One Movie Punch

Today’s movie is “The Texas Chain Saw Massacre” (1974), the controversial horror film by Tobe Hooper that redefined the slasher genre. The film follows the fate of five teenagers out for a drive to investigate reports of grave vandalism at a small Texas graveyard. While waiting for gas to arrive at a local station that serves barbecue, they decide to visit an old family house, and then things really go bad.

The film only had a $300,000 budget, which is about $1.5 million dollars adjusted for inflation and pretty amazing for a cannibal slasher film. Long hours went into filming, under extremely hot conditions that summer. And it was a commercial success, grossing $30 million, or close to $150 million adjusted for inflation. But surprise, after all the investors and distributors got their share of the pie, the cast and crew received peanuts for their work, although it did open up a few opportunities for some of them.

It pains me to say it, given the money issues surrounding the project, but the acting in this film is horrible. I’ll admit I had a hard time trying to put myself in the context of a 1974 theatre crowd, all standing in line to watch a film that was censored worldwide and lambasted by conservative moralists. It’s doubly difficult given the insanely large franchise that followed, and the film’s immense saturation within our society and the current horror genre. But in some ways, the amateur performances almost enhance the dread and perhaps add to the suggestive realism. I’m sure the heat didn’t help as well.

The true strengths of this film are the script, the high quality set design and artistic direction, and the genius of the marketing. The audacious script melds so well with the set design and artistic direction, with seemingly unrelated elements coming back to resonate as the horror progresses. The bone sculptures and transition scenes, along with the minimalist horror score, create a consistency that transcends the cast.

This film, in many ways, becomes a template for all future slasher films, complete with jump scares, elimination killings, and a hulking, masked brute. And by falsely advertising it was a true story, combined with doubling down on the negative press and criticism, the film became not just a financial, but a cultural success as well. I only wish I could have seen it debut, feeling the shock and horror of an entire crowd wholly unprepared for what they were about to experience.

Rotten Tomatoes: 88%

Metacritic: 75

One Movie Punch: 6.8/10

“The Texas Chain Saw Massacre” (1974) is rated R and is streaming on Amazon Prime.

Today’s movie is “Ingrid Goes West” (2017), directed by Matt Spicer and written in collaboration with David Branson Smith. The film follows Ingrid Thorburn (Aubrey Plaza), a social media stalker who has moved to Los Angeles to push herself into the life of Taylor Sloane (Elizabeth Olsen), and while renting a room from aspiring screenwriter Dan Pinto (O’Shea Jackson, Jr.). The film was distributed by Neon.

I shouldn’t have liked this film as much as I did. Stalking is a serious problem, so making a comedy about stalking that doesn’t belittle the subject matter is difficult. And yet, this film does just that with a combination of smart writing and storytelling, incredible editing, and almost surrealistic performances from everyone involved. The result is a subversive film addressing social media and an incredible debut for Matt Spicer.

Aubrey Plaza gives a dynamic performance, adapting her character for each relationship, making you believe every action, no matter how absurd or over the top. Elizabeth Olsen reveals her character throughout the film, probably the first honest portrayal of an Instagram star, someone you either love or hate. And O’Shea Jackson, Jr. plays an excellent straight man against the insanity of the plot, the only honest voice in the group.

I was also incredibly impressed by all the representations of social media. The rapid fire imagery of the posts, the way it can consume someone’s life, and the genius move to read aloud the text including the emojis, driving home just how self-serving or exaggerated most social media can be. And yeah, this review probably sounds like what I’m talking about, but I, like, totally, really mean it. #IAmIngrid :-)

This film looks, feels, and behaves like social media. I’ve purposefully stayed away from major plot details because I believe it will be a better experience. Whether you love or hate social media, this film will speak to you, and might make you question your own social media habits. I do have a trigger warning for anyone who has been affected by stalking, though, because this film goes to some dark places, but always for a purpose.

Rotten Tomatoes: 85% (CERTIFIED)

Metacritic: 71

One Movie Punch: 9.2/10

“Ingrid Goes West” (2017) is rated R and is currently streaming on Hulu.

Today’s movie is “A Dark Song”, an occult horror film written and directed by Liam Gavin and distributed by IFC Midnight. The film follows Sophia (Catherine Walker), a mother who lost her son three years ago, who has sought out an occultist named Joseph Solomon (Steve Oram) to help her contact his dead spirit through a series of gnostic rituals.

Don’t be fooled by the seemingly over trodden premise. Summoning films come in many forms, generally relying on lighting tricks and blood-soaked imagery, unconsciously based more on anti-Satanism propaganda than any study into Crowley or other gnostic systems. “A Dark Song”, however, is well researched, drawing inspiration from actual occultist writings and concepts, which embeds itself within the sets and props and dialogue.

I love how seriously this film takes itself, from preparing the ritual to working through the purification, feeling the often frayed, raw emotions of Sophia and Joseph. Catherine Walker plays Sophia well, struggling with disbelief and hope, while Steve Oram’s Joseph teeters between being extremely serious and intermittently unreliable, making you wonder if this entire process is one big farce. Both actors turn in quality performances, a key factor in any small cast film.

Gavin also makes use of the beautiful countryside, making it a part of the story. Ray Harmon’s minimal score works well to accent each scene and to smooth the transitions. I think my only criticism for the film is the ending. I can easily see this may have been the intent, bringing Sophia’s internal struggles about her son to a head, but it felt atonal compared to the rest of the film.

“A Dark Song” raises expectations for future summoning films, an impressive feat for Liam Gavin’s first feature-length film. Open-minded viewers will find a serious, intentioned film. And viewers who are interested in the occult will appreciate the attention to detail, even if not exactly correct in its execution.

Rotten Tomatoes: 90%

Metacritic: 71

One Movie Punch: 8.2/10

“A Dark Song” is unrated and is currently streaming on Netflix.

Today’s movie is “The Last Men in Aleppo”, the Oscar-nominated documentary from Firas Fayyad. The documentary follows the White Helmets, the self-organized Syrian community response team that assists at bombing sites to rescue civilians trapped in the rubble. Specifically, the film follows Khaled Omar Harrah, Subhi Alhussen, and Mahmoud as they head into danger and struggle with either staying to protect their community or leaving for a refugee camp to protect their family.

Few people know what it’s like to live in a war zone. Even fewer people know what it’s like to live in the middle of a civil war. And even fewer still when that civil war has turned into a proxy war between larger countries for their own political goals. I would venture to say that most of us who enjoy films probably confuse the sweeping cinematography of “Dunkirk” or the gritty Hollywood realism of “Saving Private Ryan” to be how war looks and feels.

This documentary shows it is much uglier and more destructive than that. The three main characters move from bombing site to bombing site, going in where others are fleeing, demonstrating how the White Helmets are some of the bravest people on the planet. Fayyad doesn’t back down on the horror, calmly filming as not only folks are rescued, but others, particularly children, are pulled dead from the rubble. This is not an easy viewing, nor should it be, and their willingness to continue despite the many deaths is a testament to their heroism.

Our mostly sanitized look at this conflict in mainstream news deals more with political personalities, impressive statistics, pundit rationalizations, and spectacular bombing videos, all of which, let’s face it, are used to move advertising. The western press corps has all but abandoned Syria, and they rely almost solely on social media posts from inside the war zones to try and understand the situation. Fayyad is literally capturing what no major news service is willing to capture – the ground-level effects of a modern, asymmetrical civil war.

My political analysis aside, Fayyad does incredible work on this documentary, letting the subjects speak for themselves, filming both the severe and the mundane to create a tension between horror and hope throughout the documentary, with an excellent score to set tone within scenes and transitions, creating an almost morose beauty within the wreckage, just as the White Helmets are sadly heroic amongst the devastation. And it all leads to an unavoidable, gut-wrenching conclusion. 

Rotten Tomatoes: 100%

Metacritic: 80

One Movie Punch: 9.1/10

“Last Men in Aleppo” (2017) is not rated and is currently streaming on Netflix.

Today’s movie is “After the Storm” (2016), an independent Japanese family drama centered around Ryota (Hiroshi Abe), a former novelist and current private detective struggling with a gambling addiction, paying child support to his ex-wife, Kyôko (Yôko Maki), dealing with the death of his estranged father, worrying about his mother (Kilin Kiki), and working at being a father to his son, Shingo (Taiyô Yoshizawa). The film debuted in 2016 and had a limited release last year in the United States.

Hirokazu Kore-eda wrote the film, crafting a script that genuinely unfolds and unpacks the characters and their relationships in the days before a typhoon is set to reach the mainland. Kore-eda does a great job giving you enough background to give you a sense of each character, but with each new conflict and struggle, particularly with Ryota, you begin to see subtle details that make you re-evaluate everyone and every situation. Hiroshi Abe turns Ryota into a lovable, well-meaning person, if hopelessly flawed.

I was particularly struck by the relationship between Ryota and his mother. Kilin Kiki gives a truly remarkable performance, a perfect foil for Ryota, someone who knows him intimately as his mother, but still struggling to understand herself after losing her husband. Even when she is in the background, she makes her presence known and affects the characters.

In addition to the quality performances and script, however, are excellent locations, not only giving a wide swath of Japanese urban life, but also keeping a pedestrian feel to the story. I also very much enjoyed the music selections, which always augment the scene and particularly the emotion within that scene. Even the filters help define the tone.

“After The Storm” (2016) is exquisite and deserved an Oscar nomination, whether in 2016 or for this year given the limited release. It has a solid script and great performances, and wastes very little. It is rare to watch a film this subtle, playful and genuine that puts emotion over resolution, realism over desire. If you are looking to escape for a couple hours into a family drama that will warm your heart and challenge your perspective, this is the film for you.

Rotten Tomatoes: 97% (CERTIFIED)

Metacritic: 84

One Movie Punch: 9.2/10

“After The Storm” (2016) is not rated and is currently streaming on Amazon Prime.

Today’s movie is “Beauty and the Beast” (2017), the live action remake of the Disney animated classic, starring Emma Watson as Belle, Dan Stevens as the Beast, and Luke Evans as Gaston. Full disclosure: the original animated version was the first film that ever made me cry while watching it, specifically the title song and the dance that accompanies it. I was at my grandparents’ place for some holiday gathering, and we were watching it, and there I was, tears leaking out of my skull.

I didn’t know at the time about oxytocin being released by the right combination of story, score and pacing, of course, nor how Disney had nearly perfected that formula over the years. I also didn’t really analyze the film very much, what with the characters in a classic Stockholm Syndrome situation, and the story ultimately being about a privileged prince that, rather than getting the guillotine, gets yet another chance to make things right. Nor that, ultimately, we’re supposed to learn a lesson that it’s what’s on the inside that counts, but then the prince gets to be handsome again, not to mention all his immense wealth and status.

Which is why when it comes to this remake, I have a lot of questions about the changes that were made. No, I’m not one of those rabid conservative types upset about LeFou (Josh Gad) being gay, nor the inclusion of people of color in the film. But those changes are juxtaposed against the hefty realism of the plague, the expectation of illiteracy for women, and the general classism of the time. I’m all for classic stories being revised for inclusion, but I feel like these additions, while socially important for today, would have been way more effective by taking the setting out of France. Oh, and while we’re at it, why do only some characters have French accents, and the rest are English and, somehow, American?

So, yeah, I have a lot of questions and criticism about the story, and the meaning and/or message we’re supposed to draw from the film. If I put all that to the side, however, then the film is unquestionably spectacular, in the full sense of that word. The costumes and sets and effects are all insanely detailed and well rendered, retaining and enhancing the Rococo-era design with all the new technology of the day. The cast, while working with the material they have in the script, turn in above average performances. And Bill Condon’s direction helps update the animated classic into a live action version, with perhaps a little too much effort on some frame-by-frame recreations.

I don’t think we’re anywhere close to seeing the end of Disney’s live action remakes. I think at last count there were sixteen more in development, including “Dumbo”, “The Lion King”, “Aladdin”, and “The Little Mermaid”. I hope these remakes, especially “Aladdin”, go the extra mile in the script to not just add token adornments, but to truly correct the biases and social tone-deafness of Disney’s previous animated output. Because while these efforts will likely be commercial successes, as “Beauty and the Beast” (2017) was, they could be so much more.

Rotten Tomatoes: 71%

Metacritic: 65

One Movie Punch: 6.4/10 

“Beauty and the Beast” (2017) is rated PG and is currently streaming on Netflix and available wherever you enjoy movies.

Today’s movie is “Captain America: The First Avenger”, starring Chris Evans as Steve Rogers, a sickly young man desperate to join the army to fight the Nazis during World War II. After being rejected for medical reasons, a Nazi defector and scientist named Dr. Abraham Erskine (Stanley Tucci) sees potential in Steve and signs him up for an experimental program, in collaboration with Howard Stark (Dominic Cooper), Tony Stark’s father.

There is so much to love about this film. From the moment Steve Rogers is given a chance, you cannot help but root for him, watching him fail at the physical tests, but using his heart and his mind to succeed where others failed, all under the watchful gaze of Col. Chester Phillips (Tommy Lee Jones) and Agent Carter (Hayley Atwell). After passing a key test, Steve is chosen for the super soldier program, and succeeds in transforming into a much taller, incredibly buff Steve Rogers.

However, the same process that works on Steve Rogers was first attempted within the Nazi weapons division, a terrorist group known as Hydra, on Johann Schmidt (Hugo Weaving), the leader of Hydra. And Hydra has acquired an ancient technology from a church in Norway, a relic from the Asgardians known as the Tesseract, an object of immense power that Hydra is attempting to weaponize.

The cast is a combination of great acting and great casting. Chris Evans, with the help of some nice editing, literally becomes Steve Rogers and then later Captain America. Hayley Atwell debuts Agent Carter with a performance so strong that she would go on for two television seasons and future film appearances, along with Dominic Cooper’s Howard Stark. Tommy Lee Jones is well cast as Col. Chester Phillips, although the role isn’t much of a stretch. And Hugo Weaving as Red Skull brings all the gravitas from his work in previous films. Even little casting choices, like Toby Jones as Dr. Armin Zola have big consequences in later films and shows.

The only criticism I have with the film are some of the slow-motion action scenes, while exuding that comic book panel feel, tend to look overtly green-screened, but that might be because the real-time action scenes were so good. I also feel that viewing the film after the revelations in “Agents of S.H.I.E.L.D.” and “Agent Carter” confuses the narrative, especially given Hydra’s ancient, cosmic, cultic origins. I’m willing to overlook all that, though, with the rapid fire nostalgia and poignancy that keeps this film engaging and enthralling from start to finish.

Rotten Tomatoes: 80% (CERTIFIED)

Metacritic: 66

One Movie Punch: 9.0/10

“Captain America: The First Avenger” is rated PG-13 and is available wherever you enjoy movies.

Today’s movie is “Blue Velvet” (1986), David Lynch’s fourth feature film and the aesthetic precursor to “Twin Peaks” (1990), “Lost Highway” (1997), and “Mulholland Dr.” (2001). The film follows Jeffrey Beaumont (Kyle Maclachlan), who has returned to Lumberton to see his father after an accident places him in the hospital. On the way back from the hospital, he discovers a severed human ear and reports it to Detective Williams (George Dickerson).

The following day Jeffrey seeks out Detective Williams, unable to get the mystery out of his mind, and is advised to leave the case alone. However, Jeffrey runs into the detective’s daughter, Sandra (Laura Dern), and the two of them decide to investigate the crime on their own, using the little knowledge each of them possesses. Their investigation leads to Dorothy Vallens (Isabella Rossellini), a masochistic nightclub singer whose son is being held hostage by the incredibly psychotic Frank Booth (Dennis Hopper).

“Blue Velvet” demonstrates Lynch’s ability to make everyday moments feel sinister and surreal, transforming small town life into film noir, and easy listening rock’n’roll and jazz to dark, fatalist works. Daytime small town scenes are idyllic, awash with primary and secondary colors, and contrasted by the nighttime scenes, with muted, dirty tones and tricks of light and shadow. Between scenes are classic Lynchian transitions, poignant and superb for 1986, setting the tone for the following scenes.

The cast is impressive. A very young Kyle MacLachlan turns in an excellent performance for only his second role, the first being Lynch’s “Dune”. Dennis Hopper’s performance feels so psychotic, bringing Frank to life. Isabella Rossellini is alluring and convincing, tempting any conservatively minded viewers. Dean Stockwell dominates his entry scene. And Laura Dern’s muted performance fits her character well.

A great script, a wonderful cast, and the amazing direction and editing of Lynch can only be complimented by excellent song selections whose lyrics directly influence the film, along with an amazing score by Angelo Badalamenti, who makes a nice cameo as a piano player. Add it all up, and enter with an open mind, and you’ll find probably one of the most influential films from the 1980s, not just for Lynch’s later work, but for so many directors and films to come.

Rotten Tomatoes: 94% (CERTIFIED)

Metacritic: 76

One Movie Punch: 8.8/10

“Blue Velvet” (1986) is rated R and is currently streaming on “Amazon Prime”.

Today’s movie is “A Futile & Stupid Gesture” (2018), starring Will Forte and Martin Mull as Doug Kenney, the co-founder of National Lampoon and the driving force behind “National Lampoon’s Animal House” and “Caddyshack”. The film takes a slightly sanitized look at Kenney’s early days at the Harvard Lampoon through the release of “Caddyshack”, with an insane ensemble cast representing some of the biggest names in comedy during the 1970s and 1980s.

The film is told in mostly chronological order, using Martin Mull as a modern Doug Kenney narrating his story and Will Forte turning in an excellent performance as 1970s Doug Kenney. This storytelling choice opens up a lot of potential which director David Wain and writers Michael Colton and John Aboud exploit with zeal, full of excellent camera work, plenty of fourth wall breaks, and saturated with one-liners, keeping the audience on their toes.

Doug’s story is broken up into three distinct sections. The first section revolves around the formation and rise of the National Lampoon magazine by Doug and Henry Beard (Domhnall Gleeson), including the assembly of the now legendary writing team, and their expansion into other mediums and venues. The second section follows Doug’s first major breakdown, when he leaves the magazine unexpectedly, and the chaos surrounding the media empire when he returns and Henry leaves. The last section follows Doug’s relationship with Chevy Chase (Joel McHale) and Doug’s brief career in films, with only two credits before having another breakdown.

Doug’s personal life takes a mostly back seat in the film, but inserts itself for the major highlights. And while the focus in “A Futile & Stupid Gesture” is on Doug Kenney, surrounding the film is the rise of an entire generation of writers and actors directly influenced by National Lampoon, and insightful looks into how Doug reacted to every success and failure, his own and those of others.

It would be difficult to measure the impact of National Lampoon on comedy as a whole, or the influence of Doug Kenney’s work when he was at his best. The film does sanitize a lot of the very offensive content they published, and while I don’t think we’ve lost anything significant in developing political/social correctness, I do think the boundaries that Doug and Henry pushed opened up entirely new avenues for comedy, some of which are still being explored today. I would like to believe folks can appreciate his genius while still being critical of his choices, and I believe the film does a great job riding that line.

Rotten Tomatoes: 56%

Metacritic: 55

One Movie Punch: 8.2/10

“A Futile & Stupid Gesture” (2018) is rated TV-MA and is streaming on Netflix.

Today’s movie is “Blockbuster” (2018), the debut film from July Hygreck, written in collaboration with her brother, Tom Hygreck. “Blockbuster” follows the breakup of Lola (Charlotte Gabris) and Jéremy (Syrus Shahidi). Lola and Jéremy had been falling in love making videos together about their relationship for Jéremy’s father, who is dying of terminal cancer. However, Lola discovers Jéremy had attempted the same process with other women and decides to leave.

Jéremy attempts to reconcile with her, but she is unwilling to see him. Lola’s friend, Sarah (Laura Boujenah), advises Jéremy to take extreme measures to win her back, so he recruits his brother and his friends to dress up as superheroes and kidnap famous people for a ransom of Lola calling him back. Meanwhile, Lola has met and begins getting close to another man she met in the Laundromat.

My favorite part about this film is the structure. Interspersed between major scenes are segments of the videos Lola and Jéremy made together, helping to fill in the gaps regarding not only their relationship, but also the relationships around them, reinforcing commitments and magnifying heartbreaks. The cast does a great job communicating the emotion of the characters, and the fun celebrity cameos help keep things light, even when they get exceedingly depressing, and the sets are quite colorful, matching the editing in the videos.

My major criticism for the film is that it lacks the grounding needed for the more serious parts. I appreciate the juxtaposition of Lola and Jéremy’s whimsical relationship with his father’s terminal cancer, but moving between the two can be rough. The last fifteen minutes felt rushed, almost like a checklist of loose ends to wrap up rather than any true reconciliation.

“Blockbuster” is a film that you feel more than you watch, with emotive characters and great editing, all backed with excellent song choices. Despite my criticisms, July Hygreck delivers an above average debut film that interests me in her future work. Fans of romantic comedies, or whimsical films, will enjoy the film a great deal, but may leave unsatisfied at the end.

Rotten Tomatoes: NR

Metacritic: NR

One Movie Punch: 6.8/10

“Blockbuster” (2018) is rated TV-MA and is streaming on Netflix.