The Things You Find On Netflix: Austin to Boston


Austin to BostonAustin to Boston is a documentary about a group of mostly British folk musicians who, in 2012, toured the United States.  The group included a few familiar names (Ben Lovett of Mumford and Sons, for example) and several up-and-comers (Ben Howard, The Staves).  Traveling across America in five VW campers, the bands went from Austin to Boston in two weeks.  Along the way, they stopped and played at everywhere from Nashville to Woodstock.  The documentary, which is narrated in a memorably grizzled fashion by driver Gill Landry, follows them as they discover America, deal with shows that are both good and bad, and, most of all, make music.  Make no mistake, this is a musical documentary.  While the musicians do occasionally talk about their lives, for the most part, we get to know them through their music.

I have to admit that I was a little bit surprised by how much I enjoyed Austin to Boston.  My taste in music tends to run the gamut from EDM to more EDM so, to be perfectly honest, spending 70 minutes watching a bunch of folk acts should have been pure misery for me.  (Someday, I’m going to write an article about the Tyranny of Acoustic Harmonizing.)  But, even if it wasn’t my type of music, I could still appreciate that the musicians traveling from Austin to Boston were damn talented and had beautiful voices.  Could I have done without that gospel song that seemed to go on  forever?  I certainly could have.  But, if that’s your type music, you’ll probably really enjoy hearing it because it’s being performed by some seriously talented people.

And even if it isn’t your type of music, Austin to Boston is such an intensely likable documentary that it really doesn’t matter.  There’s something really sweet and special about watching these British musicians discover and, to a certain extent, fall in love with America.  And, speaking as an American, Austin to Boston made me better appreciate my frustrating home country as well.  Over the course of this short but achingly sincere film, we get to see a lot of American scenery and it reminds us of just how beautiful it all can be.  When you live here, you tend to take it for granted and sometimes, I think it’s good to take another look through non-native eyes.

Did Austin to Boston awaken any sort of dormant love that I may have for folk music?  No, it did not.  To a certain extent, I wish it had because it really is such a heartfelt documentary.  But, in the end, The Staves all have beautiful voices but it’s just not my type of music.  But it did make me better appreciate both my home country and the way that music — regardless of style or genre — can bring us all together.

And you know what?  If this is your type of music, you’ll freaking love this documentary.  You’ll watch Austin to Boston and you’ll say, “What the Hell was that EDM-loving redhead talking about?  THIS IS GREAT!”

Austin to Boston can currently be viewed on Netflix.

Coogler, Jordan, and Stallone return with Creed!


The first trailer for Creed was released earlier today!  Now, I have to admit that I’m not a huge fan of boxing.  Nor did I exactly love Rocky when I watched it on TCM.   (That said, I’ve always secretly felt that I was a bit too glibly dismissive of it in my review.)

But you know what film I did really admire?  Fruitvale Station.  Ryan Coogler’s directorial debut was a powerful and disturbing look at race relations in America.  It had its flaws but overall, Coogler crafted one of the best films of the decade.  Equally impressive was the film’s star, Michael B. Jordan.

So for me, my interesting has been piqued because Creed is another chapter in the careers of both Ryan Coogler and Michael B. Jordan and I can not wait to see where they go.

However, I think a lot more people will want to see the film because it is another chapter in the story of Sylvester Stallone’s Rocky.  So, before seeing Creed, be sure to check out our own Jedadiah Leland’s look back at the history of the Rocky franchise!

And watch the trailer for Creed below!

Film Review: The Stranger (dir by Guillermo Amoedo)


the-stranger-posterMeh.

Who cares?

That was my main reaction to watching The Stranger, a film from Chile that, for some reason, is set in Canada.  (There’s absolutely nothing about the film that brings to mind Canada.  The film was obviously shot in South America and almost all of the actors are Chilean.  And, just in case you forget, they’ve all been badly dubbed.)  The Stranger is full of atmosphere and it does attempt to do something new with the vampire genre so I guess we should give it some credit for that…

No, sorry.

Can’t do it.

Listen, I love horror movies.  I think that some of the most interesting films being made today are coming out of the South American film scene.  And, in the past, I’ve even defended Eli Roth, who is credited as being one of the producers on this film.  But I’m sorry — The Stranger is an incredibly boring and unpleasant film.

And yes, I fully realize that the best horror films are meant to be nightmarish and, as a result, somewhat unpleasant to watch.  However, there’s a difference between the stylized violence of a good giallo and the relentless sadism of The Stranger.  There’s no real point or style to the overbearing violence and gore in The Stranger and, as a result, it gets pretty boring after just a few minutes.

Of course, another huge difference between good horror and The Stranger is that The Stranger takes itself way too seriously.  Again to return to the Italian horror comparison, the best giallo films always featured quirky characters, clever dialogue, and plot twists that took us by surprise.  They were exercises in pure style that celebrated cinematic excess.  The Stranger is so somber and grim and serious that it all becomes a bit tedious to deal with.

Also, an innocent black cat is brutally murdered about 30 minutes into a film.  Then, towards the end of the film a dog is similarly attacked and left to die in the desert.  And you really don’t get the feeling that there was any reason for these scenes, beyond the fact that the director needed to keep up with his onscreen death quota..  If you’re going to portray an innocent animal being killed by your hero, at least make sure it’s absolutely necessary to the plot.  Otherwise, it just comes across as pointless sadism.

Anyway, the movie itself is about a stranger (Christobal Tapia Montt), who shows up in what we’re told in a small Canadian town.  He’s looking for his runaway wife, who he discovers has subsequently died.  The man has secrets of his own, of course.  He hates the sunlight.  He apparently cannot be killed by ordinary methods.  His blood can heal others but it also tends to transform them into being blood-thirsty monsters.  Yes, the man is obviously a vampire but the film never comes out and admits that.

There’s all sorts of small town intrigue going on but I’m not going to talk about it because it was tedious enough just trying to watch it.  Ultimately, the whole film is basically just a collection of scenes of people threatening the stranger, the stranger looking somber, and then people threatening each other.  None of the actors are particularly memorable and very few of them speak in their own voices.  One gets the feeling that the Chilean cast could not sound properly Canadian and so a bunch of American actors were hired to overdub everyone’s dialogue.  (I say American because I heard many regional American accents but not a single Canadian one.  All of this again makes you wonder why this film was set in Canada as opposed to some place like maybe Chile.)  The dubbing is atrocious, with the voices rarely matching either the facial expressions or the body language of the original actors.

This movie is a total mess.  Sorry, Eli.  I still think that the Hostel films have a lot more to say about America’s place in the world than most people are willing to admit but ultimately, The Stranger is a disappointment.

 

 

What Lisa Watched Last Night #125: Perfect High (dir by Vanessa Parise)


Last night, I watched the first post-Deadly Adoption Lifetime movie, Perfect High!

Why Was I Watching It?

Because it was on Lifetime and it was about a dancer, of course!

What Was It About?

Amanda (Bella Thorne) is a suburban teen who loves to dance.  But, after an injury, she gets hooked on prescription pills.  She also becomes best friends with druggie Riley (Daniela Bobadilla), Riley’s boyfriend Nate (Ross Butler), and Carson (Israel Broussard).  Soon, Carson and Amanda are dating and they become perhaps the most boring couple in history.  Of course, since this is Lifetime, the prescription drug abuse quickly leads to heroin, death, and a minute-long rehab scene.

What Worked?

The film did a good job of capturing both the excitement of dancing and the sheer terror of being injured and knowing that, as a result, you can’t do what you love.

What Did Not Work?

The whole movie was just so predictable and so slow.  Don’t get me wrong.  I understand that a Lifetime film about teenagers using drugs isn’t going to exactly be unpredictable.  From the start of the film, I knew that one of the four friends was going to have to die and I easily guessed which one it was going to be.  That’s just the way it works, somebody always has to die in these films.

But the problem is that we are now living in a post-Deadly Adoption age.  After seeing every single Lifetime convention skewered last week, it’s hard to go back to taking any of those conventions seriously.  The whole time I was watching the film, I kept expecting Will Ferrell to suddenly show and start bellowing, “SHE NEEDS HER MEDICINE!”

As well, Perfect High moved way too slowly for its own good.  As characters, Amanda, Riley, Nate, and Carson all fell flat.  Even before they ended up as drug addicts, they seemed like they wouldn’t be that interesting of a group to hang out with.  Before doing drugs, they spent all their time laying on the couch.  After doing drugs … well, that couch became even more comfortable.  For an anti-drug film to really work, you have to mourn what the character could have been if not for their addictions.  But, in Perfect High, everyone seemed to be just as dull regardless of whether they were high or not.

“Oh my God!  Just like me!”  Moments

The movie was about a red-haired dancer who popped too many pills in high school.  Oh my God, just like me!

Lessons Learned

Stay away from that heroin, kids.  Of course, I already knew that.  Even when I was going through my phase where I wanted to experiment with and try everything, I still knew better than to ever use heroin.  (Actually, to be honest, I should say that if I had ever had the opportunity to try heroin, I would have politely declined.  Fortunately, I never even had to deal with being offered heroin, which I guess is the benefit of going to both a high school and a college where everyone was too busy smoking weed to worry about harder drugs.)  Whenever I see a movie like Perfect High, I always wonder how the characters involved have never seen any other movies about heroin abuse.

I mean, don’t they watch Lifetime!?

ph

Ted 2 Sucks!


Ted_2_posterWell, I think the title of this review pretty succinctly sums up my reaction to Seth McFarlane’s latest film, Ted 2.  Thanks for reading and have a good…

Oh, really?

Okay, I’ve been told that I have to try to think up at least 300 words to say about Ted 2.  Otherwise, in the eyes of Rotten Tomatoes, we’re not a legitimate film blog.

*sigh*

Okay.

Anyway, Ted 2 is the story of a talking teddy bear (voice by Seth McFarlane) who likes to smoke weed and … well, that’s about it.  He’s just gotten married to Tami-Lynn (Jessica Barth) and they’re having trouble because Tami-Lynn wants a baby but Ted, being a teddy bear, doesn’t have any reproductive organs.  So, he and his friend John (Mark Wahlberg) decide to give Tom Brady a handjob so they can still his sperm.  But, it turns out, none of that was important because the state of Massachusetts claims that Ted is not even a person.  Instead, he’s just “property.”  So, now, John and Ted and their lawyer, Sam (Amanda Seyfried), are fighting the courts to win Ted his civil rights.  And then Giovanni Ribisi wants to kidnap Ted and Morgan Freeman shows up and says a few words.  And the film is narrated by Patrick Stewart because it’s funny to hear Patrick Stewart curse and…

Oh!  And Liam Neeson shows up.  He’s a customer at the store where Ted works as a cashier.  Liam wants to know if Trix are only for kids.  The joke here is that it’s Liam Neeson and he’s asking about cereal.  Ha ha.

Oh!  And there’s two guys who shows up at New York Comic Con so that they can beat up “nerds.”  During every scene set at Comic Con, they’re in the background beating people up and insulting them.  And the two guys are gay!  See, they’re bullies and they’re gay!  And they’re beating up random people at Comic Con, just because they can!  Hilarious, right?

Ted 2 spends a lot of time trying to convince us that Ted’s struggle to be recognized as a person is actually meant to be a metaphor for the American civil rights movement.  But, honestly, I get the feeling that McFarlane relates more to the bullies than he does to any oppressed minority.  As he previously proved with his TV shows and A Million Ways To Die In The West, McFarlane is only interested in going after easy targets.  He’s your typical white male hipster who thinks that, because he voted for Obama, he can get away with telling racist jokes.

And, before anyone misunderstands, I wouldn’t mind McFarlane’s humor if it was at least funny or original.  But instead, it’s the same stupid jokes that he always tells.  Seth McFarlane’s comedic technique is to basically drag things out until viewers laugh from pure exhaustion.  Is it effective?  Well, there are people who continue to praise and defend him and Seth certainly has made a lot of money off of his act.  So, obviously, there are people who respond to this.  But to me, Seth McFarlane’s humor just feels lazy.

Ted 2 lasts 128 minutes.  That’s over two hours devoted to a concept that feels more appropriate for a five-minute skit.  Interesting enough, the first Ted was tolerable because it focused on Mark Wahlberg’s Johnny.  Ted was just a supporting character and he worked as a metaphor for Johnny’s struggle to choose between growing up or being a happy slacker.  (The first Ted was all about Johnny falling in love with Mila Kunis, whose character is rather cruelly dismissed at the start of Ted 2.)  In Ted 2, Ted is the central character and once you get over the fact that he’s a teddy bear who drops multiple F bombs, there’s really not much to the character.  It helps, of course, that we only have to listen to McFarlane.  We don’t have to look at his imminently punchable, oddly lineless face.  But, to be honest, even McFarlane’s voice has become grating.  It’s just so self-satisfied and smug.

I saw Ted 2 with the blogger also known as Jedadiah Leland.  Over the course of 128 hours minutes (it just felt like hours), we each laughed once.  Not surprisingly, both laughs were inspired by Wahlberg’s dumb-but-sweet performance.  Now, I will admit that the rest of the audience laughed a bit more than we did.  But still, there was a definite atmosphere of resignation in the theater.  You could literally hear the people thinking, “Oh, Ted just made a joke about black people.  Better laugh now so everyone knows that I get whatever the Hell this is supposed to be.  After all, those tickets weren’t free…”

What’s the word count now?

758?

Cool.

That’s enough words for me to say, “Ted 2 sucks!”

 

Yes, A Deadly Adoption Was A Comedy…


deadly-adoption

Last night, an article appeared on Mashable in which I was declared to be one of the  “20 people who totally get the ridiculousness of Will Ferrell and Kristen Wiig’s ‘A Deadly Adoption.”  At the time, I was incredibly flattered but also somewhat incredulous.  If I was one of the 20 people who understood that the latest Lifetime film, A Deadly Adoption, was meant to be a drier than dry comedy then that meant that there were presumably people out there who did not get the joke.

And how could that be!? I wondered.

In case you missed it, on April 1st, a story was leaked that Will Ferrell and Kristen Wiig were secretly making a film for Lifetime.  The title of that film was A Deadly Adoption and early reports indicated that it was going to be a serious Lifetime film.  Because the story came out on April Fools Day, a lot of us assumed it was a joke.

However, then Will Ferrell announced that no, it was not a joke.  But now that news of the film had been leaked, he was prepared to close down production and make sure that the film never saw the light of day.  Now, whether Will was being serious in his anger or not is debatable.  (It’s easier to imagine Ron Burgundy having that reaction than Will Ferrell.)  But, regardless, cooler heads prevailed and soon, Lifetime viewers like me were enjoying commercials that featured Jessica Lowndes pointing a gun at a very grim and bearded Will Ferrell.

deadly-adoption-trailer

As the premiere approached, critics and viewers alike wondered if A Deadly Adoption was meant to be a serious film or if it was going to be a comedy.  Those who felt that the film was meant to be serious pointed out that the commercials for the film contained absolutely no hint that it might be a comedy.  Those who thought it was a comedy simply said, “Will Ferrell and Kristen Wiig.”

As for me, I pretty much knew what A Deadly Adoption was going to be from the minute that I discover it was being produced by the same people behind Spoils of Babylon.  And, when I watched the film last night, my suspicions were confirmed.  A Deadly Adoption is a drier-than-dry satire, a film that mashes together every single Lifetime movie trope in order to create the ultimate Lifetime experience.  A Deadly Adoption gets its laughs by refusing to openly acknowledge that it’s gone totally over-the-top.  Will Ferrell and Kristen Wiig both give extremely serious performances, with the humor coming from the fact that they are, with extremely straight faces, delivering dialogue and dealing with situations that are both ludicrous and yet very familiar to anyone who has ever spent a weekend binging on Lifetime.  The end result is that A Deadly Adoption both satirizes and pays tribute to everything that we love about a good Lifetime film.

(Does that make A Deadly Adoption the Sharknado of Lifetime movies?  Technically, yes.  But let’s not say that too loudly because Mia Farrow might hear and decide to live tweet the next showing.)

As for the film itself, it tells the story of Robert (Will Ferrell) and his wife, Sarah (Kristen Wiig).  Robert is a financial author who is also a recovering alcoholic with anger management issues.  (Significantly, everyone always talks about how angry Robert is, despite the fact that we never actually see him lose his temper.)  We know that Robert is a writer because he skypes with his agent and tells her stuff like, “Let’s cut chapter four.”  Sarah, meanwhile, has a typical Lifetime movie career.  She sells organic food at the local farmer’s market.  And, like all Lifetime movie heroines, she has a token and obviously doomed gay best friend named Charlie (Bryan Safi).

Years ago, as the result of an accident on a dock, a pregnant Sarah nearly drowned and lost her baby.  As a result, Robert is incredibly protective of their other daughter, Sully (Aylvvia Alyn Lind). (As part of the A Deadly Adoption drinking game, take a drink every time Will Ferrell says, “She needs her medicine!”)  Robert is also now scared of going out on the water so you better believe that the film’s conclusion is going to involve Robert in a tiny boat.

Anyway, Robert and Sarah want to adopt the unborn child of Bridget (Jessica Lowndes) but what they don’t know is that Bridget has plans of her own.  Upon accepting their offer to live with them until she gives birth, Bridget starts to subtly disrupt the lives of Robert and Sarah.  That right, she’s obsessed!  And, of course, she’s got a redneck boyfriend (Jake Weary) who drives a pickup truck and has a lot of “dangerous” tattoos.  And…

Well, I could actually devote a few thousand words to telling you the plot of A Deadly Adoption.  A lot of stuff happens.  In fact, every single plot point from every single Lifetime film ever made gets used at some point.  Everything about this film — from the acting to the direction to the tasteful decor of Robert and Sarah’s house to the almost obsessive focus on Jessica Lowndes’s cleavage — is designed to make this film look like a typical Lifetime film.

The brilliance of it comes from the fact that Ferrell, Wiig, Lowndes, and Weary all deliver their increasingly ludicrous lines with such intense commitment and low-key seriousness.  (Kristen Wiig, in particular, is great.)  With the exception of one line about lighter fluid and a dance party at the end of the film, there’s nothing in A Deadly Adoption that plays for obvious laughs.  Instead, the film is a two-hour inside joke and, if you get the joke, you’re one of the cool kids.

Unfortunately, there are a lot of uncool kids out there and a lot of them did not get the joke.  If you check out the comments left on the film’s imdb page, you’ll discover that there’s still a lot of people out there who are wondering whether this was meant to be a serious film or not.

*Sigh*

To quote Ron Burgundy, “GREAT ODIN’S RAZOR!”

(Did he say that?  Sounds like something he would say.)

Anyway, to answer those who still do not know — yes, A Deadly Adoption was a comedy.

And it was a brilliant one at that!

This is what I feel like doing when people say they don't know if A Deadly Adoption was supposed to be funny.

This is what I feel like doing whenever people say they don’t know if A Deadly Adoption was supposed to be funny.

Zombeavers Is The Best Zombie Beaver Film Ever!!!!


ZombeaversOf the many deliberately ludicrous and over-the-top nature-gone-made films to be released in the wake of Sharknado, Zombeavers is one of the most impressive.  Certainly, it’s probably the best film that will ever made about zombie beavers.

The film takes place in one of those isolated areas of rural America where cell phones don’t work, everyone drives a pickup truck, and nobody would dare be seen without a shotgun in his hands.  Of course, if you’ve ever seen a horror movie before than you know that any area this isolated is going to inevitably be ground zero in a mutant beaver attack.

Perhaps not surprisingly, it’s all John Mayer’s fault.  Yes, that’s right, John “Your Body Is A Wonderland” Mayer.  He makes his feature film acting debut here, playing a dumbass trucker who, after his truck collides with a deer, ends up losing a barrel of toxic waste.  That barrel rolls into a nearby lake where it turns the local beaver population into zombeavers!

(Whenever I watch anything on Netflix, I always turn on the closed captioning.  One of the joys of watching Zombeavers came from getting to read sentences like “Zombeavers growl,” at the bottom of the screen.)

Meanwhile, three sorority sisters are spending the weekend at a nearby cabin.  Jenn (Lexi Atkins) is depressed because she caught her boyfriend cheating on her.  Zoe (Cortney Palm) is sarcastic, uses “bitch” as a term of affection, and owns a puppy named Gosling.  (I related to Zoe, despite being a cat person.)  Mary (Rachel Melvin) owns the cabin and is determined to have the perfect girls weekend.  Unfortunately, those plans are ruined by both the surprise arrival of their boyfriends and a sudden zombeaver attack…

Fortunately, there is a potentially crazy but helpful hunter wandering around the woods.  His name is Smyth (“Smyth with a y,” he says upon introducing himself) and he’s played by veteran character actor Rex Linn.  Linn doesn’t get much dialogue but he still manages to make every line memorable as he gives a performance that strikes a perfect balance between drama and parody.  At one point, Linn delivers a monologue about how, in the 1970s, everyone in the county got “beaver fever.”  It’s  ludicrous and the joke is so obvious but Linn bring so much commitment to the monologue and to his performance that he sells it.

And really, the same can be said for Zombeavers as a movie.  It’s ludicrous.  It’s silly.  There’s not a single beaver joke that doesn’t, at some point, get made.  And yet, the film works.  It’s a parody that somehow manages to remain credible.  Yes, the zombeavers are intentionally designed to look fake but you still would not necessarily want to come across one at the foot of your bed in the middle of the night.  Yes, the characters say a lot of silly things but the cast delivers those lines with both a straight face and a lot of conviction.  (In fact, all three of the lead actresses are totally natural and convincing in their roles.)  Everyone involved with the film — from the cast to crew — is so committed to the material that it works even when it shouldn’t.

Zombeavers is currently available on Netflix and should be watched by anyone who loves insane monster movies.  It’s the best movie about zombie beavers ever made.

Pixar Does It Again With Inside Out


Inside_Out_(2015_film)_posterInside Out is the latest brilliant film from Pixar’s Pete Docter and it will remind you why you fell in love with Pixar in the first place.

There are no talking cars or lovable monsters in Inside Out.  Instead, it’s the story of a very normal 12 year-old girl named Riley (voiced by Kaitlyn Dias).  Or rather, it’s the story of what goes on in her head.  For most of the movie, Riley deals with experiences to which we can all relate: she moves to a new city, she struggles to relate to her well-meaning parents (voiced by Kyle MacLachlan and Diane Lane), and she tries to fit in at a new school.  Inside Out is a film about the small moments of life and how they all add up to create a bigger picture.

What sets Inside Out apart is the way that it tells its deceptively simple story.  Inside Out takes place almost entirely inside of Riley’s brain.  And it turns out that her mind is gigantic wonderland, one that is so big and complex that not even the characters who live there quite understand how it all works.  Bing Bong (Richard Kind), a pink half-elephant, half-cat, half-dolphin creature, spends his time wandering through the halls of memory and mournfully thinking back to when he was Riley’s imaginary friend.  Whenever Riley goes to sleep, the actors and directors at Dream Productions film a different nightly movie.  Meanwhile, Imagination Land is a fun place to visit but not a good place in which to live and past childhood traumass — like a gigantic stalk of broccoli and a terrifying birthday clown — are locked away deep in Riley’s subconscious, where they are guarded by officious policemen.   Zigzagging through this mental landscape is the literal Train of Thought.

And then, above it all, there’s Headquarters.  This is where five different emotions take turns “steering” Riley through life.  Fear (Bill Hader) is always nervous but, at the same time, keeps Riley safe.  Disgust (Mindy Kaling) prevents Riley from eating broccoli and hanging out with the wrong crowd.  Sadness, meanwhile, hasn’t had much to do over the past 12 years and, as a result, she spends most of her time standing in a corner and feeling … well, sad.  Sadness is voiced by Phyllis Smith, best known for playing Meredith on The Office.  Smith proves herself here to be a strong and empathetic voice artist.

Their unquestioned leader is Joy (Amy Poehler).  As befits her name and job, Joy is always positive, always upbeat, and always optimistic.  For 12 years, Joy has been in charge of steering Riley’s life but that all changes when Riley and her family move to San Francisco.  Suddenly, Joy finds it more difficult to keep Riley permanently happy.  Memories that were formerly color-coded yellow for happy start to turn blue.

When both Joy and Sadness are accidentally expelled from the Headquarters, it’s up to the three remaining emotions to try to keep Riley well-balanced until they can return.  However, the journey back up to the Headquarters is a long and dangerous one, full of some of the most imaginative (and metaphorical) imagery in Pixar’s history.  Joy and Sadness will have to work together to make it.

And really, that’s what makes Inside Out so special.  It’s the rare family film that acknowledges that allowing ourselves to feel sad is often as important as being happy.

Inside Out is a brilliant coming-of-age story and one of the best films of the year.  It’s a film that will make you laugh and cry and will remind you of why you fell in love with Pixar in the first place.  Kids will love the humor and adults … well, adults will probably be trying to hold back the tears.

What a great film!

Thank you, Pixar.

Embracing the Melodrama Part II #126: Veronika Decides To Die (dir by Emily Young)


VeronikaDecidesToDie_USPosterWell, here we are!

It’s been 9 weeks since we originally embarked on this journey that I called Embracing The Melodrama Part II.  At that time, my plan was to do 126 reviews in just three weeks.  It didn’t quite work out that way, did it?  But still, I had fun doing this series of reviews and I hope that you’ve had at least a little fun reading them.  If I’ve inspired you take a chance on any of the films that I’ve reviewed — whether it be Sunrise or An American Hippie In Israel or Cocaine: One Man’s Seduction or Calvary — then this has all been worth it!

So, for my final review in this series, I want to take a quick look at one of the most melodramatic films to be released this year so far, Veronika Decides To Die.

Veronika Decides To Die finally got an American release in 2015, six years after it initially premiered on the festival circuit.  Years before it was available here in the States, Veronika played in Europe.  Not surprisingly, the American release felt much like an afterthought, one final attempt to make a little money off the film before moving on.  It’s spent about a week in theaters and two months later, it is now showing up on cable and Netflix.  And while Veronika didn’t get many reviews, the few that it did get were rather dismissive.

But you know what?

I like Veronika Decides To Die.

Don’t get me wrong.  It’s not a great film.  In many ways, it’s a very silly film.  The entire plot hinges on a character doing something that makes no sense.  Frustrated with her life as an anonymous and lonely office worker, Veronika (Sarah Michelle Gellar) attempts to commit suicide.  She survives the suicide attempt and, upon waking in a mental hospital, she’s told by a mysterious psychologist (David Thewlis) that, as a result of her attempt, she now has a heart condition that will kill her in a matter of weeks.  And what does Veronika decide to do after learning that she’s going to die?  She voluntarily remains in the mental hospital and goes to sessions of group therapy!

And you never really believe that Veronika would do that.  But, if you can bring yourself to accept that one implausibility — well, you’ll soon be confronted by a lot of other implausibilities.  You’ll meet Veronika’s glassy-eyed roommate (Erika Christensen) and a mysterious older patient (Melissa Leo).  You’ll also meet Edward (Jonathan Tuker), who is mute but has such a sexy stare that he really doesn’t need to speak.  And as Veronika gets to know her fellow patients, she starts to come to terms with her own issues of anger and regret and she realize that importance of embracing life and doing what you love.

Of course, that’s a little hard to do when you’re in a mental hospital.  Luckily, there’s a piano that Veronika can play while Edward silently watches her.  If you’re guessing that this eventually leads to Veronika sitting naked at the piano and masturbating in front of Edward, well, you’re right…

Listen, Veronika Decides To Die is one of those films that takes itself way too seriously and it ends with a plot twist that you’ll see coming from a thousand miles away.  I can understand why the film’s release was delayed because the film’s tone is all over the place.

But, dammit, I liked Veronika Decides To Die!

When taken on its own defiantly melodramatic terms, it works.  That’s largely because Sarah Michelle Gellar really commits herself to the role.  You forget that you’re watching Buffy.  Instead, Gellar truly becomes Veronika, this tragically sad and lonely young woman who finds inner peace by masturbating at a piano.  Veronika Decides To Die is a movie that really shouldn’t work but Sarah Michelle Gellar saves it.  When the film starts, she beautifully captures Veronika’s lonely desperation, her feelings of isolation and worthlessness.  (I don’t care who you are, we’ve all felt like Veronika at some point in our life.)   As the film progresses, she portrays both Veronika’s anger and her growing appreciation of life.  She has a nice chemistry with Jonathan Tucker and, in the end, Sarah Michelle Gellar probably gives a better performance than the material really deserves.

Of course, another reason that Veronika Decides To Die works is because it is so silly and melodramatic.  This is one of those films that goes so far over-the-top that it creates an almost heightened sense of reality.  It becomes, almost despite itself, compulsively watchable.

It’s also the perfect film with which to complete Embracing the Melodrama Part II.  I hope y’all have enjoyed reading these 126 reviews because I’ve certainly enjoyed writing them!  To everyone who has read these reviews and clicked on the “like” button and occasionally left a comment or two, thank you so much!  Love you!   However much effort or work it may take, all of you make it worth it.

And now I’m going to go pass out for a little while…

Embracing the Melodrama Part II #125: Spring (dir by Justin Benson and Aaron Moorehead)


Spring_(2014_film)_POSTERWhen was the last time that a film truly took your be surprise?

Well, regardless of what you may think of the film overall, Spring will take you by surprise.  The film takes two different genres — talky romance and body horror — and mashes them together.  It’s the sort of thing that shouldn’t work and, yet, it somehow does.  If Richard Linklater and David Cronenberg spliced their DNA, the result would be Spring.

Spring opens in Los Angeles, with Evan (Lou Taylor Pucci) sitting at the bedside of his cancer-stricken mother and watching her die.  After the funeral, Evan is drinking at a bar when a drunk and obnoxious toadsucker picks a fight with him.  Though Evan, at first, tries to avoid the confrontation, he eventually ends up punching the man.  (Evan spends the majority of the film trying to avoid confrontation.  He’s actually a genuinely likable character and when was the last time you saw that in a film?)  With the man now looking to kill him and the police possibly interested in pressing assault charges, the distraught Evan impulsively decides to take a trip to Italy.

He spends a while wandering around Italy.  He hangs out with obnoxious and continually drunk tourists, the type who will be familiar to anyone who has ever spent the summer after high school graduation in Europe.  And, eventually, he ends up in a beautiful Italian village, where he meets the mysterious Louise (Nadia Hilker).

Louise is a researcher and, at first, it would seem like she and Evan have little in common.  (She’s an intellectual.  Evan, cute as he is, most definitely is not.)  But, over the course of a week, they get to know each other and Evan starts to fall in love with Louise.  These scenes are full of nonstop conversation, covering topics of culture, history, and philosophy.  It’s an obvious homage to Richard Linklater’s films with Ethan Hawke and Julie Delpy and it works perfectly.  Both Pucci and Hilker are likable performers and they have a lot of chemistry.

However, there’s another story unfolding.  At night, a strange creature roams the city, eating stray animals and eventually killing one of the most obnoxious American tourists to ever appear in a film.  How do these two stories connect?

Well, I’m not going to tell you.  You need to see the movie for yourself.

To be honest, when I started this review, I thought I was going to be a lot more critical of Spring.  As often happens with ambitious but low-budget indie films, there are a few scenes where the pacing is off and, once the solution to the film’s big mystery has been revealed, the explanation goes on for a bit too long.  I appreciate the filmmakers attempt to make everything plausible but, sometimes, it’s better to just gloss over the exact details.

But you know what?

As I sit here writing this review, I realize that those criticisms may be valid but, in the big picture, they don’t really matter.  So what if the film has flaws?  All films have flaws!  Spring tells a unique and interesting story and it will take you by surprise.  Plus, it captures the romance of Italy!  So, instead of getting all nitpicky, I’m just going to recommend that you see the film.