Film – Page 3 – We Are Movie Geeks

THE DIABOLICAL – The Review

An original idea is not necessarily enough on its own to ensure a successful film, but it certainly is a good start. Let’s call this half the battle, while the other half is the execution. This is where THE DIABOLICAL falls short. Despite this unfortunate set back, this debut film from writer-director Alistair Legrand has some commendable elements that make experiencing the film a worthwhile endeavor.

Aside from having a super cool name to plaster onto the title sequence of his film, Legrand also has some intriguing ideas. THE DIABOLICAL is, for lack of a more refined terminology, a mash-up of genres, namely horror and science-fiction. This is certainly not the first time these two genres have collided, but never quite like this.

THE DIABOLICAL stars Ali Larter (from TV’s HEROES) as Madison, a single mother raising two adolescent children while struggling to make ends meet. Her son Jacob, played by Max Rose, is trying to cope with some aggression issues, while their house seemingly is haunted by some pretty grotesque entities that come and go sporadically. She’s tried everything from the police to doctors and paranormal experts, but no one believes her story.

The audience, on the other hand, does get the pleasure of being thrown head first into Madison’s dilemma as Legrand wastes no time in establishing empathy in the viewer. In the first 5 minutes of the film, Legrand puts us face-to-face with a far from pretty apparition and we immediately expect to have a wild, terrifying ride. Shortly thereafter, the pace slows and the heavy burden of developing the mystery without giving away its golden cherry too soon begins.

Before we get started, let me clarify one thing… I hate the title of this film. Sadly, it’s yet another example of a title that not only has nothing to do with the film, but also presents the film in a false light. Granted, there’s a surprise twist to the ending that needs to be protected [no spoilers here] and perhaps the filmmakers chose the title to be typical of the haunted horror genre as to not give anything away.

THE DIABOLICAL is a film that suffers from its own setup. The first two acts are slow to develop. There is little of any significant interest in the first two-thirds of the film, while we watch and wait for some glimmer of hope that something cool and unusual will unfold… and it does, but you need to be patient for the payoff. In short, its like waiting in an hour-long line for that burger everyone is talking about, then once you finally get to eat the thing you realize its far from the best you’ve had, but still pretty good.

One of the biggest downfalls of THE DIABOLICAL is that the character development is weak. Legrand had such a cool concept for a story that he seems to have forgotten that a story needs good characters, even if the plot is spectacular. On the flip side, Legrand manages to start out with a fairly straight-forward, standard modern haunted house template and injects it with a wonderfully creepy, science-fiction undertone that builds gradually toward the final act.

THE DIABOLICAL has some decent jump scares and does build some baseline tension, but I would not go so far as to say the film is “scary” by horror fan standards. The most deliberate and readily available terror comes from piecing together the mystery and discovering the truth of what’s happening, not unlike watching an 86-minute long episode of THE X-FILES. Sure, Madison and her family are being terrorized by something unexplained, but that’s almost occurring in the background as we look past the primal fear factor and looker deeper into the clues and the curious differences in how the entities present themselves. That is key to getting the most out of this film.

The special effects in the film are pretty good, not spectacular, but well-done for what this film is and becomes. At first, the effects may seem confusing or misplaced at times, but stick with it and it all makes sense. I found myself frequently reminded of past classics throughout the film, from Cronenberg’s VIDEODROME to Wes Craven’s SHOCKER and even Geroge Lucas’ THX-1138, but they’re all small winks and nods, nothing major or heavy handed in how much is borrowed. Viewers will undoubtedly find other influences, but I’m purposefully refraining from revealing these as not to leak any of the film’s fragile leverage on the first-time viewer.

There is so much I want to discuss with you about this film, that while not flawless, is certainly a film I think will have people talking, especially genre fans. THE DIABOLICAL is the kind of film presents ideas that engage certain overactive, creative minds to discuss and speculate. As a first film, I admire what Legrand has accomplished in concept and shows me that, with more experience under his belt, could become a filmmaker to watch out for in the future.

THE DIABOLICAL releases in Theaters, on VOD and iTunes
on Friday, October 16th, 2015

Overall Rating: 3 out of 5 stars

FINDERS KEEPERS (2015) – The Review

How can anyone argue with the rules of our childhood? Finder’s keepers is as sacred an adolescent law of survival as calling shotgun of implementing the infamous triple dog dare. But, what happens when we employ these tactics in adult life? One possible eventuality plays out in real life as the subject matter of a new documentary from Bryan Carberry and J. Clay Tweel.

FINDER’S KEEPERS follows the antics of two men, John Wood and Shannon Whisnant. John Wood lost his leg in a small plane crash that killed his father. Shannon Whisnant is an entrepreneurial picker who purchases the contents of a storage unit at an auction and discovers John Wood’s amputated leg inside a smoker grill within the storage unit he purchased.

You may be asking “how does something like this transpire?” Believe it or not, it all makes sense once the film explains the circumstances, but none of that changes the fact that truth is so often stranger than fiction and some real people are far better characters than can be written. John and Shannon are similar in ways, but are essentially polar opposites when it comes to how they view the world.

The filmmakers who brought us this film may have seen a quirky diamond in the rough, but FINDER’S KEEPERS does manage to tell an interesting story of human desires, delving into what makes these two curious characters tick. On the surface, the film feels like something hosted by Maury Povich or Jerry Springer, with absurdly eccentric characters quarreling over the silliest or strangest of squabbles. However, as the film progresses, the underlying human drama emerges, peeking its head out from behind the cantankerous curtains that separate these two men, revealing some raw emotion of illustrates the true fragility of human dreams and passion.

FINDER’S KEEPERS is not perfect. Few, if any films truly are, but in this case, it’s misleading. In all fairness and full disclosure, I’ll freely admit it took me two viewing to appreciate this film. Upon my first experience, I found the film to be funny and enjoyable, if not even interesting on a tabloid level. The laughter continued, and then a bit less, then a bit less, and I found the level of interest I had in the film was waning and I was growing bored. This was not a good sign.

Then, as any decent critic should at least consider doing, I gave the film a second chance. Still not perfect, but with this second viewing is when all the undercurrents of humanity poked through the surface sludge of silly sensationalistic slander. FINDERS KEEPERS was actually addressing the inner dreamer in all of us, even if we don’t look or talk or behave like these two men, it’s still essentially our story. There is something desired, but it’s just out of reach, despite of perseverance.

As Shrek would say, “people are like onions.” This is true, and not just in that some people stink. People have layers, many layers and these layers are not all the same. There’s not always a pearl within, but the process of peeling away the outer, decaying layers serves to reveal the true self. FINDERS KEEPERS does this for John and Shannon, but in two distinctly different directions.

John Wood is a man whose had a long, hard run of bad luck and poor choices he now lives with while trying to reconcile. He may have began his life in the luxury of a wealthy household, but for better or worse, it’s the choices we make that define us… FINDERS KEEPERS is a film about those choices.

While the film does become somewhat repetitive in its content, it’s a short feature film, running a pleasantly well-paced 82 minutes. While the intent, I believe, is to stay impartial, the truth of the matter is that we rarely ever feel sympathy for Shannon. We find ourselves empathetic for both characters, but ultimately Shannon is the heel, the villain, the antagonist. John, on the other hand, is clearly the protagonist, made out as the victim and showcased as the more likable character, despite his flaws.

The problem with Shannon is that he’s not an easy guy to like, even if we find a bit of ourselves in his persona, a bit of that dreamer or and rebel combined. FINDERS KEEPERS fails to compel its audience into caring much about its central characters, but it does raise some interesting philosophical questions, such as… if I buy a grill at an auction and find a human body part inside, do I retain the rights to that body part as goods purchased, or does the body parts’ owner retain the right to claim it back?

Something to think about.

Overall Rating: 2.5 out of 5 stars

A BRAVE HEART: THE LIZZIE VELASQUEZ STORY – The Review

Life is hard. Just speaking in general terms, the daily grind of modern life takes a toll on the human mind, body and spirit. Granted, we’ve done all this to ourselves, but still the drive to survive and succeed in life is a daunting endeavor. Now, consider you’re not “normal” by society’s standards? Consider the playing field is not level in your life, but rather has been shifted and upended to resemble something like a cruelly insane funhouse ride. Consider what it would be like to have an undiagnosed syndrome that, amongst other things, causes your body to look so abnormally different from everyone else as to be labeled a freak? How do you feel, right now?

A BRAVE HEART: THE LIZZIE VELASQUEZ STORY is a new documentary from director Sara Bordo that made waves and garnered immense support when it played at the SXSW Film Festival. As the title suggests, this is the story of Lizzie Velasquez, a young woman born with an unexpected, undiagnosed condition that has taken an enormous toll on her body and appearance. Lizzie endured incredible hardships growing up, awkward questions and unpleasant stares from other kids, from strangers on the street, as well as the often-inhuman cruelty that is dealt out in high school. All of this and more, yet Lizzie remains perhaps one of the most amazing, positive and compassionate human beings you’ll ever hope to have a chance to meet.

What is it that makes Lizzie tick? There is a strength we witness in watching A BRAVE HEART that shines like a beacon through all the ugliness and negativity we see in the world. Lizzie is the very best of human nature with pretty much all of the nasty crap cut out. She is just a good, honest, real, sincere, likable person. What Bordo does with the film is to unveil a portrait of what we all can be, what we all should strive to be, but rarely excel to become.

A BRAVE HEART introduces us to Lizzie, intentionally allowing us to dwell on her appearance at first, allowing us to run through our natural human emotions. Bordo allows us to get all the inevitable societal bullsh*t out of our systems before we delve into the heart of Lizzie’s story. We learn a little of her history, we hear the expected stories of growing up as a child that’s different, but the really cool thing that Bordo does is to spend far more time and focus on the positive experiences Lizzie has had growing up. She made friends, participated in extracurricular activities, including cheerleading, and was generally liked by her peers. It seemed, for a while, Lizzie had defeated the grotesque elephant in the room without even having to put up much of a fight… then social media happened.

I am as much a user and supporter of the Internet and social media as the next modern member of society, so I’m not saying it’s inherently bad. However, after seeing A BRAVE HEART, I am much more critical of how some people choose to use this amazing technology and how little use they choose to give their own lives in this world. Lizzie unwittingly discovers that someone has posted a short video clip of her on Youtube with the simple, straightforward title “The Ugliest Woman in the World.” This sup-standard human specimen – one which some would refer to as a “troll” (no, not the kind that lives under a bridge, that I am aware) – has garnered a small level of anonymous cyber-fame by way of shamelessly bullying another human being.

Within what surely seemed like microseconds, Lizzie’s world fell apart. The terribly, vile things being said about her on the Internet by people who do not know her or have ever even met her, going viral and spiraling endlessly into a 7-figure view count, this all came down on Lizzie like ten tons of lead bricks. For most of us, we’d crumble in the wake of the emotional weight, have a nervous breakdown or disappear and isolate ourselves from society altogether. But for Lizzle, this absolutely incredible young woman, it ends up being the key to shedding her inhibitions and triggers her true self to emerge and take control of her life.

Lizzie fights back. Not fire with fire. Not with violence and vengeance. Not with hatred, but with courage and compassion in the face of ignorant malevolence. Instead of hiding or making excuses or succumbing to the ridicule in some other way, Lizzie stands up tall and proud, faces her demons eye to eye – or as much as she can when those demons hide behind the anonymity of the Internet – and she speaks openly and intelligently from her heart, saying this is who I am. My thoughts, beliefs, dreams and desires are what define me, not what I look like. She makes the case that it’s what she chooses to do with her life that matters, and what she does truly matters.

A BRAVE HEART does touch briefly on another case of cyber-bullying that had headlines in the news, but this is ultimately to tie into Lizzie meeting and being a mutual, reciprocal inspiration for the other person. This is Lizzie’s story and she’s going to keep telling it, but not to benefit herself… it’s to benefit others and fulfill what she believes is her life’s calling.

I’ll admit, this review may sound more like a marketing plug than an unbiased critique. I’ll accept that for what it is and counter by stating this; A BRAVE HEART is a modern gem of inspirational documentary filmmaking. It’s a testament to the resilience of the human spirit and a testimony to having faith in the human race where it often seems a lost cause. See this film as adults, share this film with children of all ages, discuss and repeat. Help spread the seed that Lizzie is sowing and by God, help this young woman make a difference in this world.

A BRAVE HEART opens nationwide on Friday, September 25th, 2015

Overall Rating: 4 out of 5 stars

HELLIONS – The Review

Bruce McDonald is a name with whom few readers will likely associate with anything, but for those few of us who do, we know this Canadian-born filmmaker has some under-appreciated talent. Perhaps his best-known film, McDonald wowed genre film fans in 2008 with his groundbreaking PONTYPOOL. Since then, rumors and theories about a follow-up sequel have endured endless revivals in smaller circles of horror fandom. So, despite having a few lesser-known non-horror films to his name since 2008, I and others were excited to see McDonald return to horror just in time for Halloween.

HELLIONS is McDonald’s latest film, written by Pascal Trottier, best known for screenwriting THE COLONY (2013), combines McDonald’s unconventional storytelling sense and Trottier’s knack for cerebral flair. The film stars Chloe Rose as Dora Vogel, an apathetic teenager who unexpectedly discovers she’s pregnant and must survive Halloween night when her home is invaded my trick or treaters wanting much more than candy. An overbearing mother and a lack of direction in her life are quickly the least of her worries as she stays home alone on Halloween night and finds herself the target of some creepy child-like tormenters.

The first thing I noticed about HELLIONS was how familiar it felt. The film serves up a number a standard features for Halloween-themed horror films. The devilish trick or treaters often reminded me of the beloved Sam from TRICK ‘R TREAT (2007) but also, as the film progresses, brought back nostalgic memories of watching Stephen King’s CHILDREN OF THE CORN (1984). The film takes place in a small town, one which certainly evokes that of Haddonfield, Illinois. There’s even a moment when Dora cracks a joke about how the town would probably disappear from the map if not for Halloween.

These are all things that lead one to believe HELLIONS is McDonald’s ode to the cherished holiday of horrors. We can read even further into this, if we like, including connections to such films as Roman Polanski’s 1968 classic, or as a stretch, even to Stanley Kubrick’s 1980 masterpiece, as Dora lives on Overlook Road. I’ll refrain from digging any deeper at this time, given the spoiling nature of such a pursuit. Ultimately, all of this alleged homaging is not the purpose of the film.

In returning to the meat of the film, HELLIONS also stars veteran actor Robert Patrick as the town’s sheriff Corman, who has a close relationship with Dora. Corman serves as a crucial supporting role later in the film, but Dora is not just the central character in the film but also damn near the sole focus. In many ways, HELLIONS is a single character-driven psychological mind-screw as we travel through the fears and nightmares Dora endures. McDonald does not spoon-feed his audience, shying away from any traditional horror formula, even if the film as a whole fails to present any truly original idea of its own.

Once the film comes full-circle, certain to have lost some viewers and engaged others into giving birth to a far-reaching tangent of theories and side stories connected to the film, HELLIONS is a sonically and visually captivating horror film that will serve well for Halloween viewing, given its relatively short 80-minute run time. Anything more and the meat of the film would have rotted off the bone, leaving just the skeleton of a good idea. McDonald successfully pares down the film, keeping it smart and spunky.

HELLIONS also co-stars Rossif Sutherland as Doctor Henry and Rachel Wilson as Dora’s mother Kate. Once again, these characters have minor significance in the grand scheme of the film, but rather serve as pawns in McDonald’s game of gory chess to setup the ensuing insanity. The film boasts some respectfully accomplished special effects that are low-key but highly effective and also an eerie, intensely-disturbing score that is beyond creepy, if not somewhat repetitive in its recycled usage. I will give special acknowledgment to cinematographer Norayr Kaspar, who captured Dora’s tormented mind and soul as an external interpretation on film. This goes a long way in making McDonald’s vision an intriguing experience, despite the film’s flaws.

HELLIONS opens in theaters and VOD on Friday, September 18th, 2015.

Overall Rating: 3 out of 5 stars

THE BOY (2015) – The Review

As parents, we often stress and worry over whether our children will be born disabled, or whether they’ll grow up happy and be successful. As parents, there are so many things to consider and be concerned about involving the well-being of our children, but it’s almost always centered on one key word… weakness. As parents, the worst thing we often imagine is that our children will be weak and unable to shoulder the burden of living in today’s world.

Perhaps weakness is not the true elephant in the room, or shall I say demon in the closet. What if… instead of raising a child that’s physically, mentally or emotionally weak, you found yourself raising a child that is physically and mentally strong, but emotionally void? What if you found yourself raising a sociopath? Now, what if you didn’t realize your child was a sociopath until it was already too late?

Directed by Craig William Macneill, who co-wrote with Clay McLeod Chapman, based loosely on his novel, THE BOY (2015) is one of the most frightening films a parent can see this year. No, this is not a horror film in the traditional sense, but is an unnerving psychological portrait of a boy named Ted Henley (played by Jared Breeze). Ted is a 9-year old boy living on a remote stretch of scenic tourist byway with his father John (played by David Morse) who owns and operates a fledgling little motel that’s been in the family for three generations. John hopes his son will one day carry the torch and keep the motel in the family, but the truth is that business is deafeningly slow.

Ted helps his father with running the motel, cleaning rooms and doing odds and ends. Most of the time, Ted does his work willingly, putting on the hat of good customer service, despite there rarely being any customers, but occasionally the truth creeps out when Ted is alone. From time to time, Ted sneaks peeks of a Florida post card, which is allegedly where his mother lives. In the mean time, he earns pocket change from John for collecting and disposing of roadkill off the byway in front of the motel, stashing away his coins in his makeshift “Florida or bust” coffee can bank.

Beginning with the roadkill, THE BOY carefully lays out Ted’s growing fascination with death. He is withdrawn, isolated and appears a shell of a boy, but inside that innocent, fleshy cocoon lies the makings of something decidedly evil. Ted is discovering his inner sociopath like other boys discover the hormonal allure of girls. Jared Breeze finds that perfect combination of harmless innocence and chilling creepiness that lies just beneath the surface. It’s like noticing the boy watching from a far, at first smiling and shrugging it off as any boy’s curiosity, then feeling the goosebumps and uneasiness associated with him watching, staring a bit too long, just before turning away and going about his business like nothing abnormal just occurred.

David Morse is very familiar, playing a version of his trademark melancholic troubled man with a heart of gold character, which works well in this role. John is distant, perhaps even neglectful to his son’s true nature and needs as he treads exceedingly deep water with an increasingly irrelevant small business deeper still beneath a mountain of debt. John is not purposefully neglectful or cruel. He acknowledges his son, communicates with his son, but is more on auto-pilot as a father than he is acutely aware of the pending peril his son represents, both to himself and others. Ted is a sociopath and John hasn’t the slightest clue.

THE BOY has some elements that I would call unintentional Easter eggs, if not purposefully inspired moments of homage, but that’s purely speculation. Macneill crafts a wonderful story that is somehow touching and terrifying all in one awkwardly pleasant character study. Notice the antlers worn by Ted in the poster. How often have we seen these play an integral role in modern stories of serial killers? Take the most recent examples of the TV series Hannibal and True Detective. Antlers are more than just horns, like that of the devil’s simple, minimalist presence, but are twisted, intertwined structures that branch out and shift directions, all wrapped up in something we see as beautiful and natural, but could kill in an instant if provoked.

The earthy, dusty tone and the subtle dusky lighting from cinematographer Noah Greenberg creates a warmth that is counter-intuitive to the story. This sets the viewer up, making the realization that Ted is not a sweet, innocent boy but rather a violent time bomb all the more compelling. German composer Hauschka supplements the film with an added level of hypnotizing misdirection with his original music, which carries the tone but leads viewers astray of the impending danger.

Sadly, Rainn Wilson turns out a somewhat disappointing performance as William Colby, a drifter who shacks up at the motel after hitting a deer, totaling his car. There is mystery to Colby, a secret and an inherent edge in his character that is all but missed with Wilson’s portrayal. Wilson attempts, even comes close to tapping into this on occasion, but never really hits his stride. This is unfortunate, as I like Rainn Wilson and want to see him continue to venture out and break the typecast so undeservedly put upon him by TV’s The Office.

THE BOY is a quaint, mostly quiet little film that serves as a nice, adolescent lead-in to other serial killer fare. Whether or not the film was influenced by PSYCHO, consider this the paternal alternative to the maternal Hitchcock classic. Void of any significant violence and gore, THE BOY resides almost entirely in the viewers’ psyche until the very end when we first see Ted’s inner sociopath emerge from his cocoon in a gloriously twisted fashion that remarkably still maintains a poetic, contemplative undertone and blurs the lines between right and wrong.

THE BOY opens in theaters nationwide and VOD on August 18th, 2015.

Overall rating: 3.5 out of 5 stars

CALL ME LUCKY – The Review

“Barry Crimmins is pissed.” That one, simple line does sum up the film rather well, but it doesn’t truly do justice to the new documentary from Bobcat Goldthwait. CALL ME LUCKY is the story behind the story of Barry Crimmins, a comedian’s comedian that heavily influenced the Boston comedy scene in the 80s and beyond, but may not be widely known today by the general public. This film is your chance to change that unfortunate hole in your intellectual experience.

Thinking back to the glory days of 1980s comedy, we’ll recall Bobcat Goldthwait as the wild, manic and seemingly uncontrollable comedian who spoke strangely, had crazy hair and appeared in the POLICE ACADEMY movies huffing aerosol. This is not your 1980s Bobcat, having kicked his penchant for drugs and alcohol years ago, Goldthwait is now one of the most intriguing fringe filmmakers, push boundaries and testing limits with a very smart, funny and diverse repertoire of films. Goldthwait’s style of filmmaking is like walking into one cave after another, each time gently poking the sleeping bear inside just enough to see what half-dazed reaction slips from its hibernation-addled lips.

CALL ME LUCKY is, in part, a fascinating film because it explores an artist whose life encompasses what Goldthwait is doing with his films. Barry Crimmins sees the world as it is, honestly and with the disgust it deserves, but does so in a thoughtful, engaging way that says “this is what’s wrong and it makes me sick, but I understand and I want you to be aware.” Brimmins is highly intelligent and hilarious, so his ability to make us laugh while making us think is nothing short of genius and I would dare venture to say he succeeded where Lenny Bruce may have ultimately failed in comparison.

Goldthwait has so meticulously constructed this documentary that, as a viewer, it does not become apparent until well past the halfway mark that in reality, CALL ME LUCKY is as much a mystery as it is a non-fiction film. The drama comes in the form of a secret buried deep in Crimmins’ past and Goldthwait is marvelous at slowly revealing this secret in a way that parallel’s Crimmins’ own revelation of the truth. We learn a great deal about Crimmins, his comedy and his political activism through that comedy and outside of the stage. We get to know Barry Crimmins as we was in the 80s and who he is now, how he’s changed and how he is very much the same.

CALL ME LUCKY is a character study of one man who stands for many. He may not say things in the nicest ways, but what he says has power and purpose. Goldthwait interviews a number of comedians of varying styles and of varying perspectives on the world, some of which are in alignment with Crimmins’ and others are quite opposed, but the one common denominator is that Crimmins’ respects them all and they intern respect him. That is a rare trait that deserves the spotlight shown in this film. Interviews portrayed in this film include Steven Wright, Patton Oswalt, Margaret Cho, and many others comedians, but one of the most compelling interviews is the one which Goldthwait slowly coaxed with care from Crimmins’ sister as he attempts to poke the sleeping bear of this story. This slowly burning, uneasy advance towards the truth gives the film an edge of mystery and an emotional uncertainty that adds to the film’s appeal. Perhaps this may be seen as a touch too tabloid in how it unfolds, but its done with respect and the results are raw, honest emotion captured on film and heightens the viewer’s connection with the story.

Ultimately, what Goldthwait has done is provided a much deserved and much needed portrait of a personality at endanger of being forgotten. Crimmins’ now resides in a remote section of woods away from society, but as is apparent in the film, still keeps up with domestic and global politics and events and is as willing to express his thoughts as ever, just not on stage as a comedian garnering laughter in the process. CALL ME LUCKY may very well be one of the most important documentaries you will see in 2015 and is certainly one of the best this year, so do yourself a favor and seek it out.

CALL ME LUCKY opens in theaters on August 7th, 2015.

Overall Rating: 4 out of 5 stars

A LEGO BRICKUMENTARY – The Review

Few things are as exhilarating to witness as the unbridled passion and joy that builders put into their Lego creations, and the same can be said of watching children play with these toys as well. That’s right. Lego building blocks are a popular toy for the imaginations of both the young and the old. Having been around since the 1950s, this timeless toy has a fascinating history and a seemingly unstoppable appeal for generation after generation. But, how did it all start and what makes it such a juggernaut?

Directors Kief Davidson and Daniel Junge have taken it upon themselves to explore and reveal the very essence of those questions and, as a result, have created what must be the most comprehensive and thorough detailing of one of the greatest toy inventions… ever! A LEGO BRICKUMENTARY is narrated by comedic actor Jason Bateman, whose voice is recognizable, but played as familiar in place of being funny.

This documentary provides the audience with an awe-inspiring level of history, anecdotes and curious knowledge of the second largest toy company in the world, despite the fact that they produce just a single category of toys… Legos. At its core, when you really consider the immensity of that accomplishment, its rather incredible. Knowledge nerds and trivia junkies will find this film irresistible, as will anyone with an honest passion for toys or even popular culture in general, as Legos have definitely entered into that broader realm of our society.

A LEGO BRICKUMENTARY, on the other hand, is not a fully realized perfect experience. The filmmakers did a fantastic job of avoiding the mass marketed, feature-length advertisement trap that would have meant disaster. At no point as a viewer did I feel I was being sold something, not did I feel I was being brainwashed into loving Lego (partially because I already do), but there still exists an unavoidable element of self-promotion that is tolerable, even acceptable. However, in doing so, there is a personalized touch that is lost, or at least minimized.

Despite all the wonderful facts and stories that go into forming the overall Lego story, the film ultimately feels a bit dry. Lacking any personality of its own, or of the filmmakers’ involved, nor any true stylistic uniqueness, A LEGO BRICKUMENTARY often feels bland and unemotional. Don’t get me wrong, the film has some funny moments, especially when the narrator, shown on screen as an animator mini figure, certainly brings out the inner child and the heart-felt chuckle. Even this, however, is borrowed from the LEGO MOVIE.

A great deal of the interesting information available in the film is presented as just that, interesting information not unlike what you may read in an article on the Internet, but in movie form with audio and video. This may appeal to the droves of Lego fans whose interest lies within meticulously constructing Lego sets into the carefully planned out builds pre-determined by the Lego designers. That’s all fine and dandy for those content with following instructions and recreating others’ visions, but what the film lacks is a more freely flowing, artistically minded approach to the many Lego fans who say “screw the instructions” and want nothing more than to allow their creative minds to run free amidst the three-dimensional universe of plastic geometric shapes.

In all fairness, A LEGO BRICKUMENTARY does focus on a few relatively prominent artists. One of which being Alice Finch, a self-taught Lego master builder who has won multiple awards and whose massive recreation of Rivendale from The Lord of the Rings is anything but boring… in fact, its quite jaw dropping. As amazing as her work is to see, this is a short segment and the only creation of hers we see on film. Secondly, the Lego artist Nathan Sawaya is featured a bit more prominently, and for this I am grateful. Sawaya’s work is impressive and inspiring, ranging from large sculptures to small simple Lego men strategically placed in public, sort of like what Shephard Fairey and Banksy do with stencils, Sawaya does on a smaller, less political scale with Lego brinks. He also recreates masterpiece paintings, but with Legos and that is really cool.

There are a couple other names in the Lego art world that are touched upon, but I feel the balance between historical information and artistic interpretation leave the film feeling a little too much like a PBS documentary directed by Ken Burns and not enough like a contemporary, socially relevant film about a corporate powerhouse that has consequently evolved into something much more. I still very much enjoyed A LEGO BRICKUMENTARY, and I certainly recommend the film highly to be seen by children and adults alike, but continue to believe the film had the potential to be even more. Much like the subject matter itself, the film has great imaginative potential but limits itself too much to remaining loyal to the instructions.

A LEGO BRICKUMENTARY opens in theaters on July 31st, 2015.

Overall rating: 3 out of 5 stars

CARTEL LAND – The Review

In the Midwest, we are aware of the illegal immigrant issues. We see it and live among it and have out own opinions about it, whatever they may be. But truly, we are far removed from the drug wars that occur at the US/Mexico borders. We, like any sizable city, see the drug abuse and the lives it tears apart, but that’s the end of the line. Where it starts, where the buck stops (so to speak) is where cultures and countries collide. That’s why films such as CARTEL LAND are crucial to the rest of us not living in the middle of the source of the problem.

Produced, directed, shot and edited and may other credits go to a nearly virtual one-man filmmaking team. Matthew Heineman tossed himself into the heart of darkness to capture a sample of the essence of organized crime in Mexico and it pays off, having risked life and limb in the process. CARTEL LAND is an off the cuff, seat of your pants documentary that at times plays like an action-drama. Intense moments of live gunfights between Mexican vigilantes and drug cartels are broken up by engagingly honest interviews on location and heartfelt, emotional moments of recollection and tearful testimony.

CARTEL LAND is essentially told in two chapters, inter-cut back and forth between the US and Mexican side of the border. Roughly one third of the focus lies on the Arizona Border Recon, a paramilitary group of citizens that patrol the border and track cartel movement and activities, in the hopes of squashing as much of it as then can. The Arizona Border Recon was started by Tim “Nailor” Foley, a veteran and former drug addict whose life changed after an accident which led him end his drug use and fight the cartels, who have increasingly become more bold in crossing into US territory.

The story of Foley and his Arizona Border Recon is weak, admirable on some levels, but little happens and interviews with Foley lead us to have certain doubts about his and others’ motives. His and his groups’ actions prove to have little measurable effect as depicted on screen and he is far less an intriguing character as his Mexican counterpart. Foley’s story often feels self-serving and not so much about the cause as it is about his own personal vendetta. This arc of the film draws away from the overall consistency and quality of the film and I honestly could have done without this portion altogether. I see and I understand the bilateral nature of what Heineman was attempting, but for whatever reasons, it fails to hit its mark.

The other two-thirds of CARTEL LAND focuses on Dr. Jose Mireles, also known to his supporters as “El Doctor,” who honestly deserved to have the entire film centered on his story. Dr. Mireles saw what the drug cartels were doing to his friends, family and neighbors, and saw it eating away at the fabric of his country. He founded the Autodefensas, a paramilitary group of concerned citizens who take up arms and take back what is theirs… land, property, loved ones and control over their towns and their lives. Over time, Dr. Mireles and his Autodefensas enjoy incredible success and respect for their accomplishments. However, as we see repeatedly throughout the world, putting one’s self out there in the world eventually has its price as the underlying corruption that infects society seems always to relapse after a period of remission.

CARTEL LAND flourishes as a bittersweet drama of good deeds rewarded with bad luck brought on by evil men. Dr. Mireles is an extraordinarily fascinating individual with whom we can relate. At the risk of overstating my point, Dr. Mireles for Mexico is like their Ghandi without the penchant for non-violence. He does good work, even is his means are forceful and ride the thin line of what’s lawful, but in the absence of law he brings justice. In this sense, I suppose we could call him the Batman of rural Mexico, but all kidding aside, it’s difficult to watch this film and not feel respect for the man.

This becomes all too unbearable when the tables turn and we realize what fate ultimately has in store for Dr. Mireles, a turn of events that is sickening and all too familiar here at home as well. CARTEL LAND is as much exotic to us as it is deeply personal and relevant too all our lives, even if we don’t feel it personally from day to day. Heineman puts himself out there, on many occasions capturing the chaotic, real-time danger and uncertainty on film as he’s pulled behind a truck for cover during a gunfight or tripped up during pursuits. Remember, this is a man and a camera in the midst of the action and its real life.

CARTEL LAND depicts a side of this ongoing, seemingly never-ending war from an entirely new angle and perspective. The film is not overly graphic, but images of beheading and hanging victims are displayed, as well as shots of dead Mexican citizens caught up in the violence. I commend Heineman for not shying away from this. It is reality and people need to see the truth as it truly exists. Like the westerns of the 1950s when nobody bled gave way to controversial modern depictions such as Peckinpah’s THE WILD BUNCH, violence begets blood and blood is life, so depicting the loss of life means we’re bound to see blood.

Let’s be honest. This is a hot button, political topic. CARTEL LAND is a film that digs into the truth without succumbing to the tabloid, self-serving sensationalist documentary styles of so many contemporary films of this nature. Heineman manages to drop himself right in the middle of the action and stays there till the end, but never turns the camera on himself and somehow remains virtually invisible the entire film, but still makes a powerful statement, the way documentaries should be made.

CARTEL LAND opens in theaters on Friday, July 17th, 2015.

Overall rating: 3.5 out of 5 stars

THE MIDNIGHT SWIM – The Review

THE MIDNIGHT SWIM is a hauntingly beautiful character study about three half-sisters who return to their mother’s lake house to handle her affairs after she was deemed drowned in the mysterious Spirit Lake. Technically classified as horror, the film can be psychically disturbing at times, but this does misrepresent the film’s true nature.

Writer and director Sarah Adina Smith presents her film in a semi-faux-documentary style, allowing the viewer to get close and personal with the characters as we learn about them and feel how they’re coping with the relationship flaws and loss of their mother. THE MIDNIGHT SWIM feels like a deeply personal film, but with an edge of having experienced something with which we never should have been given access.

Dr. Amelia Brooks, played in retrospect by Beth Grant, was a researcher and activist in support of saving the lake. She frequently dove to take samples and explore, as no one has ever reached the bottom of the endlessly deep body of water. On her last dive, she never returned and was not seen again. Officially pronounced dead, her three daughters spend time in the house together, coming to terms with each other and their mother.

Annie, played by Jennifer Lafleur, is the eldest daughter and a mother. Isa, played by Aleksa Palladino, seems to be the youngest, free-spirited and fun-loving, new age hippie out of her time. She rekindles an old flame with Josh, played by Ross Partridge, with whom she spends time when not with her sisters. Isa is also the most interesting character in the film. June, played by Lindsay Burdge, is a photographer and is shooting a documentary on their experience. We see and hear the least from June, given she is in part telling the very story we’re watching on screen, but she also has reflective and revealing moments on screen, some of which are entirely silent but equally unnerving.

THE MIDNIGHT SWIM is not a traditional horror film. Instead, the three sisters find themselves exploring their own states of mind and each others’ as they talk, argue and reminisce about their late mother. Occasionally, their is a slight, thinly-veiled breach of the fourth wall as if the characters are interacting directly with the audience, due to the faux-documentary style, but because this is not maintained consistently throughout the film, we’re caught off guard. As the story develops, strange occurrences do begin to raise concerns amongst the sisters, at first assuming pranks being played in poor taste, later seen as signs of something more paranormal in nature.

Sonically, THE MIDNIGHT SWIM almost seems to occur in a vacuum, with little music and laid over mere natural sound and white noise. Occasionally, and usually when cutting to or featuring the lake itself, we are given hauntingly, unearthly soundscapes as an ethereal audio pathway leading us into the unknown. Tempting us to take a swim. Equally alluring is the picturesque quality given the lake, especially at night, dark and enchanting, calling for us to submerge within in abyss.

THE MIDNIGHT SWIM contains several small, easily missed moments of finely crafted detail, much of which suggests theories and clues as to the events being portrayed on film. From microscopic views of their mother’s lake samples, revealing creepy natural beasts invisible to the naked eye to hand-written research notes indicating strange anomalies within the lake as she ventured deeper with each dive. Carefully placed bits of dialogue are also integrated to suggest connections to things larger and beyond our normal comprehension. These are the textures that help create layers of curiosity, avoiding the pitfall of being just a film about three sisters and their drama. This helps create the mystery.

Roughly 45 minutes into the film, the experience whiplashes the viewer out of the pleasantly coma-inducing family drama into a surreal, music-video like scene that injects a surge of joyous adrenaline into the previously sedated mind. This excursion from the tone of the film is never truly explained, in any conceivable way, but aside from this moment, all makes sense in the end. For viewers of THE MIDNIGHT SWIM that enter into the experience without preconceived notions or misguided expectations, this may prove an enlightening, even oddly uplifting film.

THE MIDNIGHT SWIM is slow at times, can be disorienting or slightly confusing, but is best described as an uncomfortable, intimately personal invitation to invade the emotional psyche of these three women at their most vulnerable. Its equally off-putting and tantalizing, philosophically and spiritually suggestive, making for a film that is not perfect, but far from boring.

THE MIDNIGHT SWIM Dives Into Cinemas and VOD Nationwide on Friday, June 26th, 2015.

Overall Rating: 3.5 out of 5 stars

THE STRONGEST MAN – The Review

THE STRONGEST MAN is a dry, dead-pan comedy about a Cuban man in Miami called Beef, played by Robert Lorie. Beef works in construction, but is known by friends and coworkers for being exceptionally strong. Beef is a good-sized man, but his natural strength goes far beyond the limits of any man I’ve ever met. Ultimately, this is a relatively insignificant fact about Beef, as his one love and passion in life is his gold-painted BMX bike, which he rides proudly like a child when not working construction or hanging art for a local rich white woman named Mrs. Rosen, played by Lisa Banes.

Beef’s best friend and coworker is the son of Korean immigrants and a seemingly talented yet underachieving man called Conan, played by Paul Chamberlain. The two spend most of their time together, often having peculiarly philosophical conversations in English, while Beef’s thoughts narrate the film in Spanish. At the request of friend Illi, played by Ashly Burch, Beef and Conan attend a yoga session on a whim and through the guidance of Guru Fred (played by Patrick Fugit) finds his spirit animal. As it turns out, his spirit animal proves to be problematic and after making the mistake of killing his spirit animal, Beef’s treasured BMX bike is stolen, sending him on a journey to find more than just a prized possession.

There are no big laugh-out loud moments in THE STRONGEST MAN, but the film is charmingly humorous in a subtle, introspective way that allows the viewer to empathize with this often quite man who seems simple-minded while conveying a sort of street wisdom and charisma combining the persona of Charles Bronson and Lennie from Of Mice and Men. This is an existentialist comedy that plays drier than the average British fare, but maintains a quirkiness developed by the characters, a testament to the curious writing and direction of Kenny Riches. THE STRONGEST MAN is Riches’ sophomore follow-up to MUST COME DOWN (2012) which boasts much of the same cast.

Robert Lorie is intriguing in the role of Beef, capable of filling out the slightly hulkish character through his physical type, posture and body language. Lorie also really captures the internal struggle of Beef, showing an avid understanding not just of the crucially well-written, oft off-beat dialogue, but nailing those crucial pauses and awkward even elongated silent moments that feed so much into developing Beef’s character. He’s a big guy, strong, but far from graceful, except when on his BMX. This is especially true near the end of the film when, upon reaching a breaking point, he cuts loose and dances freely, albeit terribly and at an inappropriate time.

THE STRONGEST MAN, at its core, is a story of finding what’s important to Beef. This is about Beef finding his true self and his true love. What begins as a search for his stolen bike becomes a search first for himself and then for the proverbial perfect girl. Riches shot the film with what feels like a docudrama influence, revealing Beef’s journey with on the fly, handheld cinematography that often feels spur of the moment. Doing this without feeling forced or contrived is not an easy task, but Riches manages to pull it off beautifully. While the toe and style are drastically different, consider films like THE WACKNESS (2008) or DONNIE DARKO (2001) as generally similar journey of self-discovery films and if you enjoyed those films, and are open the different styles and genres, be sure to give THE STRONGEST MAN a chance.

THE STRONGEST MAN opens in theaters on Friday, June 26th, 2015.

Overall Rating: 3 out of 5 stars

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Overall Rating: 2.5 out of 5 stars

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Overall Rating: 4 out of 5 stars

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Overall Rating: 3 out of 5 stars

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Overall rating: 3.5 out of 5 stars

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Overall Rating: 4 out of 5 stars

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Overall rating: 3 out of 5 stars

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Overall rating: 3.5 out of 5 stars

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Overall Rating: 3.5 out of 5 stars

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Overall Rating: 4 out of 5 stars

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