A visually stunning sci-fi short film that relies entirely on visual imagery to tell its story. The plot is rather vague and ambiguous, but there are several very clever cinematography tricks used against the backdrop of a desolate, dark landscape.
It seamlessly uses the pan across an object, swipe to a different character, pan, swipe, different character. The slow pans move in closer to the subject following each successive swipe, just like Spielberg did in Jaws as Brody watched the town folk swim in the water while he sat back and nervously watched.
In this story, the antagonist isn’t a shark, though, it’s a large android-like figure with a red band of light covering his eyes, like Cyclops from X-Men. He is chasing after a cyberpunk-looking figure, who’s often running in slow motion, the background a constant source of tension. The ‘cyclops’ weaves in and out of the frame horizontally, creating a demonic aura, though we don’t completely understand his moral position by the end of it.
Great world-building and production design, though it plays out more like a music video than an actual narrative. I couldn’t tell you the motivations of the characters if I tried, but whatever they are, they looked cool going after them. Personally, I would have liked the terminator-style chase sequence to be a bit more frantic and have a little less slow motion. The slow motion implies that we care deeply for this character’s livelihood, but we don’t. Speed it up and it becomes more energetic, intense, and engaging, instead of just simply pretty to look at.
Directed by Ash Thorp and Anthony Scott Burns
A fantastic short film about a man and his baby…and diapers. I can’t pinpoint it exactly, but “The Argument” really was a unique experience for me. It amplified my fear of the responsibility of children, something I’d like to avoid. The story is about a man whose spouse is frustrated with him (we only hear her at the beginning, never see her) and is left alone with his baby when it needs to be changed and there aren’t any clean diapers.
There’s a great tracking shot, cut up into several segments, but all following the father from behind as he carries his baby through the streets and into the grocery store. The baby is crying as he rocks him slightly. There is a distinct lack of music throughout, only the sounds of the crying and the dialogue from the various characters.
After grabbing a pack of diapers recommended by a nearby customer, presumably a mother, he gets in line to buy them. He gets a few looks from other customers; we really feel like we are peering through the eyes of a desperate father scrambling to keep his domestic life together. He ends up finding out that he doesn’t have any money on him. The clerk is stubborn and doesn’t budge despite his pleas.
The clerk says herself, “It’s not my store”, so it doesn’t make a whole lot of sense that she then goes on to chase after him through the parking lot, almost getting run over by an oncoming vehicle. She could have simply yelled out, “thief!”, and the manager wouldn’t or at least shouldn’t have put any blame on her. Maybe there’s a sign in the employee lunch area stating the requirement to physically chase any thief by foot; I don’t know.
A great ‘day-in-the-life’ short film; simple, but powerful in its depiction of the anxieties of parenthood.
Written & Directed by Clara Aranovich
Starring Melvil Poupaud and Naomi Collier.
A new short film directed by Joseph Kosinski, the filmmaker behind Tron: Legacy and Oblivion. It’s the first footage shot on the new CineAlta VENICE Full Frame Camera and, as one would expect, it looks fantastic. It doesn’t hurt that they hired Kosinski, who has been criticized for being too focused on creating brilliant, symmetrical imagery and not enough focus on narrative and character. He’s a technical artist, not a traditional storyteller.
I saw Oblivion in IMAX and was pretty blown away by the precision behind each individual shot. He creates sequences like he’s building a high-speed bullet train, not a slower, more bumpy train with twists and turns. It can be temporarily awe-inspiring, but I’ve never had the urge to go back and re-watch Oblivion. It’s an empty shell of a story.
The plot of “The Dig” is somewhat ludicrous. It features two janitors who look like LA models dressing up like janitors. They look totally out of place and their employers should be skeptical of their motives. They look like the type of people who wouldn’t even put on a janitors uniform, let alone actually work as one. As it turns out, they are performing an inside job to steal the new Sony camera (clever!).
It’s fun to watch, though, as it’s basically just an excuse to show off the mighty prowess of the new Sony camera. Their are plenty of gliding, omniscient aerial shots, and some typical but beautiful helicopter shots of skyscrapers at night. You could count the cop car on the side of the road as one moment of decent tension, but the film is mainly a mystery involving two suspect janitors, not a Hitchcockian slow-burner.
Directed by Joseph Kosinski
Cinematography by Claudio Miranda, ASC.
Starring Taylor Kitsch and Lily Collins
The opening to Edgar Wright’s “Baby Driver” feels a bit braggadocios, a bit indulgent, and a bit too similar to a recent Apple commercial. All in one take, the opening tracking shot follows our main character, Baby, played by Ansel Elgort, as he walks freely through the streets, crossing roads, passing murals, and avoiding bystanders. Each set piece he walks by correlates with the words in the song he’s listening to with his signature earbuds, always at hand and usually blaring full volume.
It’s a clever opening, though very self-referential: “Shaun of the Dead” featured one of the greatest one take tracking shots ever with Simon Pegg’s character bumbling through his town, ignorant of the blood and zombies surrounding him as he yawns his way through the vacant streets. The movie slows down a bit after the opening street dance/music video, getting into the reality of Baby’s life as a getaway driver for low-life, high-stake criminals.
The leader of the operation is Doc, played smugly by Kevin Spacey. Jamie Foxx plays the confrontational character, even having a line in the movie commenting about the crazy position being filled already, by him. Jon Hamm plays a more sedated role as Buddy, another member of the crew; he wants to get the job done and get out of town with his girlfriend as soon as possible.
Baby drives as a result of a traumatic childhood experience involving a car wreck and the death of his mother. He has permanent ringing issues in his ears as a result of the accident, hence the constant music. The soundtrack is the lifeblood of the movie: the characters question it constantly, but when the music starts, Baby switches gears and turns into an 11th grade version of Ryan Gosling in “Drive”. He’s slick and intelligent, knowing the routes by heart, able to intuitively escape from seemingly inescapable scenarios.
Lily James plays Deborah, a young girl that works as a waitress at the diner where Baby’s mother used to wait tables. He’s a regular at the diner and soon garners her attention with a few of his songs and some friendly conversation. They have a runaway vibe throughout, though their relationship can’t be entirely filled out due to his responsibilities to Doc as the whiz-kid driver.
The movie has a lot of heart and clearly a lot of passion for the art of fast-speed driving. The coordination that had to happen to clear the roads and perform the spinning, sliding car donuts must have been exhausting. “Baby Driver” is an exhilarating chase movie made by one of the most inventive action directors of the decade.
“It” wasn’t supposed to garner the biggest September box office opening of all time. “It” had been in development turmoil for awhile, swapping directors, dropping Will Coulter as the actor to play Pennywise, and generally being bogged down by a bad streak of Stephen King movies. The Dark Tower was a disaster both financially and critically. But despite all of the doubts, the team behind “It” moved past it through great casting, a distinct visual palette, and a star turn from Bill Skarsgard as Pennywise the Dancing Clown.
Finn Wolfhard, the main character from Netflix’s Stranger Things, plays the wise-cracking Richie in “It”, a change in tone from his earnest TV persona. He swears and brags about sex he’s never had. He brings a great comedic lightness to the movie, an important glue character that ties the group of troubled kids together.
Bill, played by Jaeden Lieberher, is the stuttering older brother of Georgie, the infamous victim of Pennywise’s sewer tricks. He has an emotional arc surrounding his brother that’s very intense and heartfelt. It’s made all the better by the filmmakers choosing to focus only on the characters as children, not flashing back and forth between their adult years. That will be the sequel, apparently.
Sophia Lillis plays Beverly, the tomboy girl with both an undeserved reputation at school and a hostile relationship with her heated father. She’s looking for someone to latch onto, and the losers, the main group of kids that hangout together, including Bill and Richie, a sympathetic fat boy and a home-schooled outsider, are the first she finds. She is more mature and even looks three years older than all of them. She fits in within their little squad very quickly.
Pennywise isn’t just a scary killer clown; he’s a monster capable of transporting and morphing into different entities. His mouth can shape-shift into a long, wide black hole filled with a hundred spears of teeth. But the natural physical gestures performed by Bill Skarsgard are plenty creepy enough.
An “It” producer said in a press interview that they consciously created a strategy to keep Skarsgard out of the late night circuits and press junket interviews. By doing this, the producer explained, the viewer would see Pennywise the monster first and Skarsgard the actor second. His piercing eyes and odd lip movements are huge aspects of the performance, and his real-life interviews don’t mask these intense features/expressions that landed him the role in the first place. If his face were all over magazine covers, the mystique of the Pennywise look wouldn’t be as immediate or as thrilling. Viewers would look at the clown and be able to point out the quirky gestures of the Swedish actor.
Bill Skarsgard made some sort of comment comparing his performance as Pennywise to Heath Ledger as the Joker in The Dark Knight. I don’t know the context of his actual statement, but if he was saying that he had taken inspiration from Ledger’s Joker, it’s very apparent within the film. He shakes his head and laughs hoarsely at the kids, mimicking their state of absolute terror in the same way Ledger laughed as he was beat down by Batman while being interrogated. The reckless, unfiltered joy in the chaos and violence. They share a lot of common qualities in their performances, though Ledger’s makeup was dried and peeling and Pennywise’s face has been intricately painted and adjusted with CGI effects.
The new Stephen King adaption is a definite success on a long checklist of big-screen failures. “It” is a classic, well-known story with a tantalizingly creepy, enduring villain. If you’re worried about “It 2: The Adults”, be reassured that Pennywise will return and be as welcome as he has been in 2017. He’s a timeless character that will always hold some sort of grasp on audience’s fears.
Get Out is a marvel of a movie in an age where explosions and VFX are the main magnets that pull popular audiences out and into a comfy multiplex armchair. On the surface, both in the trailers and in the first act build-up, it’s a story about characters and social interactions. It plays off cultural stereotypes and commonly misused/abused racial phrases, contrasting some very real and at times shocking attitudes without pulling any punches. Yet it all seems too on the button, too hyper-focused and self-aware to be a movie that’s just about a family not accepting their daughters black boyfriend. And it’s not just that; there’s much more to it.
Daniel Kaluuya plays Chris, an excited but hyper-nervous boyfriend. He leans on his girlfriend, Rose, played by Allison Williams, helping to ease her worries through cute jokes and quips. Rose’s innocent, red-cheeked demeanor feels like a sort of android or human replicant that acts exactly like a stereotypical white college girlfriend acts. She’s way too accommodating to him; there isn’t any real drama between the two of them, only love and kisses, smoke and mirrors.
The films marketing campaign focused heavily on the concept of a white young woman bringing her dark-skinned, African-American boyfriend out to the families farm estate.
The advertisements didn’t reveal much about the intricate plot details. With a very reasonable budget of 4.5 million, the producers of Get Out were hoping that, as a hybrid 2017 horror movie, the film would work best as a word-of-mouth product as opposed to releasing it in a more traditional manner through relentless TV marketing.
The studios certainly didn’t need to buy big TV ad spots in the end. As of mid-April, Jordan Peele’s horror film has grossed an impressive 184 million.
With overwhelming critical approval and praise, as well as the instant name recognition stemming from Peele’s hit show, Key & Peele, the film’s producers had very good reason to take a step back and let the quality of the movie speak for itself.
Director Jordan Peele has always professed a love for horror films, good or bad or atrociously bad. He has also expressed his fairly unique perspective on race. Peele is a half black man raised by and growing up alongside a predominantly white family.
A major part of Get Out involves small interactions between Chris and Rose’ parents’ white, country-club friends. These encounters are sometimes staged bluntly for comedic effect or in a more subtle manner to help build ambiguity and mystery.
At times, the social satire veers towards being a bit too transparent, such as when the father, Dean Armitage, played by Bradley Whitford, insists to Chris that he would definitely vote for Obama for a third term, if he could.
A white man complimenting an African-American man on his “prowess” or “muscular strength” may appear to be a compliment at face-value, but those on the receiving end of the compliments clearly feel uncomfortable. They feel like they are being evaluated. It’s as if their body and entire being are being mentally measured and weighed for current or potential value, similar in a way to the extreme scouting tactics used on young, pre-teen athletes.
The story arc comes and goes without any lingering moments dragging down the fast-paced narrative. The first half introduces us to the characters and scenarios, giving the audience time to think about the direction of the story, to ponder about the potential twists and turns. Peele buys himself enough time in the first half of the movie to convince the audience that we know what kind of movie we’re watching, only to have the rug firmly pulled out from under us in the final act.
Some of the plot points don’t entirely add up, though I won’t go into spoiler territory. I think It’s important, though, to think more about the social and cultural messages rather than the labyrinthian, complex narrative.
The story details don’t 100% hold up upon multiple viewings, but the entertainment value remains the same. There’s plenty to talk about, and part of the fun is seeing it with someone for the first time and helping them fill in the pieces to the puzzle. Compared to the multitude of uninspired and unoriginal horror films being punched out these days, Get Out should get an oscar nom.
Overall, Get Out is a thoughtful look at race relations in America. It’s both funny and bleak in the way that it shatters stereotypes that people still commonly use to this day. A piercingly bold and occasionally frightening ride through the eyes of a young African-American man.