Parents try their best to instill their values upon their children. They try to protect the innocent from all the evils in the world. But then there are the means and tactics instilled by “Father” and “Mother” in the disturbing Greek film, Dogtooth. This Oscar nominated foreign film takes home schooling to a whole other level.

Man eating cats. Why not? Wrong words purposely taught for confusion, of course. (At the beginning of the film we learn “sea” is the word for leather armchair. “Zombie” is a word for a flower.”) No name is given for any family members (Father, Mother, Older Daughter, Younger Daughter, and Son), and somehow, it makes so much sense.

I cannot recommend this film lightly. It’s not for everyone. But for those that can get past the disturbing thoughts of implied incest, mental abuse, and a psychotic main character — this is a gem that will stay with you for awhile. There’s a reason it was nominated for an Academy Award. Its ironic cheerful picturesque cinematography places you in their compound for 1 1/2 hours and doesn’t let you go. Every once in awhile, I stumble upon a film that is so demented, yet so creative, you have to wonder about that person who wrote and created it.  This is definitely one of them.  This film is truly fantastic, I just wonder how many people can appreciate it.

There’s a simple message here. Don’t overprotect your children. Let them grow naturally. Let them explore the world.  You’ll also see the strangest use of a VHS tape you’ll ever see. Really.

Official synopsis:

Siblings who grow up cut off from the world — homeschooled and reliant on one another for entertainment — create their own idyllic alternative universe, which is shattered when their father lets in an outsider. Sex enters the picture when dad begins bringing home a female security officer to satisfy his son’s libido … and suddenly nothing is the same within the highly idiosyncratic family unit.

Stream it on Netflix HERE.

Share this:

From initial viewing,  the Winnebago Man outtakes on YouTube are laugh out loud funny. This guy is angry — and hilarious at it. He drops the eff bomb incessantly and screams at assistants. All in the name of a RV commercial shoot. This behind the scenes footage was unearthed and showcased on YouTube. Instantly, Rebney was labeled “The Angriest Man in the World.” Check it out HERE.  The problem with his label — he didn’t know anything about this tape and his newfound fame. After watching it a few times, you get the overwhelming sense that something deeper is going on. This man is on the brink of a nervous breakdown. The documentary Winnebago Man takes a deeper look into our societies obsession with internet celebrity and the humiliation brought upon the subjects.

There’s a very fine line of laughing with someone and at them. That’s the reason America’s Funniest Home Videos is still on the air. It’s also the reason for the internet celebrities.  Some of these internet celebrities didn’t ask for the fame. They are the ones being laughed at. Jack Rebney is one of them – a bad day on the job turns transforms into over 2.5 million video views. Director Ben Steinbauer takes us on a fascinating journey to find the man and learn who he truly is. The initial answers might surprise you. This film gives you a sneaky suspicion that there are millions of Jack Rebney’s out there.  People not necessarily looking for the spotlight, but have a heavy dose of opinions to share with the world.

Check out Winnebago Man for a casual glance into the internet culture. It will make you think twice next time you laugh at the Lightsaber Kid, Bubb Rubb, or any other “celebs” that breaks into your email inbox. It’s a fun film to watch, but nothing that will change your life.

FS Rating: C+ (Worth seeing as a multi-task movie – work on your laptop/iPad as you casually watch the film)

Official synopsis:

Jack Rebney is the most famous man you’ve never heard of – after cursing his way through a Winnebago sales video, Rebney’s outrageously funny outtakes became an underground sensation and made him an internet superstar. Filmmaker Ben Steinbauer journeys to the top of a mountain to find the recluse who unwittingly became the “Winnebago Man.”

Add it to our Netflix queue HERE.

Share this:

Most people today know Joan Rivers as the Red Carpet host with the sharp tongue towards celebrity fashion. But Joan Rivers was actually a trail blazer for female comedians (or comediennes, I don’t know, not really a fan of that term). In the late 1960′s and 70′s, she broke into the comic scene and offended everyone in her path. “Women shouldn’t speak like that” (said the mustachioed man with chubby arms crossing his chest). But she gained fame and lots of love from the only man that mattered on the comic scene – Johnny Carson.  This film takes you on her insecure path to fame, to failure, to fame again, back to failure, to fame again and the never ending quest to say “I’m back!”

Whatever your preconceived thoughts of Joan Rivers are, you should really check out A Piece of Work. It’s a wonderfully constructed documentary that seemed to have no problem showing her at her worst, along with her best. Which is what documentaries should do. I’m fascinated by the sad clown reality of most comedians. They make you laugh and are always at a Level 10+. But behind the scenes is another story. It’s funny. It’s sad. This story is worth watching.

Watch it on Netflix Instant Streaming.

Share this:

Winter’s Bone, the 2010 Sundance Film Festival darling and speculated Oscar contender, has received high praise amongst the circle of film critics.

Official Synopsis:

“An unflinching Ozark Mountain girl hacks through dangerous social terrain as she hunts down her drug-dealing father while trying to keep her family intact.” (Psst…It’s a movie about the backwoods meth labs)

“Masterpiece”, “Stirring”, “Genuine” are all words that have described this film. With that, I snatched the Blu-Ray off the virtual Netflix shelves and watched it with high hopes.

Don’t make the same mistake I did. Winter’s Bone? More like Winter’s Bore.

The film has a 94% fresh Rotten Tomatoes rating. Many people seem to love it. It was recently nominated for 7 Spirit Awards (the biggest awards ceremony for the Indies)  including  Best Picture, Director, Actor, Actress, etc. And do you know what? You can take their word for it. But I can assure you, you will be bored out of your mind. The first 40 minutes were spent with the main character Ree knocking on doors asking where her Dad was.  Each and every person had some variation of “You best get out of here girl.”  Best Picture contender? Give me a break!

Because I’ve already wasted 1hr and 40 minutes of my life watching this, I’m going to quickly review this with The Good, the Bad, and the Ugly.

The Good

The lead in this film, Jennifer Lawrence, has the acting chops and the looks to become a major star (she’s actually going to be in X-Men: First Class in Summer 2011).  Remember her name — she might just be the real deal. She gave a great performance in a snooze fest of a story. The unrecognizable John Hawkes (Eastbound and Down) also does fantastic work here.  That being said, the only true excitement of the movie comes between the 1:18-1:26 mark (yes, 8 minutes of the entire film). I’ll consider this boat scene good because a) It’s one of the only times we get something beyond quiet discussion and b) It’s a clear sign that the movie is nearing the end.

The Bad

The desperation of the characters in the film was clear. They live in the backwoods of the Missouri/Arkansas border. Meth runs rampant and their teeth run scarce.  One would assume those who run Meth labs would have a life filled with good times, great jokes, and lots of singing and dancing. Not so much.

The Ugly

The critical acclaim this film is getting makes me question some of the film critics I actually respect.  Has the onslaught of sequels, reboots, and unoriginal ideas lowered our standard of great films? If something comes across as original, does that automatically make it good?  Want to spend almost 2 hours with a Jennifer Lawrence and some meth heads? Add it to your queue HERE.

Consider yourself saved.

Share this:

“Oops” I told the officer as I got my first speeding ticket within 2 weeks of getting my drivers license.

“Oops” I did it again, said Britney Spears as she shaved her head bald with the paparazzi as witness.

Rarely do we have those “oops” moments that truly define your life. And unfortunately, many people don’t survive the significant “oops” moments. Aron Ralston had an oops moment that he  thinks about every time he wants to do Jazz Hands or wants to give a hearty clap.  My “oops” moments are irrelevant. Ralston’s changed the entire course of his life.

To say that the story of Aron Ralston is unfilmable is an understatement. A man hikes by himself, slips, gets stuck between a rock for 5 days, cuts off his arm. Doesn’t seem like enough to build an entire story arc around. By no means is this a spoiler — Aron Ralston has been hitting the media circuit a ton. If you’ve missed this one-armed wonder boy, then you’ve been hiding under your own rock.

Simply put – Danny Boyle is a genius filmmaker. He jumps from genre to genre in an effortless fashion.  Very few filmmakers could have pulled off the story of Aron Ralston quite like Boyle does here.  His visual bravado keeps the film moving along at a brisk pace, the camera rarely is stagnant within a stagnant environment, and he enlightens the audience of a story that needs to be told.  The camera dances around from moment to moment keeping the audience entertained throughout the short 93 minute film.

Even with the brilliance of Danny Boyle’s camera work, this movie would not have worked without the energy and amazing acting of James Franco. There was a point in 127 Hours, maybe about 3/4 of the way in, where I stopped and thought in amazement at Franco’s performance.  We as the audience are stuck between a rock and a hard place with Franco’s  character for 95% of the film. All the acting, all of the dialogue — everything is James Franco.  The film lives and dies by his performance, which he hit out of the park. You feel his rollercoaster of emotions and know why he makes certain choices throughout his ordeal. But it’s the hallucinations/flashbacks/visions that really showcase the range of acting that James Franco has. This performance really has to be seen to be believed. He’s likely to be a front runner in the Best Actor Oscar race.

Since the film is a brisk 93 minutes, I really don’t want to get into too much detail. Please go and see it. Yes, the arm cutting scene is pretty graphic. But no one passed out in our screening. Don’t let that dissuade you from seeing it. I should warn you that there has been a ton of talk around the world wide web about how this is a shoo-in for Best Picture. Don’t let that talk build up this movie for more than it is. While I agree that this will be nominated for Best Picture (there are 10 nominees – cmon), I didn’t walk away a changed person. It was a great film, but I wouldn’t rank it amongst the best I’ve ever seen.  When I watched Into the Wild (another story about someone making poor decisions in nature), I was genuinely moved by the story. 127 Hours is a touching story, a well crafted film, and filled with the whole range of acting.  But I sit here today the same person I was yesterday when I saw it.  The best films will rattle you and stay with you long after you leave the theater. Think Deliverence. Think Apocalypse Now. Think Boyz in the Hood. Think No Country For Old Men. Think Inception. You’re going to hear a ton of “Best of the Year” talk over the next few months around the web and TV. Take it with a grain of salt. Not only has this been a mediocre year in film, but it seems that the bar has been lowered in what is considered the “Best”.

All of that being said – 127 Hours is a must-see.  Just try and see it with an open mind and normal expectations. If anything, maybe you’ll learn a few lessons to anticipate your next “oops” moment.

*If you liked this post, please follow me on Twitter HERE or become a fan on Facebook HERE. You’ll get more film insider scoop than your brain can handle!  Thanks all.

Share this:

In what seems to be the cousin of The Kids Are All Right, City Island tackles the dysfunction and secrets harbored in this mostly comedic film. I hesitate to give you the synopsis because, well, it’s pretty bad. The movie’s setup alone will make you cringe and never think twice about renting it. Let me assure you – you should give this one a try regardless of what I’m about to write:

The Rizzos, a family who doesn’t share their habits, aspirations, and careers with one another, find their delicate web of lies disturbed by the arrival of a young ex-con brought home by Vince Rizzo (Andy Garcia), the patriarch of the family, who is a corrections officer in real life, and a hopeful actor in private.

There’s something sweet and smile inducing in the way the seemingly after school special script was written along with the comedic beats of Andy Garcia and Julianna Margulies. When you think it’s trudging you through a path often walked, the film takes a different turn.  It’s a movie about secrets and how we choose to share them. The repercussions can be huge or met with a shrug of the shoulders. Everyone in the Rizzo family has a secret. And one by one those skeletons come marching right out of the closet.

Sweet, without being cheesy. Smart, without trying too hard. Funny — at times.  Rent City Island when you’re looking for a break from it all.

Don’t watch the trailer — it gives the entire movie away.

City Island – Starring Andy Garcia, Julianna Margulies, Emily Mortimer, Alan Arkin.

Add it to your Netflix HERE.

Share this:

I’ve been intrigued with this project for a few years. Ever since the YouTube footage of Phoenix rapping in Miami clubs, I’ve been entertained by his antics. The Letterman interview was icing on the cake. If you were anything like me – mildly intriduged by this film -  I’ve got good and bad news for you.

The good: The film was released on September 17th in theaters. But last weekend (1 week later), it was released to Pay Per View/On Demand if you have Comcast/Time Warner, Verizon Fios, and a few others. Which mean, you can watch it right now…at home.

The bad: You might be tempted to shelve out the $7.99 and sit through this. It’s horrible. And even worse — there is no point. The project is self indulgent at every level. Real or hoax is besides the point.

The below clip pretty much sums up the entire film. Mumbles McGhee. Jibberish Jerry. Nothing of intrigue.

Within those 108 painful minutes of nothing, there is a funny bit between Diddy and Joaquin Phoenix. The deadpan to pained look on Diddy’s face as he first hears the Phoenix rap demo is priceless. That’s the only good part of the entire “movie.”

Much like this review you’re reading right now, the main problem is the lack of focus. It possibly was a critique about media and their obsession with celebrity. Maybe it was a message about celebrity and the downward spiral they take. Does Joaquin Phoenix and Casey Affleck really think they are so important that the world actually cares about his fake retirement? From the looks of box office receipts and sudden arrival to TV, it looks like no one cares about their fakeumentary.

Joaquin Phoenix, you are no Andy Kaufman. You are no Sasha Baron Cohen. But I am going to forgive you for this. I’ve respected you as an actor since your fantastic performance in To Die For. This “movie” will forever be erased from my mind.

Share this:

As nice as it is to see him win the money, a more important question stems from this video. Have you seen The Bridge on the River Kwai? This 1957 classic was ranked #13 on AFI’s Top 100 American Movies list…deservedly so. Starring one of the best American actors ever, William Holden and the brilliant Alec Guinness (Obi-Wan Kenobi) this is a must see.   Even if you haven’t seen the film, I’m sure you’ve heard the famous whistle march song.  Do yourself a favor -add this to your Netflix queue.

Synopsis:

The film deals with the situation of British prisoners of war during World War II who are ordered to build a bridge to accommodate the Burma-Siam railway. Their instinct is to sabotage the bridge but, under the leadership of Colonel Nicholson, they are persuaded that the bridge should be constructed as a symbol of British morale, spirit and dignity in adverse circumstances. At first, the prisoners admire Nicholson when he bravely endures torture rather than compromise his principles for the benefit of the Japanese commandant Saito. He is an honorable but arrogant man, who is slowly revealed to be a deluded obsessive. He convinces himself that the bridge is a monument to British character, but actually is a monument to himself, and his insistence on its construction becomes a subtle form of collaboration with the enemy. Unknown to him, the Allies have sent a mission into the jungle, led by Warden and an American, Shears, to blow up the bridge.

Share this:

The more layers I peel off the Hollywood creaky wheel, the more cynical I become.  Art is an important aspect to the understanding of humans. You can go through world history and some form of art will give you a glimpse into the psyche of the world at that time. Whether it be cave sketches, oil paintings of baby Jesus, Picasso’s genius, or the modern art of Mark Ryden, the thoughts of the moment are frozen in time.

Film is art. Yet, over time, it has become overrun by businessmen trying to make a quick dollar. Art has become secondary if lucky. The focus is on brand. How can a studio sell opening weekend? How quickly can a profit be made?

Film is art.  And a few directors still get that. As I mentioned a few days ago, there are still true artists in the Hollywood scene. Paul Thomas Anderson. Quentin Tarantino. Spike Jonze. I’ve mentioned them all a thousand times on this site. And it’s because they keep things exciting. Their ideas are interesting. They are taking a medium and showing us something we’ve never seen before.

After a rough 7 year stint on Where the Wild Things Are, Spike Jonze wanted to create something simple. During the editing process of WTWTA, he secretly shot the 35 minute short film, I’m Here, just to keep the creative juices flowing.

I’m Here is set in a world where robots and humans co-exist, though the former is only used for menial jobs and nothing much else. However, that’s slowly changing — robots are actually evolving — and Jonze has set his film at a time where some robots are beginning to find a purpose; a reason for existence. This might not sound like you’re cup of tea, but stick with it, I’ll guarantee it will move you.

Sweet. Heartfelt. Painful. And it’s a robot love story. The imagination and openness Jonze allows should be applauded. The acting between the robots is more realistic and more empowering than many of those I see between human actors. You’ll have a hard time debating this. The film is a sober reminder that some people lose themselves in unhealthy relationships. People are in love with the idea of love. Because of this, they fall for people (or robots) that truly are disastrous.

If you have the means to watch this film online (i.e. – computer hooked up to TV or decent monitor/internet connection to steam), do yourself and watch it here: http://www.imheremovie.com

It’s powerful in all it’s simplicity.

Share this:

To say I’m a 90′s hip-hop fanatic would be an understatement. From 1989-1999, I was a bona fide hip-hop addict.  Everyday after school in Junior High, I would run home, pop in my VHS tape and record my favorite videos from YO! MTV Raps. D-Nice, Ice Cube, M.C. Breed, De La Soul…I was into it all. My version of a DeLorean is by bringing back some of these classic jams. Especially the ones below. They all were captured at a particular moment in my life that holds a special place in my memory. It was a time when rap music had an innocence without being cheesy. Backpackers, militants, and the gangstas — they all had my suburban ear.

Then came the Suge Knight era of Death Row Records and Puff Daddy with the Notorious B.I.G. They took the innocence of the rap music message and made it too real.

Because of my love for this era of hip hop, I’ve been really reluctant to watch the Notorious B.I.G. biopic, Notorious. After watching Anthony Mackie’s brilliant performance in The Hurt Locker, I felt the urge to see how he portrayed Tupac Shakur.

We don’t learn anything new about Christopher Wallace aka Biggie Smalls. All we see are bits and pieces of aspects of is life – that we all knew already. Shouldn’t we learn more about the man himself? What made him tick? How did he become such a star? What really led to his shooting? Notorious is produced by his mother, Puff Daddy, and a few other people close to him.  It might as well been called Saint Biggie because the view was so slanted, he came across more innocent than Mother Teresa.

Puff Daddy and Tupac are/were larger than life personalities. It’s almost impossible to replicate that. There was nothing in Derek Luke or Anthony Mackie’s performance that personified either of these characters. Not only did they muck up the performance, they brought the film to a screeching halt. You see, Jamal Woolard (who played Biggie), actually was believable. He had the walk. He had the talk. And he had the “I can barely breathe because I’m so fat” gasps. I felt that I was watching Biggie. But the extreme faults and bad acting overshadowed the one positive (and toughest to pull off) aspect of the film – depicting the Notorious B.I.G.

For those who were avid rap fans during the Death Row vs. Bad Boy Records days, don’t let your nostalgia get the better of you.  There’s great music in the film because of the source material. It’s a shame they couldn’t produce an effective film out of such a powerful story.  Over time, maybe someone can create a less biased and more real account of the these enigmatic characters.

If you want to check out a great documentary about this hip hop rivalry, check out Nick Broomfield’s documentary, Biggie and Tupac. Until then, consider yourself saved.

Share this:

I had high hopes for Paper Heart.

Maybe because Charlyne Yi is part of the Judd Apatow crew. Maybe because of Michael Cera’s involvement. I just know I was intrigued by the idea this hybrid documentary.

After watching this film, my 8 year old nephew actually summed it up best:

“Paper Heart? More like Paper Fart!” [ed. note - This conversation never actually happened.]

The film follows Charlyne Yi as she embarks on a quest across America to make a documentary about the one and only subject she doesn’t fully understand: love. As she and her good friend (and director) Nick search for answers and advice about love, Charlyne talks with friends, strangers, scientists, bikers, romance novelists, and children. They each offer diverse views on modern romance, as well as various answers to the age-old question: does true love really exist?

And then the scripted hybrid part:

Shortly after filming begins, Charlyne meets a boy after her own heart: Michael Cera. As their relationship develops on camera, her pursuit to discover the nature of love takes on a fresh new urgency. Charlyne doesn’t want to risk losing the person she finds closest to her heart.

Quite simply, this film is too aware of its cuteness and quirkiness. You’re supposed to be enthralled by the awkward, tomboy act from Yi. It grew tiresome 10 minutes into the film. It’s a self-conscious semi-documentary about a self-conscious girl. And without sincerity in a documentary, why should you care?

The director in the film is actually an actor playing a director. Michael Cera is playing Michael Cera (doesn’t he always). Cera and Yi were supposedly really dating in real life and start dating in the scripted part of the film. Confusing? Not really. Just more hurdles that get in the way of your inevitable thought: What’s the point?

There was lots of buzz around this film during the 2009 Sundance Film Festival. It was met with mixed reviews. Some reviewers fell into the Yi “charm”, while others (like this reviewer) were turned off by too much screen time by her.

The actual documentary portion of the film had some interesting stories from couples in various forms of love, but the sincerity of the story was mocked by paper puppet shows created by Yi.

There’s not much more to say here. You might fall into the trap of “Hey, I like Michael Cera, I’ll check it out.” But BEWARE.

Consider yourself saved.

Share this:

It’s difficult to fully convey the experience of watching Let the Right One In with a review. If you are anything like me, you’ve had it up to here (gesturing above my head) with the vampire crap. Film and TV shows have been on vampire overload and there is no end in sight (Daybreakers, Lost Boys 3, Dead Sucks, Twilight: Eclipse, etc.). Who would have thought a Swedish vampire flick from 2008 would stay with me for so many days, making me wonder:  Has EVERYONE seen this film? If not, run to Blockbuster or move it to priority #1 on your Netflix Queue.  The steady and calm camera movement, haunting tone, and pitch perfect acting makes this one of the best films…of the decade (more on that to come next week).  Let the Right One In is more visually beautiful than any you’ll see this year. And you’re in for a treat if you have Blu-Ray.

Let The Right One In takes all of the lame clichés of modern vampire flicks, and spins it into the real world. It focuses on a story of uncertain friendship and fragile love, of social reality and dark fantasy. Based on the novel by John Ajvide Lindqvist, director Tomas Alfredson’s film takes us deep into the heart of Sweden’s frigid suburbs.

Oskar is an outcast 12-year-old boy with no apparent friends. He’s a favorite target of bullies, and at home, where he lives with only his mother in an apartment complex that would make a sane man crazy. So pale and unimposing, he’s almost translucent. Bullied at school, he buries himself in a scrapbook of violent murders. Between his scrapbook and trusty knife, he has all the makings of a potential sociopath.  One night Eli enters Oskar’s life and changes it forever. Eli is… different. Her hair is black and matted, her face smudged with dirt. Only a thin shirt protects her against the snow. “Don’t you feel the cold?” asks Oskar. “No,” she replies. “Why not?” “I think I’ve forgotten how.”  Eli is also 12 years old — “kind of”, she says.

Eli has moved into the apartment next door, with a middle-aged man who speaks very little and has quite the black kit filled with a flashlight, plastic container, a funnel (yep), and some rope.  It’s very unclear who this man is…either her guardian or her slave.  Eli, you see, isn’t like the other girls. In fact, as she puts it, she’s not even a girl. She’s a vampire.

As it’s a vampire film, much of the film takes place at night or in the frigid cold. Each steamy breath seems to deliberately frame each characters motive. Every crunch of the snow builds the tension. The film is quiet and deliberate and by no means a horror film. Just creepy and haunting. It’s a coming of age film. The friendship between the two embattled children in their vastly different, yet similar, worlds grow as the stakes (pun intended) reach a fever pitch. The brilliant and subtle acting of both children gives the film a believable emotional core that would normally be missing in a film of this nature.

I appreciated this film tremendously for proving that horror thrills don’t have to come cheap. With the mass of horrible torture porn we’ve had to endure (the Saw franchise) in theaters, it’s refreshing to see a director take a step back. If someone told me Stanley Kubrick directed this, I’d half believe them.  The writer and director have crafted a modern fairytale that walks the fine line between fantasy and reality, darkness and light, and innocence and maturity.  Very much like Kubrick’s The Shining.

An American remake is already in the works (of course), that’s scheduled for release in 2010. Simply put, Let the Right One In does not need to be remade. This Swedish version is perfect.

**A viewing note. Change the “audio” from English to Swedish. DO NOT watch this with English dubbed voices. It’s painfully terrible. Adults are trying to do the kids voices and the emotional weight does not carry over. If you know how to read, you can handle the subtitles. Most of the film is visual anyways.

Let me know your thoughts after seeing this.  Interested to see if I’m in the minority of this brilliance.

(Thanks to Nate for the recommendation!)

Theatrical Release Date: October 24th, 2008

DVD Release Date: March 2009

Share this: