MIDNIGHT SPECIAL Review

There is comfort in the familiar. There is comfort in understanding a certain feeling, but there is also peace in being able to give up control. Giving up control might not always be comforting though. It is the amalgamation of the familiar, the unsettling, the insecure, and the eventual calming notions that ultimately make the tone of Midnight Special one we find both comforting and grandly mysterious. Both soothing and simultaneously unnerving. In essence, director Jeff Nichols latest is all about tone. Were it not for the tone of a late seventies/early eighties mesh of John Carpenter and Steven Spielberg it would be difficult to contemplate what exactly Nichols was attempting to say with this film. Instead, every aesthetic choice helps to inform the interpreted meaning behind the narrative. Without the score from David Wingo or the cinematography by Adam Stone (both who have worked numerous times before with Nichols) the emphasis on the juxtaposition between the mundane world of the southern region of the U.S. and the magic of Alton Meyer (Jaeden Lieberher of St. Vincent) would be lost. The somewhat arrested progression of architecture and the numerous cracks in the freeways combined with the tired areas of suburbia and run-down motels our protagonists venture to throughout all possess that strangely comforting feeling of being lived in and yet the reasons these characters venture so quickly through these places is of uncertain consequence. Why they feel the need to put cardboard on all of the windows in whatever domain they enter or who exactly this young boy is and why he's so strikingly different from the rest of us is anyone's guess. Nichols, who also penned the screenplay, layers on the mysteries one after another for much of the film delivering one unexpected turn after another with just the right amount of answers to the countless questions that pop up. These elements of tone and style, story and emotion come together and go hand in hand to create a damn near perfect film that is too nuanced to be about one thing in particular, but rather has the rare ability to convey different yet subtle shades of meaning to each individual in the audience.

First Trailer for Jeff Nichols MIDNIGHT SPECIAL

Jeff Nichols latest, Midnight Special, was easily one of my most anticipated of the year and then, unfortunately, this past summer it was delayed from it's original release of next week until March 2016. Typically, delaying a movie is a bad sign as far as the quality of the final product is concerned, but with Nichols there isn't the slightest hint of doubt in his skill. The move, while mainly fueled by rumors of reasons that additional work was needed after test screenings, was probably for the best financially as well given the film would have been facing off against Mockingjay-Part 2 and Creed (both franchise films) as well as a new Pixar film that would have certainly buried what could potentially be a great family film. In discussing the film before even beginning production Nichols was quoted as saying, "I want to make a 1960's biker film. I want to make a big, PG summer blockbuster family film, kind of like I want to revamp Tremors. I've got an idea for that. That kind of movie." Given that Midnight Special tells the story of a father and son who go on the run after learning the child possesses special powers it seems Nichols might have captured a story that could convey such a tone and with the release date change it takes Nichols idea of being a "big, PG summer blockbuster" one step closer to becoming a reality. Midnight Special stars Michael Shannon, Joel Edgerton, Kirsten Dunst, Adam Driver, Bill Camp, Scott Haze, Paul Sparks, Sam Shepard, Jaeden Lieberher and opens on March 18, 2015.

COLD IN JULY Review

I've yet to see any of director Jim Mickle's previous work, but while Cold in July certainly presents an intriguing case it doesn't necessarily compel me to seek out with anticipation what the filmmaker does next. I was pulled into the world of 80's John Carpenter by the obvious aesthetic influences and soundtrack choices that give the film a certain edge of cool. There was also the fact I was just finishing Dexter when I first glimpsed the trailer and so I was immediately interested in anything else Michael C. Hall saw fit to dip his talents in. What is strange about the film though is that it so eagerly wants to be all of these different things that it ultimately fails to satisfy in any one goal. This incohesive palette is due both to the tone that is implied in certain moments, while the bigger issues are with the story that draws its influence from a novel by Joe R. Lansdale. The period details are on point, the first half of the narrative engages us completely offering an interesting perspective not often seen in movies labeled as action thrillers and its cast is more than up for the job as supporting players Sam Shepard, Don Johnson and Vinessa Shaw each contribute to positive attributes of the experience. Still, as it trudges through the middle section looking for a place to go and then only includes our intended hero in the finale out of a sense of obligation Cold in July feels more manufactured cool than effortlessly stylish. It is what could almost be called style over substance with the intention of that cliché being part of the fabric, but even that doesn't fairly sum up what the product as a whole delivers to its viewers, no matter where they fall in terms of love for cinema. To the untrained eye this is middle of the road action fare that suffices well enough in the blood and gun department that it works as a solid rental. To the more casual viewer this is something with ambition that clearly strikes a different chord than the more electronic, hard-boiled modern action thrillers we see in the cineplexes while to someone who is conditioned not only in the trends of studio and independent fare but to specific filmmaker style and the accomplishment of movies within their own intended goals this is a film that does indeed purchase a lot of ambition in the beginning, but doesn't evenly spend it throughout.

AUGUST: OSAGE COUNTY Review

August: Osage County bring us into the dynamics of the dysfunctional Weston family as well as the countless issues, secrets, lies, and attitudes that constantly butt heads and leave everyone in a state of disarray and disappointment. There is much to be marveled at here as the cast is expansive and the acting is the real draw, but beyond the performances and familiar names this was first a stage play written by Tracy Letts (who also wrote Killer Joe which should give good indication as to how much bite this has) that no doubt won a Tony and the Pulitzer Prize due to its strong narrative and sharp dialogue. It is one of those films made for a very specific set of minds who find things such as this to be both entertaining and insightful. I find the psychology of what it means to each person to lead a successful life fascinating and to see a family, a group of familiar but distant characters, come together over a tragedy and let the flood gates open when it comes to expressing each of their issues with one another (and not in a calm fashion, mind you) to be something of a real treat. That said, this isn't the film the trailers have somewhat attempted to make it out to be. There is some feel-good music, but it is more for storytelling purposes than that of creating a certain tone. There are comedic moments, some that we readily identify with, but overall this is a very dark picture that delves into the issues each family member literally and figuratively brings to the table. There is so much characterization, so much to be learned from the small visual and vocal indications each of the characters give one another yet the film never feels overstuffed or bloated. Director John Wells (The Company Men) coaxes the tangled web of plotlines nicely as Letts adapted his own play for the screen and no doubt worked closely with the director to better translate his story for the more personal format of film rather than the open, less claustrophobic setting of a stage play. In the end, August: Osage County may have one too many twists to render it as credible as it would like to be, but after really thinking about it I couldn't help but feel even this was more the presentation of these facts rather than the fact they actually happened. We are talking about full lifetimes here and all the mistakes and events that come with that. It is an intense look at putting perspective on things and one that flourishes due to those bringing it to life.

OUT OF THE FURNACE Review

There is something both numbing and strangely profound about the second directorial effort from Scott Cooper (Crazy Heart). There is a menacing grim to the overall proceedings, yet it is almost impossible to not feel enlightened by what we see unfold on screen and by the development (or lack) of character and the insight that we gain as to why these people that Out of the Furnace zeroes in on are so compelling without being considered extraordinary. Where director Cooper and his cast excel are in how they don't decide to focus or rely as heavily on the events in which the story documents because in all honesty it feels that after about fifty or so minutes the narrative comes to somewhat of a halt and the momentum slows incredibly despite the fact what we see unfolding has yet to come to fruition and it remains unclear if things will turn out in the best interest of our lead character Russell Blaze (Christian Bale). Still, what keeps the ship from sinking is the fact that Cooper and his gritty eye keep the focus on the actors and the characters they are portraying and allow those performances to carry what might have otherwise been a sometimes silly, most of the time studied account of the backwood folks that apparently live in the hills outside of New Jersey. The site of an old steel town that allows the town resting below it to feel like it's stuck in the mid-70's, Cooper is clearly paying homage to the films of that era (namely Deer Hunter), this is where the story is set circa 2008, right around the time Obama was elected President and this little statement is used (as Killing Them Softly not-so subtly stated last year) to re-enforce the state of the economy at that time. All of this is effective in building the atmosphere and setting the tone for a film that knows who its characters are, where they've come from, but more importantly what little they likely have to look forward to and Cooper lets the weight of the narrative rest on their shoulders rather than the twists and turns we might expect from the more plot-driven revenge film that this has been made out to be in the marketing. Out of the Furnace isn't necessarily an exceptional film, but it provided a substantial amount of thought-provoking ideas in terms of the mentality of man in a remote region and the reasoning for a life that seems more simple than most would like to even consider. No, there is nothing exceptional here, but it is a solid film nonetheless with both Bale and Casey Affleck giving audiences something to remember it by.

First Trailer for OUT OF THE FURNACE

Out of the Furnace wasn't really on my radar until just recently when production stills began to be released, followed by the poster and today we have the first trailer for the film which comes from director Scott Cooper. I am a big fan of Cooper's directorial debut Crazy Heart and while this sophomore effort looks to tackle the same type of people geographically it also seems to come with a completely different tone and a story that has several layers of topics it intends on tackling. This on top of a stellar cast that features Christian Bale in the lead lends serious expectations to the film. Bale looks to be the perfect balance of brooding and genuine as Russell Baze, a steel worker, who is forced into a vengeance mission when his brother (Casey Affleck) goes missing after getting involved with the likes of Woody Harrelson who runs a crime ring that deals with some intense hand to hand combat. Harrelson may very well steal the show in what looks to be a downright evil role while supporting players at the caliber of Willem Dafoe, Forest Whitaker, Sam Shepard and Zoe Saldana only lend to what looks like an intense drama filled with thrilling moments. Though I wasn't aware of the film (and its potential for greatness) until just recently it has quickly jumped to one of my most anticipated films this fall and as it looks to have more atmosphere, raw style, and several great performances in a single film as any other upcoming Oscar-bait (here's looking to you The Monuments Men). Out of the Furnace opens in limited release on November 27th and expands wide on December 6th. Hit the jump to check out the trailer and be sure to let me know what you think.

First Trailer for AUGUST: OSAGE COUNTY

As the summer movie season continues this weekend the studios have begun to release the first trailers for their Oscar hopefuls. This week alone we've received previews of Tom Hanks in Captain Phillips and yesterday for director Alfonso Cuaron's long-awaited follow-up to Children of Men titled Gravity. Today we have the first look at the large ensemble piece that will no doubt be vying for Awards consideration come Oscar season, August: Osage County. Featuring Meryl Streep and Julia Roberts in the headlining roles as part of the Weston family, a family of strong-willed women whose paths have diverged until a family crisis brings them back to the Midwest house they grew up in, and to the dysfunctional woman who raised them. The film is based on the Pulitzer Prize winning play by Tracy Letts who also wrote the screenplay. Director John Wells whose only other feature film credit is the under appreciated 2010 drama The Company Men seems to work well with large casts, though the tone of this first trailer isn't the heavy handed stuff that typically makes up Oscar bait. Instead, there is an air of nice family dynamics and the way in which the majority of moments between them usually turn to comedy and a fair amount of laughs rather than serious, intense moments. I'm not overly familiar with the play, but everything about this film version seems appealing and though I'm not overly excited for the film I'll certainly be seeing it due simply to how promising everything about it sounds. The film also stars Ewan McGregor, Benedict Cumberbatch, Margot Martindale, Chris Cooper, Dermot Mulroney, Juliette Lewis, Abigail Breslin, and Sam Shepard. August: Osage County opens on November 8th.

MUD Review

Though my opinion might be slightly biased as director Jeff Nichols is from my hometown of Little Rock, Arkansas and is certainly the most prominent filmmaker to come out of here in quite some time it is also nice to see the south receive authentic representation in a film that receives wide, and mostly positive recognition. This isn't Nichols first foray into depicting the south in all its bare normality's and simplicities though as he has ventured here twice before in 2007's deadly family feud drama Shotgun Stories and 2011's Take Shelter that perfectly encapsulated the inner demons and slow unraveling of the human psyche. In his latest, Mud, Nichols has kept his location the same as he is able to so naturally create a sense of place and that is key here as our two young protagonists live on and off of the river that guides them to an island where they meet the titular character. The atmosphere and the way in which Nichols crafts his story lend an almost mythical quality to the tone. It is as if this could just have easily been a southern fable that parents told their children at night so as to keep them from wandering where they aren't supposed to go. Still, even with these vibes of a folk legend the film is able to say and do so much more than simply teach a moral lesson. I expected the slow pace, the southern setting, and the bigger implications the story might make other than what is on the surface, but what continues to surprise is the renaissance of a period that Matthew McConaughey is having in his career at the moment. All of the performances here are strong and Nichols has rounded up a solid cast, especially in his two young stars, but it is McConaughey's turn as the title character that will have you thinking about the film long after the credits roll and what he stood for, what he wanted from life, and most inconspicuously, who he really was.