swmayer Reviews

Chronicle (2012)

A film about the people with the powers, instead of just the powers.

[8/10 · 29 April 2012]

All right, just got back from seeing twenty-seven-year-old Josh Trank's first blockbuster: Chronicle. I've got to say knowing you can make films like this at my age makes me feel like I'm way behind the curve. The first ninety percent of this flick is absolutely stacked with perfect pacing, real characters, and a great new twist on an old story (mainly, teenagers develop some sort of power and have to figure out to cope with it). What makes Chronicle unique is how raw it feels. It doesn't have the smooth cuts and pans and close-ups of a traditional film. Certainly it's not the first film of its visual type: The Blair Witch Project and Cloverfield come to mind, but this film manages to bring a whole new element into the style that makes it more than just a movie with a wobbly camera and a "found footage" trope. First off all, the movie uses more than one camera. Instead of focusing on just one camcorder and a found tape, this film pieces together "natural" camera footage (mainly from three separate camcorders but also later from news and security cameras). This gives the director more freedom to cut to characters in different places. Though, it seems the more the director sticks with the two cameras owned by the three main characters, the more the film seems to retain that raw, natural feel. The last ten percent or so of the film, where Trank uses a lot of extra cameras to change his shots up, I feel like the film loses a lot of the realistic credibility it worked so hard to build up. But, overall, this film breaks new ground in the "handy-cam" genre.

From here on out, beware of spoilers. The film begins with no opening credits. It sets up the audience with an immediate introduction to the owner of the camera, Andrew. Andrew runs the camera to try and record his life. He's a loner with an abusive father and no friends to speak of. His cousin, Alex has a limited relationship with Andrew, though it is hinted at they were closer when they were younger. While at a party, a very popular kid name Steve rushes up to Andrew and tells him to bring his camera along. From there, the three become their own clique, tied together by an inexplicable happening late that night that endows them all with telekinetic powers. From there, the three boys have to deal with their original (teenager) problems but with the addition of having to learn how to harness this power, when it is appropriate to use it, and how to keep it in check when emotions grow hot. This truly is where this film leaves the other handy-cam films behind. It tackles the upsides and downsides of having powers, without resorting to the kids donning suits and attempting to emulate their favorite comic book heroes. Instead, these kids use their powers in the ways that come natural to each of them — for reasons that seem natural to their problems, desires, and personalities. A unique and realistic relationship is built between the three of them, and the sort of interior, subtle power struggle in the group keeps the film about people instead of about powers.

Other, welcome additions to the handy-cam genre are a mixture of great sound, assorted, subtle film textures as we me move from one camera to another, and the unique ability for steady, moving shots due to the camera being utilized by characters with telekinetic abilities. This allows the camera to float during many of the scenes where it wouldn't do to have it jostling around or have it set in a single place. This was a very unique way to solve the problem of wanting those "theatrical" kind of shots without breaking the illusion of reality. To some extent, this sense of reality is broken toward the end during a climactic battle scene, where supposedly we are watching footage from news cameras, but it seems too cinematic and doesn't mesh too well with the other camera work.

But the film is definitely worth a look. There are more than a few exhilarating moments, moments when the hairs on your arms will stand up, and real, human moments you'll find yourself smirking at these teenage boys that should seem familiar to anyone who went to high school that wasn't an all-girls school.

Fast Five (2011)

Fast Five (or Ocean's Eleven with Dodge Chargers)

[7/10 · 1 May 2011]

By the time a franchise gets to its fifth film you're probably worried that the laws of entropy are in full effect, and for good reason. Outside of horror franchises, how many fifth films can you name that were anywhere close to as successful or entertaining as the original? Maybe it had to do with having low expectations (after all I've suffered through 2 Fast 2 Furious and have wiped all memory of The Fast and the Furious: Tokyo Drift from my conscious mind) but Fast Five seriously struck me as a fun to watch, exciting and funny action flick.

The basic premise is nothing new for a crime movie – bring in a team of the best in your field to split a multi-million dollar score that will allow for a cushy retirement from a life a crime. In this case, that score is to be had against the most powerful man in Rio de Janeiro.

To accomplish the job, lifetime criminal Dominic Toretto and former federal agent Brian O'Conner bring in a team of all the best racers and specialists that they have met along the course of their illustrious careers. Characters like Vince, Gisele, Han, Roman, Tej and other favorites come out of the woodwork for the big score.

Making that score becomes even more difficult when the United States government becomes involved and sends a ringer in to catch Dom and O'Conner. Agent Hobbs (Dwayne Johnson) is a match for Dom in almost every way. He's big, determined, and has the resources of the U.S. Department of State, Diplomatic Security Service at his disposal. Hobbs commissions the aid of a rookie Rio cop named ElenaWith her help, Hobbs makes life for the Ocean's Eleven-esque crew even more difficult. A ray of hope for Dom and the others lies in Elena, the widow of a clean cop offed by Reyes before the start of the movie. Elena will come up against a choice of doing her job without question or taking a shot at helping the criminal crew make a score against Reyes.

Aside from a fairly easy to follow plot this film has what you would expect, a solid soundtrack, good looking people in skimpy clothing, humor (though mostly as shallow as the human emotions portrayed) and, of course a barrage of fast cars in adrenaline charged chase and race scenes.

If you've stuck with the F&F franchise, odds are you are wondering what sort of cars you can expect from the most recent installment. I doubt you'll be disappointed. Let's take a look at a few of the cars you'll see.

Of course, Dom's immortal 1970 Dodge Charger is back, though in this setting it's forced to look a little less mean and impressive in order to stay under the radar. It's not the only Charger in the film – not by a long shot. Fast Five is filled with 2010 and 2011 Chargers (some realized as police vehicles and others are modified Chargers driven by Dom and O'Conner for the final heist). To round out the Dodge product placement was a 2010 Challenger.

Many of the modern cars in the film were used by the team to try and beat a camera array in a parking garage and driven only on an indoor test track. It gave filmmakers a good excuse to run some modern, hairpin turn capable cars like a Porsche GT3, 2010 Subaru STi, Nissan 370z, and others across the screen. Additional modern cars include a Lexus LFA, 1996 Toyota Supra, and a Koenigsegg CCX.

Classic car buffs have more to look forward to then Dom's Charger (a nice surprise after the NOS engine, rice-rocket sounding cars that have come to symbolize the franchise). Though the screen-time is brief, we see some work done with a '66 GT40, '66 Corvette Grand Sport, and quite a few other 60s and 70s muscle cars. Motorcycles weren't left out either as a real hot Ducati Street Racer (with a real hot Gal Godot on the throttle) makes an appearance.

If your taste in cars is at all similar to my own, you might find yourself drooling over Hobbs' government issued SUV that looks like a gorgeous, khaki-colored, utilitarian, armored behemoth on wheels and monster-truck shock absorbers. To save you some research, this beast is called a Gurkha LAPV. It's built on a Ford F550 chassis and was developed to withstand IED attacks with optional NATO level 3 armor. Though the top speed is about 90MPH, this beast is the perfect vehicle for the tight streets and uneven terrain encountered by Hobbs in his pursuit of Dom through Rio and surrounding areas in Brazil. And sorry, this vehicle is not available to civilians. Other than the cars there are a few more good reasons to head to the theater for this film. Adding Dwayne Johnson to the cast finally gives Vin Diesel someone imposing to match up with physically. Johnson's character Hobbs is a tough guy who lives like there is a strict line between black and white. While some of the characters in the film only have time to come off as two dimensional, Hobbs has three dimensions and is forced to make some choices that put his multiple motivations up against each other. Don't expect any Oscar worthy acting from Johnson or any of the other folks involved and don't expect some sort of gritty Eastwood realism and you should have a good time. As I mentioned, the plot of the film isn't real twisted, unique, or surprising, but it's fully realized and satisfying by the time we reach the conclusion.

The Ex (2006)

An EX-tremely Awful Movie

[1/10 · 27 June 2007]

I love most of the actors in this movie, Zach Braff, Amanda Peet, even Charles Grodin. I'm sorry to say, that even the best actors could not have saved this film.

The entire movie is a "what can go wrong, will go wrong" plot from hell, but unlike other movies that have success with the idea this one flops; at every opportunity. The movie was physically painful. From nearly start to finish, I had my head in my hands or pulling out my hair. My chest ached. The whole ride home consisted of my wife and I trying to think of the last movie we had seen that was as bad.

The movie had few-no saving graces, possibilities being the kid who played Wesley, and a short marriage counseling scene.

I could not recommend this movie to anyone outside of the GIs who need a non-violent torture tool in Gitmo.

Keeping Mum (2005)

Keeping Mum: A Keeper

[6/10 · 9 April 2007]

I was surprised when I stumbled over this at the rental store. Seeing Rowan Atkinson on the cover made me take a second look and I'm glad I did.

Atkinson plays a quirky Vicar whose family needs a bit of unorthodox fixing. Maggie Smith, the new nanny, is just the thing the family needs, but her methods are far from ordinary. The twisted bit of humor is accented by Atkinson's mostly straight-man like role that is reminiscent of his stand-up and some of his sketches with Monty Python.

The plot, though predictable, is entertaining and moves at a comfortable pace. The supporting cast does a great job of filling the multiple scenes that do not include Atkinson or Smith. Swayze is particularly good at being a dislikable American stereotypical sleaze bag.

Be sure to watch the special features to catch an extended scene of Atkinson tending, or as I should say "Keeping" goal, as best he can. It's a great bit of icing for this quirky picture.

This is definitely a film worth seeing if you're interested in a bit of dry and dark comedy.

Dogville (2003)

Dogville: A Different Sort of Hospitality

[7/10 · 8 April 2007]

This movie starts slow and stays that way. It has a long run-time, limited musical accompaniments, a single, static set and a dark melancholy plot line.

That said, if one is patient enough (or just interested enough in John Hurt's magnificent narration) there is a gem to be found here.

Nicole Kidman plays the role of Grace, a young woman who wanders into the town of Dogville after a series of gunshots had echoed in the distance. There she encounters a different sort of small-town hospitality. After a two-week probationary period the town agrees to shelter her from the law and from the gangsters she had been running away from.

The set for the film consists of very little. Many of the items are no more than labeled chalk outlines, described in greater detail by the story's narrator. No walls stand around the houses, allowing the viewer to see the entirety of the characters' lives much the way they would in a novel where the narrator is omniscient. The openness of the town aids in relating the progression of the view of the characters from merely suspicious small town folk, into truly despicable human beings who are more than willing to take advantage of a person to the point of blackmailing her into becoming a slave to be chained and raped. Perhaps the best example is provided in the foreshadowing statement made by the character of Chuck (Stellan Skarsgård ) who said: "I've found out that people are the same all over. Greedy as animals. In a small town they're just a bit less successful. Feed 'em enough, they'll eat till their bellies burst." Paul Bettany's character of Thomas Edison is only one who seems to be on the fence of love for Grace and his own self-perseveration. Ironically, and painfully for Tom, Grace is had by all the men of the community save he, who she assures she loves. This sexual frustration only adds to his already strong feelings of inadequacy that he has developed in his failings a writer. Eventually he calls the gangsters and has Grace locked in her room, hoping to profit from the endeavor and leave the painful problem of Grace in his past.

When the gang arrives and it discovered that the leader (played by James Caan) is actually her father, Grace has a decision to make: Does she forgive the flaws of the people of Dogville, or does she punish them for the terrible crimes they have committed?

The film masterfully builds tension ever so slowly, but its real strength is in the depth of the characters who the viewer can sympathize with in one moment and despise the next. These contradictions make the Grace's final decision all the more real.

Pan's Labyrinth (2006)

Pan's Labyrinth: Perhaps the most hauntingly wonderful fantasy film: period.

[10/10 · 7 April 2007]

The mix of reality and fantasy only adds to the appeal and the mix of the brutality the real world has to offer is matched against the evil and the fantastic hiding around them.

The story is about a young girl (Ofelia) who finds herself constantly with a book across her lap. Her father has died before the movie begins and she is forced to move with her pregnant mother to a battlefront to live with her stepfather, a Captain who is desperately trying to live up to his father's military prowess and stem off the attack of Spanish rebels.

Del Toro takes some poetic license with his portrayal of the faun, who is more tree than goat, but the portrayal is nothing short of perfect. Though, not as prevalent in the film as in other fantasy films, the creatures are some of the most memorable in the genre.

The creature encountered during the second task is particularly creepy, as he awakes to pursue Ofelia in search of a living meal.

The conclusion of this film is satisfying, if vague, and is one I would see again and again; of course it will be one that the kids will need to be put to bed before watching.

A Clockwork Orange (1971)

"When a man cannot choose, he ceases to be a man."

[8/10 · 6 April 2007]

In this case, Kubrick's haunting directing and McDowell's disturbing portrayal paint Alex de Large as man for the sake of his monster.

Large is a violent, drug using, rapist, turned accidental murderer with a sickeningly easy going attitude. Through a series of seemingly random crimes he and a crew of three others rampage across what seems to be a futuristic London landscape and cityscape reeking general havoc on the population. Explicit scenes depicting sinister nudity rattle the viewer into a sickness that rivals the one later induced on Large through a series of "therapeutic" sessions in which he is forced to watch scenes of sex and violence while drugged.

The impression of these scenes sticks to Large and is virtually incapacitated whenever he attempts an act that is violent or sexual in nature. Allegedly coincidently (though the cell-search scene in which Large's interest in Beethoven is discovered by his tormentor suggests otherwise) he is also conditioned to react the same way whenever the ninth symphony falls on his ears.

Large is subjected to the rejection of his family and the revenge of the souls he wronged in the beginning portions of the movie and eventually attempts to kill himself. His attempt fails, but his extended unconsciousness erases his conditioning and the final scene hints at his future return to his disturbing crimes.

Large is frightening human. His narration borders on quaint as he feels himself to be a sort of hero. Instead he depicts the anti-hero; a protagonist too human to understand that his drives and lack of ingrained moral senses are abnormal. Whether driven by the search for a new high or a disorder native to the most frightening of psychopaths, the "humble narrator" of this film will not be easily forgotten.