Anthony Weiner is a former congressman from New York’s 9th congressional district. In June 2011, Weiner resigned from Congress amid a sexting scandal that was cheekily referred to as “Weinergate”. Two years later, a pair of documentarians named Josh Kriegman, Elyse Steinberg were granted access to film Weiner’s campaign in the 2013 New York City mayoral race. While initially I am sure the pair were interested in a behind-the-scenes look at the logistics of running a campaign, perhaps with a taste of the phoenix rising from the ashes, what they captured was infinitely more interesting. During the campaign, with the cameras rolling, another sexting scandal involving Anthony Weiner broke. Kriegman and Steinberg’s fascinating film Weiner documents the resulting media circus, and manages to offer insightful commentary on the bloodthirstiness of the media, the constitution of a politician, and the effect that a man’s failings can have on his family.
Fede Alvarez’s “Don’t Breathe” is a Perfectly Plotted, Table-Turning Slasher
The absurdly good year for horror, especially claustrophobic slashers, continues unabated thanks to Fede Alvarez’s astounding Don’t Breathe. This film does all the right things, and manages to be both super creepy and genuinely scary. It twists the accepted formula of the slasher into something fresh, and is capable of generating extreme discomfort through mood as easily as it executes wonderful jump scares. The film relies on only a small collection of actors, but is able to provide them with justifiable back stories, motivations, and actions throughout the story. Don’t Breathe is the complete package, a dreary gem of a film which is sure to terrify and delight fans of horror – and recruit many, many more.
State of the Blog – September 2016
Speaking generally (which never upsets anyone, ever), September is the month when the studios start to release their Oscar darlings. Then, in a counter-programming move, you can find some bigger films, genre flicks, or other stuff that will impress the crowds that simply aren’t concerned with the Oscar-bait. This September is no different, but it strikes me as odd that the films being released this year are much less interesting than we are used to. So, for this State of the Blog, I’ll likely just complain a bit about the flicks, try to find something that I think will end up being cool, and then I’ll also talk about a few flicks that I would like to see.
Luke Sabis Blunders through his Microbudget Thriller “Missing Child”
We’ve seen one person manage the duties of a writer, director, and actor in the past, and sometimes it goes really well. Missing Child, the brainchild of Luke Sabis, is not one of these times. Nearly every aspect of this droll thriller falls flat. It sports a confusing story that never really feels focused. There are only three real characters, all of which lack clear motivation at various points and are portrayed by actors that are in over their heads (especially Sabis). There is a kernel of an interesting story here, and by squinting one could come to admire the intention behind this mess. But, mostly we’re left with a paint-by-numbers “disturbing thriller” that can never hone its focus long enough to accomplish much of value.
The 21 Greatest Films of the 21st Century (According to a Nobody)
You know the feeling when someone claims to have a super-cool list of the best-of-the-best-of-the-best, sir! (with honors!), and all you can think about is what your list would look like? When it is me, I immediately start composing my very own list before even reading the original. It’s partly for comparison, and partly just to get a feel for exactly how challenging putting together these kinds of lists can be. Imagine my delight when I heard that the BBC had crafted a list of the Greatest 100 Movies of the 21st Century! By compiling the rankings of 117 critics from around the world, the BBC came to a “consensus” of what kinds of films would be seen as “modern classics” in a few decades from now. It was with that spirit that I set down with a few sheets of paper and my own personal Google machine and attempted my own version of the list, truncated to a mere 21 films (because that’s the century it is currently).
“Sing Street” – a Great Modern Musical with Heart
Leaning heavily on his music video roots, John Carney has concocted a captivating coming-of-age story in Sing Street. Though populated by a cadre of lesser-known actors, there are solid performances all around, and absolutely wonderful musical pieces. It is tangentially reminiscent of a small-scope Almost Famous, complete with a young man exploring the world of music, but in this case it is as a creator and not as a journalist. Further, Sing Street is much more family-life focused, and there is a decided follow-your-dreams lean to the theme of the film. But the undoubted strength of the film is its employment of music. Carney uses music for everything: characterization, relationship-building, thematic statements, and much, much more. Plus, the pieces are drop-dead fantastic, and the majority of the score is diegetic, which aids the realism of the film. Taken together, it is clear that Sing Street will contend with the very best films of 2016.
“Don’t Think Twice”: Mike Birbiglia’s Masterful Exploration of Adult Relationships through Improv Comedy
Don’t Think Twice is a modern and innovative look at success, creative ruts, and the inevitability of changing aspirations, relationships, and lives. It is part celebration of the peculiar performance art that is improv comedy and part discussion of the ebb-and-flow that a group of friends experience at the sudden success of one member of the troupe – and only one member. The film was written and directed by Mike Birbiglia and sports a number of wonderful characters, meaningful relationships, and an awkward collection of real-world stakes. It is not preoccupied with promoting its own answers for how these relationships should be, but is instead comfortable simply raising the complications and basking in the ennui generated by modern relationships. The outcome is a complex exploration of friendship, jealousy, and the pursuit of passion.
“Kubo and the Two Strings” Sports Gorgeous Animation and Weighty Themes, but is Marred by Sub-par Voice-Acting and Pacing
Stop motion animation giant Laika consistently produces alluring and powerful films. Kubo and the Two Strings, directed by Laika CEO Travis Knight, continues this tradition. Kubo may be the best-looking stop-motion film ever produced, complete with fantastical creatures, awe-inspiring landscapes, and even action sequences that shame actual action movies. In addition, unlike some of the animated films this summer, Kubo and the Two Strings packs significant thematic punch, deftly handing complex issues and ideas. There are serious issues with the film, mostly revolving around the uneven pacing and lackluster vocal performances (which may actually be poor dialogue writing – it is hard to say). In the grand scope, the result is an absolute treasure, but one in which you have to slog through some needlessly slow and awkward moments. Fortunately, it is just so damn pretty and cool that, for some people, that won’t matter too much.
The Debauchery of “Sausage Party”
The hard-R animated comedy has a storied history (see: Fritz the Cat, Southpark, and Heavy Traffic), but is not a particularly populous genre, and it is easy to see why. Animation is both expensive and time-consuming, so it is extra challenging for an R-rated animated film to recoup its investment when compared to the more family-friendly fare of studios like Pixar or Dreamworks. But, none of that seems to matter to the creative forces behind Sausage Party, a coarse animated comedy from the minds of Seth Rogen and his crew, and which was directed by the team of Greg Tiernan and Conrad Vernon. Though the movie leans heavily on foul language, offensive stereotypes, and blatant sexual innuendo, there is also a surprising intellect behind the plot elements and thematic statements. The end product is a wonderful mixture of crass sex jokes, pop culture reference, and foul language – all of which serves a story that brings far more to the table than the standard hard-R comedy.
“Suicide Squad” is Doomed from the Start by a Lack of Focus, Clarity
With Suicide Squad, writer/director David Ayer has accomplished little beyond kicking the can that is the DC Extended Universe (DCEU) down the road another ten months, leaving us all to hope that maybe, just maybe, Wonder Woman will be the first good DCEU film. Between a crowded cast of thin characters, a banal and cookie-cutter plot, and a confused jumble of non-themes and stylistic choices, the film is bereft of quality in almost every sense. Though some top-level performances generate intriguing characters, they are utterly squandered by the surrounding issues and ultimately leave Suicide Squad with a very scattered, up-and-down feel. While it may not be as unintelligible or frenzied as Batman v. Superman, Ayer’s film possesses the greater flaw: a bland story.