Need for Speed the movie is based on the video game. Usually you see a video game developed due to the popularity of the movie. As the title suggests there are a lot of fancy expensive very fast cars racing each other and the law. Many car crashes with explosions. Part of the movie was getting from the East coast to the West Coast in time for the race. It reminded me of the movie Smoky and the Bandit. This is an enjoyable movie if you like car chases, car crashes and cool looking cars.
Check it out at KPL.
Autumn Sonata (1978) is a masterful portrait of the kind of personal conflict embedded within family relationships fraught with regret, shame and disappointment. The great actress Ingrid Bergman (who only worked with Ingmar Bergman once) puts in a fantastic performance as the aging classical pianist who tries to reconnect with her two adult daughters, both of whom she has emotionally neglected over the years in pursuit of her career. Racked with guilt, Bergman clumsily attempts to express her deep feelings of regret and love for her eldest daughter (played by the great Liv Ullman) over the course of a long awaited visit. A brilliant a depiction of the corrosive discord between a parent and child, Autumn Sonata’s evocative power revealed that Bergman was still a master at the melodrama by excavating both he and Ingrid’s personal challenges with mediating family, love, art and career.
There is a rich documentary film tradition that has chronicled our nation’s struggle to address the sources and solutions of systemic poverty and income inequality. Films like Roger and Me, Poor Kids: An Intimate Portrait of America’s Economic Crisis, Two Nations of Black America, American Dream, The Queen of Versailles, The Corporation, Harlan County, USA, Enron: The Smartest Guys in the Room, Down and Out in America, Inside Job, have all with their unique perspectives attempted to shine a critical light on the political, cultural and socioeconomic forces that contribute to endemic hardship in a country where national rhetoric and historical myth about opportunity often run counter to the research data about access to resources, class privilege and wealth accumulation. We can now add the new film Rich Hill to that list, a film that details the everyday struggles of several families in the tiny town of Rich Hill, MO. The film focuses on three young men who are entering their coming of age years, fraught and complicated in any context, but for them, the difficulties of growing up without financial advantages are compounded by their parents’ struggle with chronic unemployment, health problems and incarceration. Each boy clings to the idea that the American Dream is real and attainable even when the statistics are clearly working against the likelihood that the boys will escape such cyclical poverty. It isn't all doom and gloom, as the film does show the children doing what average American teenagers do and think about. While the film concentrates on a very small town, much of the film can be read as a reflection of the challenges facing large swaths of both rural and urban cities alike.
Cult writer/director Nicholas Ray made his legendary mark with his post-WWII output, including classic gems like They Live By Night (1949) Rebel without a Cause (1955) and Bigger than Life (1956). Ray’s indelible take on the Western genre was unique and altogether misunderstood during its time. Much of the heavy subtext of the film was either ignored or quickly dismissed by critics who thought Ray’s film was intended to be a standard, cliché-filled Western with easily consumable elements. Instead, Ray’s Johnny Guitar functions as a subtle allegory indicting the anti-communist, witch hunts that were taking place during the time. Joan Crawford and Sterling Hayden give great performances as the misunderstood outsiders who clash with the local townspeople over real and perceived injustices.
Every year there is at least one movie that stands out among the rest, one that possesses the entire creative package and that works substantively on a variety of levels, including emotional, intellectual and visual. Last year, it was the film The Great Beauty that blew me away. This year’s pick is the Polish language film Ida, a masterful work of direction, acting, writing, and cinematography (you won’t find a more beautifully lit and framed film). It’s a film that seamlessly weaves together the residue of historical tragedy into the contemporary lives of its two main protagonists, echoing the truism that to a certain extent, societies and individuals are held hostage by their ever present pasts. And for the 18 year-old Anna (an orphan who grew up in a convent), history will reveal itself in the form of an Aunt Wanda, a woman she was told to meet prior to taking her vows. Anna quickly discovers that her birth name was Ida and that she is Jewish. Wanda is a bitter, hard drinking, state judge whose disenchanted life is filled with lost faith (both in religion and Communism), grief, and the embrace of the kinds of materialist vices unknown to her pious niece. Plotted along a linear path that takes the form of an unfolding road trip, Ida and Wanda’s investigation into the death of their family members forces each woman to recognize internal contradictions about themselves (Wanda’s past may also include her complicity in wide spread death and imprisonment) as well as to shine a light on Poland’s conflicted history, where religious identity, communism, and the Holocaust intersect. Subtle in its storytelling, tender and humane in showing of richly complex characters, classical in its framing of images, Ida is a flawless film that will leave you mesmerized and wondering as to Ida's future.
The whole dystopian thing may have reached the point of oversaturation in our popular culture: zombies, givers, hunger gamers, diverging, purging, maze running—we’ve had so much of it, the genre’s bound to regress into some sort of metaphorical mass-market post-apocalyptic wasteland of itself. And yet this summer’s underappreciated gem The Rover is so delicate in its vision, so realistic in its squalor, you may forget you’re watching something taking place ten years after a catastrophic global economic collapse. Set in the Australian outback, the film depicts a world of desolation and lawlessness, of dog-eat-dog survivalism; there’s no fantasy or sci-fi to this wasteland—this is what real dystopia is going to look like.
Amidst this societal decay is Eric (Guy Pearce), a drifter whose life is as hollow and ruinous as the world around him. While passing through the middle of nowhere, Eric encounters thieves who are fleeing from a botched robbery, and they steal his car. Taking the last possession of a man with nothing left to lose proves to be a bad move on their part, as Eric begins a dogged pursuit to retrieve his vehicle with the steely vigilance of a Terminator. Just when he thinks he’s lost the trail, Eric comes upon a wounded man named Rey (Robert Pattinson) who turns out to be the brother of one of the thieves—badly injured in the robbery, they left him for dead. Eric takes Rey hostage and demands he be led to where his brother’s gang will be hiding out. Rey is the one man who can help Eric get back the last thing in his life that he cared about, but will he be more trouble than he’s worth?
Written and directed by David Michôd, who also made the excellent, Academy Award-nominated crime drama Animal Kingdom, The Rover is suspenseful and well-acted (Pearce is always reliable and Pattinson goes a long way to make you forget all the sparkly vampire paint he used to wear). The gritty world is richly detailed in its bleakness, and the final shot, though some may find it divisive, is a pitch perfect elegy to companionship and a dirge to life before the world collapsed under the weight of selfishness and greed.
Thunderstruck is Freaky Friday for basketball. This is a Disney like movie. A high school student loves basketball but sucks at it. He has the classic sister who video tapes him and the classic high school bully who posts the videos on the cafeteria monitor. A side note, this really shows how times have changed and not changed. Growing up we did not have a TV in the cafeteria, heck computers were not even invented, but we did have cafeteria humiliation. This is the same and is timeless. Make fun of the nerd, Jocks rule. Once that is set, we see Brian at a Thunderstruck basketball game and he gets picked to throw a half court basket which could win him $20,000. He, of course does not make the shot, and instead hits the mascot, thus making it more humorous. But by being selected to throw the ball Kevin Durant signs a basketball for Brian. When exchanging the basketball Brian wishes he had Kevin’s talent and Kevin wished Brian did have his talent, a sparkle appears and we witness magic occurring. Brian now has Kevin’s talent. Brian tries out for the high school team and becomes the star. Kevin loses his talent and becomes the joke of basketball talk shows. We see the classic, Brian rises in high school fame, gets the hot girl, dumps his childhood friend. The girl tells him she liked him pre basketball stardom and that he has changed. Brian sees the light, gives back the talent and becomes the good guy on the high school basketball team. I goggled Kevin Durant and he is a bona fide basketball star playing small forward for the Oklahoma Thunder basketball team. Considering he was 9 foot something ( a slight bit of exaggeration) I had an inkling he was a real basketball player, not sure why he is a “small” forward. How big do you have to be to be a big forward? The message of the movie is hard work gets you where you want to go. This is my message: magic will get you there sooner Enjoy the movie and keep looking for the magic. Come on down to KPL and check it out.
There’s just not enough time to compose a lengthy review of some of the great and not-so great feature films, television series and documentaries that I’ve caught over the past month, so instead, I’m handing out a grade and an abridged appraisal.
Bastards—A grim, pointless waste of time from French Director Claire Denis (C-)
Hateship Loveship—Continued proof that former SNL star comedian Kristin Wiig should keep looking for dramatic roles (B)
Orphan Black—Yes, lead actress Tatiana Maslany was robbed of an Emmy nomination for her multiple roles in this great BBC-produced show about clones (A)
Requiem for the Big East—For college basketball fans who grew up in the 1980’s and recall watching these legendary teams, this ESPN documentary will rouse a healthy dose of nostalgia (B+)
The Bridge—in keeping with the very trendy, neo-noir subject of serial killing and the relationship between detectives charged with solving the mysteries (see: True Detective), this cross-border drama explores the messy dialectics of national politics, the consequences of drug/human trafficking and the tension between rich and poor (B+)
Captain Phillips—nothing here was particularly new, assuming you followed the story when it originally unfolded, but it still remains a dramatically compelling, well-paced action film that will jump-start your adrenalin (A-)
Top Hat & Tales: Harold Ross and the Making of the New Yorker—a satisfactory if not condensed portrait of an eccentric visionary and his creative collaborators who developed a unique and lasting publication (B)
Palo Alto—a drained, vacuous sketch of the psychic ennui of rich, white teens whose lives gravitate around sex, drugs, video games and pathetic, exploitative adults (D)
Stephen King’s Sleepwalkers starts out by having Charles Brady played by Brian Krause get up in front of his class in school and read his paper about Sleepwalkers; a mother and her son and how they have to run from town to town never settling down, how the men would always come to hunt them and thus they give you the whole back story in a nut shell. Just prior to that they had a scene where Charles’ mother is telling him she is so hungry and that he has to find a virgin and bring her home so she can feed. So we know from the get go that they are these are vampire like creatures. Side note: Brian Krause was Leo on Charmed and played an angel. In this role he is the antithesis of an angel. The movie is entertaining and has cameos with Stephen King and Clive Barker which almost makes it worth watching right there. One meant to be over the top humorous scene is when Charles severs the hand of his teacher and says “People should really learn to keep their hands to themselves. Here’s yours” and he tosses the severed hand back to him. I like the way Charles and his mother change into a sleepwalker appearance. It reminded me of the television show Buffy or Angel. Their faces morph into this vampire dog like look. This isn’t the scariest movie, no big suspense build up but it is enjoyable, I especially liked the cameos and the bit overdone humor. This movie is memorable. I was talking with my friend Carlos and he saw it in Spanish. It came out in 1992, he was in the 7th grade at the time and he remembered this movie especially the murdered dead cats and that the Sleepwalkers were scared of cats. For a 7th grader this is a frightening movie.
Brick Mansions is Paul Walkers next to last movie before his death, Fast & Furious 7 being his last. This is one of those movies that you just have to sit back and let it entertain you. I kept thinking, oh my goodness with that many guns and that many thugs surely someone will hit something. But no, Damien (Paul Walker) and Lino (David Belle) keep running down alleys and jumping in cars, bullets flying and for the most part only dumpsters and car doors get shot. Take a section of the city and erect a wall around it, fill it with thugs, toss in a bomb that needs deactivating and you have got your movie. Damien is a cop who infiltrates Brick Mansions with the help of Lino, his mission is to deactivate the bomb. David Belle, who plays Lino, is a cofounder of Parkour, which is a discipline using acrobatic moves like leaping from walls and over gaps, ground rolls and precision jumping. So you have to figure there will be a lot of that in this movie. Come on down to KPL and check it out.