15 April 2018

Adventures at the 42nd Cleveland International Film Festival

This is weird, but even as an avid nine-year casual Internet movie blogger I've never had the opportunity to check out a film festival. When I heard that my new city of Cleveland, OH hosted a massive Film Festival at the Tower City Cinema, I was really excited. I ended up seeing three movies in three days (two last night), although the festival actually went on for like two weeks. I found out about it way too late.

I also rarely do this, but I thought I'd wrap up the three movies I saw in three micro-impressions here, since they're not well-seen (yet, hopefully), and for once I'll actually avoid spoilers in my discussion here.

Really not enough bits about alcoholism here
Scotch - A Golden Dream
Dir: Andrew Peat, Taiwan

Peat was there at the screening answering questions, but seemed aloof as to why he was currently living in China making movies about Scotch. He did say he was originally from Cleveland, which really just further confounded things.

Anyway, A Golden Dream was a solid documentary on the scotch industry, particularly focusing on Islay, Scotland. There is some great insight into the both the history and culture of the industry along with background on some specific distilleries. It ends up narrowing in on Jim McEwan, a distiller at Bowmore for years before revitalizing Bruichladdich and leading them into prominence. Well, quasi-prominence. That brand is critically lauded but I'd never heard of them - and I... drink a lot of scotch. I think it's just out of my price range.

While the film has all these really interesting moments it struggled in focus at times. It seemed like it didn't know what it actually wanted to say. McEwan is a good focus, but then it will leave and spend a lot of time with underappreciated roles of women in the industry or glass-making or the proper way to sniff a glass. And again, this is all interesting factoid stuff, and in the case of female scotch makers, fairly important in breaking stereotypes. But instead of using all the female interviews to fuel material for women in industry, why not just hear what they have to say about the creation of scotch? That's still left up to the men, and ultimately all the women are allowed to discuss is their own role both currently and historically.

I was really torn with this. Scotch comes off sometimes as a feature-length advertisement for Islay scotch, Bruichladdich in particular, virtually ignoring Lowland, Speyside, and Highland producers. It still has a lot of insight into the creation process, the level of skill master distillers display on a given day, and how much it means to the Scottish people. On some level it feels like the level of insight you'd get on any distillery tour, but considering I don't plan on flying to Scotland anytime soon, it's nice to have here.

Lord Bullington was also the Red Cloak in Eyes Wide Shut
Filmworker
Dir: Tony Zierra

This documentary was about Leon Vitali, who if you don't know, was an English actor who appeared in just about every movie and television show possible before starring as Lord Bullington in Stanley Kubrick's Barry Lyndon (1975). I can tell you're still not with me. After his experience on that film, Vitali became enamored in Kubrick's personality, directorial style, and perfectionist regimen. He ended up foregoing a budding acting career and became sort of Kubrick's personal and professional assistant, dedicating his entire life to behind-the-scenes work and since his death, continuous restoration and media format transition work.

It's a fascinating piece of work, especially as a big Kubrick fan who didn't know anything about this guy. He did everything from casting to coaching actors to editing, color correction, and archiving. What's most striking its Vitali's worth ethic and loyalty to Kubrick, who we all know is kind of nuts, but this film makes clear is totally bonkers. You know, in a good way.

What's most evident, though, is that Vitali was instrumental to much of Kubrick's success and has gone totally unnoticed for the better part of the past forty years. He's still alive and kicking it and has some great stories that fill this film. It'd be a hard documentary to get through if you're not real familiar with Kubrick, or at least his last three films that Vitali helped out with behind the scenes - The Shining (1980), Full Metal Jacket (1987), and Eyes Wide Shut (1999).

To some extent I was left wondering why the hell Vitali was required to work so hard, sometimes day and night (he says his longest streak was two 36-hours sessions), when there was only three fucking movies to make in twenty years. Of course, he ended up handling just about all of the VHS and later, DVD releases of Kubrick's earlier work as well, and the insight of working with a maniacal, demanding, eccentric boss is relatable to anyone. I think it's worth some discussion whether or not his effort was ultimately worth it - solely handling almost all production and marketing duties that normally entire studio departments would take on, because he was supposedly the only one who truly understood Kubrick's vision. I don't doubt that that's all true, but c'mon Stan, we'd still buy A Clockwork Orange (1971) on VHS no matter what was on the cover.

Film-wise it's a solid effort, and despite there being some questions left on the table (it's Kubrick, of course there will be), and it not really reaching an intellectual high point like a Kubrick film, this was fun. I wonder if Leon Vitali handles Netflix previews of Kubrick films.

Blood Fest
And the fat kid from Spider-Man!

Dir: Owen Edgerton

Blood Fest is a horror comedy about a young horror fan who attends this horror convention in the woods called Blood Fest, that, to his horror, becomes all too real when the events vendors make the horror come alive. The group of plucky fans must escape through re-created tropes of Romero, Raimi, a Jason-inspired slasher, torture-porn, and uhh...clowns.

There is some good commentary here on tropes and how to navigate a horror film, and it strikes a good balance of comedy and horror, but as I was sitting there all I could think about is films that played with tropes better like The Cabin in the Woods (2012) or horror comedies that were both scarier and funnier like Zombieland (2009). Even something like Scream (1996) nailed the meta-tone while creating its own iconography in way that this film seems to want to do. You get a pathetic feeling as this flick continually name-drops major horror icons like Freddy and Jason while having to settle for knock-offs to actually fight like the fictional Arborist. I can't really sum it up better than this headline.

Alright, having said all that, this is definitely a film that's trying to have fun with itself, and that's something. The most compelling character may be the completely insane and ammoral guy in charge of Blood Fest, who ironically, is played by director, Owen Edgerton. He brings a totally unhinged joy to his performance. Seychelle Gabriel does some good, underrated work as someone who in most other films would be an uninteresting love interest. A love un-interest, if you will, ho ho. She's great here. There's a certain glee to all the mayhem and the crowd definitely loved it. In the moment I was loving it too, but I wanted to see it build to something more significant.

In fact, as I was watching this, I began questioning if horror movies could even be successful as straight horror anymore. Sure, we just had A Quiet Place (2018), and Get Out (2017) make big bucks, but I'd be hesitant to call either of those straight horror with high body counts. Instead I think of The Babysitter (2017), Happy Death Day (2017), The Final Girls (2015), or Tucker & Dale vs. Evil (2010) as movies that I've all loved, but were only really elevated by pointing out tropes. Even WolfCop (2014). Man I've seen a lot of bad horror movies lately. Anyway, maybe we're beyond that point where we can have a straight slasher or monster movie that's actually scary. Or to be honest, at all.

There is more to talk about here. Purge. The Conjuring Cinematic Universe somehow. Anthology films like XX (2017), Holidays (2016), Tales of Halloween (2015), The ABCs of Death (2012), V/H/S (2012). A little movie called IT (2017). The Ritual (2017). There are a lot of good horror flicks out there. Blood Fest tries to be one of them, but ultimately can't find the balance.

I had fun at this festival. Sure all three of these films had problems, but it's really cool to see these before they ever get distribution, if they even do. And although there were issues here, each film was definitely interesting and memorable, which is important. I'd be into supporting any of these on their path to mainstream distribution.

For the record, other films I was interested in seeing but unable to:

The Carter Effect, Sean Menard
Five Fingers for Marseilles, Michael Matthews
Humor Me, Sam Hoffman
Mary Goes Round, Molly McGlynn
RBG, Betsy West, Julie Cohen
Revenge, Coralie Fargeat
Won't You Be My Neighbor, Morgan Neville

So, go watch these. And any other films you see at festivals nearby. It's fun stuff!

13 April 2018

First Impressions: Blockers

As we examine the theater-going crisis in this country right now, where interest has pooled to a few Disney-centric blockbusters and the prospects of just about any mid-range mainstream film is riskier than ever, the reasons why people identify with and flock to any particular film are ever more obscure. As the other great mass media, television continues to diversify and splinter, the distribution and projection costs of movies makes it difficult to be attractive to the most possible viewers.

No wrestling fan will watch this movie
I say all this because Blockers (2018) joins a slew of random-ass movies I've seen in theaters. I think of course back to The LEGO Ninjago Movie (2017) last year. I did not even know that Blockers existed before my credit card was hacked and therefore my Netflix account was temporarily rescinded, so I signed up for a free month of Hulu. That shit played a Blockers commercial every single break for every single show. And Hulu has a lot of commercials.

This looked like a really dumb movie. A forgettable comedy that I had no interest in at all. I moved on with my life. A friend of mine wanted to see it, though, and as I suggested, there were some hints that this movie could elevate itself beyond its reductive surface-level problematic elements. So from this slim impulse they got another ticket. On a Monday night. Go figure. All of the marketing elements this movie put forth measured up to absolutely nothing in getting me in the seat - in fact, it was a deterrent. We're in a weird world these days.

To get to the heart of the actual merits of this film, Blockers was way way funnier than it deserved to be. It was even a pretty good film structurally, although it tended to lose track of which group of people it wanted to be its protagonists at various points. When a film just feels good, though, and delivers the laughs, that's easy to ignore. I should explain what the hell is actually going on here. And SPOILERS forever, which is maybe significant for this film, but the plot is ultimately inconsequential to the jokes and character moments.

The film follows three daughters of three parents who all grew pretty close when the daughters were little, and although that trio has stayed BFF, the parents have drifted apart. Prom is coming up and the daughters start thinking about sexy times. The parents find out, freak out, and try to cock block them. Not all, of course, Ike Barinholtz wants to celebrate his daughter's budding homosexuality, which she is grappling with herself.

Everyone in this movie has their own thing or their own goal, gay Samantha is one of six. There's some really great focus on these High School seniors figuring out what's important to them, developing as individuals, transitioning to adults, and the balance of parental supervision. These are helicopter parents, folks - people who have raised their daughters wholly in the new millennium. The parents learn to let go, learn to find ways to re-connect, and actually learn to trust themselves and their own parenting, along with their daughters to make good choices.

All the actors hit their respective notes really well. Gideon Adlon, daughter of Pamela Adlon, plays the lesbian nerd, whose references to Smaug and Galadriel were on point (even if her girl crush's cape was definitely not Galadriel-esque). She's fairly closeted, scared of what her friends and family may think, so she tries to force herself into a heterosexual relationship, even just to try and see what it's like. It doesn't work out so she hooks up with a hot Asian girl. It's a kind of matter-of-fact homosexuality that came across as real, nuanced, and developed. This is from a movie that features John Cena anally ingesting IPAs.

Ike Barinholtz is her father who is kind of a wacky divorced dad piece of shit, but who also has the most trust and understanding of any of the parents. The opposite end of that spectrum is Leslie Mann, the single mom who doesn't want her daughter, played by Kathryn Newton, to make the same shitty mistakes that she did. A lesser movie would leave it at that, but Blockers progresses that further - questioning Mann's choices as legitimate mistakes, acknowledging that her daughter is making more independent decisions than just following horniness, and is part of a relationship where both partners are nervous about sex rather than just trouble-making teens. The weirdest part is that on the surface, Newton is clearly the hottest of their friends, but still totally best friends with this nerd (even though Adlon is probably secretly the hottest). They actually all represent really different friend groups, which further cements the sex bond they want to have.

I ought to talk about her bf, who somehow has the most open and trusting relationship with his parents, played by the sexually experimentative Gary Cole and Gina Gershon, perhaps a little too open and free. It presents a contrast to more common tropes of clueless parents.

Finally we have John Cena and his daughter, played by Geraldine Viswanathan. I was kind of surprised that this is actually the largest comedic role Cena has ever had. He had bit pieces in Trainwreck (2015) and Sisters (2015) and you could include the Daddy's Home movies. I totally forgot about The Marine (2006), 12 Rounds (2009), and The Wall (2017). It is amazing that such a forgettable action star could be such a natural comic gift. He's not front and center of this film, but the majority of jokes are at his expense, which is perfect. It's clear that he's remarkably comfortable laughing at himself and he exudes extreme confidence on screen.

MORE amazing than that is that they found Viswanathan who matches him. I'm not sure the last time I saw such a determined, strong, independent teenager on screen before. She commands every scene she's in while maintaining a doofy pluckiness that's sublime to witness. I hope she's in for a long healthy comedic career.

WE'RE GONNA LIVE FOREVER!!
Part of this is how the teenage boys are portrayed. They're mostly idiots who don't know what they're doing, which seems to match well with the confident, sexually adventurous women. They all offer proper consent and largely roll with whatever the girls want to do, including at times, declining sexual intercourse. To some extent this may have been irresponsible in not addressing sexual assault or date rape, but that also seems really out of place for the tone of this movie. To be honest with the amount of nerdy idiot friends I had and was in High School I can't say I'd have acted much differently. Part of the core arc of this film is these parents learning that they have raised their daughters to have enough self-esteem to not hang out with or approach the sleezeballs of their grade for intercourse. They're hooking up with people they know will respect them. While the parents freak out at their daughters' precious innocence, the daughters themselves are totally in charge of each of their own situations.

That's an amazing achievement for what should have ostensibly been a brainless teenage sex comedy. There are some ham-fisted moments where this ideology is explicitly laid out, which was probably necessary based on the normal audience attracted to this kind of teen sex movie, but largely it twists its high concept brilliantly.

It's also really funny. That's important. Like I said, there are moments where the film doesn't know who to focus on, and we lose track of the daughters for a while while the idiot parents get into wacky hijincks, but it largely works. Blockers may be in the running for funniest film of the year, except I JUST watched Death of Stalin, so it's got its work cut out for it.

Critters Go Nuts, some Fight the Rock

Another Friday has dawned and it's time to take apart what's hitting your local multiplex. There is a rath of animal flicks dropping today, all of wildly varying genres. The big tentpole of course is Rampage (2018), which is based on a really niche video game that fizzled out like twenty years ago, despite having a more recent release in like...2006. We need to talk more about this, but let's first get some of the more inconsequential releases out of the way.

Sgt. Stubby: An American Hero (2018). Say, you like saccharine family-fun features but also want to honor World War I dog veterans? Sgt. Stubby seems to play like the conservative, America-friendly animated flick, one that neglects any kind of real danger or insight in favor of blind jingoism. Yeah, I'm probably reading too much into this. It's probably just a cute little picture, definitely skewing way too young. Fucking Sgt. Stubby. I get annoyed at these pathetic last minute animation attempts to make a quick buck. For some reason they really get under my skin. Like Sherlock Gnomes (2018). It feels like such a futile effort and waste of everyone's time. This is probably an adorable inspirational movie.

Next up we have Borg vs. McEnroe (2018), which feels like it's been stewing for a while, and frankly, I didn't realize was even getting a nationwide release this weekend. It's Shia LaBeouf, which is cool because he's nuts and trying to become a real actor (doing a decent job of it lately), but I don't see how this improves upon 7 Days in Hell (2015). Critical appreciation seems like it's...okay? Maybe not worthy enough to be a real prestige release, but a fair shake at a sports drama. It's decent counter-programming to anything else out right now, and depending on the pathos it delves into, it ought to do...fine. It's kind of a sneaky film that could easily be forgotten forever. Or maybe it lasts. Either way, tennis is sill boring as hell.

Arf arf arf!
With each Wes Anderson movie he becomes more Wes Anderson-esque, and that's definitely true with Isle of Dogs (2018), getting a slight theater bump, but not quite wide release. Good enough. He has his fans and the marketing for this has been solid. Do kids even like this kind of animated film? It's so measured and tepid. Like the exact opposite of any flashy Dreamworks animation. The colors here are so muted, camerawork, and set design so artificial. It wears this artificiality on its sleeve, though, as if to simply say "Let's not let this get in the way of the story."

There's some criticism of Japanese cultural appropriation which I don't really think is valid, but we'll have to see. It looks fun, iconic, weird, and tragic. Basically super Wes Anderson-y. To be honest, Anderson doesn't have a great track record with women characters, either, so I'm kind of curious how that plays out here. It seems like we have at least one prominent female quasi-protagonist. So...that's something? I've already hyped this up and still want to see it. Wes can be brilliant or a hipster doofus, but animation suits his sensibilities far more than he actually indulges. That is, he should really just only direct animated films.

That is pretty cool, though, actually
Alright, back to Rampage. Why the fuck are they making a Rampage movie. The original arcade was a cheeky 80s romp, where you took control of a King Kong analogue (George), a Godzilla analogue (Lizzie), and uh...a giant Wolf, who I always thought looked like a rat (Ralph). You pretty much just smashed up everything. It was a really simple game that was fun as hell. I played the hell out of Rampage: World Tour for the Nintendo 64. The goal is always to eat some toxic waste and turn into the giant evil bat. That's what life is all about. Subsequent games added more monsters, and that's cool, but this was never a really huge game, either in depth of gameplay, story, or popularity.

That didn't stop Hollywood, though. Someone thought this was a good idea. Through the Rock in and blow up some buildings. It's all good. I kind of wish they didn't spoil Ralph and Lizzie appearing in this movie, but what are you going to do. It could be pretty fun if it keeps up the irreverent spirit of the games that were borderline parody / homage to classic Kaiju moments. I don't really see that being a thing here. Director Brad Peyton has done servicable work with Johnson on Journey 2: The Mysterious Island (2012) and San Andreas (2015), but these are movies no one cares about. The screenplay was written by a four-person committee whose biggest name is Carlton Cuse, so there's nothing notable to be said there.

I hope it's good! I always end up so bitchy in these things. The marketing material hasn't been all that grab-worthy, and if there's good character work and a solid bond between The Rock and a giant albino Gorilla, then cool. If not, then it's another Pacific Rim Uprising dumpster movie. Is it weird that I actually know a lot of Rampage video game trivia?

What are you seeing this weekend?
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