essential to the movies success. This is Gosling's movie-make no mistake-and it will solidify both his presence and his talent as being among the most appealing in the business today (as if it wasn't already). As it is though, The Nice Guys is a buddy cop film that excels in creating a buddy dynamic so fun and compelling that all the cop stuff hardly matters.

First Red-Band Trailer for THE NICE GUYS

The anticipation for the the return of Shane Black must have been at fever pitch given the guy directed his first feature a decade ago and didn't return until eight years later and for a Marvel movie at that. I feel in the minority when it comes to Iron Man 3 given I rather enjoyed much of it, but the following Kiss Kiss Bang Bang has gathered since it's quiet release in 2005 is somewhat incomprehensible. I saw the film then, as an eighteen year-old and remember liking it, but don't remember too much about the actual film. I'll certainly need to go back and re-visit it soon given the fact anyone I tell that to will tell me the same thing, but if the trailer for Black's third feature directorial effort did anything it was remind me of the noir-sh/irreverent tone his debut featured in spades. I wasn't sure what to expect from the film given the standard sounding premise, but leads Ryan Gosling and Russell Crowe look to be having a great time while the seventies setting paired with the outlandish brand of everything...the comedy, the violence, the dialogue, even the look of the film is somewhat over the top in it's homage to that decade...makes this feel like a lot of fun. After seeing The Big Short and the extent to which Gosling can stretch his comedic skills (there's no end in sight, by the way) he looks especially funny here as he seems to more or less be playing the relief while Crowe is the straight man. In short, I'm happy to see this getting a nice, big summer release date and will certainly make this one to see as soon as I can. The Nice Guys also stars Kim Basinger, Matt Bomer, Margaret Qualley, Ty Simpkins and opens on May 20, 2016.