lostonmulholland's Ongoing 2017 Film Log

This is mostly for myself to keep a record and write ups for films I will watch (or have seen) throughout the year. Follow along if you'd like.

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Recent Views (out of 4)
Eighth Grade- (3.5/4)
Sicario 2- (3/4)
Assassination Nation- (3/4)
Mandy- (3.5/4)

Film: Young Adult (2011)
Seen before?: Yes, and I own it.

My favorite collaboration between Jason Reitman and Diablo Cody, and one of my very favorite Charlize Theron performances. She is G-R-E-A-T in this, pulling off the tricky task of making an unlikable character compulsively watchable. You also understand why she is the way she is through the brilliant writing, which is Cody's crowning achievement thus far. It's a piercingly, brutally, honest character study that doesn't take the routes of tidy endings, manipulation, or predictable hollywood conventions. For that I can only give it endless credit. It's also a bit too real for anyone battling certain (possible) mental illness, or feel as if they piqued in high school. Unable to maneuver easily through adulthood or life in general. I absolutely love this film and it simply never gets old. Special shout out to Patton Oswalt's underrated supporting turn that matches Theron every step of the way. Their dynamic is perfection. It's a bitter pill of a film, but one that is easy to swallow.

Score: 4 out of 4

Film: Fifty Shades Darker (2017)
Seen before?: No


First things first. There is a film called The Duke of Burgundy dealing with similar thematic material as the 50 franchise (read: bdsm relationships) that gets everything right that these films get wrong. It's sexy, richly rewarding for the senses, amazingly acted, and a great film all around. There's also chemistry between the leads, depth of character and storytelling, and actually genuine in its eroticism. So, if you have any interest in seeing Fifty Shades Darker or its predecessor, skip it and watch Burgundy instead. Just trust me on this one.

As for this piece of ****, what is there to say? I thankfully didn't have to pay for it since I work at a theater, and thought what the hell, maybe I'll like it in a trashy cinema/guilty pleasure kind of way. It doesn't even work on that level. Dakota Johnson and Jamie Dornan have no chemistry between them on screen, sexual or otherwise, and worse yet, you could give a **** about anything involving them, which makes for incredibly dull viewing. The sex scenes lack passion and titillation. And it's hard to defend a film that is so fundamentally wrong in general to begin with. This is a completely inaccurate portrayal of BDSM relationships, that mainstream audiences in their ignorant bliss seem to gobble up. I just don't understand why anyone would even want to get lost in a fantasy such as this one? Christian is more annoying than anything else, and while Dakota Johnson does everything she can with the material and is the sole bright spot, Dornan is nothing more than a pretty face. He was far more attractive and charismatic in Sofia Coppola's Marie Antoinette, and he had maybe 15 minutes of screen time in that one, and even less dialogue.

Honestly, save your money and just watch porn. At least you'll get a satisfying climax out of it, instead of this mess which is about as titillating as a Donald Trump sex tape. Ugh, why did I have to conjure up that image?

Not even two drinks beforehand could make this one interesting. At least I got a good nap out of it (literally, fell asleep around the 5th music video sex scene, and was awoken by my coworker).

Score: 1 out of 4

Dead Silence (2007)
Seen before? No.



After James Wan directed Saw, and later hit it big with Insidious, The Conjuring, and The Conjuring 2, he made this lesser known, poorly received, evil doll film Dead Silence. Many of his trademarks are still seen throughout, including lavish set design, strong camera work, and some interesting visuals. A particular transition as the camera zooms in on a painted welcome sign only for the painting to turn into a live action shot overlooking the town which the main character is arriving in is absolutely marvelous.

Beyond the production values, however, is a disposable screenplay that doesn't really offer anything original or scary. Sorely underdeveloped (a character gets over his wife's death surprisingly fast) and more than a bit silly, Dead Silence lacks any genuine scares or excitement. A third act twist is absolutely ridiculous even if it is a bit surprising, but it's absurd and induces more laughs than chills.

This is mostly bad, but always watchable, thanks to Wan's over-the-top style. Giving hints at the time of what he'd go on to do in later, better, films. He'd even go on to improve the whole creepy doll story with the opening to The Conjuring, which is far more tense and creepy than anything here.

Score: 1.5 out of 4

It's Only The End Of The World (2017)
Seen before?: Second time.


Xavier Dolan's Mommy was a thrilling leap forward for the young director. His previous films (especially Laurence Anyways) showed that he was an impressive auteur in his own right, even if his artsy pretensions threatened to swallow up the genuine emotion within his stories. With Mommy, everything came together flawlessly- it's unique visual style (the aspect ratio squeezed in like a box, only expanding to fill the whole frame when the story called for it) complemented the story rather than taking from it, as did it's great soundtrack. Mommy stands as one of the few films I find absolutely without fault, it moved me, and felt authentic in its exploration of the love between a son and his mother (as tumultuous as that can sometimes be).

Dolan's follow up feature It's Only The End Of The World may not be as great as Mommy, but it's still a worthy achievement on its own. Dolan's second adaptation of a stage play (the last being the chilly, sexy, and tense Tom At The Farm), but still vibrantly cinematic and mostly avoiding the staginess of other plays adapted for the screen. Dolan breathes life into the proceedings with his true talent as a director, especially getting great performances from everyone in the cast. And what a cast! Gaspard Ulliel, Nathalie Baye, Marion Cotillard, Vincent Cassell, and the ever fetching Lea Seydoux (probably my number one "straight" crush) all turn in towering performances, not a single weak link among them. And like most stage-to-screen adaptations, all get their moments to shine.

Using extremely tight closeups the film is a tense, suffocating, experience. In fact 80% of the film consists of fights and confrontation. Many people criticized the film for this very reason, and were quite shocked when it won the Special Jury Prize at the Cannes film festival. And while I could understand how this could turn grating for some, I was consistently pulled in to this ferocious family environment. Among these scenes are beautiful moments of reflection, poignant flashbacks, and meaningful sequences of quiet that speak more words than the ones that do. Plus, Xavier Dolan is still in full command here. From his choice picks of music, from Grimes, Moby, and even Blink 182 and the best use of the Numa Numa song imaginable, and sequences that were probably strong on stage but even better on film. For instance, a heated conversation that takes place on a long car ride is perfection in using sound design to build the tension, with the camera stuck in the back seat as if we the viewer are sitting silently watching this uncomfortable argument unfold.

None of this, however, could have prepared me for the impact of its final scene. A sequence of such raw emotion, suspense, and heartbreak. Lit with golden hues, and the actors giving it their all (especially Seydoux and Cassel), it's an explosion of cathartic sadness and unforgettable pain. It's an ending the entire film has been building towards, and Dolan knocks it out of the park.

Challenging but endlessly rewarding, Dolan once again proves what a talent he is and that there still great things to expect from him in the future.

As they say, "family cuts deepest", IOTEOTW is a captivating depiction of this.

Score: 3 out of 4

King Cobra (2016)
Seen before?: No
Score: 3 out of 4

Another film about crime in the porn industry, King Cobra is much better than it has any right to be. I was surprised by how much I liked it.

Based on the true story of Brent Corrigan’s rise to fame, and his connection with two porn producers which ultimately ended with the murder of one of them. King Cobra is trashy and at times lurid, but I’m not saying that like it’s a bad thing. It’s all surprisingly really entertaining, while taking some turns I didn’t quite expect. It’s pretty refreshing to see such a shamelessly homoerotic film like this one. It isn’t afraid to delve into the subject matter head first, and shows just about everything but the real thing thanks to clever editing. It also doesn’t demonize any of the characters like a lot of gay films do, yes there is a murder involved, but the way it plays out is oddly sensitive. When the two criminals streak comes to an end, there is genuine emotion to be felt.

The performances are really strong here. James Franco, in yet another gay-centric performance, is fearless as always. He’s unhinged and unpredictable. One second showing true compassion and love for his partner, the next enraged by jealously. Garret Clayton is spot on as Sean Paul Lockhart / Brent Corrigan, an almost identical twin to Zach Efron, even if I’ve never been a fan of the real Corrigan, he definitely knew how to do his job well and play the part. Alicia Silverstone is also memorable in her small role as Brent’s mother. The biggest surprise is the performances of Keegan Alan as Harlow, an actor I’m not familiar with, who's troubled Harlow, and his story, are even more interesting than the main storyline, and last but not least, Christian Slater as Stephen. Slater really grabs the role and nails the part, at once creepy and sympathetic, and maybe even a little pathetic. This is one of his best performances I’ve seen, and I’m usually not a fan of his, but he’s great here.

King Cobra is not without its flaws, but for a true story I knew nothing about, it was consistently engaging, sometimes shocking, and deliciously scandalous. For people who aren’t afraid of borderline explicit gay cinema or true crime or stories set in the porn industry, this may not be on the level of PTA’s masterpiece Boogie Nights, but it’s a well-made and always watchable little film. One of the bigger surprises I’ve come across, as I expected this to be completely terrible. It isn’t. At all.

The Talented Mr. Ripley (1999)
Seen before?: Many times
Score: 4 out of 4



Being a 10 year old, closeted gay boy, in the throws of coming to terms with his own homosexuality, The Talented Mr. Ripley was one of the first films that exposed me to anything with a homosexual subtext, or one that depicted gay relationships on screen. Though The Talented Mr. Ripley isn’t a “Gay movie” really, it was an instant favorite for this young (at the time) and growing cinephile. A film I only grew to appreciate more as I grew older, and one that is still endlessly rewatchable and spellbinding with each viewing.

Directed with classy, sumptuous, style by the late Anthony Minghella, The Talented Mr Ripley works both as a satisfying character study, and a Hitchcockian suspense thriller. Rarely does every ingredient that comes into making a film come together so beautifully as it does here. From the lush cinematography, set and costume design, rich original score, immaculate editing and pacing, and A+ performances across the board. This is a great Hollywood thriller that we rarely get anymore.

A young Matt Damon may not seem like ideal casting for the sociopathic, chameleonic, Tom Ripley, but his boyish charm is hugely effective. A manipulative bastard, one can see why the people around him are at least initially taken by him, and even more understandable when suspicions arrive. Gwyneth Paltrow seems to be channeling Grace Kelly in one of her finest performances. Jude Law is spot on as the rich and spoiled Dickie Greenleaf, this was a breakthrough performance for him, and his charisma and confidence steams up the screen. Finally, in smaller roles that are no less great than the larger ones, Cate Blanchett is as perfect as she always is, with only a few scenes she performs her role so vividly and fully that you savor every moment she’s on screen. And of course the late, great, Philip Seymour Hoffman is flawlessly spot on as a rich ass hole who sees right through Tom’s master plan. His final scene opposite Matt Damon is a showstopper, bitterly hilarious, and giving hints as to what a great actor he already was before he hit it big.

There’s something quite mesmerizing in watching this tale unfold, Ripley seems constantly at risk of being caught, but his scheming and cunning intelligence helps him get out of any sticky situation, even if he has to murder a few people along the way.

While I have seen Purple Noon, another adaptation of the same story, for this viewer The Talented Mr. Ripley reigns supreme. It’s a masterful thriller that seems like it was made in another era, not relying on over the top violence or sex to thrill the audience, but just good old fashion intrigue, mystery, and intelligence.

This one will never, ever, get old to me.

I really really hate Young Adult, like it's one of my most hated films. Charlize Theron is one of the most detestable, pathetic characters in anything for me and the whole thing is just really hard to sit through. I don't like Juno either but i'd rather watch that again much more than Young Adult. The Talented Mr Ripley is very good, all of the RIpley films i've seen are.

Kudos on the Duke of Burgundy shoutout. That's a fascinating movie.

XX (2017)
Seen before? No

Like most horror anthology films, XX is a mixed bag. Even it's strongest films aren't particularly great. Tied together loosely by gorgeously, albeit pointless, stop motion interludes that ultimately have nothing to do with the themes in each of the four films.


The idea of bringing four female filmmakers together is one with potential that it never quite lives up to. I wouldn't mind a sequel where four lgbt filmmakers come together and try out the same thing (Todd Haynes, Gus Van Sant, Xavier Dolan, and Kimberly Pierce)?
Unfortunately the all-femme concept is let down by four films with strong concepts that are never fully lived up to in the end. There's a nagging feeling throughout each of them that, had they not had the constraints of making a short film, that the results would have been far better.


Out of the four, The Box and The Birthday Party are the best. The former's central idea and mystery is genuinely creepy and intriguing in its mystery. Unfortunately the ambiguous ending frustrates for than it satisfies. However, taken more as a story about existential despair, the implications make it stronger. The Birthday Party juggles genuine suspense with some nice touches of dark humor, while anchored by yet another captivating performance by the ever underrated Melanie Lynskey.


The third, and worst of the bunch by far, is Don't Fall. Over in a blink of an eye and sorely underdeveloped. The film introduces four characters we don't get a chance to even acquaint ourselves with before throwing them into a creature feature that's over before it even begins. It's absolutely disposable, and I can't believe that this was the best they could have gotten. It's pretty much worthless.


Finally Karyn Kusama, who's last years The Invitation ranked as one of my top 10 favorite films of last year, is initially intriguing and well-directed, but the ending is both unsatisfying and lacks the cathartic punch of her aforementioned previous film. Hers was the one I was most excited to see, but unfortunately, the best was not saved for last.
XX is a disappointment for many reasons, occasionally involving and creepy, but most of the time just a huge wasted opportunity.


Final Score: 2 out of 4

Doubt ( 2008)
Seen before?: Yes, and I own it.
Final Score: 3.5 out of 4



Doubt is one of the better stage-to-screen adaptations. Unlike the recent Fences, John Patrick Shanley, adapting and directing his own play, has a breath of cinematic life throughout the proceedings that Fences was sorely lacking. This is certainly thanks to Roger Deakins impeccable cinematography, sharp and pointed editing, and a sweeping score by Howard Shore.

A great example of Doubt feeling more like a film than just a play on screen, is one scene where Father Flynn talks a sermon about Gossip, instead of just watching him talk to the audience, the scene shows us the story that is being told. As a woman slices open a pillow and the feathers flow throughout the town (again, gorgeously shot by Deakins). It’s a lovely moment, one that I’m sure was lacking from the play, and further solidifying the impact of the sermon.

Of course the film is anchored by a quartet of fine performances by an A-list cast. Meryl Streep flirts with chewing the scenery, but brings an effortless humanity to her stubborn and harsh Sister Aloysius. She’s, of course, great in the role. Amy Adams is perfectly cast as the meek and more compassionate as a nun close to Aloysius even if they are polar opposites. Viola Davis is remarkable, stealing her one scene with Streep with no doubt, and was worthy of the Oscar nom she received. And then there is the late great Philip Seymour Hoffman as Father Flynn. At once sympathetic and also suspicious. You don’t want to believe that the accusations against him are true, but the thought that they very well could be is chilling. Streep and Hoffman’s final confrontation is a showstopper, two acting legends going head to head, it’s a feat of acting that is endlessly watchable.

Smartly never revealing if in fact Father Flynn did or did not do anything wrong, Doubt leaves much to be discussed. Shanley sprinkles clues throughout that support both sides of the story, and depending on the viewer, you are left to your own devices to make up your own decisions. For the record, I do think there was some wrongdoing, but I could go back and forth.

Worth watching if only for the great performances, Doubt is a near-great film in its own right. Tense, engrossing, and thought-provoking. Incredibly well made, handling tough subject matter without making its messages obvious. Save for maybe the final scene, which raises even more questions, Doubt is thoroughly entertaining and constantly involving.

Miss Sloane
Seen before? No
Score: 3 out of 4


I watched this solely based on the hype surrounding Jessica Chastain's performance. And let me tell you kittens, it surpasses the praise she has been given. Had last year's Best Actress race not have been so crowded, she would (and should) have received an Oscar nom. But like the equally brilliant Rebecca Hall in Christine, Chastain was overlooked.


The film itself isn't bad either, but without Chastain it would have been merely serviceable, just solid enough. Her performance is so incredible it elevates the film surrounding her to a completely higher level. A true force-of-nature performance that commands the screen and grabs the viewers attention so strongly that it becomes something else entirely.


Surely one of the greatest performances I've ever seen. And Chastain has never been better. She's really that great, people. The film surrounding her is also quite an entertaining one, with some genuine surprises, and a few tense moments. Pure entertainment.

Kong: Skull Island

Score:


Well, here we go again.


I’m not an art house snob, I love me a good brainless action packed popcorn muncher when they come along (which, good ones, at least in America, are tragically few and far between). But is it so hard for filmmakers to balance spectacle with intelligent, or at the very least, well-written dialogue? Characters beyond one dimension? Anything to keep the story involving in between the money shots? Apparently so. While Kong: Skull Island is not as abysmal as Jurassic World, and maybe a smidge more entertaining than the frustratingly inconsistent Godzilla, it still doesn’t excuse the film or make it easy to recommend.
Granted, if I were 8-12 I probably would have loved it. And no insult intended to adults who enjoyed this, even I enjoyed it on more than one occasion. But for every aspect that actually works, which in this case are the outstanding special effects, and eye-popping, spectacular, cinematography, there is always a scene right around the corner to bring everything down again. When the film is attempting to focus on the human side of the story, it’s a complete failure and total bore. When it embraces it’s B-movie monster sequences, it can occasionally be quite thrilling. Occasionally. Unfortunately, a lot of the aforementioned sequences involving the creatures that inhabit the island are over before they even begin.


Which brings me to my next complaint, Kong: Skull Island is the first film I can think of that at once drags and yet feels too rushed. It’s incredibly inconsistent. There are some sequences that you think are about to build to something truly epic, but then end before the exhilaration kicks in. Like a sequence involving a particularly large arachnid, beginning with a genuine sense of apprehension, and a rather nasty flash of a disposable characters death. Then rapid gunfire, hacks and slashes, and cue the next scene. The thrill of this scene in particular is quickly lost. Many of the monster encounters are quite similar, the only ones coming close to doing it right involve the initial Kong reveal, a “Skull Crawler” attack shrouded in smoke, and the final battle. But even these solid moments are undermined by a lack of any real stakes or suspense. Instead it’s all surface appeal, not a single ounce of depth to be found, and again, usually finishing before they really start to get going.


As for the cast, well, we have Tom Hiddleston, Brie Larson, Samuel L. Jackson, John Goodman, and John C. Reilly among them, but they all seem so bored in their roles, that we don’t really care if/when something happens to them. Reilly is the closest thing the film comes to having a heart and more than just one note to his character, but it’s not some supporting performance that steals the show, he simply stands out because he is the only one that seems to have any energy and life in him. Plus, most of the jokes falling on the corny side barely elicited a chuckle out of me. All these actors, who have all been great in the past, seemed to have known they had not much to work with and are playing second fiddle to the special effects, battles, and explosions. Thus none of them seem to really be putting much effort into their performances at all.


With that said, the film is a visual stunner. From the lush terrain of the island, to a Refn-esque lighting in a club, to the camera not suffering from unfocused shakiness. Nearly every shot is delicious to drink in. The cinematography pops with vivid hues, and the action rarely suffers from Michael Bayhem level incoherence. Kong, and the other monsters, are truly state of the art and jaw dropping in their creation. Rarely are these beasts ever less-than-convincing. It’s just unfortunate they are never utilized as much as they could have. It’s all razzle dazzle, but not enough to elevate its flaws on nearly every other level. Most of them just seem kind of there for the sake of showing off technical advances, instead of incorporating them organically into the story. They pop up, they leave, and that’s that.


Ultimately, Kong: Skull Island is yet another frustrating disappointment. While not outright horrible, it’s never more than just passable, it lay somewhere in that sea of action/adventure mediocrity, with a disappointing lack of story and character development and genuine tension. Honestly, cut out the Skull Island investigators all together, focus on the islands human natives by exploring how they survive and fight to live while being surrounded by vicious, mythical, creatures, and you already have something much more intriguing and with way more potential. Who knows, maybe I’m just overly cynical these days, but I hope someday the studios and filmmakers will finally get it right and find the balance. I'm just really starting to lose my patience (and my money).