Category Archives: Review
The Happytime Murders
It’s difficult to imagine how a comedy as abysmal as The Happytime Murders actually makes it to a theatrical release. First announced by The Jim Henson Company in 2008 and originally slated to begin shooting in January 2011, the long delayed project went through multiple distributors and underwent major casting shake-ups before finally gracing theaters nationwide this past weekend. Troubled productions don’t always result in terrible movies but sometimes, the worst case scenario comes to pass and it’s almost painful to think about how much time and money went into making something this unspeakably awful.
The film takes place in an alternate version of Los Angeles in which conscious puppets co-exist with humans but are treated as second-class citizens and pushed to the fringes of society. The story centers around puppet private eye Phil Phillips (Bill Barretta) as he tracks a killing spree that involves members of a past sitcom called The Happytime Gang, including Phillips’ ex-girlfriend Jenny (Elizabeth Banks). When the LAPD gets involved, Phillips teams up with his previous partner from the force Detective Connie Edwards (Melissa McCarthy) to unravel the mystery behind the connected murders.
With its hard-boiled detective story and overly profane dialogue, The Happytime Murders clearly aspires to be a combination of Who Framed Roger Rabbit and the Broadway musical Avenue Q, but it’s not nearly as inventive as the former nor as clever as the latter. Given how stale the concept is, it’s not likely that a comedy about potty-mouthed puppets would have yielded great results in any scenario but it doesn’t help that the jokes are as brutally repetitive and aggressively witless as they are here. There’s a certain quiet that tends to accompany terrible comedies like this one, a hush that falls over the audience in the absence of humor, and the silence was near-deafening during my particular screening.
It’s one thing for all of the puppet-based gags to be derivative and sophomoric but I’d like to think that the human cast would somehow be able to elevate this material. Sadly, the load is too leaden to lift, as talented performers like Maya Rudolph and Joel McHale are stuck with some seriously lame banter that wouldn’t even pass on a third-rate sitcom much less a feature film. Even Melissa McCarthy, who has seemingly starred in dozens of these types of R-rated comedies since her breakout role in 2011’s Bridesmaids, looks particularly exasperated this time around and doesn’t even try to make the most of her already limited range.
But what makes this unfunny abomination that much more unbearable is the knowledge that director Brian Henson, who helmed Muppet classics like The Muppet Christmas Carol and Muppet Treasure Island, worked so hard to see this to completion. He and his crew of puppeteers clearly put loads of effort into bringing life to the 125 puppets that are seen in the film and it’s depressing that their talents were wasted for something that’s so spectacularly unworthy of them. The end credits even bring this point home as they showcase scenes from the film before the performers were digitally removed and we see just how much of their dedication was wasted. The Happytime Murders is brought to you by the letter “L” for lazy, limp and lousy.
Score – .5/5
Coming to theaters this weekend:
Operation Finale, starring Oscar Isaac and Ben Kingsley, tells the true story of the capture of Adolf Eichmann by Israeli spies in 1960 Argentina.
Kin, starring Jack Reynor and James Franco, is a sci-fi action adventure about a pair of brothers on the run from alien soldiers after they discover an extraterrestrial weapon.
Also expanding to local theaters is Searching, starring John Cho and Debra Messing, which is a thriller shown entirely from the point-of-view of smartphones and computer screens.
Reprinted by permission of Whatzup
BlacKkKlansman
Those who have followed the work of Spike Lee during his 30-plus year career know that he’s not a director who shies away from potential controversy when addressing important political and social issues of the time. His latest Joint, BlacKkKlansman, proves that old age hasn’t extinguished the fire that has been burning in Lee since his monumental early films like Do the Right Thing and Malcolm X. This time out, he’s telling a slightly more conventional tale based on a true story with a more intentional inclusion of humor throughout and while the results are varied, the conversations that they will inevitably inspire are worth the experience.
Set in 1970s Colorado Springs, the film stars John David Washington (his father Denzel has appeared in 4 of Spike’s past films) as Ron Stallworth, an ambitious young detective who seeks to infiltrate the local chapter of the Ku Klux Klan. To do this, he talks with its members over the phone and sends fellow detective Flip Zimmerman (Adam Driver) to their meetings under the guise that they are one and the same. Their investigation leads the pair to the very top of the organization and its Grand Wizard David Duke (Topher Grace), who plans to visit Colorado Springs to witness “Stallworth”‘s induction into the KKK.
After a prologue of sorts, things get off to a good start as we witness the beginnings of Stallworth’s career in the police department and his first phone call to the KKK but around the hour mark, the film starts to stall and become repetitive. There’s meant to be a constant tension that Zimmerman will eventually be discovered by the group to be an undercover cop and it’s effective to a point but the cat-and-mouse element doesn’t develop enough as the story goes along. The script, penned by Lee along with three other writers, feels oddly light on incident and makes the big mistake of sidelining its most interesting character (Stallworth) during a large portion of the climax.
I don’t believe I’ve seen Washington in any other films before but his performance here as Stallworth will no doubt score him more screen roles in the future. I’m sure it helps that confidence and charisma run deep in the family but he also brings some playful humor and layers of irony to his performance that make him a very easy character to root for. Additionally, Driver continues his hot streak of selecting challenging roles that make the best of his range and make him that much harder to typecast. Other actors like Corey Hawkins, Isiah Whitlock Jr. and Harry Belafonte make memorable impressions, even in their limited screen time.
Lee is no stranger to working with provocative material and he often finds the right tone of humor within beats of this story but the pacing overall feels too languid for the type of narrative that he sets up early on. This, however, is not the case with the concluding 5 minutes of the movie, which are bound to leave most audiences shaken as they leave the theater. Unfortunately, the rest of the film doesn’t mirror the sense of urgency that’s found in the film’s incendiary ending. BlacKkKlansman could have also benefited greatly from a re-write or two and some more judicious editing but as is, it’s a thought-provoking if messy entry in Lee’s oeuvre.
Score – 3/5
Coming to theaters this weekend:
The Happytime Murders, starring Melissa McCarthy and Elizabeth Banks, is an R-rated crime comedy that takes place in a world where humans and sentient puppets co-exist.
Beautifully Broken, starring Benjamin Onyango and Scott William Winters, tells the true story of three families from different parts of the world struggling to find hope amongst genocide and war.
Also being re-released into theaters for a week-long engagement is the Stanley Kubrick masterpiece 2001: A Space Odyssey, which is celebrating its 50th anniversary. Fans can see it in local IMAX theaters from August 23rd to August 30th ahead of its 70mm presentation at Indiana State Museum’s IMAX beginning September 7th.
Reprinted by permission of Whatzup
Eighth Grade
15-year-old Elsie Fisher gives one of the year’s best performances in Eighth Grade, the simultaneously heartbreaking and heartwarming new film written and directed by 27-year-old stand-up comedian Bo Burnham. Fisher stars as Kayla Day, a kind and reserved teenaged girl (she’s awarded the “Most Quiet” superlative by her classmates) trying her best to make it through the final week of her painful middle school experience. Doing their best to help her through the transition are Kayla’s single father Mark, played by Josh Hamilton, and her high school friend Olivia, played by Emily Robinson, who are sometimes no match for the seemingly insurmountable anxieties and insecurities that Kayla faces on a day-to-day basis.
Burnham has crafted an often cringe-inducing but wholly empathetic portrait of teenage life that at once feels specific to the current generation of youngsters but also touches on universal themes that every adult can relate to as well. This is a film of quiet wisdom about how easy it is to get caught up in the emotion of the moment, especially during the hormone-charged teenage years, but also reflects on how time can change how we view ourselves. Most films about kids of this age tend to come from the perspective of the adults around them; not only does Eighth Grade feel like it’s told entirely through the lens of Kayla’s world but it also tends to loosen its focus around all of the other adults in the story with the exception of her father.
One aspect of teenage life that this film tackles better than any coming-of-age story that I’ve ever seen is the role that social media plays into how kids of this generation view themselves and the world around them. Filmmakers often skirt around social media, perhaps with the fear that including it in their work will date the material too much. However, Burnham not only embraces these platforms but incorporates them into the narrative in a way that feels completely organic to this character and her experience. A prime example is the way that Kayla uses YouTube to create short self-help videos on topics like How To Be Yourself and How To Put Yourself Out There, even though these videos only tend to average a handful of Views.
There’s a meta bit of irony to that detail, as director Bo Burnham made his career from the millions of YouTube Views he received on videos of funny songs that he started to record at the age of 15. From this almost instant popularity, he transitioned to stand-up comedy and brought his cutting, clever sense of humor to the stage (his two most recent specials what. and Make Happy are both currently on Netflix and highly recommended). What’s remarkable about Eighth Grade is how Burnham avoids what I’m sure was a temptation to over-write this script, which favors sharply-realized scenarios over sharp-tongued dialogue that fits much better inside this sensitive portrayal of early adolescence.
At the center of everything is Elsie Fisher’s work as Kayla Day, which is the type of performance that often gets overlooked by those who claim an actor is just “playing themselves.” Sporting chin acne and often unflattering apparel, Fisher lays everything bare here but also brings loads of charm and sweetness to the role that makes it effortless for us to get caught up in her story and her struggles. Together with Burnham, she has crafted a film with radiates with compassion and honesty during a time when both seem to be in depressingly short supply.
Note: the MPAA slapped this film with an “R” rating over a few instances of the F-word and some relatively mild sexual content. Parents: please don’t let this deter you from taking your kids to see this film. It’s more than worthy of your time and attention.
Score – 4.5/5
Coming to theaters this weekend:
Crazy Rich Asians, starring Constance Wu and Henry Golding, is a romantic comedy based on the bestselling novel by Kevin Kwan.
Alpha, starring Kodi Smit-McPhee, follows a young man and his wolf companion as they fight the brutal elements during the stone age.
Mile 22, starring Mark Wahlberg and John Malkovich, pits a CIA task force against a terrorist group seeking to extract a highly-prized asset.
Also, Cinema Center will be screening The Death of Stalin, the hilarious political satire starring Steve Buscemi and Arrested Development‘s Jeffrey Tambor, which is still my favorite film of the year so far.
Reprinted by permission of Whatzup
Mission: Impossible – Fallout
For 22 years now, the Mission: Impossible franchise has distinguished itself among its peers in the action genre by crafting increasingly audacious setpieces that favor dazzling stunt work above computer-generated effects. From the jaw-dropping Burj Khalifa sequence in Ghost Protocol, during which our hero Ethan Hunt (Tom Cruise) scales the largest building in the world, to the opening of Rogue Nation that depicts Hunt hanging off the side of a cargo plane during takeoff, these stunts all revolve around the intense dedication of its main star. That dedication is in full effect for Fallout, the sixth entry in the ever-impressive action series that features at least one or two sequences destined to become new favorites for fans and newcomers alike.
Taking place 2 years after 2015’s Rogue Nation, Fallout rejoins Hunt with his IMF (Impossible Mission Force) teammates Luther (Ving Rhames) and Benji (Simon Pegg) as they attempt to intercept three plutonium cores but are foiled by a shadowy group codenamed The Apostles. Upon hearing of the botched mission, CIA director Erica Sloane (Angela Bassett) directs one of her agents named Walker (Henry Cavill) to monitor Hunt and his team as they work to recover the stolen material. As the plotline progresses, characters from previous films including Ilsa Faust (Rebecca Ferguson), Solomon Lane (Sean Harris) and others that are best left un-spoiled, are woven into the narrative.
As things become more convoluted and the inevitable double-crossing begins, it’s probably best not to get hung up on the specifics of the plot and instead, just take in the often breath-taking sights and sounds that this film has to offer. Two scenes in particular, including a HALO (high altitude, low opening) jump above the Grand Palais in Paris and an extended aerial helicopter chase that features Cruise actually piloting the aircraft, will no doubt leave audiences speechless. More and more films are being released in IMAX these days, often unnecessarily, but Mission: Impossible remains one of the only tentpole series to truly make the most of all the format has to offer.
Fallout is unique to the franchise in at least two ways: it is the first time that the same director (in this case, Christopher McQuarrie) has directed back-to-back films in the series and it also boasts the shortest gap in production time between two films (3 years, while past sequels have taken 4-6 years to develop.) Unfortunately, both aspects seemingly contribute to my main criticisms of this entry, which is that it suffers in comparison by the high bar McQuarrie set for himself in the series-best Rogue Nation and it’s hamstrung by an under-developed script that would have benefited from a revision or two. The screenplay is rarely the centerpiece of any M:I film (most action films, really) but absence of fun character moments and memorably one-liners drags the film below a few of its predecessors.
Still, this film succeeds on the strength of its visceral action sequences and it cannot be understated just how much these films benefit from the insane commitment of Tom Cruise. At 56 years old, he’s attempting stunts that action stars half his age wouldn’t give a moment’s consideration. In the instance of this film, he’s even suffering the consequences of those choices, evidenced by an ankle break that he suffered while jumping across rooftops in a high-speed foot chase. It’s difficult to know just how many more of these films Cruise has left in him, especially considering that he could potentially be in his 60s for the next entry, but if Fallout does end up being the concluding chapter in the Cruise era of Mission: Impossible franchise, it would be a fitting high note for an exceptional series.
Score – 3.5/5
Reprinted by permission of Whatzup
Blade Runner 2049 ****|****
Hot off of last year’s heartfelt sci-fi hit Arrival, director Denis Villeneuve returns to the same genre once more but this time, he has his sights on something even more ambitious: a direct sequel to one of the genre’s most influential and visually quoted works that comes 35 years after the original. Given how much could have gone wrong, it’s remarkable just how much Blade Runner 2049 gets it right, from its flawless production design to its nuanced storytelling that muses on the same existential themes that ran through the 1982 future-noir classic. This is an awe-inspiring follow-up that further expands Blade Runner‘s already vast scope to a futurescape with dazzling depth and a grandeur without rival.
The story follows sullen LAPD detective K (Ryan Gosling) as he carries out his duty as a Blade Runner by tracking down a class of older generation Replicants (advanced robots made to look identical to humans) and “retiring” them as their very existence is illegal. After a visit with one such Replicant, he discovers a chest buried deep in the ground (with the help of a handy drone that detaches from the roof of his car) that leads him on an investigation that could have cataclysmic ramifications on the relationship between man and machine. His search for answers pits him against tech mogul Niander Wallace (Jared Leto) and his Replicant enforcer Luv (Sylvia Hoeks) while eventually leading him to legendary detective Rick Deckard (Harrison Ford), who’s been in hiding since the events of the first film.
Even more so than its predecessor, Blade Runner 2049 is a thorough and intentionally paced detective story that uses its futuristic setting to further deepen the mysteries at the heart of its story while adding a layer of insight into how humankind may look 30 years from now. Among the film’s most prevalent themes is that which speculates humankind’s relationship to artificial intelligence and what we deem as “real” or “unreal”, whether it be a Replicant or an interactive advertisement or a sophisticated computer simulation meant to mimic human behavior. The role of Joi played brilliantly by Ana de Armas is the most consistent evocation of this concept, as she is characterized as the most empathic and understanding presence in K’s life despite the fact that her translucent appearance is a reminder that she is ultimately a collection of light dictated by 0s and 1s.
The nimble and seamless effects work is always first-rate, whether it is utilized in small ways like the depiction of raindrops falling softly on the hands of a hologram to the larger scale uses that bring the urban monoliths and pyramids of the first film back to life again. The production design is just as meticulous and makes every space feel like something we’ve never seen before and yet completely believable at the same time; I was struck in particular by the layout of Wallace’s office, whose minimalist wood-based configuration both looks stunning and reminds us that this world’s scarcity of trees means that a room like his could only be afforded by someone of great means. All of this is framed with the excellence of all-time great cinematographer Roger Deakins, previously nominated for an Oscar in his field on 13 different occasions and if there’s any justice, he won’t go home empty-handed next February.
Ryan Gosling continues his streak of seeking out challenging roles that still play to his strengths as a performer and here, he works off the baseline stoicism that we’ve seen from his roles in Nicolas Winding Refn’s films but adds notes of longing and warmth to his role. Similarly great is Ford, who, despite his more limited screentime in this movie, may actually give a better performance here as Deckard than he did in his first occasion playing the grizzled gumshoe all those years ago. Blade Runner 2049 is proof that sequels can be so much more than a retread of their source material and with the right minds at work, they can even supersede the legacy of the original.
Battle of the Sexes **½|****
The entertaining but cursory new sports biopic Battle of the Sexes from Little Miss Sunshine directors Jonathan Dayton and Valerie Faris covers the events that led to the what could be considered the most infamous US tennis match of all time: the 1973 exhibition between Billie Jean King (Emma Stone) and Bobby Riggs (Steve Carell). Functioning more as a personal tale of sexual awakening and ultimately as a message movie about equality, it unfortunately drops the ball when it comes to providing a compelling sports-driven narrative between its two main characters. One may be surprised just how little screen time Carell and Stone share prior to their climactic showdown and the decision to separate these two appealing actors is ultimately to the film’s detriment.
We are introduced to King as she learns of a vast disparity between the men’s and women’s cash prizes in professional tennis tournaments and after trying to plead her case of equal pay to USLTA chairman Jack Kramer (Bill Pullman), she instead forms her own all-female rival league. While getting makeovers at the salon with her new teammates, King has an instant connection with her hairdresser Marilyn (Andrea Riseborough), with whom she pursues a romantic relationship unbeknownst to King’s husband Larry (Austin Stowell). Meanwhile, Riggs learns of King’s newly formed coalition and due to his flare for the theatrical, he challenges her to an inter-gender match with a $100,000 cash prize and bragging rights at stake.
Though the title implies a fair split of time between its central players, it’s clear that this is King’s story from the very beginning and it’s a sensible choice given that her struggle with inequality in professional sports mirrors the same issues of misogyny that women face to this day. Hot off her Oscar win for last year’s hit La La Land, Stone is a tremendously likeable screen presence and an excellent choice to play King as both a fiercely competitive spirit and a largely private person who seems cautious to let her true self through. It’s no surprise, then, that her scenes with Riseborough are among the film’s most memorable, especially the moment when they first meet and within the first few exchanges, its clear that King and Marilyn have a deep connection that throws them both off their game in the best way.
If King’s personal and professional contributions to the story count as the most successful elements of the film, the examination of Riggs as a character and the explanation of his role leading up to the titular face-off is markedly short-sighted by comparison. We find out about Riggs’ steadfast addiction to gambling and he is portrayed by Carell as a flamboyant showman whose proclivity for the outrageous is matched only by his unfettered desire for media attention but that’s about as deep as his character study runs. He proves his excellence as a provocateur by dubbing the match as a “women’s libber” against a self-professed “chauvinist male pig” but the movie never pierces through the public facade to discern Riggs’ true perspective on the hot-button issues.
Even if you don’t know the outcome of the match that was allegedly seen by 90 million people worldwide when it was televised in 1973, there’s not much tension during the film’s final scenes as the winner is eventually revealed. Whether the filmmakers assume a good portion of the audience already knows the outcome of the true event or assume those who don’t know will likely have a sensible prediction based on the narrative arc leading up to it, they don’t seem as interested in the final result as the gender-related controversies that sprung up from the famous duel. That’s likely why Battle of the Sexes feels sub-par as a sports movie but as an exploration of gender politics both past and present, it hits its mark.
Columbus ***|****
Film essayist Kogonada makes his feature debut as both a director and writer with this contemplative and quietly moving tale of two souls who converge during pivotal moments in their respective lives. One of those souls is the introverted Jin (John Cho), who is working in Korea as a literature translator when he receives the news that his estranged father has been hospitalized for an unexpected coma. Once he arrives in the titular Indiana city where his father resides, he is joined by his father’s devoted assistant Eleanor (Parker Posey) as they awkwardly catch up on each others’ lives while waiting for the coma to release its hold.
After talking on the phone one day, Jin meets the young bookworm Casey (Haley Lu Richardson) and the two open up to each other as they slowly saunter on opposite sides of a fence that separate Jin’s motel and the library where Casey works. We learn that she’s recently graduated high school and despite that fact that she seems very bright, she forgoes the opportunity of higher education and chooses instead to toil between the bookshelves with her work friend Gabriel (Rory Culkin). Over the course of their time together, Jin and Casey share several conversations that center around their shared interest of architecture (for which Columbus in both the film and real life is apparently renowned) but ultimately blossom out to larger life subjects.
With its walk-and-talk pacing and story of the encounter between an older man and a young woman, there are hints of Lost In Translation and Richard Linklater’s Before trilogy embedded within Columbus, although it’s not nearly as chatty as either of them. This is decidedly a more introspective meeting of the minds that is generally more patient in the way it allows its dialogue to unfold, though there are times it comes across as frustratingly sedate as a result. Still, the knowledge and wisdom that they impart to one another rings true to the characters and the actors bring plenty of understated charm to their reserved roles.
Richardson, who is something of a new name and face to me (I didn’t recognize her from the thriller Split earlier this year), gives a glowing and magnetic performance full of grace and warmth that establishes her as a major screen presence. This is a film that’s more about what isn’t said rather than what is said and she’s able to imbue the pauses in between Casey’s words with notes of longing and heartbreak that makes every sentence an emotional wellspring. Although it’s great to see a talented actor like Cho finally get a leading role, I do wish that his character was able to open up a bit more as his proclivity for stoicism got to be a bit tedious especially given the much more heartfelt nature of Richardson’s work.
Kogonada and his cinematographer Elisha Christian capture their Midwestern setting brimming with modernist marvels in an evocative and curious manner that perfectly mirrors the film’s quaint narrative. Beyond its focus on the grand architecture, they also take time to build out the small moments too; I was particularly fond of a sequence between Cho and Posey that’s framed entirely around a bedroom mirror in which we see the reflections of the two talking quietly and reminiscing on the past. Pensive and personal scenes like this characterize Columbus as something of a cinematic zen garden and a welcome respite from an increasingly chaotic world.
Mother! ***½|****
The new Darren Aronofsky movie mother! begins with a deceptively simple premise: we are introduced to a young woman (Jennifer Lawrence) as she wakes one morning in an secluded country house and looks around for her husband (Javier Bardem). We learn that she spends most of her time cleaning and restoring their home, which recently was subject to a devastating fire, and he spends his days searching for inspiration in an effort to follow up his wildly successful book of poetry. Their seemingly peaceful existence is breached when a man (Ed Harris) who claims to be a fan of the poet and his wife (Michelle Pfeiffer) show up on their doorstep unannounced and request to stay the night.
From there, it’s safe to say that things spin wildly out of control and with masterworks like Requiem for a Dream and Black Swan under his belt, there’s no storyteller that I trust more with a tale about a descent into madness than Aronofsky. The breakthrough with this film and what makes it stand out among the other titles in his filmography is how small the scope of the story is towards the beginning and just how much it encompasses by its conclusion. The film’s sole location, the couple’s home, cleverly follows this concept too, as we’re able to get our bearings on the size of each major room early on but with each escalation in the story, the house seems to expand in impossible proportions.
This is also fitting for a film that applies nightmare logic to near-perfect effect as it lulls us into a sense of security with establishing shots that feel like a dream and then slowly shifts the paradigm of reason to places that are unrecognizable and terrifying. Comparisons to Polanski (Repulsion in particular) are certainly apt in terms of mood while there seems to be echoes of Buñuelian absurdism (The Exterminating Angel especially) as the plot develops but the horror that it generates is unquestionably unique. It’s uncanny just how much tension Aronofsky and his cinematographer Matthew Libatique are able to establish by utilizing just three basic camera angles — close-up, point-of-view and over-the-shoulder — that all center around the central character.
It’s been dispiriting to watch a great young actress like Jennifer Lawrence commit herself to blockbuster franchises like The Hunger Games and the X-Men series over the past five years but I suppose it makes watching a great performance like the one she gives here even more satisfying. Her role is more reactive than we’re used to seeing from her in films like Winter’s Bone and American Hustle, so much so that some may even feel she’s miscast here, but the level of unease and discomfort that she’s able to convey lends yet another dimension to her acting chops. The interaction that she has with Harris and especially Pfeiffer is often loaded with buried emotion, from disgust to jealousy to rage, that manages to find its way to the surface in unexpected ways.
With loads of Biblical allusions and its commentary on humanity and our place in the universe, Aronofsky has crafted a bombastic and challenging work that has already inspired feverish analysis and debate and will no doubt continue to do so in the future. As this is a puzzle movie of sorts, I always come back to the same central question I ask myself when viewing others like it: even if I don’t have every aspect of the picture figured out, did what I see resonate enough with me that I’d find it worthwhile to dig deeper? Immediately after I saw mother!, I knew the answer was “yes” but the staying power that it’s had with me in the days following are an even better indication of its artistic merit.
It ***|****
Based on the 1986 Stephen King bestseller, the new film It opens with a scene that will be familiar to those who experienced the 1990 miniseries: young Georgie Denbrough (Jackson Robert Scott) is seen chasing his paper boat down a flooded street until it falls into a storm drain. Upon trying to retrieve it, he encounters a sewer-dwelling clown figure who introduces himself as Pennywise (Bill Skarsgård) and offers him a balloon before violently murdering him. It turns out that Pennywise is the manifestation of an evil that’s plagued their town of Derry for many years and after it terrorizes a number of children in the area, Georgie’s brother Bill (Jaeden Lieberher) forms a group called The Losers Club with other affected kids in order to avenge his brother’s death and put a stop to the malevolent force.
One of the most notable deviations from the source material is resetting the events from the 1950s to the tail end of the 1980s, which not only allows for pop culture references that range from Tim Burton’s Batman to New Kids on the Block but also puts the film in the same timeframe as the mega-hit Netflix series Stranger Things, itself largely influenced by King’s novel. It’s a smart move, given how popular this brand of nostalgia has become the past few years but it also strengthens the coming-of-age angle that sometimes gets upstaged by the clown-centric scares from the original story. With its focus on themes of friendship and loyalty, audiences may be surprised how much this movie bares a resemblance to something like The Goonies (there’s even a cruel variation of the Truffle Shuffle performed by one of the bullies) or Stand By Me as opposed to more traditional horror fare.
Having said that, the marketing of It still hinges largely on the menacing presence of its eminently creepy antagonist and director Andy Muschietti does not skimp on chilling scenes designed to send those with coulrophobia running out of the theater in droves. Skarsgård had some big clown shoes to fill when taking up a role that Tim Curry crafted with terrifying perfection in the aforementioned miniseries and if his work here is comparatively lacking, it has more to do with this update’s reliance on computer-generated effects to amplify his performance rather than a deficiency in Skarsgård’s abilities as an actor. For all of the flaws present in the 1990 version, the visual conception of Curry’s Pennywise and its use of simple, practical effects (the less spoken of the claymation, the better) remain first-rate to this day and I wish this 2017 iteration retained some of this more reserved aesthetic.
The rest of the young cast is generally filled with lesser-known actors, save Stranger Things’ Finn Wolfhard as the hilariously foul-mouthed Richie, but the talented bunch of kids do a convincing job of conveying fear in ways that feel fitting to each of their characters. Standouts include Jeremy Ray Taylor as the overweight Ben and especially Sophia Lillis as Beverly, the lone girl of the group who’s a bit wiser and more mature than her male cohorts. Fans of the book won’t be surprised that this production team is planning a Chapter Two following this film’s impending success that focuses on the adult lives of the Losers Club members and I would be shocked if they don’t already have Amy Adams in talks to play Bev’s grown-up counterpart.
It’s no easy task adapting unwieldy source material like a 1000+ page paperback and while the common practice is to abridge or even omit large sections of a given plot, I was delighted with not only how much of the story remained in the film but how many minor details were included as well. Even with a second installment on the horizon, this first chapter clocks in at a hefty 135 minutes and while there obviously was room for more judicious editing, I have to give the creators credit for pushing towards a more thorough adaptation this time around. Their love and respect of the book shines through in their interpretation and makes It a spectacle of horror with no shortage of heart and humor too.
Good Time ***|****
Equal parts After Hours and Go with a bit of Rain Man in the mix, the new crime thriller Good Time by Ben and Josh Safdie unfolds at breakneck pace largely over one harrowing evening in some of the most desolate and seemingly forgotten areas of New York City. Yet no matter how empty these places seem, there almost always happens to be someone there, whether its an employee pulling an overnight shift or a vagrant searching for something that may not have even been there in the first place. Just like the protagonist, everyone is just doing what they can to survive in their corner of the world and by setting the film at the most desperate fringes of society, the Safdies incorporate the fury of their struggle into the narrative.
One of the film’s opening shots encapsulates this rage on the face of the mentally handicapped Nick (Ben Safdie), who is in the middle of a tense session with his therapist when his brother Connie (Robert Pattinson) barges in and ushers Nick away. It turns out that he needs him for a bank robbery that he’s planned and while the stick-up initially seems to be a success, dye packs that are hidden in the stacks of money go off in their getaway car and Nick gets arrested during the ensuing on-foot pursuit while Connie barely manages to get away with the dirty cash. After multiple attempts to get the funds to afford Nick’s bail, Connie hatches a plan that involves retrieving a hidden bottle of LSD for a quick profit.
During interviews for the final season of Breaking Bad, creator Vince Gilligan spoke about how his writing staff would intentionally paint his characters into corners that would seem impossible to resolve and then brainstormed the most satisfying but plausible ways to get them out of the situation. Good Time exhibits this same kind of think-on-your-feet type of narrative urgency as Connie battles against a myriad of contingencies and dead-ends over the course of his turbulent all-nighter. Though Connie is obviously someone who doesn’t have things in order, he asserts his street smarts in big and small ways (hanging a mat over a barbed wire fence in order to safely traverse it, for instance) that keep him one step of the law.
On top of the spontaneity in their storytelling, the Safdies also establish tension with tight close-ups of their characters that’s designed to give the audience any kind of respite from the manic energy that is often on display across their anguished faces. So much of Pattinson’s excellent performance as Connie can be summed up by the panic that is constantly present in the whites of his eyes, which are often wide open amid the dwindling opportunities that lay before them. When cinematographer Sean Price Williams is afforded the opportunity to implement some flourish, as he does with a beautiful tracking shot of a car rounding a corner and some deft aerial camerawork towards the finale, he makes great use of the expanded scope.
All of this harried paranoia is complemented by a lush and trippy musical score by Daniel Lopatin (known in music circles as Oneohtrix Point Never) that stands alone as one of the most memorably effective soundtracks of the year. The synthesized arpeggios chug along breathlessly with shady dealings that pervade Connie’s attempt to free his jailed brother but the music also goes into a more contemplative soundscape at times that can seem dreamy at one minute and then quickly turn into a nightmare the next. It’s a perfect analog for the dirty, neon-drenched visuals of Good Time that contrasts the far-flung hopes of its anxious characters with the mired reality that they can’t seem to escape.