Film Festival News

Twelve Cool Films from the Cannes Film Festival

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The Cannes Film Festival is in the books, and there are some cool things that happened at the 70th iteration of this super-prestigious festival.  This will be a causal post where I touch on a few of the things that interest me and therefore should interest you (because I am very often right).  Obviously, I … Read more

Yay for Giant Hippo-Pig Trailers: Bong Joon-Ho’s “Okja”

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Korean filmmaker Bong Joon-Ho is not subtle when it comes to the themes of his films, but that’s not necessarily a bad thing.  Snowpiercer isn’t so much an allegory for class warfare – it is class warfare, just set on the science fiction environment of an ever-moving train.  The Host is the venerable monster-movie warning … Read more

State of the Blog: May 2017

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April showers bring May flowers, Mayflowers bring pilgrims, and May itself brings the start of Summer Blockbuster Season, that baffling mixture of excitement and predictable, four-quadrant committeethink.  As we touch base at the beginning of this season, I’ll discuss the films that have me stoked for this month (both big and small), talk about a … Read more

Hot Docs 2017 Over on Cinema Axis

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This is going to be a short post to draw attention to the eight screeners from the 2017 Hot Docs Film Festival I was fortunate enough to review over on CinemaAxis.  Below, I’ll link to all of the reviews once they’re posted, but for now I’ll just introduce each film and give a quick synopsis.

A Pair of Afterlife Trailers: “The Discovery” and “The Void”

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A pair of off-the-radar film released trailers recently, and both of them appear to offer something interesting for the fan of genre film.  Each also, in their own way, use concepts revolving around the afterlife as major plot elements.  These films are The Discovery and The Void.  This will be a short piece introducing each of these films and their trailers, and offering a few stray observations about what we’re seeing (and what other people have been saying).  Here we go!

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State of the Blog – January 2017

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We’re just into 2017, and the time-honored tradition of celebrating a new year by accidentally writing down its predecessor first continues unabated.  Though the early months of the year often struggle movie-wise, there are interesting things going on.  These include a few intriguing films, the meaningless over-evaluation of Awards Season (and the vitriol it inspires), and even the beginning of the festival season.  Here at Plot and Theme, I’ll reflect backwards a bit, mention some cool things I’m looking forward to, and then set some goals for the year.

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“The Greasy Strangler” Descends into Depravity with the Ease of a Cult Classic

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The Greasy Strangler might be what it feels like to go mad.  The film is best described as a kind of John Waters fever dream (or maybe wet dream), that combines a penchant for bizarre sexuality with a tongue-in-cheek slasher film.  The acting is purposely hammy, and each kill more absurd than the last.  There are sequences that physically made me ill, and others that left me utterly befuddled. You can call it weird, disgusting, senseless, or even a fucking embarrassment of a film – but you can’t call it derivative or boring.

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Nate Parker’s “The Birth of a Nation” Seeks a Spiritual Deliverance from Racial Injustice

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Nate Parker’s The Birth of a Nation is a remarkable piece of cinema, especially from a first-timer.  Parker controls this entire endeavor as writer, director, producer, and also stars as the slave Nat Turner.  This is a powerful but sad film, though there is a kernel of hope at its center that Parker tries to work from.  Based on a the real-life slave revolt led by Nat Turner in the early 1830s, the film offers incredible acting, but suffers slightly from narrative issues and some muddled thematic material.  Of course, Parker takes some poetic license with the actual history, and while some of these help the story, others are more egregious and unnecessary.  The most definitive aspect of the film is its profound spirituality, which Parker leans heavily on for dramatic justification of Turner’s rebellion, and also as the source of his leadership.  Indeed, this is a film about not only racial injustice, but spiritual deliverance.  Parker is sometimes lost with exactly where to focus the rebellious spirit, but these small mistakes cannot mar the overall poignancy of his message.

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Toronto International Film Festival Reviews

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Hey all!  I was fortunate to get a few screeners for some films at the Toronto International Film Festival, courtesy of Courtney Small over at CinemaAxis.com.  Here I collect the four reviews and offer a little blurb about the films, including just how much I recommend each one (spoiler alert:  I liked all the films, but some more than others).

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“The Lobster”: A Sardonic Defense of Romantic Choice

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The very best satire establishes absurdity as commonplace, and Greek director Yorgos Lanthimos’ first English-language feature film The Lobster is a fascinating example.  Winner of the Jury Prize at the 2015 Cannes Film Festival, this dark romantic comedy imagines a dystopia where single people are sent to a hotel and given 45 days to find a new partner.  Should they fail, they are transformed into an animal of their choosing and released into the wild.  Some attendees don’t wait that long, and escape into the bordering forest to live in a kind of fugitive singleness.  The Lobster viciously jests through this dichotomy, exploring the nature of relationships and how societal pressures can paradoxically be the cause of both settling and celibacy.

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