Enter The Void (2009)

Directed by: Gaspar Noé

Written by: Gaspar Noé (with the help of Lucile Hadzihalilovic)

Players: Nathaniel Brown, Paz de la Huerta, Cyril Roy

Setup: Coincidentally reading a book about life and death from his French stoner friend, we see the past, present and future of an American drug dealer in Tokyo following his death (and an irrelevant drug trip).

Review: Having previously written about filmmaker Gaspar Noé’s second feature film Irreversible (appreciating the craft and technique, while giving caution regarding the disturbing visual and thematic material therein) I looked upon Enter The Void with overall excitement for the striking visuals and atmosphere the director would most likely present.  Our own Status Joe’s pseudo-recommendation motivated me to finally check it due to the fact I am currently working on an experimental short film with a first person point-of-view, which as you may excitedly/skeptically surmise is the modus operandi of this film.  Anyone who is skeptical in this regard can chill out; the effect only adds to the beautiful and languid visual language Noé developed for this film, while adhering to specific rules based on the story at hand.  Anyone who is excited should still be warned; this is by far one of the least accessible movies I’ve seen from the last decade, with hauntingly disturbing imagery and material making for a film I can’t stop thinking about, and yet can’t fully recommend 

After a truly jarring, shocking and awesome opening credits sequence full of colors and LFO’s “Freak,” we find ourselves behind the eyes of our visual surrogate Oscar as he looks out into the Toyko night from a high-rise apartment.  Once he’s done tripping on DMT, he meets his buddy Alex, they proceed to discuss The Tibetan Book of the Dead that Alex has loaned him, and watch as Oscar is killed in a police raid.  Without much information given to the audience except life and death musings and alterations in cinema style, we follow “Oscar” through languid camera movements as he encounters all the important people in his life, especially his sister (played by the beautiful yet slightly irritating Paz de la Huerta).  Besides seeing the immediate present following his death, we go into his past with the camera following directly behind his head, and then the future with more floating. 

In what overall amounts to a poetic fever dream, I cannot hold back my appreciation for the visual rules and cinematography Noé has laid out; they are arguably more important to the effective telling of this bizarre story than anything else, as well as show that based on the fantastic movement of camera and effects there is no doubt we are in the hands of a genius technician. 

While there is much to appreciate here, one can’t help but wonder at the lack of connection and importance to a number of scenes, along with unfortunately consciously pretentious moments.  Even certain scenes without any visual effects still amaze, though at times with a lack of vitality.  I can’t help but think Gaspar Noé pushes the dramatic limits for the sake of doing so, as seen in a not too graphic but obviously implied disturbing abortion scene, and a final scene where we actually see a digital penis during intercourse (its evoking the creation of life, but I honestly couldn’t help but laugh).   

While the credits are a work of wonder, they do not directly appear to connect to the film’s thematic material as a whole; in other words, you could not decipher what the movie is about based on credits alone.  This is also true for the opening DMT “trip” Oscar has; while relaxingly hypnotic, and possibly related to the fact that he is a drug dealer along with a foreshadowing of his transition to the afterlife, it does not seem to have a connection to his post-mortem adventure.

However, even when the film is losing connectedness plot wise, the striking visuals can be argued to have a thematic relation to one another whether it be the surreal, false perceptions of reality, or just wannabe Freud-weirdness (having seriously bizarre and incestuous thoughts about his mother and sister, Oscar should have seen a psychiatrist before his death).  Overall, when you avoid these critiques, you come away with a truly unsettling look at life and death, past and future, all presented as a cyclical process (think the antithesis of The Tree of Life, or an exceptionally gritty It’s A Wonderful Life).  For complete transparency, my jaw was dropped when the movie finished (few films have done this too me) and I’ve been thinking about this film more than 5 days after I watched it.  While pretentious at times, Enter The Void is a truly vivid and unique trip with verisimilitude behind every shot and a trance for the audience around every corner. 

Note: Based on your openness to this style of filmmaking, or the very disturbing and depressing material that’s associated with the rest of the director’s oeuvre, it may (probably) would be one you want to skip.

 

Tidbit: Gaspar Noé was inspired by a few other films, most notably 2001: A Space Odyssey during Bowman’s Star gate sequence.  Based on the lush quality of his sequences and his appreciation for similar scenes presented previously, its obvious he appreciates the ITunes visualizer. 

Drink of Choice:  As jarring as the film can be, one must be calm and relaxed to let it completely wash over you.  For this, I recommends VSOP Brandy, served neat. 

The Hobbit: An Unexpected Journey (2012)

Directed by: Peter Jackson

Written by: Fran Walsh, Philippa Boyens, Peter Jackson, & Guillermo del Toro

Based on the novel by: J.R.R. Tolkien

Players: Martin Freeman, Ian McKellen, Richard Armitage 

Setup: A comfortable Hobbit (is there any other kind?) reluctantly embarks on a quest with GANDALF (yeah, GANDALF) to reunite a pack of dwarves with their home under a mountain, along the way fighting inept talking trolls, orcs, and a ridiculously fast frame rate.

Review:  Having been a fan of The Lord of the Rings Trilogy in my youth (I’m still in youth… my “youthier” youth) I could not help but be excited to see this film based on J.R.R. Tolkein’s first novel about Hobbits (ergo prequel to the world renown film and book trilogy).  After a 9 year absence, Peter Jackson was returning to Middle Earth for a whole new trilogy of movies featuring appearances by many of the original cast and a brand new  “High Frame Rate” (HFR) method for displaying movies.  All of this information being provided months prior to the film’s release, it seemed as though none of it could go wrong.  Imagine my surprise when, despite the fact that this is a very enjoyable ride, all of this previously stated attributes were a large part of what did go wrong.

Now I may be unfairly cynical here; while it takes place in the same world, The Hobbit is much more of a children’s adventure rather than a fantasy epic (some may be surprised to find the book was written before LOTR).  Regardless of these differences and expectations, the tale of Bilbo Baggins is portrayed in exciting and entertaining fashion.  One could use the word “lighter” when comparing it to its sequel trilogy, as characters and situations exude much more humor than it’s predecessor.  This is all welcome for the most part, but with the updated setting trading magic and sometimes utter ridiculousness for the vitality and true suspense seen previously, shoddy shallowness does surface at times.

Still, production values are wonderfully high with beautiful effects and music as should be expected from this crew (and Howard Shore, back to continue scoring duties for Middle Earth). I also cannot deny joy in seeing connections between movies, as well as effective casting overall (looking at you Martin Freeman) and return of characters like Gandalf (Ian McKellan, providing a continuation of his award nominated performance).  While the story doesn’t exactly match the epic nature we might expect from experience, it certainly does provide joy and satisfaction.  

Ahem…now as I’ve decently laid into the story and movie on their own, it’s time to delve into the aforementioned problems I cannot ignore.  While the HFR version (film shot/displayed at 48 frames per second, when the normal rate is 24fps) was only released in supposedly one-third of the total theaters (probably due to negative word of mouth from early test screenings), it is also the rate that Peter Jackson intended for the film.  It may not upset me so much if it was meant as an experimental alternative but as it is, and even though he had the best intentions for vivacity and realism, the display I saw felt exactly like a high definition broadcast of Fantasy Masterpiece Theatre (if there can be such a thing).   It may lean more towards a certain form and idea of “reality”, but completely lacks in verisimilitude.  In essence, this term “reality” is subjective and open to many other factors besides visuals.  Regardless, the irony is palpable due to the fact that this vivid display only takes me further out of any “reality” attempting to be portrayed (this based on the idea that HFR was purposed for “reality”).  It may be that we’re too used to the 24 fps standard of the last 100 years, or that we just cannot visually process the greater amount of data provided.  Either way, 24fps gives a movie the “filmic” quality that makes it a film, displays verisimilitude, and doesn’t give a forced feeling of excessive speed (seriously, watch the characters in actions scenes; it looks like they’re being fast forwarded). 

But perhaps I’m being unfair; the new frame rate is not the be-all and end-all of the picture (no pun intended), and neither is the fact that much of the discourse tries too hard to connect with the previous trilogy (even to a slightly awkward extent with forced cameos).  Overall, when you avoid these factors (and the slight doubt that this story and method will work through two more films) The Hobbit stands alone as an entertaining journey with a identifiable lead character and theme; confidence can happily overtake comfort.   

Just make sure you check it the way God intended.

Tidbit: Guillermo del Toro is credited as a writer on this film, but also worked as director during an extensive pre-production.  However when studio and budget issues delayed production, he reluctantly left to pursue other projects.  Makes one wonder what he could’ve brought to the table…

Drink of Choice:  Taking place in Middle Earth, one must imbibe in the local libations.  Therefore I recommend Barliman’s Best, ale served in pints at Bree’s Prancing Pony Inn 

Oh… I forgot we’re not really in Middle Earth (and the characters are far from Bree anyway).  Better go with Mead, which apparently Dwarves love and it exsists on this Earth.  Any Mead should do; all are generally produced with a mixture of honey and water. 

Wreck-It Ralph (2012)

Directed by: Rich Moore

Written by:  (Story) Rich Moore, Phil Johnston, Jim Reardon. (Screenplay) Jennifer Lee, Phil Johnston

Players:  John C. Reilly, Sarah Silverman, Jack McBrayer, Jane Lynch

Setup- A materialistic Video Game Villian is unintentionally close to causing mass genocide when he sets out to obtain his own "Winner's Medal." 

The universe constructed by Wreck-It, Ralph is very well… constructed. They say Rome wasn’t built in a day, and I would suppose neither was Wreck-It, Ralph. Why, it must have taken the writers several days, if not months to come up with the logical fantasy land of our videogame icons. To live in this universe created by the writers is simple enough for the video game characters: stay in your game, do your assigned (or should I say.. programmed) work whenever a quarter is played, and…  don’t die in another game or you’ll die for real-sies. VIDEO GAMES! They have real lives, and they have problems just like us!

In Wreck it, Ralph, you have this guy, eponymously named Ralph voiced by John C. Reilly, and he wrecks a building as much as he can, as fast as he can. Now… no decent conventional town made of one building could stand that sort of treatment for very long. That’s when Felix, of “Fix it, Felix Jr.” fame comes in with his magical Golden Hammer and repairs the building instantaneously. Terribly, no matter how much Ralph can wreck, Felix has the capacity to overcome him. There thee by, poor Ralph is the bad guy. And because he is the bad guy, he is an outcast with his game.

With being an Outcast, comes great loneliness. On the game’s 30^th Anniversary, the entire game’s case throws a huge party, and Ralph never received his invitation. That’s because his invitation was never sent! That’s right, he was ignored. I believe this was a very traumatic episode that drove him into a period of hypersensitivity that could be diagnosed as Narcissistic Personality Disorder. This mental disease drove him to prove himself by obtaining a Hero’s Medal of his own. Unfortunately, as a result of his adventure, he nearly destroys every living video game character in the whole arcade!

So on his quest Ralph finds some games he thinks he can win a precious medal at; mostly through following a chain of reactions that leads him to said game. However, when the next real world day at the arcade commences, Ralph is nowhere in sight and the arcade manager puts an “out of order” sign on his game, spelling doom for everyone’s future. As a natural hero, Felix sets out to mend ties with Ralph and save his game.

The movie is fun to watch, everything is pretty logical for a made-up video game universe. He befriends Vanellope (Sarah Silverman) who just wants to be accepted like him. Even Felix gets some action with Calhoun, who is this suuuuuuper hot army chick that sounds an awfully lot like the actor Jane Lynch. There are problems and a happy ending, so don’t worry. No “Empire Strikes Back” here, ladies and gents.

I have one bit of sad news. There was one, intsy-weentsy problem. Any video game player can tell you how most games are difficult—especially in the later stages of the game. Even if they’re “easy” or are children’s games, you still probably aren’t beating the game in one lifetime. That’s hard enough to do at home where you can practice, nay, hone your skills for that one true run where you are never defeated! An arcade, those were just there for socialization. Nobody ever beats an arcade game. They play a few levels and die, move on to where their quarter takes them next. Why isn’t that aspect of gameplay talked about in this movie? When the player controlling Felix messes up and it results in a “Gameover”? Surely Ralph should have felt joy at those numerous times the incompetent real life player doesn’t finish the entire game.

I still had a blast, though. There were genuine moments when I kind of felt rumblings of what a normal person would call feelings. Except these were gigantic movements of emotion, probably similar to a meteor striking the earth and killing almost all life, but it was in my chest. Such agony and torment to the point of wanting to weep for the tragedy. Those moments, and similar, but opposite moments where I wanted to show my teeth and hug a stuffed animal, are why I am happy to recommend this to all family, friends, and strangers. 

Tidbit:  This, or other closely related projects had been in the works since the 80s. By the time it was actually being considered to be made, "Fix it, Felix!" was actually in line to be the lead character. 

Drink of Choice: A new drink called, "The Turbo." 1 part Pink Lemonade Vodka, Burnett's makes a fine fifth of the stuff. And 2 parts Mountain Dew Voltage. It is so delicious, and practically impossible to pour in too much alcohol. This stuff will fuel you all night long! 

Extremely Loud & Incredibly Close (2011)

PSYCH! This is actually a remake of Home Alone 2!

Directed by: Stephen Daldry

Screenplay by: Eric Roth

Based on the novel by: Jonathan Safran Foer 

Players: Tom Hanks, Sandra Bullock, Thomas Horn

Setup: A unique young boy sets out to discover what he believes to be a quest from his father a year after his death on 9/11. 

Review: One can't avoid the oncoming fear of overtly developed sentimentality with a plot like this, especially with its release timing last year (December = Oscar Bait), the marketing, and general word of mouth.  As I was generally open to the film but not completely eager to see it, a fairly positive review from a family member (no names mentioned here, but she did give birth to me) was encouraging.  My chance came when a friend and I wanted to ditch the streaming and actually rent a new release (this one isn' so new, but it worked out).  To answer the question that's the big ass elephant in the room, "Did I cry?", it would be almost.

First off, it should go without saying that shedding tears during a film is far from a bad thing; I actually welcome the opportunity.  It just waxes negative with me when one is manipulated into doing so, whether it be overly dramatic and with otherwise inappropriate music, or with sappy dialogue and shoddily false performances.  With ELAIC, even though I appreciated the film overall, this factor unfortunately occurs more so than not and sadly detracts from the quality, which otherwise is fairly high when not speaking about the lead performance...

To be completely honest, I am still going back and forth on Thomas Horn (playing the the lead Oskar Schell). As a character, I cannot deny that he felt fairly fleshed out and developed, probably largely due to the detailed script/novel.  However while Horn must be attributed with slight success in this regard, I can't deny there are many moments where he appears to simply be restating lines straight from the script (albeit emotionally). Just as well, whether it be the actor or the character being the reason for these traits, I can't help but find him extremely annoying.  His mannerisms and quirks have their entertaining moments, but unfortunately in small doses.  While this is not the end all be all of the film, I can't help but find disfavor in these factors (arguably due to my own temporary misanthropic state).

He'll always be Brewmeister Smith to me

Truthfully, all other aspects of the film are generally met with positive feelings by this curmudgeon, especially when it comes to other performances.  Max Von Sydow (playing a mysterious mute renter of Schnell's Grandmother's apartment) always rules, but performs beyond expectations in an effective and reserved role without one line (haven't seen Christopher Plummer's performance for which he netted the Best Supporting Actor Academy Award, but I call foul on Max losing out).  John Goodman, Jeffery Wright, and Viola Davis all bring effective supporting talent to the table, while Sandra Bullock plays Schnell's mother with believable emotion.  All do their best with the script, which overall is a moving and interesting story also dealing with the tragic baggage of the September 11th attacks.  However, whether it be based on written word or on direction by Daldry, some dialogue regarding "The Worst Day" (as its appropriately referred to in the film) definitely feels forced.

With high production values and fantastic cinematography, Extremely Loud & Incredibly Close effectively represents the crux of the film based on Oskar Schnell's journey; its mostly a drama bringing people closer together, all thanks to a loud and generally annoying kid.  

Tidbit: Thomas Horn was on Jeopardy, and was brought it to audition based on the type of character he showed on the program.  Me thinks one should not necessarily cast someone because they act like the film character in real life.  

Drink of Choice: This doesn't feel like a film appropriate for a heavy drink.  Therefore I suggest a light, chilled white wine such as the 2010 JB Atkinson Sauvignon Blanc.  American made (from Napa Valley), it will relax and put you at ease, possibly also accentuating emotions of happiness/sadness based on where you are with the film (if watching). 

Just make sure the blabbering kids are asleep to avoid feelings of accentuated frustration.

Flight (2012)

Directed by: Robert Zemeckis

Written by: John Gatins

Players: Denzel Washington, Kelly Reilly, John Goodman, Don Cheadle. 

Setup- A drug-obsessed commercial pilot uses keen instincts and decision-making to land a failing jet full of passengers-- while drunk and high. The ensuing crash investigation threatens to permanently revoke his license to fly.  

It’s particularly jarring to see a movie based on addiction. It is for me, anyway. Becoming addicted to anything, be it alcohol or something believable like the internet, would turn you into a figurative zombie. A sociopathic zombie bent on suppressing bad thoughts with internet spontaneity. And what hurt am I in denial about? Life would be just a constant act, a trick to get to my next wireless hotspot. Most of us enjoy a healthy amount of surf time, hanging digital, and wouldn't expect that we or our friends might develop the next case of internet addiction disorder (IAD).

Just the thought of not being able to google anymore makes my hand shake uncontrollably!

The frightening movie, “Flight” stars Denzel Washington as Whip Whitaker, a commercial airline captain. During the flight, a sudden event sends the plane diving toward the earth, surely on it’s way to imminent doom. Sideswiping doom, Whip performs an unusual maneuver and ensures the majority of those with souls do not die. However, routine toxicity reports taken from all crew members reveals he had quite the drug party happening in his body during the ordeal. Alongside Whip is his do-good lawyer played by Don Cheadle, while Kelly Reilly plays his sexy new girlfriend in Nicole, and John Goodman kicks butt as his lovable enabler Harling Mays.

I spent the better part of the movie pondering what it's like to be so unable to wise up. He was a hero who performed a miracle, but his own mindset never changes throughout the movie. Several times you’re left feeling disappointed in the character and hurt that not only is he letting himself down, but he’s letting you down too. The character's charm in constantly making you care is one of the reasons I fully expect Denzel to be in the pack of Best Actor nominations. Everything Whip does in the movie, good or bad, just makes you invest more in his well-being. 

When the curtains drew to a close and I was finished thinking about why a modern day movie theater would even have curtains in the first place, I realized I had just watched a very decent movie. The plot was solid and I wasn’t able to catch any wildness with logic, which is always half the battle eith these things. As I’ve mentioned, the acting was amazing, the characters were more than authentic, they were the sort of people that we wish we had in our lives to remind us we're alive and help us be happy and makes awesome nachos that they share with you. The only reason to rush to a theater right now would be for the crash scene, otherwise, just make sure to catch it on when it comes out on DVD. I have a hunch that the Oscars will play a role in reminding you. 

Tidbit: No compensation was received from alcohol companies for featuring the various beer, liquor, and wine. Zemeckis only gave a shot to each company, so as not to "endorse" any one brand. 

Drink of Choice: Straight vodka, chilled if you have to. Maybe a touch of tonic, but nothing close to a normal amount. Drink the vile liquor with him! Share his torment!