For most of us, a day out in the cities we live in doesn’t represent a strictly dangerous prospect. From street to street, familiarity engulfs us and fosters in us a sense of mundane security; the haunts and locales we visit and patronize become so commonplace that we could never construe them as harmful to our well-being. For Anders, the principal character of Norwegian director Joachim Trier’s sophomore effort, Oslo, August 31st, a single twenty four hour span of time is fraught with the perils of temptation, populated with ghosts from his past, and resonant with the echoes of his guilt and shame. Such are the circumstances of a recovering…
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G-S-T Review…Hit & Run
So, shocking news: Hit & Run is kind of a blast…go figure. Dax Shepard has, in fairness, made a movie before (2010’s Brother’s Justice, which sounds delightfully, suspiciously odd), so the man isn’t totally green in the realms of screenwriting and directing. All the same, permit me my surprised reaction. It’s late August, the film co-stars Tom Arnold, and Shepard remains best-known for his role in the MTV series Punk’d and Without a Paddle. Those aren’t exactly the kinds of credentials that inspire confidence in the jaded, but Shepard and co-director David Palmer use the aces hidden in their sleeves to great effect. Color me tasteless– Hit & Run works.…
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G-S-T Review…Klown
Frank Hvam and Casper Christensen, the stars and writers of Denmark’s Klown, should find themselves in good company among the most prominent members of the raunchy comedy pantheon. Alternately, the remorselessly profane Danish duo might repulse their peers just as easily. Klown, the cinematic evolution of the television show Hvam and Christensen created and featured in together for four years, pushes every boundary of good taste with a smirk and a cackle; there’s gleeful deceit to how the film frequently builds toward redemptive kindness before pulling the rug out from under our feet. But if the film’s primary interest lies in taking the mickey out of Frank, Casper, and the audience, its…
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Sweet Trailer…'Seven Psychopaths'
It’s been four years since Martin McDonagh directed his first feature-length picture, but the wait between In Bruges and McDonagh’s next project is almost over. Today, Seven Psychopaths gets its first trailer, which should blow away any preconceptions you may have formed about the film in your head based on the title. For me, this is nothing but good news; with one two and a half minute clip, McDonagh’s placed his sophomore effort firmly on my radar for the fall season. Put more simply, Seven Psychopaths looks hilarious and deranged, but what else can you expect from a filmmaker with such a black sense of humor and a cast containing everyone from Walken to Rockwell to…
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G-S-T Review…The Campaign
For a film enjoying its theatrical run as the 2012 presidential election race draws closer and closer to the finish line, The Campaign feels supremely out of date. It’s worth mentioning right away that regardless, the film is frequently hilarious; from little, quiet, unexpectedly odd moments to much grander and more orchestrated fits of pure lunacy, The Campaign works on a strictly comic level. That’s half the battle, of course, maybe more depending on how you like your comedies, but it’s impossible to shake off the frivolity on full display right next to the movie’s prominent absurdities. How does one make a picture about politics in a politically aware era and at…
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G-S-T Review…The Bourne Legacy
We’re at a point in franchising history where three films will no longer do. Series from Die Hard to Indiana Jones have been expanded beyond their trilogy borders to include a fourth entry; meanwhile, the future third film in the Hunger Games saga is already being split into two parts. Traditionally, conventional wisdom marks the third film in a trilogy as the lesser installment of the series, but as three-parters get expanded to four, so too is that adage stretched out– and if The Bourne Legacy has anything to add to the discussion, then the fourth film is the new third. Call it tepid, call it slack, call it pointless;…
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G-S-T Review…Step Up Revolution
There’s really not much to say about a picture like Step Up Revolution, the fourth of its name. If anything, I admire it for daring to be anything more than a movie about Kids With Dreams striving to realize those dreams, though that’s not saying much. Like the other Step Up films, and last year’s remake of Footloose, Step Up Revolution has one raison d’êtere, and that’s to thrill audiences with great dancing in increasingly elaborate dance numbers. Judged on that criteria alone, the film succeeds as a light, well-intentioned but charmingly dopey crowd-pleaser. Just don’t go in expecting the elements of civil disobedience captured in the marketing to add…
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G-S-T Review…The Watch
A sincere question for my readers: is it worse for a movie to be derivative or lifeless? The Watch, the second feature by The Lonely Island’s Akiva Schaeffer, borrows liberally from science fiction cinema classics like Invasion of the Body Snatchers (take your pick between the ’56 and ’78 versions) as well as contemporary greats like last year’s excellent Attack the Block, but the film’s worst transgression isn’t its unapologetic mimicry. Calling on decades-old genre traditions is one thing; turning out an embarrassingly brainless, thoroughly bland, and criminally unfunny attempt at sci-fi comedy is another entirely. The Watch shows as little interest in its aliens as its punchlines. Not to mention its characters. Like the best…
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Sweet Trailer…'Life of Pi'
I have no opinion whatsoever on Life of Pi, the novel by French Canadian author Yann Martel; I haven’t read it in the decade-and-change since its 2001 publication. But that might change with the release of the trailer for Ang Lee’s upcoming adaptation of the book. Quick reaction– it looks absolutely gorgeous. Have a look below: Breathtaking visuals aren’t anything new to Lee’s cinema– he brings his brand of ocular magic to every film he shoots, if you ask me– but some of the images in here are pretty startling even coming from him. Watching the footage, there are a number of shots here that evoke urgency, wonder, fear, and awe,…
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G-S-T Review…Rock of Ages
Full disclosure: I’ve never seen Rock of Ages live on stage. I have no idea if its sprawling, loosely connected storylines intersect in a more satisfying way when played out before a live, active, participating audience. I don’t know if the theater, rather than the multiplex, represents a more comfortable and better-suited environment in which the particulars of musicals can thrive. So, in short, I don’t really know where primary authorship of Rock of Ages‘ film adaptation lies– it’s with either Chris D’Arienzo or Adam Shankman– but I do know a train wreck when I see one because, as that locomotive cliche dictates, I’m unable to look away. That mesmerizing quality represents…
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G-S-T Review…Chernobyl Diaries
Curiously enough, Chernobyl Diaries may mark the first non-found footage found footage film. While constructed using mostly a straight narrative approach, there’s a nagging sense that this cautionary horror jaunt (penned and backed by Paranormal Activity mastermind Oren Peli) may have actually benefited from more fully embracing the tricky conceit; it’s shot like a found footage movie, it’s crafted like a found footage movie, it scares like a found footage movie, and the title’s reference to “diaries” naturally leads us to conclude that someone, somewhere, came across the footage we’re watching by unhappy accident. But those eponymous documents are nowhere to be found in an hour and a half of story. Chernobyl Diaries bases…
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G-S-T Review…Battleship
If you feel the need to blame someone for the birth, production, and release of Battleship— as I do– look no further than Michael Bay. The proprietor of shining contemporary examples of big spectacle gone very, very stupid, Bay brought the “movies based on toy lines” movement to life in 2007 with Transformers; two sequels and a G.I. Joe film later (which itself is getting sequelized this summer), and that childish aesthetic shows no signs of abating in the near future. Battleship proves to be the loudest and dumbest toy-to-cinema adaptation yet (barring last year’s Transformers: Dark of the Moon), a soulless, pointless, hollow cacophony of trite cliches and boring…