Trev's Movie Dump: January 2016

The Monster Squad (1987)

Basically, Universal Studios saw The Goonies and said, "Hey! You know all of our old monsters we still own the intellectual properties on? Let's have have Dracula lead these classic monsters in a coup to take over suburbia America and the only people to stop them will be The Goonies... only not actually the same actors, but our own knock-off versions." 

Stop drilling... you've hit gold!

But, seriously... The fat kid in the group is appropriately titled, "Fat Kid." As far as bad movies go, this one if a fucking gem. Worth a watch if your surrounded by enough drunk and/or stoned people that you can share the -- unintentional -- laughs with.

The Revenant (2015)

Two and half hours of DiCaprio screaming at the top of his lungs. Does this performance warrant Leo an Oscar... Probably not. (In fact, I would argue Tom Hardy delivers a much better performance.) However, it's quite possible that this is the film that will earn it for him. I mean, I wouldn't say The Departed is Scorsese's "best" work, yet that was the guy that finally earned him his Best Directing title. 

All-in-all this film is an amazing and brutal experience. While it -- literally -- screams Oscar-bait material, it's also a wild ride that I would recommend anyone to see.

Also, did anyone else feel bad after the mama-bear dies leaving her cubs to forage for themselves. When talking about this film to someone who was reading the book, she explained that in the book, after the mama-bear dies, the fur-traders kill the cubs for their furs as well. And now I made myself sad... 

Intruders (2016)

So my creative director wrote a screenplay. And then it got turned into a movie. And this is that movie. (Originally titled Shut In.)

As he pitched it to me... "this film is about a woman trapped in a panic room, only the walls of the room are in her mind." (I think I got that log line right...) 

It's an exciting and suspenseful indie thriller where a woman suffering from agoraphobia, failing to leave her house to attend her brother's funeral, finds herself trapped in peril when a bunch of vicious thugs enter hoping to loot an empty home. As they crooks invade this seeming normal, quaint house, they soon discover there's more to the house -- and the woman -- then what both they and the audience have previous thought. 

It's a brutal and exciting film that explores that whole world of what happens when the hunters become the hunted. Funny enough... it kind of felt like a morbid version of Home Alone... and lo and behold, the film actually stars a Culkin! (Don't ask me to name which one, they all kind of seem the same to me to me.) There's a few other recognizable names here: Beth Reisgraf (Leverage) and Martin Starr (Silicon Valley). It had an intriguing ending that went in a very "human" direction compared to what I was expecting. Always enjoy a film that's capable of surprising me. Check it out! 

Anomalisa (2015)

For all South Park fans, this movie's message can aptly be compared against Stan's plight when he suddenly hears everyone's voice as literal shits and farts. Only this is the sophisticated, imaginative, and more human version of that story. 

A man trapped and tortured by the banality of his life strives to save himself from this boredom when he finds a unique spark within this random woman staying in the same hotel as him. He then proceeds to have a one-night affair with her, which is done in a remarkably cringe-worthy yet charming way that only (writer-director) Charlie Kaufman could tap into. Then as the sun rises, the spark slowly fades away and the man returns to the pain of his banality.

As much as the trailers, reviews, and interviews sold this film as a relatable story... I didn't find much to relate with. The main character, Michael, is a tragic figure who's depressed beyond all hope and possibly a borderline sociopath -- in that the guy can't connect to anyone he meets. Everyone annoys him (much like the South Park episode I mentioned), leaving him to feel immensely alone. And rather there being a happy ending, in that he finds his true love that will save him -- his brief affair quickly loses its luster before going back to being the same as everything else. 

The most brilliant part about the film is that after about 10 minutes in you realize that every character outside of Michael and his affair, Lisa, is played by the same actor (Tom Noonan -- you know... that creepy villain from The Last Action Hero) who does a great job of carrying a similar cadence and tone in his voice despite which character (male or female; young or old) he's playing. 

As this is a Kaufman film, there's a lot I could and sort of want to say about this, but in fairness that this is a "dump" post, I'll keep it brief. The last point... where does this stand with all the rest of Kaufman's films? It doesn't hit the same echelon as Eternal Sunshine of the Spotless Mind or Adaptation, but I kind of feel like it sits well next to Being John Malkovich. To be fair, Kaufman's films usually deserve a second watch to really let the heavy material he's laying out sink in. But that's something I don't have access to right now. 

Room (2015)

Another film down off my Oscar list. Based on the Emma Donoghue novel (of which I believe she also wrote the screenplay) this film has an amazingly engrossing first half, but then leaves the second half feeling a bit lackluster. 

It's the story of a woman trapped as a sex slave (or sorts) in a tiny little, one room, prison where she attempts to do all that she can to raise her little boy (who turns five upon the start of the film) despite the horrific conditions they are both enduring. Obviously, these struggles against her kidnapper are fairly intense and leaves you sitting on the edge of your seat for the first half of the film. But why only the first half? Well (SPOILERS)... the two escape half way through the movie, then we begin another story: How they mentally heal after this seven year imprisonment. 

Basically there are two parts of the film. The first part where they are struggling to physically escape the confines of the room, and the second part where they must emotionally escape the prison. It's worth noting that the little boy (who should have got some Oscar attention) is Brie Larson's savor in both cases. However, the emotional escape in the second half of the film, is... well, boring isn't the right word. It's just not operating at the same level. It's kind of like comparing a scenic helicopter ride against a skydiving trip. Sure, they're both delightful and fun, but the second after I come down off my high (ha! get it?) from my skydiving trip and am then asked to go on a helicopter ride, no matter how cool it is, it's just not going to be appreciated in my current glow of post-free falling through the air. 

And that's the problem we have here. 

However, there is an easy fix. Tarantino it up a bit! And by that I mean use some non-linear editing techniques. 

This film could have really benefitted from having both story lines (the physical and mental escapes) unfold side-by-side. We'll flip back and forth between plot A and plot B and it helps deliver on a more powerful and satisfying ending without wearing out audiences when they're only halfway through. Sure... we'll learn early on that these guys escape... but that's not the point. 

It doesn't matter that we know they escape if we see they are still suffering in pain from the incident and we're in fear they might never recover. It will still cause audiences to question how did they exactly escape, and was there something in that process that aided in the scarring? 

Anywho... that's my suggestion that could take this fairly decent film and make it something truly extraordinary. 

Bridge of Spies (2015)

Steven and Tom. Back at it again. 

For a movie that's predicated on pretty much nothing more than one noble man running around eastern Europe making negotiations, this was a great movie. I mean, it's masterfully shot. Masterfully acted. Masterfully written (by the Coen brothers, no less). Really, there's nothing to hate and everything to love. 

I wouldn't say it's my favorite film of the year -- hell, I wouldn't say it even stands in my top 10, but that's not to say it isn't an incredible movie. Had a great time with it and definitely liked it far more than I thought, but that's how I generally feel about Spielberg films. 

I remember hearing one critic talk about Spielberg in that you don't have a favorite film of his, you have a favorite era of his films. His current era, focused more on historical pieces (from Munich to War Horse to Lincoln to... well, Bridge of Spies), just isn't the Spielberg that I adore. 

You'll find me at home in his early stuff (Jaws to Close Encounters of the Third Kind to Raiders of the Los Ark and ending with E.T.). I'm not exactly sure what to describe this phase of work as, but this shit right here is where I feel most at home. 

Brooklyn (2015)

Booooooooooring. 

Ok, so this film is clearly not for me. It's a romance story. A romance story about a girl who leaves home (Ireland) for someplace strange (Brooklyn). Once she manages to establish herself in this new place, she is then called back home under tragic circumstances. Ultimately this whole thing puts her in the quandary of asking herself, "Where is home?" 

It's not like this is poorly written, directed, or acted. Far from that. Everything is done extraordinarily well. It's just a sleepy love story that did the worst thing a film can possibly do to me. It was boring. 

I love you Nick Hornby, and hope we connect better in your next work!

Straight Outta Compton (2015)

I was actually surprised how much I enjoyed this movie. No, I don't have anything against Ice Cube, Dre, or Gangsta Rap and its origins... I just really don't like music-based biopics. The Doors, Walk the Line, Ray, and all the others that follow suit, they're just not the films for me. Can't explain why. They just are.

But this one was different and I'm trying to figure out why. 

Maybe it was because the filmed hinged off the controversy of the people versus authority. Or maybe it was the interesting glimpse into gang-life within South Central L.A. Or maybe it was sharing the experience of three friends building a bond as they take the journey of a lifetime together. Wouldn't be surprised if it was all three. 

Despite the film running a tad on the long side for my liking, I really enjoyed it. Straight Outta Compton definitely stands at the top of my list for music-based biopics (or whatever you want to call them). Do I think this film got snubbed at the Oscars especially as the #oscarssowhite discussion keeps circling around? Hard to say. But I can definitely point out some other films that the industry and critics seem to adore, where I would happily watch this film again over those others (looking at you The Big Short). 

Also, it's important for me to say that in this film Ice Cube is actually played by his son (Ice Cube Jr.?). Near the end, there's a scene where Ice Cube (the character) is looking out in his backyard watching his wife playing with his kids. Then it hit me. This actor is interacting with another actor who's playing him. He's literally watching himself, while he's playing his dad. Mind = blown.

Full disclosure, I may have been high while watching this...

Eagle vs Shark (2007)

Ever wonder what Napoleon Dynamite would be like if it was made in New Zealand? No? Well, I don't blame you. But if you were ever interested in it... then this would be the film you're looking for. 

Honestly, these adorkable, indie art-house films aren't for me. Sure there's a lot of subtle, awkward humor -- and with Jemaine Clement staring, some of it actually lands a laugh or two with me -- but most of the film felt forgettable and boring. It's by the same director who also did What We Do in the Shadows, which seem to gain a lot of critic praise this past year (I think even earning it enough momentum to get a sequel?). However, if that's the benchmark for great work in these adorkable and awkward comedies, then maybe they're just not for me. 

But then why do I love Flight of the Conchords so much? Same actor. Same director. Essentially the same humor. Go figure?

Clearly I'm a very complex human being. 

Creed (2015)

Saving the best for last...

Jesus... Thank god for torrented movie leaks because I've re-watched this film at least three times already. (Please understand that I did buy a ticket and first saw this in theaters. Only later, with such a strong desire to re-watch, did I find a leaked the screener.) This movie keeps getting better with every watch. 

I wouldn't say that I'm a Rocky fan, but I also wouldn't say that I'm NOT a Rocky fan. It's a great series that has some amazing highs muddled with some charming lows. (I'm not going to pretend that Mr. T redefined cinema with his performance of Clubber Lang.) The point is, I've done my due diligence and have seen each film -- the fourth one the most -- and have built a relationship with the humble heavy-hitter who takes on the mentor role in this film. 

So, keeping in mind that I might be a little biased, I not only see this film as the best in the Rocky series, but perhaps one of the best films of the year!

There's A LOT I can say about this film, but what speaks most is that after a decent amount of time, I keep wanting to come back to it. I keep wanting to see that last fight. To see Rocky plead with Adonis to throw in the towel. That he doesn't have to prove anything to anyone. Then Adonis, looking up with his beaten, swollen face, finally admits that he, the bastard son of Apollo Creed, is not a mistake. After the whole film, we finally get that bomb dropped on us that that's why he's been fighting. Not to make a name for himself, but to prove he's worthy of the Creed title. 

With an astonished look, Rocky embraces the kid. Tells him that he is going to beat his opponent because he is a Creed and that he loves him. (Jesus, I'm weeping right now thinking of it.) Suddenly, after waiting the entire movie to hear it, wondering if it was ever going to be played at all, the Rocky anthem kicks in. Adonis stands for the final round, and just gives his undefeated opponent the fight of his life. 

Such a fucking good flick! Sorry if I've spoiled anything for anyone, but I have this one scene burned into my mind for all time. It's storytelling masterfully done. The physical and emotional struggles of this one character hitting its climax in the last fight make me want to scream out in excitement at the final round of boxing as if I'm in the stadium watching it live. Truly a shame this film didn't get more love at the Oscars. But, hey... seems like most of the films that stand the true test of time with their fans very rarely begin that appreciative journey with a little gold statue-man next to them.  

I can't wait to see what these guys dish out next. (Note: The writer/director Coogler has just been tapped for Marvel's Black Panther. I'm hoping for great things.) 

If there's only one film you watch on this dump of a movie list here. Make it this one -- I'm also just curious if a non-Rocky fan will feel the same way about this film as I did. After all, this is all art and art is entirely subjective.