The Lighthouse
Director: Robert Eggers
Cast Headliners: Willem Dafoe, Robert Pattinson, you'll have to see
Original Release Date: October 18th, 2019(limited)
With 2015's The Witch (or technically to some, The VVItch with to v's) Robert Eggers proved he's an incredibly unique director for both the horror genre and films as a whole. His style is already so distinct in ambiance and darkness with delicate use of period-centric dialogue and audio. The Lighthouse ramps up that atmosphere tenfold to offer a chilling but more dramatic psychological look into the despair of two men in the void of the sea.
Sometime in the 1800s (and after one of the few glimpses into the outside world of other people) a rookie lighthouse keeping “wickie” Ephraim Winslow(Robert Pattinson) settles in the far ocean under the employ of salty seadog veteran Thomas Wake(Willem Dafoe). The two men must contend with an unforgiving environment, arduous tasks, illusions and tales of monsters, but most of all the biggest trial: each other.
This is as mentioned a film with such little quantity in terms of location or characters but it makes up for it in complexity and quality. There's some seagulls and an indeterminately illusory mermaid (Valeriia Karaman) but otherwise its these two sea-men and their watery, rocky surroundings.
This isolated context makes the script and acting so key to the experience upon which the film delivers quite well. Each is a masterful highlight in their own way. Dafoe's Wake takes most of the spoken screentime and he's packed with all kinds of quotable intense moments. Acting far beyond his age he's as saltily grumpy as they can be with a mad look and a gloriously dirty large bird. He manages to be so absurd that its at times comical (on purpose) between his stern fearsomeness. Conversely, Pattinson proves his acting talent as Winslow. He seldom speaks but carries so much power in his take whether it is through stressed outbursts or the cold lack of any emotion forged in his locale. It's unrecognizable from anything he's ever done and makes a strong, total immersion case for anything he does like the greats. Together these two have such an intricate relationship that will cause questions and introspection for years to come even if it at times becomes repetitive.
Aiding this dramatic stress is the aesthetic chosen by director Robert Eggers. The movie is entirely in black and white which brings to mind both the bygone era but also such visceral works such as Eraserhead and the Elephan Man by David Lynch. This greyscale gives mind an old-timey photograph in motion (aided by the set design and dialogue) while also adding to the cosmic horror nihilism at play. Mark Korven's eerie scratchy score also adds to this wonderfully. Some surreal, weird, disturbing images pop up at times which makes it seem more like a work of art than “joyful entertainment” but the combination of all these dark factors makes for something incredibly memorable.
It's a very long and slow burn to the pulse pounding thrills but it's one worth the wait for one willing to embrace what it's going for. The performances here, like the context of the film, mark actors with a career nearer to its end and one just beginning. So too is this yarn just another accomplishment by Eggers and one can't wait to see what he does next if it builds even further upon this atmosphere. 8.6 out of 10
Wednesday, October 30, 2019
Tuesday, October 22, 2019
Zombieland: Double Tap Review
Zombieland: Double Tap
Director: Ruben Fleischer
Cast Headliners: Jesse Eisenberg, Woody Harrelson, Emma Stone, Abigal Breslin, Zoey Deutch, Rosario Dawson
Original Release Date: October 18th, 2019
It can be difficult to create any kind of comedy sequel much less a zombie themed one and especially after over a decade has passed. 2009's Zombieland was a quirky unique thing that existed before a decade of zombies revival and the likes of such things as The Walking Dead and Z-Nation on television. Zombieland (2): Double Tap attempts to be a worthy sequel but has some ups and dows. However as with then there's definitely aspects which set it apart. For better(for the fans) or for worse it brings more of that same silly oddness to the present film scene even if it's nothing too deep.
Somehow after a decade the oddball family of nervous tip/rules-making Columbus(Jesse Eisenberg), ridiculously skilled and powerful Tallahassee(Woody Harrelson), straight to the point realist Wichita(Emma Stone), and her sister in the now young adult Little Rock(Abigail Breslin) are still roaming the post-apocalyptic zombie-afflicted world without a home. Some humorously inane rules declaring voiceovers scenes right out of the 2009 film give some context for the different types of zombies who seemed to have learned such as slow-moving “homers” or intelligent “einsteins”. A new threat eventually arises in the self-healing “T-1800”(think Terminator in one of the film's fun pop culture allusions) complicates their situation further.
Events transpire to where this family does find a home in Washington D.C but for different reasons Little Rock and Wichita split off from the men when it comes to their relationships. They must brave the ever more dangerous wilderness to find them as well deal with potential new survivors as well. Of course things don't go easily and of course too are there many quips and bloody kills along the way.
The film succeeds best at being a funny comedy than anything else. What's decently commendable is how the old cast is able to slip right back into their old characters for the most part. This is particularly true of Eisenberg, Harrelson, and Stone. Columbus weaves between geeky incompetence and a newfound confidence with kills and women. Tallahassee's Twinkie obsession is swapped out for cheesy love of Elvis, big weaponry/equipment, and a supposed Native American heritage. Witchita goes for a slightly more dramatic bent as she deals with her boyfriend and sister but has some fun dry comebacks especially to the new situations they find. With so much time passed Little Rock is a little more rebellious than before and feels detached from her family but she has her occasional quips. The humor packs a lot of heart but it's nothing that wasn't done too much the first time however that's not a bad thing.
Some of these new situations show what the movie surprisingly becomes in part: a zombie-romantic comedy. Nearly everyone gets a new potential love interest to deal with that complicates things. Columbus has to contend with the most stereo-typically dumb blonde ever in Madison(Zoey Deutch). Her extremely stark peppy contrast to the dark world around her leads to some great laughs (especially with Tallahassee and Wichita) however in time the joke gets stupidly played out. There's also the mysteriously suave fellow Elvis fan Nevada(Rosario Dawson) and hippie Berkeley(Avan Jogia) who ultimately don't do much more than drive the plot forward along other random strangers.
Like the first film(as has been implied many things are just a parallel) some great even more bit cameo roles show up. Trailers have hinted at Bill Murray's appearance as Bill Murray himself again so be sure to stick around after the credits for that one even if it's pointless. Some rival zombie slayers in Albuquerque(Luke Wilson) and Flagstaff(Thomas Middleditch) surreal-ly resemble Tallahassee and Columbus respectively in their dress and mannerisms. Each gives such a great little comedic performance but unfortunately it's very late into the act and they fall by the way-side of the plot. Keep on the look out for some funny verbal smack-talk battles of the year however. These remind what makes the Zombieland films so unique in their meta-ness and usage of pop-culture like famous objects and tongue-in-cheek self awareness. One wishes more zombie media took this route when possible but maybe it works more since its a comedy.
Director Ruben Fleischer returns as well from the original. The movie manages to capture that same mix of darkness and slight comic-book color unreality. Some of the CGI effects are even more suspect compared to modern blockbusters but it gets the job done. The rules and “zombie kill of the year” cutaways are some of the best shots since it gives an excuse to glimpse far off lands such as an icy city and Italy. There's actually not that much overall action in the movie but when it does appear it's some bloody silly fun and stakes when they do appear. David Sardy's score isn't anything to write home about but a couple of pop / rock songs are used very well. It's all what it should be.
That's the film in essence in that it's exactly what one would expect and not much more. Viewers willing to embrace these characters again or for the first time will definitely have some laughs and bloody “ooh” moments. The new elements mix things up just a bit even if it far never reaches the originals. Still the heartwarming is heartwarming and it's not a bad way to spend a spooky autumn afternoon, again. 7.4 out of 10
Director: Ruben Fleischer
Cast Headliners: Jesse Eisenberg, Woody Harrelson, Emma Stone, Abigal Breslin, Zoey Deutch, Rosario Dawson
Original Release Date: October 18th, 2019
It can be difficult to create any kind of comedy sequel much less a zombie themed one and especially after over a decade has passed. 2009's Zombieland was a quirky unique thing that existed before a decade of zombies revival and the likes of such things as The Walking Dead and Z-Nation on television. Zombieland (2): Double Tap attempts to be a worthy sequel but has some ups and dows. However as with then there's definitely aspects which set it apart. For better(for the fans) or for worse it brings more of that same silly oddness to the present film scene even if it's nothing too deep.
Somehow after a decade the oddball family of nervous tip/rules-making Columbus(Jesse Eisenberg), ridiculously skilled and powerful Tallahassee(Woody Harrelson), straight to the point realist Wichita(Emma Stone), and her sister in the now young adult Little Rock(Abigail Breslin) are still roaming the post-apocalyptic zombie-afflicted world without a home. Some humorously inane rules declaring voiceovers scenes right out of the 2009 film give some context for the different types of zombies who seemed to have learned such as slow-moving “homers” or intelligent “einsteins”. A new threat eventually arises in the self-healing “T-1800”(think Terminator in one of the film's fun pop culture allusions) complicates their situation further.
Events transpire to where this family does find a home in Washington D.C but for different reasons Little Rock and Wichita split off from the men when it comes to their relationships. They must brave the ever more dangerous wilderness to find them as well deal with potential new survivors as well. Of course things don't go easily and of course too are there many quips and bloody kills along the way.
The film succeeds best at being a funny comedy than anything else. What's decently commendable is how the old cast is able to slip right back into their old characters for the most part. This is particularly true of Eisenberg, Harrelson, and Stone. Columbus weaves between geeky incompetence and a newfound confidence with kills and women. Tallahassee's Twinkie obsession is swapped out for cheesy love of Elvis, big weaponry/equipment, and a supposed Native American heritage. Witchita goes for a slightly more dramatic bent as she deals with her boyfriend and sister but has some fun dry comebacks especially to the new situations they find. With so much time passed Little Rock is a little more rebellious than before and feels detached from her family but she has her occasional quips. The humor packs a lot of heart but it's nothing that wasn't done too much the first time however that's not a bad thing.
Some of these new situations show what the movie surprisingly becomes in part: a zombie-romantic comedy. Nearly everyone gets a new potential love interest to deal with that complicates things. Columbus has to contend with the most stereo-typically dumb blonde ever in Madison(Zoey Deutch). Her extremely stark peppy contrast to the dark world around her leads to some great laughs (especially with Tallahassee and Wichita) however in time the joke gets stupidly played out. There's also the mysteriously suave fellow Elvis fan Nevada(Rosario Dawson) and hippie Berkeley(Avan Jogia) who ultimately don't do much more than drive the plot forward along other random strangers.
Like the first film(as has been implied many things are just a parallel) some great even more bit cameo roles show up. Trailers have hinted at Bill Murray's appearance as Bill Murray himself again so be sure to stick around after the credits for that one even if it's pointless. Some rival zombie slayers in Albuquerque(Luke Wilson) and Flagstaff(Thomas Middleditch) surreal-ly resemble Tallahassee and Columbus respectively in their dress and mannerisms. Each gives such a great little comedic performance but unfortunately it's very late into the act and they fall by the way-side of the plot. Keep on the look out for some funny verbal smack-talk battles of the year however. These remind what makes the Zombieland films so unique in their meta-ness and usage of pop-culture like famous objects and tongue-in-cheek self awareness. One wishes more zombie media took this route when possible but maybe it works more since its a comedy.
Director Ruben Fleischer returns as well from the original. The movie manages to capture that same mix of darkness and slight comic-book color unreality. Some of the CGI effects are even more suspect compared to modern blockbusters but it gets the job done. The rules and “zombie kill of the year” cutaways are some of the best shots since it gives an excuse to glimpse far off lands such as an icy city and Italy. There's actually not that much overall action in the movie but when it does appear it's some bloody silly fun and stakes when they do appear. David Sardy's score isn't anything to write home about but a couple of pop / rock songs are used very well. It's all what it should be.
That's the film in essence in that it's exactly what one would expect and not much more. Viewers willing to embrace these characters again or for the first time will definitely have some laughs and bloody “ooh” moments. The new elements mix things up just a bit even if it far never reaches the originals. Still the heartwarming is heartwarming and it's not a bad way to spend a spooky autumn afternoon, again. 7.4 out of 10
Saturday, October 5, 2019
Joker Review
Joker
Director: Todd Phillips
Cast Headliners: Joaquin Phoenix, Robert De Niro, Frances Conroy, Brett Cullen
Original Release Date: October 4th, 2019
The thing this Joker film wants us to know is that, as the great George Costanza once said we're living in a society. DC Comics have had a history that's longer and more tumultuous than many. They have attempted at a longer plan but have also started to focus more on sub-worlds of characters ignoring that plan yet sometimes not ignoring that plan. Batman and Joker have shown up in this world but that's not this Joker. This is something wholly removed from the DCEU entirely and that's for its best. It's an attempt to take a gritty, grounded look at how someone could become the Joker, a Joker, his own Joker in a dark dramatic tale not concerned that much with the future ahead or whatever other multiversal copies may exist of him. It's viscerally its own thing.
The film is set in an indeterminate retro past that is said to be the 1980s but this is of course in Gotham City where everything seems to be eternally stuck in a grey gothic take on the roaring 20s(this time with some meets 60s or 70s). Arthur Fleck(Joaquin Phoenix) is our future Joker who at first doesn't really remind one of the future menace at all. He's a loser who works as a roadside clown(ah) who is frequently beaten up and mocked by strangers and his co-workers including Randall(Glenn Fleshler) and Gary(Leigh Gill). He lives with his bed-ridden elderly mother Penny(Frances Conroy) as he depressingly comes home to empty mailboxes and attempts at joke writing. He attempts to be a stand-up comedian writing and telling jokes but unfortunately his mental conditions cause him to both not understand societal norms nor curb his frequent bursts of inappropriate laughter. Lurking below poor Arthur's exterior is a ticking time bomb of powerful, yet at times even justified, villainy.
It was with great excitement that Joaquin Phoenix's casting as the eventual Clown Prince Of Crime Joker was received and luckily he delivers incredibly. He's the soaring standout of the film from an acting perspective. Absolutely, incredibly amazing in his transformation for the role. It's not a surprise for those who know of his larger repertoire that he immerses himself to an intense degree. With his unkempt hair and sickly so-skinny-he-might-break physical state its something that reminds of someone who may very well the Joker even if his skin isn't whitened yet. Every movement, often every look, every facial movement carries an unstable insanity with it that manages to terrorize when it needs to yet even cause sympathies when it needs to too. One will be impressed by the accuracy, they'll feel on the edge of their seat in the face of darkness, and yes they'll even at rare times laugh and cheer. It's a bit of a letdown that his true colorful costumed, mentally snapped beyond the point of no return green-haired and face pointed form isn't in much of the film at all. However once it is there Phoenix is so effective at that side as well for what this take on the Joker from his pathetic abused context. The sulking of sorrow becomes the dance of dark victory. It's a transformation to be remembered.
The rest of the cast is pretty good as well with no one ever reaching the heights of the titular star although a strong script is present in most things. Conroy's role as Arthur's mother has some exposition and emotion in her similar frail poor state. The co-workers tend to be bit token punching bags for exposition much like police officers(Shea Wigham and Bill Camp) who get involved in violence Arthur finds himself apart of that starts the villainous downfall. Other parts of the relatively small cast include a love interest of a neighbor Sophie(Zazzie Beetz), a clerk Carl(Brian Tyree Henry), and an assistant Gene(Marc Maron ever likeable and witty with sadly just two or three lines) to someone important all have their important moments in the pre-Joker's life but are just momentary exposition chess pieces in the coming evil checkmate.
That important player who has that assistant is talk show host Murray(Robert De Niro). He gives one of the film's other great performances in his kind-hearted show business self right out of something like Ed Sullivan. He's a bit cheesy but it's in an archetypical way that leads to some powerful lines both inspirational and accusatory to Arthur who's dream it is to be on this inspiration's show. The film actually has frequent Martin Scorese co-producer Emma Tillinger Koskoff involved so De Niro's presence and delivery make it feel even more like a gritty crime drama than a larger than life comic book movie. The influence of the equation's antihero progenitor's Taxi Driver and The King Of Comedy is definitely felt.
However while the movie may have its differences for its Joker and relatively smaller stakes plot there's definite Batman vibes going on. The setting of Gotham is as sinister and moody as ever with more daytime than usual which may reflect the metaphor of what's occurring. A very young child Bruce Wayne, the future Batman, shows up although Dante Pereira-Olson understandably doesn't say a word at all (he'll get his chance someday). It's his father Thomas Wayne(Brett Cullen) who does the most talking whether it be class rhetoric as he runs for mayor or threats as he makes an enemy out of Arthur. He's an effectively threatening white collar take if a bit hammingly stereotypical in his own way. One might get tired seeing the inevitable outcome of his family's outing to theaters and alley's but it shows the ties to the classic world this film has even if the setup will not result in a movie sequel.
The visual splendor is handled quite well by director Todd Phillips. Almost as its main actor star he's completely unrecognizable from his silly comedy or war satire film past. Fantastic direction and cinematography exists in locations big and small. Everything has a depressing, surreal dark tone to it. Blood and gore is seldom appearing but shockingly R-rated when it does which may remind of the director's dark comedic leanings. An incredible music score by Hildur Gubnadottir aids much to proceedings that helps to create this atmosphere whether somber or psychotic along with some period fitting jazz / rock pieces the rare times they do show up. The stakes never really give a chance for these artists to draw their brushes in elaborate strokes but for the scale it is it's nigh-beautifully done.
Much of the film is this slow, depressing burn but there's even times, rare times, where the excitement meeting insanity with what music and shots used reminded of the masterpiece Christopher Nolan Batman trilogy. It definitely doesn't surpass those leagues but it's the closest thing to remind of them since then which is good. The film however is best at being its own first to the world thing among the homages. It's the sad, chilling tale if at times straightforward portrayal of what was found in the classic piece of media this takes the most from in Batman: The Killing Joke “one bad day”. It's a bad day to be remembered an commended. The fall down and the rise up of an evil legend. 8.73 out of 10
Director: Todd Phillips
Cast Headliners: Joaquin Phoenix, Robert De Niro, Frances Conroy, Brett Cullen
Original Release Date: October 4th, 2019
The thing this Joker film wants us to know is that, as the great George Costanza once said we're living in a society. DC Comics have had a history that's longer and more tumultuous than many. They have attempted at a longer plan but have also started to focus more on sub-worlds of characters ignoring that plan yet sometimes not ignoring that plan. Batman and Joker have shown up in this world but that's not this Joker. This is something wholly removed from the DCEU entirely and that's for its best. It's an attempt to take a gritty, grounded look at how someone could become the Joker, a Joker, his own Joker in a dark dramatic tale not concerned that much with the future ahead or whatever other multiversal copies may exist of him. It's viscerally its own thing.
The film is set in an indeterminate retro past that is said to be the 1980s but this is of course in Gotham City where everything seems to be eternally stuck in a grey gothic take on the roaring 20s(this time with some meets 60s or 70s). Arthur Fleck(Joaquin Phoenix) is our future Joker who at first doesn't really remind one of the future menace at all. He's a loser who works as a roadside clown(ah) who is frequently beaten up and mocked by strangers and his co-workers including Randall(Glenn Fleshler) and Gary(Leigh Gill). He lives with his bed-ridden elderly mother Penny(Frances Conroy) as he depressingly comes home to empty mailboxes and attempts at joke writing. He attempts to be a stand-up comedian writing and telling jokes but unfortunately his mental conditions cause him to both not understand societal norms nor curb his frequent bursts of inappropriate laughter. Lurking below poor Arthur's exterior is a ticking time bomb of powerful, yet at times even justified, villainy.
It was with great excitement that Joaquin Phoenix's casting as the eventual Clown Prince Of Crime Joker was received and luckily he delivers incredibly. He's the soaring standout of the film from an acting perspective. Absolutely, incredibly amazing in his transformation for the role. It's not a surprise for those who know of his larger repertoire that he immerses himself to an intense degree. With his unkempt hair and sickly so-skinny-he-might-break physical state its something that reminds of someone who may very well the Joker even if his skin isn't whitened yet. Every movement, often every look, every facial movement carries an unstable insanity with it that manages to terrorize when it needs to yet even cause sympathies when it needs to too. One will be impressed by the accuracy, they'll feel on the edge of their seat in the face of darkness, and yes they'll even at rare times laugh and cheer. It's a bit of a letdown that his true colorful costumed, mentally snapped beyond the point of no return green-haired and face pointed form isn't in much of the film at all. However once it is there Phoenix is so effective at that side as well for what this take on the Joker from his pathetic abused context. The sulking of sorrow becomes the dance of dark victory. It's a transformation to be remembered.
The rest of the cast is pretty good as well with no one ever reaching the heights of the titular star although a strong script is present in most things. Conroy's role as Arthur's mother has some exposition and emotion in her similar frail poor state. The co-workers tend to be bit token punching bags for exposition much like police officers(Shea Wigham and Bill Camp) who get involved in violence Arthur finds himself apart of that starts the villainous downfall. Other parts of the relatively small cast include a love interest of a neighbor Sophie(Zazzie Beetz), a clerk Carl(Brian Tyree Henry), and an assistant Gene(Marc Maron ever likeable and witty with sadly just two or three lines) to someone important all have their important moments in the pre-Joker's life but are just momentary exposition chess pieces in the coming evil checkmate.
That important player who has that assistant is talk show host Murray(Robert De Niro). He gives one of the film's other great performances in his kind-hearted show business self right out of something like Ed Sullivan. He's a bit cheesy but it's in an archetypical way that leads to some powerful lines both inspirational and accusatory to Arthur who's dream it is to be on this inspiration's show. The film actually has frequent Martin Scorese co-producer Emma Tillinger Koskoff involved so De Niro's presence and delivery make it feel even more like a gritty crime drama than a larger than life comic book movie. The influence of the equation's antihero progenitor's Taxi Driver and The King Of Comedy is definitely felt.
However while the movie may have its differences for its Joker and relatively smaller stakes plot there's definite Batman vibes going on. The setting of Gotham is as sinister and moody as ever with more daytime than usual which may reflect the metaphor of what's occurring. A very young child Bruce Wayne, the future Batman, shows up although Dante Pereira-Olson understandably doesn't say a word at all (he'll get his chance someday). It's his father Thomas Wayne(Brett Cullen) who does the most talking whether it be class rhetoric as he runs for mayor or threats as he makes an enemy out of Arthur. He's an effectively threatening white collar take if a bit hammingly stereotypical in his own way. One might get tired seeing the inevitable outcome of his family's outing to theaters and alley's but it shows the ties to the classic world this film has even if the setup will not result in a movie sequel.
The visual splendor is handled quite well by director Todd Phillips. Almost as its main actor star he's completely unrecognizable from his silly comedy or war satire film past. Fantastic direction and cinematography exists in locations big and small. Everything has a depressing, surreal dark tone to it. Blood and gore is seldom appearing but shockingly R-rated when it does which may remind of the director's dark comedic leanings. An incredible music score by Hildur Gubnadottir aids much to proceedings that helps to create this atmosphere whether somber or psychotic along with some period fitting jazz / rock pieces the rare times they do show up. The stakes never really give a chance for these artists to draw their brushes in elaborate strokes but for the scale it is it's nigh-beautifully done.
Much of the film is this slow, depressing burn but there's even times, rare times, where the excitement meeting insanity with what music and shots used reminded of the masterpiece Christopher Nolan Batman trilogy. It definitely doesn't surpass those leagues but it's the closest thing to remind of them since then which is good. The film however is best at being its own first to the world thing among the homages. It's the sad, chilling tale if at times straightforward portrayal of what was found in the classic piece of media this takes the most from in Batman: The Killing Joke “one bad day”. It's a bad day to be remembered an commended. The fall down and the rise up of an evil legend. 8.73 out of 10
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