Rapid-Fire Reviews: Summer Movie Season So Far

Skipping beyond my usual excuses and apologies, I finally felt invigorated and inspired to write a little something about all of the movies I’ve seen lately. There was quite the lull for me in movie-going until recently, and by the time I was seeing a different new release every weekend, I couldn’t keep up!

First, I saw Avengers: Age of Ultron. I thought it was enjoyable, perhaps even more so than the first film. But, like the first film, I found it forgettable– and I’m not just saying that because it’s been a while since I actually saw it. I also could have done without the romantic subplot that felt forced and awkward and rushed between Black Widow and Hulk; no complaints about Black Widow’s feminism, such as those that many other people seemed to have with the storyline, it simply didn’t feel natural and wasn’t given enough time to seem anything but hokey. I did love James Spader as Ultron’s voice– sassy and sarcastic and hilarious, albeit a little thin on motivation (a common problem, I think, for Marvel villains in the cinematic universe, anyway– but I will say Ultron and Iron Man have the ultimate Frankenstein story going on, filled with creator-god and creation-scorned angst). Dir: Joss Whedon

Then, I saw Pitch Perfect 2. I did not stop laughing basically for the duration of the film. I was in pain, not kidding and not ashamed to say it. The musical numbers were greater in quantity and scale, the stakes higher but the plot simplistic and underdeveloped but it doesn’t matter– you get the point, you move on to the next song, you get a couple of one-liners in there, and you forget that movies ever have scenes with just dialogue in them. I loved the feminism of this film, with the Barden Bellas really looking to each other and seeking solace in their friendship as they face whatever is to come post-grad. But, mainly, this film is just a ton of fun, from Fat Amy’s solo to the hilariously stereotypical German team Das Sound Machine; I don’t know if I liked it better than the first, but I will say that with an audience full of hysterically-laughing people of all ages, I’ll need to see it again anyway to catch some lines I missed. Dir: Elizabeth Banks

Speaking of feminism once again and once and for all, really, there’s Mad Max Fury Road. What can I even say about this modern action/sci-fi masterpiece? Charlize Theron’s Furiosa is a force to be reckoned with, a quietly intense badass saving a bunch of girls who’ve been sexually used and who just couldn’t take it anymore (and for the most part, they end up proving pretty badass themselves on their road to freedom). Sure, maybe some men’s rights activists thought it was feminist propaganda but if anything, that only made us feminists even more eager to see the film. Beyond this, it’s simply stunning to behold, especially in 3D. The film is really just one beautifully composed chase scene; it is intricate and unrelenting in its fierceness. It’s smart and singularly fantastic, like nothing else I’ve ever seen. Dir: George Miller

And, lastly, Ex Machina, a smaller sci-fi release with almost equally impeccable reviews from critics. This film exceeded my fairly neutral expectations. Oscar Isaac is a brilliant and fascinating actor, playing a character who is somehow intriguing and repulsive thanks to his intense and dynamic performance (that strange, almost disturbing dance scene cannot be unseen)– he’s a tech genius billionaire who created a massive internet enterprise, think Google or Facebook a few years from now, and who has now secretly created an artificial intelligence who is beautiful and increasinly manipulative. Cue Domhnall Gleeson, the young programmer meant to test her human qualities. The script unravels like a tightly would coil slowly and carefully coming undone, and there is a sense of dread that mounts, thanks to the setting’s inherent claustrophobia and the deliberate pace of the action. I loved it. Dir: Alex Garland

This has been your redhead rapid fire review session for the month of June, ladies and gentlemen! Thanks for reading and for being willing to go with the flow as I slowly but surely change up how, how often, when and what I write on here.

Redhead at the Movies Returns! A Coming-of-Age Story / Struggling-Superhero Sequel of Sorts…

Hello world! I’m back from the dead! For those of you who follow me on Twitter though, or who happen to otherwise frequent Audiences Everywhere and French Toast Sunday, you’ll know that I wasn’t completely dead to the world. Even though my blogging is still slow and sporadic all around, you can almost always find me more active on those sites. As I’ve said before, I care deeply about meeting the deadlines of those two lovely, stellar blogs that I write for which aren’t my own, and so writing for my own has, unfortunately, taken yet another back-back-back burner to those commitments and to everyday life; what else is new!

I think i’m going to formally end my Walking Recap posts, which is a sad announcement for me to have to make but a necessary and seemingly obvious one, seeing as the guilt that mounts whenever I miss one is too much to bear– and for this past season, well, I’ve missed nearly the entire second half’s worth. But, let me just say, it truly was a phenomenal season, wasn’t it?

As far as blogging here goes, I’m going to at least make it more of a point to post compilations of what I’ve been writing elsewhere on the internet. Things are only about to get busier for me, for reasons I’d prefer not to reveal to the world just yet (but never fear, it is good news, not bad!) Yet, the same thing that is about to make me even busier has also renewed my stamina and drive to post as often as I can, whatever I can. I started this blog for me, and have grown to realize I owe it to all of you reading and to myself to keep this up before I find that I really cannot do so anymore.

Anyway, I haven’t seen any new movies really, not since Whiplash in February (and I intend to review it upon my second screening of the film, which is going to happen soon I hope, because I loved it– and if those three words could be enough of a review, I’d let them stand as such. But, they’re not enough to capture my adoration for this film. I doubt an entire review would even do the trick. A well-deserved plethora of wins at this year’s Oscars, especially for editing… Anyway, more on that soon!)

Another thing I can do with regard to keeping up my blog within the confined of my crazy life right now, would be to try being a little more free-form in my posts; treat this like a workbook or diary, to vent my pop culture feelings of course, be they excitement or anger. I’ll do my best to be creative and articulate– two skills and talents which I know I possess but which need more frequent exercise than they’ve been getting lately– because I do know there are those of you who read my blog when I do write on it, and for that I really am eternally grateful. So I want to entertain and enlighten you as much as I want to do this for myself.

Or, I may do one post per month aside from any new reviews: what I’m watching, reading, what’s happening in my [pop culture] life. Any essay-type analytical think pieces will probably be found more or less exclusively at Audiences Everywhere and French Toast Sunday rather than on here, but we’ll see.

For now, I’d just like to say that the KINO Film Festival for new German films will be taking place next week. I haven’t forgotten my foreign film project for 2015, people! In fact, you can read reviews of Human Capital and Wild Tales over at Audiences Everywhere. See, the best is when I get to see the films in a theater and its even better when it’s part of a film festival. And they’re German films so I’m extra excited. I’ll be seeing Who Am I – No System Is Safe, starring one of my favorite German actors, Tom Schilling, on Monday, and one other film called Flights of Fancy on Thursday. I’ll try to review them but make no promises anymore!

I’ve also been watching a lot more TV lately which is another direction I may take the blog in (aside from withdrawing my Walking Recap feature). I love Fresh Off the Boat– an endearing entry into the diversity conversation surrounding television and media in general, and also it’s just a really cute sitcom that proves diversity on television is viable and entertaining to masses. Of course, no show proved that better perhaps than Empire, which was an addictive binge-watching project that had me obsessed (okay, I’m still obsessed actually). And of course, Unbreakable Kimmy Schmidt– hilarious, absurd, and feminist, what more could I have asked for from Tina Fey’s new show.

Thanks for understanding and for reading my ramblings, even when they get emotional and personal and stray away from industry news and movie reviews. I’m trying my hardest to turn over the new leaf that I’ve been meaning to for months now and to really stick with it, but what a heavy leaf it can be.

The 2015 Foreign Film Project: Part Two (Films 3 & 4)

Hello all! In the last couple weeks, I’ve managed to watch 4 more foreign films! One is nominated for this year’s Oscars in the best Foreign Language Film category, and one I saw not on Netflix but in theaters. For the sake of going in order and keeping things a little more concise and consistent, though, this post will just be about the next two that I watched on Netflix:

First, I watched the 2011 Norwegian drama, Oslo, August 31st (on Netflix), directed by Joachim Trier. It’s roughly one day in the life of a recovering drug addict named Anders, who leaves rehab to revisit his old stomping grounds– the city of Oslo– for a job interview (one that is more or less mandated by his counselor). While he’s there, we watch as he also battles the demons of his past– the now-fractured if not completely lost relationships he had and the aftermath of his life as an addict– all coming back to haunt, tempt and taunt him at every turn.

The film is bleak (a word I find myself using for many a foreign film, but one which often doesn’t quite give justice to the beauty inherent in that bleakness) and slowly-paced (another common trait), but it is gripping nonetheless. You watch as he sort of gradually self-destructs, and you feel powerless and helpless as that trajectory unfolds, carefully and quietly but not altogether hopelessly– what keeps the film from feeling like a dead end for its entire run time are these glimmers of hope we try to latch onto, even as he detaches from them within the narrative. I particularly loved the opening sequence– images of Oslo flashing before us, with voiceovers telling stories of their many memories of the city. Later, the film will revisit many of these same images, but they feel emptier, more unwelcome, and we see the beginning as an opening and the end as a true ending, a closing of a chapter and an eerie realization of what this young man’s life has come to within and outside of the city he’d once called home, the city that has, in many unfortunate ways, shaped his fate. I thought it was wonderful, certainly worth watching, but not one that will ultimately stick with me too much, I don’t think.

The Edge of Heaven, on the other hand, is a film that will definitely haunt me, just as Head On (Gegen die Wand) had from the moment I saw it; both come from Turkish-German director Fatih Akin, and both are intricate, heartbreaking human dramas that deal with Turkish immigrants living in Germany. The Edge of Heaven (2007, on Netflix, original title: Auf der anderen Seite) weaves together already-inherently-connected stories of love, violence, redemption, identity and destiny. The film begins with an older Turkish immigrant living in Germany and his second generation immigrant son, living and working as a professor of German in Hamburg. The father, in a drunken temper tantrum, accidentally kills his Turkish prostitute-turned-sort-of-girlfriend. Knowing she’d left behind a 27-year-old daughter, who’d been living and finishing her schooling in Turkey (her tuition paid for by her mother’s secret profession), the son goes to Istanbul to find her, seeking repentance and to make things right.

Our second storyline follows the daughter, and we find out she is a political dissenter who seeks refuge in Hamburg and looks for her mother to no avail, and the many ironic, tragically missed connections slowly reveal themselves through painfully nuanced shots of these people literally crossing paths or through the film’s careful editing, as events we did not realize were significant at first are repeated and thus given enormous weight. Anyway, her storyline is filled with even more despair than the first, as she falls in love with a German student named Lotte who then risks everything to save her when she is deported and arrested for her activism and failed attempts at asylum.

The connections between these people are then further teased and tested– Lotte stays with Nejat (the son) and later, so does Lotte’s mother, and you want so badly for him to know who it was that they’d been in Istanbul to help, that it was the same girl he’d been seeking all along, but this revelation would be too simple, it seems, and it never comes. Closure is sought after and only half-found by all these characters; they all find a kind of imperfect, uneasy inner-peace, and the effect that this half-solace has on viewers is deeply affecting: it seems tragic, frustrating and also weirdly satisfying all at once, a complicated set of emotions for a complicated film that is also incredibly gorgeous, even in its most depressing moments (notable to me would be a shot of a coffin coming off an airplane into Turkey from Germany, and the reciprocal shot later of a coffin being loaded onto a plane, leaving Turkey for Germany, all paired with the emotionally resonant sounds of traditional Turkish music). The film explores themes of homeland and heritage and the ways in which people can be both challenged and separated from one another because of these ties and the ways in which they can and do connect despite those ties. I loved this complex, moving and captivating film wholeheartedly.

Thanks for reading and following me on this journey! Next post, which I’ll hopefully get up here sometime this week, will be about the Italian drama Human Capital (now playing in select theaters/cities) and the Polish masterpiece Ida.

2014: The Year in Films (As Told by a Blogger Doing Her Best)

Let’s get a little closure, shall we? I watched more films than I thought I did in 2014, and yet still not as many as I would have liked. Some, I reviewed for other sites (which I’ve noted) and others which I never even reviewed (and so for those I may write a little bit more here than for those I’ve already written about).

And, as everyone knows, I often see movies that I’m very excited about, movies I am pretty sure I’ll like, hence why I rate most things so highly (it’s not simply because I’m a pushover but because I’m on a budget– who wants to spend time and money on something that’ll probably be bad? I know my tastes and listen to other critics well enough to see things I’m almost guaranteed to rate highly.) However, this makes it very hard to judge these things against one another. For that reason, I’ve decided that I’m not going to be putting these things in too much of an order; I’ll do my best but for the most part, just assume the ranking is pretty close especially after the top three choices or so. And, I’m going to judge big budget blockbusters separately than independent and foreign films, etc, just to be fair and to make my life easier.

So without further adieu, here are…

My Eight Favorite Independent Films (Art House, VOD, Limited Release, etc):

1) Birdman: Wouldn’t complain if it swept up everything it’s nominated for this coming awards season. Amazing and haunting, like nothing I’ve ever seen before; both a spectacle and philosophical movie-marvel that does deserve its praise.

2) Snowpiercer: Upon second viewing, I realized just how much I loved this movie. Brilliant, creative, and endlessly entertaining, this film was a blockbuster like no other and it should, for many reasons, be necessary viewing.

3) Cheap Thrills: I couldn’t find a flaw in this horror/dark comedy. Smart, suspenseful, brutal.

4) The Grand Budapest Hotel: Another I found myself loving even more the second time. Wes Anderson’s most epic and grandiose film, this sweeping caper is accomplished and a lot of fun.

5) They Came Together: Not enough people talked about how smart and hilarious this movie is– David Wain adoringly skewers romcom formulas and it is just plain awesome, plus the cast is basically perfect.

6) Obvious Child (reviewed for The Film Chair): I loved how daring and truly funny this film was, and Jenny Slate is amazing in it.

7) The Babadook: Another female-directed feat, this horror movie is as good as everyone said it would be.

8) The Skeleton Twins: Simultaneously funnier and far more serious than I expected somehow, this film was really moving thanks especially to Wiig and Hader’s amazing performances.

What didn’t make the cut:

I thought Jason Bateman’s directorial debut Bad Words (reviewed for The Film Chair) was a bit messy and mediocre at best– some parts were amusing, but ultimately it tried too hard to be bad while also playing it too safe by the end. You can’t be perverse and sentimental at the same time– make up your mind.

The Immigrant was good– with beautiful, careful direction and absolutely amazing performances– but ultimately formulaic and thus forgettable in the grand scheme of all these other films, for me anyway.

V/H/S: Viral (reviewed for Audiences Everywhere), was a huge disappointment to me. Out of the measly three segments, one was amazing, one was just okay, and one was annoying beyond belief, and the frame narrative was pretty hit and miss itself, so even though that campy sense of fun was still there, it wasn’t consistent enough to save this anthology.

And lastly, Affluenza (reviewed for The Film Chair), was a teenage Great Gatsby wannabe that was just fine, nothing less and certainly nothing more, and overall it was just totally forgettable.

And Five Favorite Foreign Language Films:

1) Big Bad Wolves: An Israeli horror/dark comedy that exceeded my expectations.

2) A Coffee in Berlin (reviewed for The Film Chair): A jazzy, increasingly meaningful black-and-white journey through a Berlin twentysomething’s day, wanting a cup of coffee but receiving instead random, awkward encounters that just might lend him some direction. My love for Berlin was only a fraction of why I loved this funny, frank and subtly emotional movie.

3) Zero Motivation (not reviewed): An Israeli comedy directed by Talya Lavie about a group of girls in the Israeli army– bored, brash and often juvenile. The film itself is brilliantly broken into three chapters that flow flawlessly into one another; the connected tales of female friendships, goals and challenges are all hilarious and honest.

4) The Lunchbox: Heartwarming and whimsical, this Indian film is a treat.

5) Mood Indigo: Challenging at first and undeniably weird, but overall, this is a fascinating and of course visually splendorous narrative from Michel Gondry.

The Best of the Big Releases:

1) Gone Girl: Just as good as I prayed/hoped/knew it would be. Thank you, David Fincher, for making a compelling and faithful adaptation!

2) The Dawn of the Planet of the Apes (not reviewed): Just rented this the other day. I’m so proud of Matt Reeves (Cloverfield) for making such a well-paced, visually stunning and wickedly intelligent sci-fi prequel-sequel. This film was gripping, technically amazing and aesthetically awesome, and like I said, actually intelligent, so I loved every minute of it.

3) Guardians of the Galaxy: I mean, what is there to say besides “I am Groot;” this was the most fun I’ve had at the movies in a long time; just pure and simple joy that sent a sonic boom through this summer’s box office.

4) Godzilla: This film was well-made and its characters no more one-dimensional than those found in far stupider blockbusters of recent years anyway, so can we just focus on the monster as a character and admit that this movie was great?

5) X-Men: Days of Future Past: I loved seeing both X-Men casts together, and for this narrative to not be confusing was really a feat.

6) 22 Jump Street: A laugh out loud sequel that is even crazier and more meta than its predecessor.

7) Neighbors: Nothing special, when you think about it, but this film had me cracking up and that’s what counts.

What didn’t make the cut:

I am the only person I’ve ever met who didn’t love The Lego Movie. I get it, at least I think I get it, but it just didn’t resonate with me like it did everyone else and I almost wish I got it more so I didn’t feel so lonely over here in the minority. I really did find it brilliant but just too annoying for me to enjoy; maybe my head was too in it, but nothing was tickling my funny bone, so the frenzied nature of it all just wore me down and got on my nerves. I did love aspects of it (including the live-action scene toward the end) but the sum of its parts just didn’t do it for me, sorry all!

And The Interview, which was hilarious and smarter than its stupidity would have you believe, is hard to categorize due to its distribution, but even besides that, it wasn’t one of my favorite films of the year– I loved it, genuinely enjoyed it beyond its mere hype, but not quite enough to make it my number 8.

Interstellar was okay, but wanted to be more than it was and that ended up being its downfall; I enjoyed it, but it was not the life-changing experience it felt like Nolan wanted it to be.

The Amazing Spider-Man 2 was enjoyable to me but a big fat flop to many (okay, most) others, so I ultimately decided it didn’t actually belong in my top spots (maybe that’s me caving under pressure in a way that I just couldn’t with The Lego Movie… at any rate, I’ll still defend this Spider-Man installment and say it wasn’t nearly as bad as everyone made it out to be– I had a lot of fun with it and had a lot of arguments as a result of that opinion, too).

Maleficent, which I rented but didn’t review, was mediocre, a word I seem to be using a lot in this post (along with synonyms such as “okay” and “fine”). It was visually awesome but all those effects were balanced precariously upon a paper thin story– a whole lot of nothing that looked like something amazing. And though Angelina Jolie was great and definitely made the film somewhat worthwhile, everything around her performance just felt like fairy tale fluff.

The Best in Horror:

1) Cheap Thrills: See above. This movie shocked me and delighted me in disturbingly equal measure.

2) Big Bad Wolves: See above. If torture porn had a sick sense of humor and was gorgeously stylized, you might end up with this film.

3) The Taking of Deborah Logan (reviewed for Audiences Everywhere): A true Netflix hidden gem, this found footage film wasn’t anything too new in terms of that form, but it was truly scary; it turns the proverbial wheel surprisingly well.

4) Oculus: One of the coolest mainstream horror films I’ve seen in a while– this is the kind of terror that comes from not knowing what is real, not being able to accurately perceive what we see, and not being able to control what we do.

5) The Babadook: See above. Dreary and dreadful.

What didn’t make the cut: 

V/H/S: Viral, like I said before, was too much of a disappointment to me, as someone who loves the first two films in the series. Deliver Us From Evil (reviewed also for Audiences Everywhere) was good up to a point and then it simply wasn’t. Ironically, many critics seemed to like the parts that I liked least while they disliked the parts that I felt were the film’s strongest. Oh well. Also, let’s be honest– the cast was kind of awkward: Olivia Munn and Joel McHale, what?

And the worst of the worst was definitely As Above, So Below. Rented it the other day and couldn’t even finish it (My horror-movie lovin’ mom: “I’m waiting for something amazing to happen” Me–“Yeah, the credits.”) What a boring found footage mess this film was. Too much editing, cam was TOO shaky for its own good and, oh yeah, NOTHING happened and nothing really ever made sense. Too much switching POV’s and, again, no coherence whatsoever– who died now, what’s going on? And at a certain point I realized I was annoyed by all of that but that I didn’t actually care anyway as far as the film’s characters or conclusion were concerned.

And the Worst of the Rest:

And So it Goes (reviewed for The Film Chair) was an annoyingly sentimental melodramedy starring Michael Douglas and Diane Keaton. It had its moments, I suppose– I actually didn’t actively hate it consistently, while watching– but overall, it was a forgettable, laughable film from Rob Reiner (note my word choice: laughable like, what are you doing, Rob Reiner).

And Noah (not reviewed) was mind-numbingly frustrating to watch: overdramatic, loud, self-righteous and stupid, you can still see Aronofsky’s talents here, and maybe what he was going for was admirable and interesting, but the execution was too ridiculous and just in general missed its mark.

So, as we head into 2015…

I just want to say that 2014 was a pretty good year in film, for me, but then again, I find myself avoiding things that I think will be bad (or that I simply won’t enjoy) and so I tend to miss a lot, for better or worse. Thank goodness for Redbox rentals and Netflix. And as far as 2015 goes, there isn’t a whole lot that comes to mind immediately when I start to ponder what films I’ll be excited for. I’m definitely looking forward to Jurassic World and Pitch Perfect 2. And The Avengers: Age of Ultron will hopefully be as great as the first film, though I must admit I’m always a few steps behind in terms of the other Marvel movies (and have been ever since they’ve proliferated in recent years- too many, too little time, and not enough motivation for a select few of them anyway). I also hope that my foreign film project helps me remain as egalitarian in my viewing choices and behaviors as it always had when I was in college, and I really want to do more VOD viewing as well. And another resolution is to watch more documentaries, which shouldn’t be hard because I do work for a documentary distribution company after all. Anyway, thanks for reading and here is to a happy, movie-filled 2015!

The 2015 Foreign Film Project: Part 1

I have always loved foreign films– besides horror and comedy which are my two favorite genres, foreign films have been the next biggest interest of mine within cinema. Even before I started college, I found myself drawn to these films, fascinated and refreshed by how different they were from the Hollywood fare I’d been used to. I remember watching the bleak but gripping Romanian drama 4 Months, 3 Weeks and 2 Days (2007) on Netflix streaming before Netflix streaming was as big as it is now (and before I really knew how to watch such a film– I’m surprised it’s stuck with me as an ultimately meaningful experience even if what I was viewing was anything but pleasant; I even defended it to my joke of a film class when I studied abroad, and being the only film major in said class, my claims that it was a disturbing but unbelievably well-constructed period piece were dismissed as pretentiousness). Anyway, it wasn’t until my contemporary world cinema class that I got to see another Romanian film– the equally bleak dark comedy/drama The Death of Mr. Lazarescu (2005).

Now, as I head into 2015 wishing I not only blogged more but also watched more movies on my own, as a form of much-needed me time that is also productive somehow, I’ve decided that I miss watching foreign films and that I should really utilize my Netflix account more than I do. So, I’ve started a little passion project to watch more foreign films this year and write a little bit about them so that come 2016, I can see how I did!

The first two I watched were: Child’s Pose (from Romania) and Big Bad Wolves (from Israel).

Child’s Pose, which won the Golden Bear at the Berlinale the year I was in Berlin for my semester abroad, actually, was as bleak as the other Romanian films I mentioned, but rather than exposing the horribleness of communism when you need all you need is an abortion (4 Months, 3 Weeks and 2 Days) or the horribleness of the modern healthcare system when all you need is a doctor and a hospital (Mr. Lazarescu) this film makes the bourgeoisie out to be the bleak, corrupt and callous facet of Romanian society– its grit is in its glamour, and in a way, that made it more disturbing to me. The film focuses intently on the class difference between Cornelia (played by Luminița Gheorghiu who also costarred in those two other Romanian films– not ironic since she’s like the Romanian Meryl Streep) and the grieving parents– whose 14 year old son was killed in a car accident, with Cornelia’s own beloved son Barbu behind the wheel.

Though he is at least partially to blame of course, Cornelia coldly calculates what needs to be done to clear her son’s name, even when her interference is clearly unwelcome; the relationship, or lack thereof between Barbu and his mother is what makes her attempts seem all the more skewed, her denial of his wrongdoing comes second to her denying her own son’s disdain for her. The climactic scene toward the very end of the film finds Cornelia in tears, spewing his accolades and achievements as a way of defending her son, begging for his life to be spared even though the recipients of these pleas are those grieving parents whose own son was not spared, whose own son was not given such an opportunity– and with seemingly no real guilt from Cornelia. It’s a class allegory about power and pride and, though it’s never really an easy film to watch, it’s powerful if you can master it.

The next film also had to do with dead children, but other than that disturbing commonality, these films were totally different: Big Bad Wolves, which opened early in 2014 in limited release, is an Israeli thriller/dark comedy that many horror fans buzzed about (so I knew I had to move this one to the top of my list). This film was AMAZING in every way possible. From the stylish opening credits sequence to, well, a lot of other very visually striking moments, the film had a slick sense of panache. It was also sickly funny, as a dark comedy should be when done right– I found myself laughing while cringing (a sort of “should I really be laughing at that?” type reaction). I loved this film and would have given it a perfect score, easily.

The story is that of a pedophile/child murderer who is interrogated by the father of one of the victims, with a little help too from a sarcastic vigilante cop who’d been officially taken off the case. Taking matters into their own surprisingly sadistic hands, the film takes a turn for the disturbing and suspenseful, but still with that sick humor making itself known throughout (I mean, the choice of music when the father is baking a cake with sedatives in it is priceless and will make your skin prickle). I loved the deliberate way the camera moved, the way certain moments played out in a kind of stylized slow motion; I loved the music and the script, the way humor and horror were so intertwined as if to seem naturally synonymous; I loved the way we’re meant to question everything– who is telling the truth and whose motives are justified– that is, until the twist at the end that will leave you shocked, shaken and cheering (more for its build up and execution than its content)… or maybe that was just me getting way too excited about this amazing movie culminating in the most satisfying– and yet frustrating– way possible. I don’t usually praise things this much even when I give them super positive reviews but this film honestly made me this giddy so censoring myself is not an option.

Anyway, thanks all for reading and for following me on this little foreign film journey! Coming up in this feature if all goes according to plan, I’ll be checking out two more of Leos Carax’s films, the Russian noir Elena, modern Spanish classic Y Tu Mama Tambien and recent Spanish camp-fest Witching & Bitching, Norwegian psychological drama Oslo August 31st and much much more!

A Merry, Mega Redhead Pop Culture Recap Post!

Happy holidays and happy new year to all and apologies as usual for my lack of blogging activity up until my two Christmas Day reviews. It seems I’m always apologizing in such a fashion at the beginning of a post here, and up until those aforementioned reviews, this had been my longest hiatus yet, I think. I took an unofficial, unintended and unannounced month-long break from blogging– on my own site and for everyone else’s, too– and I’ve been really trying to reassess my time management and how much time I truly have for blogging right now, and when I’d best be able to fit it in. I don’t want to give it up, at least not now, not yet– I’ve come too far and feel like writing about films and television has become an integral part of my identity, even if it is just a hobby, a therapeutic side gig that gives my life an extra ounce of meaning and purpose. Now that I have a full time job and a nearly 4 hour round-trip commute every day though, it’s been hard, and I’m not using that as an excuse, or even if I am, that’s the truth and it’s my right to be unreasonably exhausted, unmotivated, and drained of all creativity by the time the evening or even the weekend rolls around.

So, again, bear with me– or don’t– as I figure out this weird stage of my life, as it is lasting longer than I thought it should but apparently, this is all totally normal– from college to one’s early twenties, I’ve been told that it’s okay for things to be tumultuous, tiring and confusing. It’s starting to dawn on me that maybe there won’t ever be a convenient time to blog frequently– I kept saying this other thing comes first or that other thing takes priority, and maybe there will always be those things, and maybe I won’t ever be the kind of blogger who devotes one’s self so fully to this but I do care and I do want to push myself even just a little bit further, and to take advantage of whatever spare time I do have, even if it isn’t much. This blog– and the guest spots I’ve had and still have– mean so much to me, and have given me so much. I’m willing to let it come second to whatever else is going on in my life but I don’t think I’m ready or willing to say goodbye to it entirely.

With that in mind, I thought I’d write a MASSIVE hodgepodge of a post, to encapsulate all that’s been going on in my life on the pop culture front! Feel free to skim as your interests dictate.

First of all, I never did write that last The Walking Recap post. Maybe I was too shocked (but was I really?) or heartbroken. To recap briefly now, Beth stabs Dawn with a pair of medical scissors and one of the other cops shoots Beth in the head upon instinct. Daryl carries her body out as we’ve seen him do before–  carrying Beth when she hurts her ankle last season, or the dead body wrapped in a sheet that he’s about to burn on Carol’s behalf this season, all as if the show’s been foreshadowing this event– and Maggie collapses in grief. I grew to really love Beth… but the petitioning that occurred next is what I want to focus on here even more than the episode itself… apparently, there’s a chance they’ll bring Beth back? This seems wrong to me, if this rumor comes true, because it takes the dramatic, emotional impact away from the episode, takes the power out of it, I mean. It feels like a too-easy way out from a show that should continue to pride itself on packing those kinds of punches. Otherwise, why should we care about anyone on it– if they die, they’ll come back, right?

Continuing on the television front now: I binged all three episodes of Ascension a couple weekends ago and loved it, until the ambiguous ending, that is. Syfy’s 3 part miniseries which took place on a spaceship in the middle of its 100 year journey, seemed at first to be science-fiction at its most essential and satisfying: a twisty and terrifying foray into social commentary. But, I think it could have had a little more focus than it did. Still enjoyable and worthwhile for the most part though! I think the ending just really threw me off. No spoilers but if something is going to be allegorical, pack the final punch with that in mind instead of smacking us over the head with something very new– and very random.

I’ve also started binge watching ABC’s Revenge, and 3 years/4 seasons late to the game, I’m loving it. I’ve heard it takes a dip in season 2, a sophomore slump I guess, but I’m going to stick with it (right now I’m almost at the end of season 1 and still completely addicted). Yes, I am totally, unabashedly obsessed with the trashy, campy soap-opera-esque turmoil of the rich and powerful Grayson family, whose lavish and corrupt lives are being threatened by the way-too-cool Emily Thorne (played by Emily VanCamp), who is back under a false identity in order to seek revenge for her father’s false imprisonment. It’s definitely the most fun I’ve had with a TV show in a while– it induces the kind of viewing stress that only makes you want more. And, if I may, I think the characters are a little more complex (even if just a little) than your typical archetypes but they’re still cookie-cutter enough, somehow, to be the kinds of recognizable characters you can easily love and love to hate. The glamour, the intrigue, the backstabbing and plotting! It’s euphoric, quite frankly.

Last thing I’ll mention about TV: the Doctor Who Christmas Special was one of the best ones I can remember. I mean, who doesn’t love creepy dream crabs (and the ensuing Alien references!) and a Santa played by Nick Frost? Plus, Jenna Coleman is staying on as Clara! This news would have upset me if she were still the same boring, one-dimensional companion as she was in the Matt Smith era but with Capaldi, she’s been written as a genuinely interesting, complicated girl and their chemistry is awesome now, so I’m really glad she changed her mind about leaving the show.

Now, back to film before I finally stop this rambling! I would have posted a whole thing about The Interview when the controversy was happening. And then the status kept changing and I simply couldn’t keep up, so I didn’t even tweet about it as I should have– it’s North Korea’s fault one minute then it’s back to being an inside job; first the film won’t be shown and next thing I know, I’m streaming it from YouTube. Free speech ultimately won here, but there are those who still felt the film was too racist and too stupid to deserve it– dangerously stupid, in fact. My opinion still stands that a stupid comedy can still be satire though and so whether or not it’s unanimously viewed as a quality film or not, whether it is truly an irresponsible film or not, that’s almost not the point anymore. The issues are still so complicated, though, the debate so heated. But I’m still standing behind it and supporting it, and it’s apparently doing very well on VOD for Sony– this has been a pop culture event, a terrorism ploy, a conspiracy theory hub, an industry game-changer, and a global political moment all in one.

And finally, as I wrap up 2014 in my own mind and as the movie blogger that I still am, I’ve decided that I will write a post soon about my favorite films of the year, and perhaps my least favorite– since I rented a few that I ended up not blogging about before, which may factor into that post (Maleficent = Meh-leficent and Noah = NO-ugh). I won’t put an exact date on it (when this post will be up by, I mean), but it’s always nice to reflect so I’ve definitely started to turn that all over in my head. Maybe I’ll write it a bit differently than I did last year’s. And, as a goal/resolution I’ve made for myself heading into 2015, I’m going to be posting just a little bit (meaning not full reviews or essays but just short posts of some sort) now and then about foreign films I see (most of which will be streamed from Netflix). I just miss watching foreign films and they’re often good to watch on my own, so it’ll also allow me a little me-time and will be a good personal passion project to embark upon heading into the new year. I started today by watching Child’s Pose (from Romania) and Big Bad Wolves (from Israel) so expect a post about those soon as well!

Thank you all for reading and for sticking with me! 2014 has been a crazy year and without you, my dear readers, I’d have even more self-motivating to do than I do already! I’m very grateful and looking forward to being a better blogger in 2015.

Review: The Babadook

Director: Jennifer Kent
Starring: Essie Davis, Noah Wiseman
Rating: 4 out of 5 bad books for The Babadook. This film wasn’t the scariest I’ve ever seen, as many claimed it was, but it was, indeed, very scary. Even though I went in with high expectations, the film still satisfied me immensely; it was a success regardless of whether it gave me nightmares or not. It is atmospheric, suspenseful, and dreary, and the horror comes from dread, not gore or cheap shocks. However, it takes a keen attention to detail and a particular kind of panache to pull off this kind of nuanced, delicate indie horror: Kent exhibits these qualities and displays them effortlessly here.

The Babadook— which, someone pointed out to me afterwards, can be reconfigured to roughly spell “the bad book”– is not your typical gore-fest or even your common haunting flick, but it’s pretty much unpleasant from the get-go, before anything supernatural even occurs. Amelia (Davis) is a haggard single mother, tortured by grief ever since her husband died (in a car accident, driving her to the hospital to give birth to their son). Her son, Samuel, is equally tortured by his lack of a father; he still sees monsters and even builds weapons to combat them (and to protect his beloved mother). But he is alienated from other kids as a result of these odd and aggressive behaviors, and Amelia is just as isolated from her peers due to her own inability to move forward and adequately handle her son’s erratic tendencies.

Well, before long, the demons they both battle become all too real– or perhaps, those preexisting demons allow for further negativity to enter their lives in the form of Mister Babadook, a storybook which seems to mysteriously materialize on their shelf as if beckoned or attracted by their stress and unhappiness, and which traumatizes Samuel instantly; he sees Mister Babadook everywhere and says typically creepy things to his own mother, such as “I don’t want you to die.” The scariest visceral moments of the film, sparse and expertly crafted as they are, include the guttural way “BABADOOOOK” is uttered, like a demonic whisper that upsets on a deep, physical level (something about the tone of it just made my skin prickle and crawl). Then there’s also the random appearance of roaches in a non-existent (?) hole in her wall. But those tricks never seem cheap here– they seem horrifyingly real, because everything else about the film is so grounded in gritty reality, particularly the mother-son relationship that is teased and tested throughout the film.

Davis is amazing as Amelia, especially when she is, shall we say, not herself, floating effortlessly between weepy, weak mom to crazy-killer mom– and, again, the possession sort of feeling isn’t cheapened here but rather intensified, thanks to just how subtle and seamless the buildup is, and how crucial the film’s central relationship is to the story. Her son’s obsession with monsters and with saving his mother from them comes into play perfectly when the monster is finally very much real, but it kind of makes you think whether it ever really was– one thing the Babadook says is, the more you deny me the stronger I get, and it really does seem to me like Mister Babadook was another test, a more overt manifestation maybe, of the horror that is already present in their lives, though this horror is much more human– again, the horror of losing a husband or a parent, the fear and turmoil of raising a child alone, or of being alone. The film’s ending is awesomely strange and thus all the more disturbing, and if there’s anything to be learned from the film, it’s that we cannot always eliminate that which plagues us, but we can be in control of it, but at what cost? A scary thought indeed.

This is, all in all, a chilling and unsettling horror film that, above all else, is just so expertly crafted– there wasn’t anything in here that was sloppy or lacked stylishness, care or precision. Even if it doesn’t scare you in the same way as some other films might, I’d argue that this brand of scares is a lot more deeply effective– washing over you like a cold sweat brought on by a bad memory or rather by a nightmare only half remembered, always lurking in the shadows, threatening to remind you of the horrors of your every day life.

The Ten Most Iconic Female Movie Characters

A list of 10 iconic female movie characters has been made. That list will be assigned to another blogger who can then change it by removing one character (describing why they think she should not be on the list) and replacing it with another one (also with motivation) and hand over the baton to another blogger. Once assigned, that blogger will have to put his/her post up within a week. If this is not the case the blogger who assigned it has to reassign it to another blogger.

That little intro was all the info needed to understand this awesome blogathon, which was started by Dell on Movies, where you can follow the list’s path. I’m honored to have been nominated by Dev Nic Smith’s awesome blog, Movies n’ Stuff. ADDENDUM (11/27/14): As of when I wrote this a couple days ago, I hadn’t nominated anyone yet but I’m pleased to announce that I’ve nominated Natalie of Writer Loves Movies and she accepted! She’ll have hers up sometime in the second week of December. She’s a fantastic writer who I’m happy to work with over at Audiences Everywhere.

Anyway, the list stands as this:

First of all, I agree with Dev’s overall line of reasoning, right down to why she eliminated Elsa from Frozen. I love Uma Thurman’s Tarantino characters and, of course, I’m partial to the horror movie heroines and sci-fi supergirls found on this list, as well. I would, however, feel an immense amount of guilt if I took someone like Scarlett O’Hara off the list, merely as a matter of preference. I mean, she’s pretty important. But it was her or Elle Woods (who was Dev’s pick).

Ultimately, I had to eliminate Elle Woods. I think Witherspoon is a great comedienne in Legally Blonde (2001), and Elle is a pretty fantastic character when you think about it– embodying gender stereotypes while also balancing and maintaining her intellect and independence, thus defying those stereotypes and pointing out their limitations, just as Dev said. But, the film never made a huge impact on me personally and so I’ve got to make room for my favorite movie female: Clementine Kruczynski of Eternal Sunshine of the Spotless Mind (2004).

I am biased only in that this is also my favorite movie of all time, but part of why it’s my favorite movie has always been the character of Clementine, played by Kate Winslet. Clem is, for me, simultaneously the most quirky, eccentric female character but she’s somehow also terribly relatable, both because of and despite those quirks. She is brutish at times– so, you’d think, “strong female character,” but the two are not necessarily synonymous; she is a strong female character in the sense that she is complex, and she’s allowed to be confident and obnoxious one moment and be completely emotionally wrecked in the next. She is moody, insecure, and impulsive– with her brightly colored hair and equally inconsistent personality, she actually fills up and fluctuates within the gray area between “strong” and “weak” female dichotomies.

Clem isn’t the best role model, per se, but she proves that a female character can come along every once in a while whose personality is as fluid as real women’s personalities can be– she has sexual agency and exercises her choice by, well, choosing perhaps too impulsively (as she does to erase Joel from her memory). I always related to Clementine on an emotional level, and maybe that’s embarrassing to admit– but all her brashness paired with her underlying uncertainty about her looks, love and life always struck me as unique as far as film history is concerned, and it always made me feel like complicated women do have a place on screen. And for that, I think Clementine is well deserving of a place on this list.

Thanks again to Dev for the nomination and good luck to all the future participants! I will announce who I’ve nominated ASAP and will wish them luck in particular!

The Walking Recap: Self Help

This is the most behind I’ve ever fallen on my Walking Recap series of posts and I feel so terrible about it but my life got extra topsy turvy this past week and I’m trying to get back on track and not letting my day-to-day affect my blogging too much; after all, this is still a passion and a hobby and not something I ever want to see as a chore. So anyway, I’m writing this before tonight’s episode, and it may be moot to do so, but still a principle and a commitment. I’ll keep it short:

I’m giving last week’s episode a 3.5 out of 5 lies. It wasn’t the most engaging episode this season so far, and its twist was one I saw coming. In fact, this recap will inevitably short for another reason, and that is that not a whole lot happened that wasn’t repetitive or predictable.

Essentially, last week’s episode gave us a glimpse into Abraham’s former life, the life he led just as the zombie apocalypse was starting. We may have some remaining questions about who he was with during these scenes, and how much his anger issues and need for purpose were instilled in him from before the outbreak and how many of those qualities directly resulted from the outbreak. But in the end, all I cared about was knowing that these flashbacks would reveal how Abraham and Eugene met, and how he came to devote his militaristic sense of discipline to protecting and transporting Eugene to Washington D.C. And, this moment was gratifying, especially because it comes soon after the present day revelation that Eugene has been lying all along– he isn’t a scientist, just a really good liar.

The moment plays out shockingly, but the revelation in itself was not shocking at all (maybe that’s the pessimist in me… or maybe it’s due to the fact that Eugene has been secretly stalling their travels this whole time, and this becomes obvious at various points in this episode). He decides to reveal it because if he doesn’t, he knows someone will get hurt: he reveals it just as Abraham and everyone else are arguing about which way they should travel– take more time to backtrack and guarantee safety, or go through the shorter route which will no doubt be a zombie minefield.

So, it’ll be interesting to see where this subgroup stands now, but if I’m being honest, I feel more invested in the other storylines that have been established this season, and there’s really not much of a point in having this one go on for much longer on its own merits, in my opinion.

The Walking Recap: Slabtown

No complaints from me yet in season 5– each episode has been nothing short of spectacular, in my opinion. And though last night’s episode shook things up and deviated from our newly established norm (the group, the church, Terminus, violence, cannibalism, all that good stuff), it was a welcome breath (or BETH… get it?) of fresh air– a strange and suspenseful episode that views the post-apocalypse through a creepily contained pressure cooker of indentured servitude.

I’m giving this one another 4 out of 5, and disagree with those who time and time again complain about the “slower” episodes or those that do not focus on the main group. Beth really proves she can hold her own here and the writing in this episode proves that it too can stand out and drive the suspense and drama, without many walkers or much action at all.

So, alas, the episode does not begin with Daryl telling us the story of finding Beth. Instead, the show takes a few steps backward to show us her parallel storyline. The timelines got a little muddled, for sure, but I tried not to dwell on it. Beth awakens at a functioning hospital in Atlanta, which is eerie enough in itself. Things get worse, rather than better as is so often the case in the TWD universe, when Beth learns that she “owes” for the help she’s been given– the help she never asked for, but needed.

The hospital is run by one doctor and a staff of crazy cops, ranging from the sexually abusive (to watch Beth have to take a lollipop in her mouth by force was bad enough, and to watch as she is almost raped later was intense and unsettling) to the delusional and belligerent Dawn. Dawn, the leader, is fiercely stubborn and wildly overbearing, to put it lightly. She keeps giving Beth speeches about all the good they’re doing in preparation for when they’re all rescued (delusion); she also slaps Beth out of anger at something not caused by Beth at all (belligerence). And sexual abuse is hinted at throughout the episode, with regard to another female patient, Joan, and brought up subtly again when Dawn says if the cops are kept happy then they work harder to protect the hospital. Yuck. My stomach was probably in knots during this episode more than in any other this season so far, actually– not because it was more suspenseful necessarily, but it just built up to these themes and questions and moments in really unnerving ways.

I will say, though, that it was deeply satisfying for Beth to take note of the almost-zombie in the room (Dawn’s office, to be precise, from which she was stealing keys for her escape attempt), an almost-zombie who happened to be the apparently suicidal Joan, and to use that to her advantage. Just as the aforementioned attempted-rape is about to occur, Beth knocks the creepy cop over the head with a glass jar from Dawn’s desk and he falls right in front of Joan’s hungry walker mouth. This was the perfect revenge for both females, even if one happened to be undead, to seek and further achieve in a microcosm where sexual assault is justified as a means of productivity and survival.

Some key moments include Beth’s befriending another patient, Noah. They try to escape together but it fails– shockingly, Noah gets away and doesn’t help Beth, who is pinned to the ground by the police. Beth finally talks back to Dawn at one point, and I think we really see a full range of emotions from Beth; impressively, we see the side of her that is meek and afraid, but also the side of her that Daryl helped bring out, the back-talking, more abrasive and far braver Beth, who does what needs to be done even though her fear is still evident. She’s one of the most human characters the show has developed, I think, and this episode proves that.

Especially shocking is when Beth gets blunt with the doctor, Dr. Edwards, who seems like a good enough guy in the grand scheme of this prison-like hospital. She knows that the patient who was brought in earlier in the episode was another doctor, and that that’s why he gave her the name of the wrong medicine to give him so that he’d die, leaving Dr. Edwards with no competition or fear of being killed or kicked out of the hospital. Dr. Edwards says earlier that it’s still better in there than it is out in the world, where walkers are still rampant; I think we’re meant to question the validity of this opinion and weigh it against what Beth is going through and what she was taken away from on the outside.

Just when we see her approach Dr. Edwards unsuspected, with a scissor in her hand, prepped for a shocking stabbing, something else shocks us even more– a new patient being brought in on a stretcher. This new patient is none other than Carol. Beth’s look of shock is enough to dictate how we’re meant to feel, even though I think we need no instruction on the matter. Beth is just as confused as we are (muddled timelines not withstanding– could Carol be sent in by Daryl as bait of some sort, to rescue Beth from the inside? Or did something happen to Carol while they were chasing down the car with the cross on the back?) but unfortunately, next week’s episode will follow Abraham and his new little crew. Again, I’m all for bouncing around if it’s done well and paced right, but I’m dying to know who is with Daryl in the woods after all, which hinges directly upon the end of last night’s episode and whatever is to follow.