WINCHESTER Review

Though the directing duo of brothers Michael and Peter Spierig made one of the worst films of 2017 in what was the eighth Saw film it was hard not to hold out hope for what these guys might do outside the IP pool given Jigsaw was likely an opportunity they couldn't (financially) turn down. And so, in what feels like their true follow-up to their highly underrated and underseen 2014 time travel flick, Predestination, the brothers Spierig take on the real life mysteries likely still held within the walls of the winding Winchester mansion that is located in San Jose, California and was constantly under construction by the widowed Sarah Winchester for thirty-eight consecutive years until her death in 1922. Weird, right? Definitely. Couple this unique spin on the haunted house premise with the fact the Spierig's have somehow managed to attract the talents of rather pedigreed actors like Jason Clarke and the indelible Helen Mirren and one has to wonder what the attraction was. The Spierig's also reunite with Predestination star Sarah Snook here, but Snook is unfortunately underutilized as Mrs. Winchester's niece who has recently moved into the ever-growing mansion with her son after the death of her husband. This is all to say that Winchester has plenty of potential and while it never fully capitalizes on the ample opportunity it has to transcend the genre trappings and become something of a more self-conscious and timeless work it is a solid and sometimes even surprising haunted house tale that uses the audiences expectations to its advantage and takes certain elements in directions that feel fertile. The Spierig's screenplay, in collaboration with Tom Vaughan, relies too heavily on jump scares to garner the necessary reactions for being a member of the horror genre, but even still-they serve their purpose more often than not. Resorting to these easy, cheap scares feels a way of accounting for a requirement the Spierig's weren't really interested in though, as Winchester is seemingly more inclined to explore how cruelty, grief, and loss can affect people in different ways and to varying degrees. If the Spierig's had figured out a more inherently haunting way to convey their tone and the actions of those supposedly trapped souls in the rooms of the titular mansion this might have been a more convincing study on such topics, but as it is the film comes and goes with more simplicity than it does depth or scares.

First Trailer for THE GLASS CASTLE Starring Brie Larson

Short Term 12 was one of my favorite films of 2012 and made me take more notice of Brie Larson's undeniable magnetism than 21 Jump Street already had the year before. With the adaptation of Jeannette Walls' memoir Larson reunites with her Short Term 12 director, Destin Cretton, to relay the story of a young girl who comes of age in a dysfunctional family of nonconformist nomads with a mother who's an eccentric artist and an alcoholic father who would stir the children's imagination with hope as a distraction to their poverty. With the likes of Woody Harrelson and Naomi Watts playing the disillusioned parents and Larson at the forefront as the daughter who must learn to grow up faster than she should only to eventually abandon her parents in favor of a more traditional lifestyle, this looks to be rather straightforward awards fodder. Not that such fodder is necessarily a bad thing, it's just that The Glass Castle hits all the marks of what we expect from an awards season contender. All considered though, this actually has a late summer release date and visually, looks gorgeous. Very clearly a period piece the film has a lush color palette with the more posh costume designs that Larson gets to sport really showing off the style of the film as a whole. Story-wise as well as the inclusion of several red-headed children, there are certainly shades of last year's Captain Fantastic at play as that film also dealt with parents revolting against society and raising their families off the grid (The Glass Castle even stars Shree Crooks and Charlie Shotwell who played brother and sister in Captain Fantastic). While the reasons for leading such a lifestyle seem a little more nefarious, but not necessarily evil in The Glass Castle it will be interesting to see how different the two movies actually turn out to be. With a terrific cast, a writer/director whose debut feature made my top ten list of that respective year, and an engaging if not exactly fresh story I'm intrigued to see how the film turns out and, as always, am hoping for the best. The Glass Castle also stars Max Greenfield, Ian Armitage, Sarah Snook, and opens on August 11th.

THE DRESSMAKER Review

Note: This is a reprint of my review for The Dressmaker, which originally ran on September 21, 2015 after seeing it at the Toronto Film Festival. I am publishing it again today as it hits select theaters this weekend.

I watched what could be considered some very strange films at 2015's Toronto International Film Festival, but I don't think any of them were as weird or out there as Jocelyn Moorhouse's The Dressmaker. This movie, you guys, is completely bonkers. You wouldn't think so given the look of the poster and the fact it stars such credible and well-respected talent such as Kate Winslet, Hugo Weaving and Judy Davis, but once this thing gets rolling it is both surprising and distracting as to how ridiculous things become. As I watched the events of the film unfold I couldn't help but to keep writing down again and again how I couldn't believe they were going where they were going and yet, the film kept going...one step further. Now, to be clear, this isn't strange or ridiculous in the sense of bombastic violence or discussing things typically considered far too taboo for everyday discussion, but more in the sense of general absurdities. Having not directed a film in nearly twenty years and operating strictly in Australia this would seem to be a fine opportunity to return for Moorhouse and there is plenty of stuff to have fun with here despite the fact I wasn't able to get on board with all of it. With Winslet leading the charge (though she seems miscast) Moorhouse and her ensemble of misfits that make up this small town in Australia endeavor to deliver a perfectly cheeky little screwball comedy that is able to hold a slight amount of substance rather than being completely flippant.

STEVE JOBS Review

I know what you're thinking, "Hasn't there already been a movie about Steve Jobs?" and yes, there has, but nothing about this new film is comparable to the one starring Ashton Kutcher from 2013. Like the man himself, everything about this new Steve Jobs film is innovative in the way that it creates a product consumers will no doubt find engaging as well as hopefully being something most will feel the need to seek out the same way they feel the need to own an iPhone. Coming from an all-star roster of creative minds and performers Steve Jobs is an electric two hours in the theater that possesses an energy unlike anything I've seen in recent memory. There is so much going on in every scene, so many other things beyond the expected exceptional dialogue from writer Aaron Sorkin (The West Wing, The Social Network). It's clear this is a Sorkin script simply from the way people speak in perfect thoughts that are conveyed with precise wording, but more is the direction that Danny Boyle (Slumdog Millionaire, 127 Hours) takes by highlighting this dialogue with a trained eye on the influencing factors that surround his actors and the words they're speaking to paint a fully-realized picture. While it is certainly necessary to have some pre-existing knowledge of Jobs and his reputation, this film is able to convey the major portions of what crafted the arc of this man's life in such an unconventional way that even if the film doesn't give you all you want in regards to story it will undoubtedly make you want to rush home and read more about the man and the myth that is Steve Jobs. One could criticize the film for not filling in these gaps or for feeling like an incomplete work by virtue of sticking to it's unique structure, but for me this only propelled the energy forward while keeping the intrigue at top notch. Beyond the craft of the writer, director and their respectful teams that put this work together it is the stellar cast that allow us to buy into these captivating monologue's. As Jobs, Michael Fassbender (X-Men: First Class, Prometheus) doesn't look much like the former Apple CEO, but he carries this film in every moment with a vicious performance that will no doubt keep him at the forefront of everyone's minds as we head into awards season.

TIFF 2015: THE DRESSMAKER Review

I watched what could be considered some very strange films at the Toronto International Film Festival, but I don't think any of them were as weird or out there as Jocelyn Moorhouse's The Dressmaker. This movie, you guys, is completely bonkers. You wouldn't think so given the look of the header photo above and the fact it stars such credible and well-respected actors as Kate Winslet, Hugo Weaving and Judy Davis, but once this thing gets rolling it is both surprising and distracting as to how ridiculous it gets. As I watched the events of the film unfold I couldn't help but to keep writing down again and again how I couldn't believe they were going where they were going and yet, the film kept going...one step further. Now, to be clear, this isn't strange or ridiculous in the sense of bombastic violence or discussing things typically considered too taboo for everyday discussion, but more in the sense of general absurdities. Having not directed a film in nearly twenty years and operating strictly in Australia this would seem to be a fine opportunity to return for Moorhouse and there is plenty of stuff to have fun with here despite the fact I wasn't able to get on board with all of it. With Winslet leading the charge (though she seems miscast) Moorhouse and her ensemble of misfits that make up this small town in Australia endeavor to deliver a perfectly cheeky little screwball comedy that is able to hold a slight amount of substance rather than being completely flippant.

PREDESTINATION Review

The music in the first scene sets the tone for what we should settle in to suspect from most movies. Predestination sets an immediately familiar tone that hooks us into a comfort zone of action/thrillers we've seen time and time again. I was completely game as it is more than you can hope for when it comes to the gloom that typically hangs over January releases. It quickly becomes evident though that this isn't anything we've necessarily come to experience before despite the abundance of time travel movies over the last few years. It becomes clear from the outset this will be a layered time travel story given the literal bang it opens with and then with how it travels back introducing to us the procedural nature of the story. We are immediately hooked and we are taken in, not by the cheap and cheesy special effects that you somewhat expect from a movie like this given the outside influences and circumstances of its genre, release time and even the presence of Ethan Hawke. Rather, Predestination is not really an action film or special effects bonanza in that much of what one might consider "special effects" seem to be done in camera and in very basic, practical ways that work with the overall style of the piece. This is very much a science fiction film concerning decisions and conversations around those decisions that create motivation, justification, explanation while most importantly developing characters we care about and a sympathy that goes a long way when things begin to really unravel. In essence, I guess you could say this is more of a character study than anything else with the hook being that this character can travel through time and, in many ways, dictate the outcome of their own life depending on what they feel they need in order to create meaning from this existence. There is a lot of interesting stuff going on here and plenty of questions to ponder as things move swiftly along, but I also began to ask myself if this was indeed as entrancing as it seemed or if it was just kind of farcical. I couldn't tell, I'm still not sure if I can, but while I was watching I was certainly fascinated and consistently intrigued, meaning the movie did its job and did it well.