Film Review: Song to Song (dir by Terrence Malick)


You’re watching a movie called Song to Song.  It’s about beautiful people in a beautiful city.

In this case, the city is Austin, Texas.  The people are all involved in the Austin music scene and they’re played by actors like Ryan Gosling, Rooney Mara, Natalie Portman, Michael Fassbender, and Cate Blanchett.  A good deal of Song to Song was filmed at the Austin City Limits festival and several real-life musicians appear as themselves, though only Patti Smith is on screen long enough to make much of an impression.  To be honest, both the music and Austin are almost incidental to the film.  Though the movie was sold as an Austin film and it premiered at SXSW, it could have just as easily taken place in Ft. Worth.

The film is made up of short, deliberately obscure shots.  The camera never stops moving, floating over images of sunsets, sunrises, and oddly empty streets.  Because the film was shot with a wide-angle lens, you’re never not aware of the expanse around the characters.  At times, all of those beautiful film stars run the risk of become specks on the landscape, as if the film itself is taunting the characters for thinking that they are more important than nature.

Who are the characters?  It’s not always easy to say.  There are plenty of voice overs but it’s rare that anyone directly states what they’re thinking or who they are.  When the characters speak to each other, they mumble.  The dialogue is a mix of the banal and the portentous, a sure sign of a film that was largely shot without a script.  Eventually, you turn on the captioning so that you can at least understand what everyone’s muttering.

Michael Fassbender plays Cook.  Cook appears to be a music producer but he could just as easily be a businessman who enjoys hanging out with and manipulating aspiring stars.  People seem to know him but nobody seems to be particularly impressed by him.  Cook spends a lot of time standing in front of a pool.  Is it his pool?  Is it his house? It’s hard to say.  Cook is obsessed with control or maybe he isn’t.  Halfway through the film, Fassbender appears to turn into his character from Shame.

Ryan Gosling is BV.  BV appears to be a lyricist, though it’s never made clear what type of songs that he writes.  At one point, you think someone said that he had written a country song but you may have misheard.  BV appears to have an estranged relationship with his dying father.  BV may be a romantic or he may not.  He seems to fall in love easily but he spends just as much time staring at the sky soulfully and suggesting that he has a hard time with commitment.  BV appears to be Cook’s best friend but sometimes, he isn’t.  There’s a random scene where BV accuses Cook of cheating him.  It’s never brought up again.

Rooney Mara is Faye.  Faye contributes most of the voice overs and yet, oddly, you’re never sure who exactly she is.  She appears to be BV’s girlfriend and sometimes, she appears to be Cook’s girlfriend.  Sometimes, she’s in love and then, just as abruptly, she’s not.  She may be a singer or she may be a songwriter.  At one point, she appears to be interviewing Patty Smith so maybe she’s a music journalist.  The film is centered around her but it never makes clear who she is.

Natalie Portman is Rhonda.  Rhonda was a teacher but now she’s a waitress.  She might be religious or she might not.  She might be married to Cook or she might not.  Her mother (Holly Hunter) might be dying or she might not.

And there are other beautful people as well.  Cate Blanchett plays a character named Amanda.  Amanda has a relationship with one of the characters and then vanishes after four scenes.  There’s an intriguing sadness to Blanchett’s performance.  Since the first cut of Song to Song was 8 hours long, you can assume her backstory was left on the cutting room floor.  (And yet strangely, it works that we never know much about who Amanda is.)  Lykke Li shows up, presumably playing herself but maybe not.  Berenice Marlohe and Val Kilmer also have small roles, wandering in and out of the character’s lives.

There’s a lot of wandering in this movie.  The characters wander through their life, stopping only to kiss each other, caress each other, and occasionally stare soulfully into the distance.  The camera seems to wander from scene to scene, stopping to occasionally focus on random details.  Even the film’s timeline seems to wander, as you find yourself looking at Rooney Mara’s forever changing hair and using it as a roadmap in your attempt to understand the film’s story.

“I went through a period when I thought sex had to be violent,” Rooney Mara’s voice over breathlessly explains, “We thought we could just roll and tumble, live from song to song, kiss to kiss.”

As you watch Song to Song, you find yourself both intrigued and annoyed.  This is a Terrence Malick film, after all.  You love movies so, of course, you love Malick.  Even if his recent films have been flawed and self-indulgent, he is a true original.  You want to support him because he’s an artist but, as you watch Song to Song, the emphasis really does seem to be on self-indulgence.  The images are beautiful but the characters are so empty and the voice overs are so incredibly pretentious.  Should you be mad or should you be thankful that, in this time of cinematic blandness, there’s a director still willing to follow his own vision?

At times, Song to Song is brilliant.  There are images in Song to Song that are as beautiful as any that Malick has ever captured.  Sometimes, both the images and the characters are almost too beautiful.  The music business is tough and dirty but all of the images in Song to Song are clean and vibrant.

At times, Song to Song is incredibly annoying.  It’s hard not to suspect that the film would have worked better if Natalie Portman and Rooney Mara had switched roles.  Mara can be an outstanding actress with the right director (just check out her performance in Carol) but, in Song to Song, her natural blandness makes it difficult to take her seriously as whoever she’s supposed to be.  Portman has much less screen time and yet creates an unforgettable character.  Mara is in 75% of the film and yet never seems like an active participant.

At times, the film is annoyingly brilliant.  Malick’s self-indulgence can drive you mad while still leaving you impressed by his commitment to his vision.

And then, other times, the film is brilliantly annoying.  Many directors have mixed overly pretty images with pretentious voice overs but few do so with the panache of Terrence Malick.

Even fans of Terrence Malick, of which I certainly am one, will probably find Song to Song to be his weakest film.  Even compared to films like To The Wonder and Knight of Cups, Song to Song is a slow movie and there are moments that come dangerously close to self-parody.  Unlike Tree of Life, where everything eventually came together in enigmatic poignance, Song to Song often feels like less than the sum of its parts.  And yet, I can’t totally dismiss anything made by Terrence Malick.  Song to Song may be empty but it’s oh so pretty.

 

Clowntergeist: Preview, Review and Trailer


Sorry I have been “Clowning” it up a but with my last few reviews, but you know, Coulrophobia and all!

 

ok, seriously, my last movie review was about clowns; and now this one.

Clowntergeist 04

Let’s get the technicals out of the way:

Studio: High Octane Pictures

Director: Aaron Mirtes

Cast :  Tom Seidman, Burt Culver and Brittany Belland

 

Plot:

Emma, a college student with a crippling fear of clowns, must come face to face with her worst fear when an evil spirit in the body of a clown is summoned terrorizing the town she calls home. One by one Emma and her friends receive a balloon with the exact time and date of when it will appear to kill them written on it. After receiving her balloon, Emma realizes that she has two days left to live, and must fight against the clock to find a way to survive.

 

Review:

As much as this movie captured all the, shall I say tongue-in-cheek, plot lines. It did manage to scare me quiet a bit!

Now, please don’t read to much into the plot holes when you watch this movie. They are several to fall into. At times I am not sure this is meant to be a serious movie. But I was thoroughly entertained!

 

Would I recommend this movie?

On my horror scale:

3.25 out of 5. But factor the fun of it, I give it a 4!

Poster: 

clowntegeist

 

But, since it is time for IT (trailer via Lisa Marie Bowman)  to come out, no wonder I am getting so many clown movies to screen! And nightmares to sleep thru!

 

Should we watch the trailer for ‘Clowntergeist’ together? Yes we should!

 

 

Who wants to hold hands now!

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Clowntergeist will be available on VOD on all your platforms September 12, 2017 And on DVD in October, just in time for Halloween!

 

Film Review: The Last Word (dir by Mark Pellington)


So, I watched The Last Word tonight.

It’s a film that premiered, earlier this year, at Sundance and then it got a very brief theatrical run.  It was directed by Mark Pellington, who is one of those odd directors who, for some reason, I always assume is more talented than he is.  Seriously, when I saw this was directed by Mark Pellington, I actually got excited.  I was like, “Mark Pellington!?  He’s great!”  Then I realized that I wasn’t really sure who Mark Pellington was.  I looked him up on Wikipedia and I realized that I was mistaking him for actor Mark Pellegrino.  Mark Pellegrino played Jacob on Lost and is an outspoken Libertarian.  Mark Pellington is some guy who started out in music videos and then eventually moved up to directing pedestrian films.

Anyway, the film stars Shirley MacClaine as this annoying old busybody who demands that Amanda Seyfried write her obituary because MacClaine wants to know what people are going to say about her after she’s dead.  When Seyfried discovers that everyone hates MacClaine, she writes a boring and very short obit.  “Everyone hates you,” she helpfully explains.  So, MacClaine sets out to do some great things so that her obituary will have a little more spark.  She’s going to set a fire of quirkiness, she is!  Of course, this leads to MacClaine adopting a little black orphan, getting a job as a DJ at the local radio station (she plays boring adult contemporary music, of course.  No EDM), and helping Seyfriend get a boyfriend.

To be honest, this film would probably be a lot more bearable if it was a prequel to Bernie, because then you would at least know that you could look forward to Jack Black showing up with a hunting rifle and putting everyone out of their misery.  Unfortunately, that doesn’t happen.  Instead, this is another one of those movies where a cranky old tyrant teaches all of us young folks how to better appreciate life.

Y’see, Shirley MacClaine is playing an oldster so she has a sharp tongue and she’s always putting people in their place.  Because she had to struggle, we’re supposed to ignore the fact that she spends most of her time making everyone around her miserable.

Amanda Seyfried, on the other hand, is a millennial so she puts her feet on her boss’s desk and has no direction in her life.  Why, she just needs some annoying, elderly busybody to come into her life and make her listen to smooth jazz.  She might even get a hipster boyfriend out of the deal!  (Of course, her potential hipster boyfriend is a 2008-style hipster as opposed to a 2017-style hipster.)

Meanwhile, AnnJewel Lee Dixon (as the little girl that MacClaine adopts) is a plot device so she doesn’t do anything unless the script specifically needs her to humanize the other characters.  She gets to dance towards the end of the film.

Oh, and then there’s Anne Heche.  She plays MacClaine’s estranged daughter.  The reunion between her and MacClaine is so overwritten and overperformed that some viewers will probably be inspired to rip out their hair while watching it.

Hey, did I mention that there’s a scene where MacClaine does something quirky and all of the supporting characters break out into applause?  I think we’re supposed to clap to but I think most members of the audience will be too busy ripping out their hair by the handful.

Fortunately, I really love my hair so I resisted the temptation to start plucking strands out of my head while watching the film.  It wasn’t easy, though.  To be honest, the pain of plucking a strand of hair is nothing compared to the pain of watching the first fifteen minutes of this film and realizing that you already know every thing that’s going to happen.  By the time that the priest showed up and started to cry while talking about a time that MacClaine’s character had been rude to him, I imagine that viewers with less self-control were halfway bald.  But, as I said, I love my hair too much to take my frustration out on it.  Instead, I just kicked the coffee table a few times.  Now, my foot hurts.  Ow.

Seeing as how Shirley MacClaine is one of the last of the truly great actresses from Hollywood’s Golden Age and she actually does give a pretty good performance (when the script allows her), it’s a shame that the rest of the movie is such a let down.  Then again, this film is full of talented people who are let down by an overwritten script and Mark Pellington’s painfully obvious direction.  This is one of those films that tries to hard to be profound that it forgets the importance of being entertaining.

As I watched this movie, I took a glance at Mark Pellington’s filmography.  Did you know that he directed The Mothman Prophecies?  The Last Word really could have used a visit from the Mothman.  Seriously, this film was crying out for a scene of MacClaine putting Mothman in his place.  The fact that Mothman did not appear leads me to wonder what exactly this film was hiding.

Seriously, why are the people behind The Last Word protecting the Mothman?

Oh my God! Here’s the Trailer for Mother!


Oh my God!

Okay, forget anything that I may have said about being reluctant to see Mother!, the latest film from Darren Aronofsky.  Forget anything that I may have said about suspecting that Jennifer Lawrence is no longer as interesting an actress as she was at the start of her career.

Seriously, this looks fucking brilliant!

Mother! opens on September 15th and I can’t wait to see it!

Here’s The Trailer For Goodbye, Christopher Robin!


Here’s the trailer for Goodbye, Christopher Robin!

For a while, I’ve been predicting that this film could be an Oscar nominee.  It’s a biopic.  It’s about British people.  And it’s about war.  With Dunkirk and Darkest Hour also probable contenders, it’s looking like next year’s Oscar telecast could very well be dominated by the British going to war.

This one opens on October 13th and it will provide some counter programming for all the ghost movies and found footage rip-offs.

 

4 Shots From 4 Films: Breakfast at Tiffany’s, Inferno, Cat’s Eye, Sleepwalkers


Happy International Cat Day from the Shattered Lens!

4 Shots From 4 Films

Breakfast at Tiffany’s (1961, dir by Blake Edwards)

Inferno (1980, dir by Dario Argento)

Cat’s Eye (1985, dir by Lewis Teague)

Sleepwalkers (1992, dir by Mick Garris)

Catnip party at my place!