Thanks to the guys over at Film Junk I came across the trailer for the new mumblecore science fiction film Mars that will be debuting at the 2010 SXSW Film Festival. Combining its eye catching visual presentation with its misanthropic tone hopefully will result in an interesting romantic comedy, though the trailer certainly reminds me at times of Dark Star.
But what I might be most interested in for the film, is the involvement of James Kochalka, who is one of the best American independent comic creators currently working. I wouldn’t be surprised if he helped with some of the background animation, but that he is acting in this film gives me hope that some of his outstanding writing talent might be used to help sharpen up the dialogue. Please let it be true.
Over the past few years I’ve become quite the fan of Ozploitation films, and I’ve quite enjoyed the recent resurgence of Australian genre filmmaking. One of my more recent finds was the flawwed, yet still enjoyable, Australian zombie film Undead. And while it was a decent enough independent horror comedy, I must say I found it a bit surprising that the director’s of that film, The Spierig Brothers, were able to secure over $20 million to film their next project. The Australian vampire film Daybreakers.
I’m a bit at a loss on just what kind of film this will be, as the trailers seem to be pushing a glossy action pic, but judging by Undead I wouldn’t be surprised if Daybreakers ends up being a relatively decent budget schlock film. Complete with ridiculous effects, gaping plot holes and over zealous acting. Willem Dafoe is in it after all. And if its a good one, man do I hope it makes it to the multiplex.
I’ve got a secret to tell you, I watched A Serious Man over a week ago. When I went to go see it I assumed I would rush home to write something about it and get it online before any other doink could beat me. Then, due to circumstances beyond my control, I simply didn’t have the time due to watching a few other screenings over the next two days. Which is a good thing, as it allowed me a bit more time to think about the film, and make no mistake, this is a film that will force you to think.
Now, I’m going to do my best to not go into any specific spoilers about A Serious Man, but their are things that I think one should know going in. A Serious Man is a dark comedy, and while it has plenty of comedy the film is incredibly dark. Like most of the Coen’s films this one makes sure to put its characters through the ringer, and in a few cases they are downright unrelenting. I’ve heard people complain that they don’t like the Coen’s films because they get the feeling that the Coen’s don’t like their characters and A Serious Man isn’t going to change their minds, and most likely reinforce that idea, but to me A Serious Man is the one clear instance where the Coen’s are playing God. They are working in mysterious ways and tempting their characters to see if they will sin, and sinning results in consequences, rigorous and immediate consequences.
While Burn After Reading, a better film then most will have you believe, came across as a palette cleansing after the grim No Country For Old Men, A Serious Man dives right back into those murky and dangerous waters where every decision is fraught with risk and their are no easy answers.
Where No Country for Old Men saw a simple man come across a stroke of luck that he couldn’t possibly understand, A Serious Man provides the flip of a coin, where a simple man runs across a stroke of bad luck at the worst possible time, leaving him to question the nature of his life and his faith. And while good luck hardly favored Llewlyn Moss, bad luck provides some hope for Larry Gopnik (Michael Stuhlbarg) to have a better life, if only he finds it in himself to make the right choices. God doesn’t hate Larry Gopnik, he loves him. But he wants him to be a better, stronger more serious man, and he is going to put him through hell so that he can finally reach his potential.
A few other final notes, Stuhlburg has turned in a monster performance in a year filled with them. Not to be out done, Richard Kind follows him step for step in a fantastic supporting turn as Uncle Arthur, Gopnik’s troubled but brilliant brother.
For those wondering, the rather flashy trailer for the film actually does have a tie-in to the film, with many of the scenes having an almost orchestral flow to them as players slowly enter into a scene and interact until it crescendos. For such a dark and subdued comedy, the script comes off almost downright showy with how its structure is so flowery.
As for the ending, its going to perplex people as much, if not more then No Country for Old Men’s ending. Perhaps because it offers far more clues on to what was really going on while providing far fewer answers. I’ve got my theories on to what was actually happening in the film, and I’m quite certain it will take multiple viewings to truly grasp the multitude of events that were transpiring before me.
Just got back from a screening of Zombieland and I don’t have too much to say about it. It’s a solid zom-com thought it is far from the best. The film drags early on and takes its sweet time getting to its actual point but it does have its share of highlights.
First, the opening credit sequence is pretty solid. And by solid I mean really freaking good. It will easily rank as one of the better opening credit sequences of the year and that includes Watchmen. No matter how much I see it, slow-motion plus people running from zombies always seems to work, and Zombieland makes sure to show you things you’d never thought you’d see in a zombie film.
Second, while the film drags for much of its second of four acts it really picks up its game when it introduces an absolute monster of a cameo in the third act. Epic in both the scale of the person involved and what they bring to the film. The cameo elevates the entire film and even when it ends it has built up enough momentum to power the film through a solid 4th act. This performance alone begs the film to be rewatched, and possibly even owned. Its that freaking good.
Third, at around 80 minutes the film doesn’t overstay its welcome, which is good because it feels a hell of a lot longer then 80 minutes. The film has its fare share of pacing issues, but once it finally gets to the meat of its story the film doesn’t fail to produce an entertaining and funny film.
Fourth, the audience I saw this with sucked. Their are few things I hate more then people who try and laugh louder than everyone in the theatre and this screening was full of them. yes, we get it. You know this is a comedy so you want to make sure that everyone knows how funny you think it is. So funny, in fact, that you will laugh at things that are not even supposed to be funny. That way, every one in attendance will know that you, and only you, truly “get” this movie.
So to sum up, Zombieland is a solid and entertaining film that should please pretty much any fan of the genre, even when douchebags in the audience try and ruin the film for everyone but themselves.
Zombieland opens at any theatre worth a damn on Friday, October 2nd.
Just got home from a screening of Bobcat Goldthwait’s newest film, World’s Greatest Dad, starring Robin Williams. While I really enjoyed the film, it is not without its problems. The acting, particularly from the kids playing the students, is downright awful. Some of the adult leads aren’t much better. The plot meanders for much of the first half of the film which makes it appear to be a pretty standard and dull comedy.But once a rather big plot point occurs the films truly becomes a darkly brilliant comedic film.
Williams is great, as he often is when he isn’t playing to his standard schtick, and the film played surprisingly well to the midwestern audience in attendance. Considering how racy the film can be, I found that a bit surprising, but very pleased. World’s Greatest Dad also works as a perfect compliment to a very iconic 80’s film, that shall remain nameless so as to not spoil the film.
Word of warning, the trailer for the film only draws from the first half of the film, which is both a bonus and a detriment, as it makes the film appear to be rather bland when in actuality it is both biting and inventive, as well as being incredibly dark at times. I highly recommend the film, and hopefully it will be playing somewhere near you so you get a chance to check out this fantastic dark satire.
Sadly the film has had its release here in Minneapolis pushed, so it will no longer be opening this Friday, September 4th. Hopefully on the next booking sheet it will have its new release date listed, as this movie is far too interesting to not get a release.
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