LONGLEGS Review

A completely surreal style a la the isolation of characters and staging of settings that writer/director Oz Perkins manages to merge with the expectations of a procedural; allowing the story to boil in the tedium of its case gone cold before the unexpected convictions of its characters come to light - revealing the true intent of the piece. Key to this intent is the understanding that the world we're being presented is largely dictated by the perspective through which we're seeing it. Longlegs doesn't always sustain itself on the intrigue of its mystery yet continuously gets under the skin with the disturbing if not sometimes heightened ideas it has around real-world difficulties. That isn't to say the central conceit of the film as a crime thriller doesn't work but more if that's all one takes away from it then they are missing the point. In essence, Perkins has put together a cautionary tale of sorts, regarding the trappings of mythologizing both regular human beings who choose to do terrible things as well as deities, demons and whichever side you affiliate with in terms of worshipping them. 

Perkins, who is presently the father of two teenagers, is also if not more interested in the ideas of the extent and severity to which parents go to not only protect their children but ensure the purity of their life experiences for as long as possible than he is said procedural aspects. Alicia Witt turning in a genuinely chilling performance in support of such. Yes, Longlegs features the titular character played as extravagantly as one would expect Nicolas Cage to play a creepy serial killer who looks like Tiny Tim and Powder's lovechild but for as effectively (and memorably) as Cage portrays this doll-making witch doctor what echoes for days after seeing the film is not the actions of the character of Longlegs, but more the credibility he lends his beliefs based off nothing more than intuition and furthermore, how far he was willing to follow them.

DREAM SCENARIO Review

When going into a movie with a premise as interesting as Dream Scenario there is always a mix of anticipation and anxiety. Anticipation in seeing what story the screenwriter chooses to tell through this unique premise while the anxiety centers around whether the film is able to see the full potential of said premise through to fruition. In terms of this very aesthetically indie third feature from writer/director Kristoffer Borgli the hook is that an average, everyday family man in the form of Nicolas Cage suddenly begins to show up in the dreams of both strangers and acquaintances. With no explanation as to why this is happening Cage's Paul Matthews comes to something of a fork in the road around how to deal with and/or take advantage of his newfound fame that naturally descends into notoriety. Another layer to Borgli's script in particular is that, given the premise, literally any moment in the film could either be a dream or reality leaving the audience guessing as to if what we're seeing is truly happening to our protagonist or not. 

Borgli unfortunately doesn't take as much advantage of this second layer as is available to him, but what is maybe more interesting is where the filmmaker ultimately decides to take the premise for the sake of the story he is telling. Much of the film frames Paul as a man or person searching for other people to impress and who are impressed by him, yet he constantly finds himself surrounded by those who have no interest in appeasing this desire. Whether it be his students, his children (Lily Bird and Jessica Clement), former colleagues (Dylan Baker) and girlfriends (Marnie McPhail) or even his current wife (Julianne Nicholson) in certain, critical moments – they all seem rather unbothered and unimpressed by Paul. Because of this, Paul is always searching for the insult whenever speaking with someone about himself and even when this phenomenon of him showing up in other people's dreams begins his instinct is not to wonder why this happening in the first place, but rather why his presence is only as a bystander. Still, as someone described as a "remarkable nobody" he enjoys the sudden shift in attention and isn't great at hiding it or remaining humble about it even if he remains average within this exceptional occurrence. Even when repercussions of this newfound fame begin to impact his real, personal life Paul has no sense of how to actually deal with things he otherwise imagines he would tackle head on; he’s helpless. 

SPIDER-MAN: INTO THE SPIDER-VERSE Review

In the sixteen years since Sam Raimi's Spider-Man first debuted we've had seven different Spider-Man films featuring four different incarnations of the webslinger. And while each of those incarnations have their own unique qualities that make each effort commendable (even the less successful ones-I'm a fan of the Marc Webb Amazing films, even), with Spider-Man: Into the Spider-Verse we get something that would seemingly be the nail in the coffin as far as originality in blockbuster cinema goes. I mean, "Seven Spider-Man films in sixteen years? That's a new Spider-Man every four years and didn't we just get a new Peter Parker last summer? Why do we need another Spider-Man let alone another Spider-Man movie?" These are all valid questions and concerns, but somehow-rather than being the tipping point that sends audiences over the edge into full-on superhero saturation directors Bob Persichetti, Peter Ramsey, and Rodney Rothman have crafted a superhero film that does the complete opposite and reinvigorates the genre over and over again with its brisk two-hour time frame. What Spider-Verse does to separate itself from the past incarnations of the character is not only introduce a new Spider-Man in the form of Miles Morales (DOPE's Shameik Moore), but to also offer a completely new origin story that also offers a new perspective on what it's like to be a superhero. The movie, which comes from producers Phil Lord and Chris Miller (The LEGO Movie, 21 and 22 Jump Street) with Lord getting a sole screenwriting credit, knows exactly what it is and if you've seen any of Lord and Miller's previous work then you know how aware and how smart they are about recognizing the genre they're operating within, completely lampooning that genre, and then creating an experience of a movie that exists within that genre that is somehow simultaneously one of the best examples of that genre. For instance, if you were to pool this year's list of superhero films (a very strong year to boot) Spider-Verse would still be among the very best of them despite the fact superhero fatigue and references to past missteps in the series are explicit within the film's DNA. By executing the tropes audiences have become accustomed to in such expert fashion and placing this fresh twist on our expectations of the genre, Spider-Verse is able to stake claim in the fact that while viewers have seen plenty of superhero movies before, they've never seen one quite like this.

SNOWDEN Review

For the second year in a row now we have a fictionalized account of real-life events that were already well-documented in award-winning documentaries starring Joseph Gordon-Levitt doing weird accents. And, much like The Walk, the biggest obstacle Snowden was going to need to overcome was that of the one for its own relevancy. Not only did most of the American public see the splattering of media coverage when the Snowden story broke in the summer of 2013, but many also watched Laura Poitras' Oscar-winning documentary, Citizenfour, that was released in 2014 and chronicled how Poitras along with Guardian reporters Glenn Greenwald and Ewen MacAskill traveled to Hong Kong to meet with Edward Snowden and discuss how to break the news of the information the whistleblower was willing to leak. That rather riveting documentary was more than enough to give us a portrait of who this man was and why he did what he did without going into overly dramatized flashbacks or even divulging all of his professional history with the CIA and the military. Solely through how he presented himself in the current circumstances he was facing at the time of Citizenfour viewers glimpsed what type of man Edward Joseph Snowden is and what he might have done were he presented with the dilemma of going along with a CIA field operatives dirty plan or standing up to that more seasoned field agent and doing what he felt was right no matter if it meant him resigning from the agency or not. While we could have likely guessed what path Snowden would have taken given the virtues and sentiments he doles out in his Citizenfour interviews for some reason director Oliver Stone has found it necessary to go back and fill in those gaps just in case you didn't get it. While the idea of a feature film around Snowden isn't inherently a bad one what Stone has chosen to do with the material in telling a straightforward account on the life and times of Snowden in the twelve years leading up to the incident that would make him the, "World's Most Wanted Man" make the idea seem downright unnecessary. Given this is exactly the type of territory Stone has always enjoyed covering, especially when he has a particular point of view on the subject and wants nothing more than to convince you he's right, I expected Snowden to offer a compelling and thoughtful argument and examination for and of the actions Snowden took and why they should be celebrated rather than slammed, but while Stone's position is evident there is nothing here to compel an indifferent viewer one way or the other.

Full Trailer for Oliver Stone's SNOWDEN

It seems as if we've been talking about Oliver Stone's Edward Snowden film for two years now, but today we finally have the first full trailer after a teaser that debuted last June. I wasn't sure what to expect from the film given it seemed a rushed project to capitalize on current events. It didn't help my optimism that the fascinating documentary, Citizenfour, had already come out and with the involvement of the real Snowden had already shed as insightful a light on the situation as possible. Seeing actors go through similar motions would seemingly only feel like watching people play dress up. This is certainly a concern still given the vocal choices star Joseph Gordon-Levitt has seemed to adopt for his portrayal of Snowden, but this trailer also displays the advantages of having a dramatic narrative around a popular public figure. This aspect comes into play mostly in the early parts of the trailer as we are given highlights of what led Snowden to work for the NSA in the first place. His desire to serve his country and honor its legacy is an admirable quality no matter where one falls in line politically and will undoubtedly set the character up as a likable and endearing individual who audiences will find it hard to turn on once the events he's well-known for begin to happen. The story of Edward Snowden is certainly ripe for an adaptation by a filmmaker who has made his name on interpreting history and historical figures, but only time will tell if this is the Stone that brought us JFK and Born on the Fourth of July or the one who brought us Savages. Snowden also stars Shailene Woodley, Melissa Leo, Zachary Quinto, Tom Wilkinson, Rhys Ifans, Nicolas Cage, and opens on September 16th, 2016.

JOE Review

David Gordon Green is a director unafraid to explore the entire range of human emotion and while Hollywood sometimes requires that he segment these separate emotions into individual films Green has always been capable of dealing in the honesty of the human spirit. It would have been hard to find people who agreed with that assessment in 2011 when he released not one, but two critically panned straight-up comedies (Your Highness and The Sitter) one of which I understand the harsh reception, the other I think is sorely underrated. After taking a year or so off it seems Green re-evaluated what direction he was taking his career in and has since crafted two, lower-key character studies that have been able to access that full range of emotion he likes to explore rather than restricting him to the archetypes of slapstick, situational or conversation purely intended to make the audience laugh. While last years Prince Avalanche was a subdued little slice of life story that felt relaxed, improvised and more a quiet concentration on the point of it all, Joe is a character study as meticulously plotted and thought over as an extravagant poem meeting all the requirements of its goal scheme. Joe is not only about its title character but the place in the world in which he resides and the people around him that influence his decisions, those who he oversees and whose quality of their life he determines and the community that is both fed up and inebriated with him. As played by Nicolas Cage this outdoor, rugged, man among men character becomes a kind of Christ-figure to these small town people looking to be saved from their depressing, trash-riddled lives and it is only in Cage's furrowed brow and hardened soul that we see how Joe wants to try and live, but that he can't bring himself to be what the standards of society expect of him and so he rebels and he continues to rebel because that is the nature of his surroundings, no doubt of his upbringing and he can't help but to continue to think of himself as simultaneously better than those around him while never good enough to break free of this place he's found himself trapped in. I was riveted by Joe, moved by its performances and intrigued by its interest in these peoples lives. I think it is safe to say Mr. Green is back to doing what he does best.  

THE CROODS Review

As the first animated film of 2013 The Croods doesn't necessarily stand out as an instant animated classic that will be played for years in the living rooms of growing families, but it is fun enough while it lasted. While I was never particularly attracted to the trailer as I didn't much care for the character design and the voice cast just seemed to be all too famous for the story and characters to seem more important than the people speaking the dialogue. Turns out, despite these cavemen sounding like Nicolas Cage (which is pretty great actually), Emma Stone, and Ryan Reynolds (who has another Dreamworks film on the way with Turbo, way to confuse the kids!) this film serves its purpose to the fullest and satisfies in some unexpected ways as well. Dreamworks as a studio has been climbing the quality ladder lately, since the release of both Kung fu Panda films and How to Train Your Dragon I have had more faith in them when it's been easier to doubt with the decline of the Shrek series and Rise of the Guardians under performing (though I rather enjoyed that film). In fact, it is fair to say I have many of the same thoughts concerning the two films. Both have a wonderful world that has been created for these characters to exist in yet it is simply the events of the story that seem less inspired and more along the lines of standard storytelling techniques to get across a well worn lesson for the kiddos. While there is no specific antagonist here other than nature itself and the conflict comes more from within the family dynamics the story still plays out with a somewhat dull beat by beat pace that doesn't pick up until too late in the film to really say I enjoyed it from start to finish. It is fine for what it is and even better than it has to be in some aspects, but it isn't great which would have been nice to see from Dreamworks as they have a real shot to start dominating the computer animation game.