Woody Allen has been called a filmmaking machine, churning out about one movie a year. Many times this is to the detriment of the film: he often seems to value being in production more than waiting before the script is fully developed. For him, a script is to production what a dinghy is to a yacht: it is a means to get to the main event, and it doesn't really matter if there are holes in it. This is not to say that all of Woody Allen's scripts are a flop... On the contrary, films like Annie Hall, Midnight in Paris, and Blue Jasmine, just to name a few, have been major successes. But there are still times when it is almost as if he thinks, "Hmm, this script is not quite ready yet... but, it's good enough. Let's start production!"
MAGIC IN THE MOONLIGHT is a perfect example of this. The script is still in its rough draft stage at best, and Colin Firth and Emma Stone, while extraordinary actors, have absolutely no chemistry as our leading man and lady in this film about logic versus mysticism.
The story unfolds in 1928, as Stanley (Colin Firth), a stern and logical magician who takes on the persona of a Chinese man during his performances, is approached by his old friend, Howard. Howard asks him to travel to the estate of the wealthy Catledge family to debunk the work of a clairvoyant/mystic, Sophie (Emma Stone), who has been invited into the family's home by Grace Catledge to contact her mother's late husband. Grace's son, Brice, is hopelessly smitten by the girl, and the whole family is in danger of being wrapped around Sophie's finger... that is, unless Stanley can prove that she's a fake. But Sophie fights back as Stanley begins testing her abilities, resulting in what should be a battle of wits laced with sexual tension... but instead, the drama seems forced, and the sexual tension is practically nonexistent. There were also a lot of moments that were probably meant to be comical, but fell flat.
It is also groan-worthy to see two actors with such an age difference paired together, in light of Allen's latest affair uproar in the news. One would think that he could at least tiptoe around that issue for a while, but apparently not. However, if you are simply watching it because you're a fan of that infamous Woody Allen style, with its meandering dialogue and similar themes.
This one ranks pretty low on my list of recommendations, but I do recognize that every film has an audience. It is now playing at the Midtown Cinema if you want to check it out.
Wednesday, August 13, 2014
Sam's Blog - Calvary
John Michael McDonagh's CALVARY wastes no time getting to the heart of the story. The very first scene consists of a several minute shot in the confines of a confession booth, in which Father James (Brendan Gleesan), a serious, goodhearted but worn down priest, receives a threat from a member of his parish: in one week, says the unidentified man, who confesses he was molested by a priest for years as a child: "I'm going to kill you, Father... because you've done nothing wrong."
From then on, the film continues to plummet down into grim territory. Father James, who is not even sure if it was an idle threat or not, spends his whole week struggling with what to do: does he break the trust of the confessional and turn the man in, or wait to see if he can sway the man's mind? It seems that he will try the latter, and the one week he is given becomes a week to handle his affairs. He makes his usual rounds, meeting with a hodgepodge of characters in the town, all of whom seem to have something going on behind closed doors.
But as the story progresses, it looks less and less likely that he'll be able to change the outcome of the threat, as it seems the whole town has qualms with the church. And a visit from Father James' daughter, Fiona (Kelly Reilly) -- an illumination of Father James' past, before he became a priest -- complicates the story, as her fragile state forces him to think twice about the situation at hand.
Brendan Gleeson does an amazing job, as does the rest of the cast -- Chris O'Dowd, Dylan Moran, Domnhall Gleeson, and many more. The drama that unfolds is enthralling, and is made even more so by the beautiful soundtrack by composer Patrick Cassidy... it does a great job of setting the tone. While the first half of the film is sprinkled with (extremely) dark humor, the second half gets more and more gloomy as events take a turn for the worst. This film is a great study of desperation, loneliness, and forgiveness... and the darkness that lies in between. Honestly, there's enough here with which to write a dissertation. For those who can't handle dark subjects, I would be careful with this one... but it will certainly lend itself to deep conversation, and I do recommend it to those who are up for it. Come see CALVARY this week at the Midtown Cinema!
From then on, the film continues to plummet down into grim territory. Father James, who is not even sure if it was an idle threat or not, spends his whole week struggling with what to do: does he break the trust of the confessional and turn the man in, or wait to see if he can sway the man's mind? It seems that he will try the latter, and the one week he is given becomes a week to handle his affairs. He makes his usual rounds, meeting with a hodgepodge of characters in the town, all of whom seem to have something going on behind closed doors.
But as the story progresses, it looks less and less likely that he'll be able to change the outcome of the threat, as it seems the whole town has qualms with the church. And a visit from Father James' daughter, Fiona (Kelly Reilly) -- an illumination of Father James' past, before he became a priest -- complicates the story, as her fragile state forces him to think twice about the situation at hand.
Brendan Gleeson does an amazing job, as does the rest of the cast -- Chris O'Dowd, Dylan Moran, Domnhall Gleeson, and many more. The drama that unfolds is enthralling, and is made even more so by the beautiful soundtrack by composer Patrick Cassidy... it does a great job of setting the tone. While the first half of the film is sprinkled with (extremely) dark humor, the second half gets more and more gloomy as events take a turn for the worst. This film is a great study of desperation, loneliness, and forgiveness... and the darkness that lies in between. Honestly, there's enough here with which to write a dissertation. For those who can't handle dark subjects, I would be careful with this one... but it will certainly lend itself to deep conversation, and I do recommend it to those who are up for it. Come see CALVARY this week at the Midtown Cinema!
Foner & Hood Review - Boyhood
Our in-house reviewer, Sam, did a video review with locals Joe Foner and Paul Hood. Check it out below!
Thursday, August 7, 2014
Sam's Blog - I Origins
The battle between science and spirituality has always been a touchy yet fascinating subject, one which has appeared in many stories throughout the years. Can you be true to science and faith at the same time? Writer/director Mike Cahill presents us with I ORIGINS, a film that posits, yes, you can.
Dr. Ian Gray (Michael Pitt) has a love for two things: molecular biology, and eyes. Everyone has their own specific eye biometrics, which allows for an even better identification system than thumbprints. Ian is fascinated by this idea, and takes photographs of the eyes of any person who lets him. This obsession fuels his latest experiment on the evolution of the eye, which he hopes will prove wrong the argument that eyes are proof of an intelligent creator... for Ian is a scientist, and does not believe in God or fate or any of that mumbo jumbo.
Adversely, a strange encounter at a party leaves Ian attracted to free-spirited, new age junkie, Sofi (Astrid Berges-Frisbey), who believes in just that sort of mumbo jumbo: she says they are spiritually connected, even in past lives. These two polar opposites have a whirlwind romance, until Sofi's life is tragically cut short by an accident.
Seven years later, Ian begins to second guess himself when a new piece of evidence appears to him: evidence that suggests that Sofi may have reincarnated in India. This piece of evidence also happens to revolve around the unique nature of the eye, which draws Ian's attention all the more as the film takes you on a twisted ride through this battle between science and faith. And the story does not necessarily end with one particular winner... in fact, it leaves them hand in hand.
This is not your average sci-fi movie -- it veers clear of your usual alien- or robot-heavy plot lines, instead dealing out a premise that actually has a basis in today's scientific research. And unlike the trailer makes it out to be, this is not just an emo romance story (though it does have its emo moments): instead, the second half of the film focuses on Ian's trip to self-discovery.
The cast really works well together in this film: Pitt does a superb job, as does Brit Marling, who plays Ian's lab-partner-turned-wife; and Berges-Frisbey is the perfect mix between delightful and infuriating. And though the characters sometimes skip steps to keep the plot moving forward, overall the concept is well-rounded and holds your attention. Cahill, who previously gave us ANOTHER EARTH, is really showing his strength with sci-fi.
I ORIGINS is now playing at the Midtown Cinema. I recommend checking this one out.
Dr. Ian Gray (Michael Pitt) has a love for two things: molecular biology, and eyes. Everyone has their own specific eye biometrics, which allows for an even better identification system than thumbprints. Ian is fascinated by this idea, and takes photographs of the eyes of any person who lets him. This obsession fuels his latest experiment on the evolution of the eye, which he hopes will prove wrong the argument that eyes are proof of an intelligent creator... for Ian is a scientist, and does not believe in God or fate or any of that mumbo jumbo.
Adversely, a strange encounter at a party leaves Ian attracted to free-spirited, new age junkie, Sofi (Astrid Berges-Frisbey), who believes in just that sort of mumbo jumbo: she says they are spiritually connected, even in past lives. These two polar opposites have a whirlwind romance, until Sofi's life is tragically cut short by an accident.
Seven years later, Ian begins to second guess himself when a new piece of evidence appears to him: evidence that suggests that Sofi may have reincarnated in India. This piece of evidence also happens to revolve around the unique nature of the eye, which draws Ian's attention all the more as the film takes you on a twisted ride through this battle between science and faith. And the story does not necessarily end with one particular winner... in fact, it leaves them hand in hand.
This is not your average sci-fi movie -- it veers clear of your usual alien- or robot-heavy plot lines, instead dealing out a premise that actually has a basis in today's scientific research. And unlike the trailer makes it out to be, this is not just an emo romance story (though it does have its emo moments): instead, the second half of the film focuses on Ian's trip to self-discovery.
The cast really works well together in this film: Pitt does a superb job, as does Brit Marling, who plays Ian's lab-partner-turned-wife; and Berges-Frisbey is the perfect mix between delightful and infuriating. And though the characters sometimes skip steps to keep the plot moving forward, overall the concept is well-rounded and holds your attention. Cahill, who previously gave us ANOTHER EARTH, is really showing his strength with sci-fi.
I ORIGINS is now playing at the Midtown Cinema. I recommend checking this one out.
Wednesday, August 6, 2014
Sam's Blog - Alive Inside
You have probably seen at least one of those stereotypical stories about a family in which the child wants to grow up and be a musician (or artist in general), and the parents despair, saying, "Why can't you be a doctor or an engineer, or something useful?" But what they forget is that though music and art may not directly further the human race, it does indirectly: it keeps the human race alive. It makes us happy. It connects with our souls, which rejuvenates us. Music is an instinct, a motivator, a passion.
This is the message behind Michael Rossato-Bennett's documentary, ALIVE INSIDE. He has been following a non-profit organization called Music & Memory, which goes around the country bringing iPods to patients who suffer from Alzheimer's, dementia, and a number of other health problems. Dan Cohen, the founder of M&M, is a firm believer in music, and believes that it can help people who suffer from memory loss or isolation, enabling them to reconnect with their past and, ultimately, themselves. And the effects of his work are wonderful to see: people who previously showed no signs of response, unable to remember their family or do anything but stare at the floor, listen to music on these devices and immediately come back to life, engaging people in conversation and getting that light back in their eyes.
ALIVE INSIDE shows the troubles that Cohen has had in getting medical professionals to jump on board, which speaks volumes about the crippling structure of the healthcare system... If it's not medicine, not many people are willing to spend money on it, even if it will help their patients.
Though the organization of this documentary is a bit scattered at times, its message is simple and universal; it cuts straight to the heart, pulling on your heartstrings for the entirety of its 78 minutes. There is a very good chance you will leave the theater with tears in your eyes.
I highly recommend coming to see this film... It is very engaging, and it is a great reminder that sometimes what we need, more than any medicine, is to be shown life. Or, in the case of ALIVE INSIDE, to hear it.
This is the message behind Michael Rossato-Bennett's documentary, ALIVE INSIDE. He has been following a non-profit organization called Music & Memory, which goes around the country bringing iPods to patients who suffer from Alzheimer's, dementia, and a number of other health problems. Dan Cohen, the founder of M&M, is a firm believer in music, and believes that it can help people who suffer from memory loss or isolation, enabling them to reconnect with their past and, ultimately, themselves. And the effects of his work are wonderful to see: people who previously showed no signs of response, unable to remember their family or do anything but stare at the floor, listen to music on these devices and immediately come back to life, engaging people in conversation and getting that light back in their eyes.
ALIVE INSIDE shows the troubles that Cohen has had in getting medical professionals to jump on board, which speaks volumes about the crippling structure of the healthcare system... If it's not medicine, not many people are willing to spend money on it, even if it will help their patients.
Though the organization of this documentary is a bit scattered at times, its message is simple and universal; it cuts straight to the heart, pulling on your heartstrings for the entirety of its 78 minutes. There is a very good chance you will leave the theater with tears in your eyes.
I highly recommend coming to see this film... It is very engaging, and it is a great reminder that sometimes what we need, more than any medicine, is to be shown life. Or, in the case of ALIVE INSIDE, to hear it.
Tuesday, August 5, 2014
Sam's Blog - Aliens
Humans have a strange obsession with aliens. Are they out there? Will we find them? If we do, will we like what we find? For the sake of Hollywood, most films tell us, no. We will not like what we find.
This is very much the case for ALIENS, which rocked the box office at number one for four straight weeks in 1986. The story is a follow up of ALIEN, in which the crew of a spaceship is slowly picked off by an alien who weasels its way on board via its bizarre birthing ritual. The only survivor of this disaster, Ellen Ripley, makes her way back to Earth in a cryogenic state, but her journey takes 57 years, during which the planet that this alien species was discovered near has been colonized by Ripley's employer, the Weyland-Yutani Corporation.
When they suddenly lose contact with the colony, Weyland-Yutani representative Carter Burke (Paul Reiser) asks Ripley to return to the planet's surface to investigate. Ripley agrees, on the condition that if the sudden silence is because of the same aliens her former crew met with, said aliens will be killed immediately. And her suspicions are confirmed when they arrive: the entire colony has been destroyed (read: harvested) by the aliens, save for one young girl, Newt (Carrie Henn), who somehow managed to stay out of the way. However, contrary to Ripley's hopes for the mission, Burke has other plans, steeped in financial greed: he wants to take Alien specimens back to Earth to experiment on them.
ALIENS differs from its predecessor in many ways: while ALIEN was slower paced and suspenseful, falling more along the lines of a sci-fi horror flick, ALIENS is definitely an action-thriller; and with different directors (Ridley Scott for ALIEN and James Cameron for ALIENS), of course the films have a different feel. Whereas Scott chose to only show you glimpses of the alien until the very end, Cameron wanted a little more flash, so ALIENS is crawling with... well, aliens. And the characters are a little more like caricatures, with little character development but easily identifiable at first sight, as opposed to the uniform yet nuanced team from ALIEN.
But the lineup of the plot holds true to the same basics: the mission is compromised by someone's desire to take the enemy home with them. With that tried and true formula, Ripley's worst nightmare begins to unfold for the second time.
Though Sigourney Weaver is heartily welcomed back as the protagonist, it should be noted that Carrie Henn really steals the show. Her innocent yet survivalist attitude really grounds the film; an amazing performance, made all the more surprising by the fact that ALIENS seems to be her only acting credit.
What really makes ALIENS worth the watch, however, is the energy that carries on even after the film is over. Action-packed, high stakes -- you simply ride along with the characters in their fight for survival. There's no denying it, this movie is fun. There's little wonder why ALIENS is so popular, but if you're still not sure, come watch it with us at this month's 3rd in the Burg on August 15! Cosplay is encouraged.
This is very much the case for ALIENS, which rocked the box office at number one for four straight weeks in 1986. The story is a follow up of ALIEN, in which the crew of a spaceship is slowly picked off by an alien who weasels its way on board via its bizarre birthing ritual. The only survivor of this disaster, Ellen Ripley, makes her way back to Earth in a cryogenic state, but her journey takes 57 years, during which the planet that this alien species was discovered near has been colonized by Ripley's employer, the Weyland-Yutani Corporation.
When they suddenly lose contact with the colony, Weyland-Yutani representative Carter Burke (Paul Reiser) asks Ripley to return to the planet's surface to investigate. Ripley agrees, on the condition that if the sudden silence is because of the same aliens her former crew met with, said aliens will be killed immediately. And her suspicions are confirmed when they arrive: the entire colony has been destroyed (read: harvested) by the aliens, save for one young girl, Newt (Carrie Henn), who somehow managed to stay out of the way. However, contrary to Ripley's hopes for the mission, Burke has other plans, steeped in financial greed: he wants to take Alien specimens back to Earth to experiment on them.
ALIENS differs from its predecessor in many ways: while ALIEN was slower paced and suspenseful, falling more along the lines of a sci-fi horror flick, ALIENS is definitely an action-thriller; and with different directors (Ridley Scott for ALIEN and James Cameron for ALIENS), of course the films have a different feel. Whereas Scott chose to only show you glimpses of the alien until the very end, Cameron wanted a little more flash, so ALIENS is crawling with... well, aliens. And the characters are a little more like caricatures, with little character development but easily identifiable at first sight, as opposed to the uniform yet nuanced team from ALIEN.
But the lineup of the plot holds true to the same basics: the mission is compromised by someone's desire to take the enemy home with them. With that tried and true formula, Ripley's worst nightmare begins to unfold for the second time.
Though Sigourney Weaver is heartily welcomed back as the protagonist, it should be noted that Carrie Henn really steals the show. Her innocent yet survivalist attitude really grounds the film; an amazing performance, made all the more surprising by the fact that ALIENS seems to be her only acting credit.
What really makes ALIENS worth the watch, however, is the energy that carries on even after the film is over. Action-packed, high stakes -- you simply ride along with the characters in their fight for survival. There's no denying it, this movie is fun. There's little wonder why ALIENS is so popular, but if you're still not sure, come watch it with us at this month's 3rd in the Burg on August 15! Cosplay is encouraged.
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