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Tag Archives: Drama

Vic’s Review – “They Look Like People” (2015)

05 Tuesday Jul 2016

Posted by Victor De Leon in Horror Movies, Movie Reviews, Vic's Review

≈ 7 Comments

Tags

Drama, evan dumouchel, horror, independent film, indie, Indie film, macleod andrews, New York City, nyu, perry blackshear, Psychological Thriller, they look like people, Thriller, tisch school of the arts

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“They Look Like People”

What’s it About?

Suspecting that people around him are turning into evil creatures, a troubled man questions whether to protect his only friend from an impending war, or from himself.

Directed by Perry Blackshear

Wyatt, in They Look Like People, hears voices. He hears them through his cell phone. Ominous, deep and disembodied voices tell, Wyatt, a singularly troubled and isolated individual, that he is one of the “blessed.” To Wyatt, this means that he is a warrior, and one of a chosen few that can really see demonic and other-worldly entities that can assimilate humans around us, to eventually bring on the apocalypse. For all intent and purposes, Wyatt has been recruited to follow instructions and figure out who is who among those around him, even if it means taking matters into his own hands. Wyatt, played by MacLeod Andrews, enters New York City and it is apparent right away, that he is lost and seems to be running or avoiding something in his past. He looks very displaced and absolutely needy.

One day, he randomly runs into an old friend, named Christian (Evan Dumouchel), on the streets of NYC, not too far from Christian’s home. Christian, very surprised and at a loss, to see his friend, eventually has mercy on Wyatt and with astute sensibility, asks Wyatt to stay with him.

Writer and Director Perry Blackshear directs this indie thriller, with help from a grant, made through New York University and Tisch School of the Arts, with these two characters very much at the center of everything. Through their re-introduction to each other, begins an intriguing journey. Christian himself, thanks to Perry’s astute script, also hears voices and the film explores parallels between the two good friends. Christian’s past saw him as a submissive, weak person lacking confidence and drive. Blackshear’s small film takes us on a trip through a world of machismo and manly conventions in the dog eat dog world of young, yuppie corporate New York City.

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All this is through Christian’s eyes, as he tries to man up and do himself some good by working up the nerve to ask his boss out on a date. The voices that Christian hears are those of positive affirmations through his headphones whenever he works out, takes the train and rests at home. TLLP explores this duality in painting him as the classic alpha male and gym rat, while still having to reconcile his past which included his friend Wyatt prominently. Christian simply is trying to re-invent himself while listening to voices telling him that he “is a mountain.”

TLLP showcases the 2 actors that play Wyatt and Christian very well. As actors they connect, feel sincere, act natural and seem very much at ease with each other. I can almost hear Blackshear’s direction: Just be yourselves, fellas! And they are. They drink, act out Lord of the Rings, play sock games and take trips down memory lane. But as they grow comfortable together and Christian’s life seems to take a cool upswing with his boss Mara (Played brilliantly by the sweet Margaret Ying Drake), Wyatt takes a turn for the worse as he continues to hear the unnerving demonic voice which now sounds like Mara herself. Blackshear, in his wisdom here, shows very little, creating a tight atmosphere which he builds suspense with. Before all of this, though, we are treated to nice moments of calm before the storm as Mara and Christian bond in nice little segments of the two interacting before a bombshell goes off for Christian at his workplace.

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Blackshear brilliantly uses sound (incredibly creepy sounds at that), tight shots and quick cuts of character interaction to incrementally build dread and despair. He also gives us a ringside seat to Wyatt’s slow decline into paranoia and despondency. Wyatt tries to seek out help but shoots it down as he suspects the worse. He also takes matters into his own hand as he begins to take more orders from those voices and prepares for war with dangerous supplies bought in a hardware (sulfuric acid included) store. Christian, otherwise, suspects nothing as Wyatt hides axes and nail guns in his basement.

One night, though, Christian begins to notice a change in Wyatt and Blackshear ramps up the whole affair in the last half hour of this incredbly succinct indie. Christian is awoken by Wyatt having a severe episode and his paranoia begins to scare Christian into a standstill. But being a quick thinker, Christian offers to help. Things get worse as Wyatt suspects Mara of being an “other.”

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There is enough subtext in Blackshear’s film for two other movies. What Blackshear does really well here, is give us likeable and real characters, and what lies beneath the skin and in their hearts first, as he also challenges us to look into ourselves and what we would do for friends in need struggling with mental illness. The film is indeed a thriller and some may package it as a horror indie but it is much more than that. TLLP is an exploration. A drama about reconnected friends with emotional baggage that need each other in a dire stretch of their friendship.

What the actors convincingly portray are 2 men that are much stronger together than individually and when real monsters appear (or are they?) the strength of trust and love endures all of that. Films about mental illness, especially in the horror genre, don’t really take the time to show us this side of things and by the very end, the movie lets us know that there is much more to this side of the issue.

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TTLP is not an overt horror film and does not use any of the more conventional tropes associated with more big budgeted films of it’s type. It is a film of impressions and implications and hits home more in a psychological aspect. It is a film to be very patient with and it is not for everyone. But Blackshear, who also served as editor and cinematographer, serves up a very unique film about people and by the end, you will look back and see what his intent was from the way he wraps the film up.

Blackshear is to be very commended for making a film that is wholly and truly his. It is beautifully shot, edited and not at any time do you see the film’s budgetary limitations bleed through. Every dollar is put up on the screen and it is a good looking production that makes NYC a character all it’s own and gives our protagonists and characters a stunning backdrop to share the story in. But be warned, if slow burn films are not your flavor of the month, then look elsewhere. If you can tolerate an 80 minute excursion into a character’s slow madness and compelling psychological neuro-drama, then They Look Like People is well worth it. The ending, while open to interpretation, is a knock out, in my opinion, solidifying both Blackshear as a storyteller and the film as a intriguing piece of original work.

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“They Look Like People” is currently available to stream in high definition on Netflix.

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Netflix Streaming Alert / Latest Additions for Late March and April, 2015

11 Saturday Apr 2015

Posted by Victor De Leon in Horror Movies, Netflix

≈ 5 Comments

Tags

Drama, hdtv, hi def, Horror Movies, Indie film, latest additions, Netflix, Netflix Alert, netflix streaming, Thrillers

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Hey Gang! Vic here with some new titles that are available to stream on Netflix.

Most titles are in High Definition which will require an HDTV and High Speed Internet.

You can also stream on Laptops, Apple TV, Western Digital Media Players, Roku boxes and of course, IOS and Android devices with the appropriate apps.

Hope you all find some titles you many want to check out. Enjoy the trailers!

-Vic

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Vic’s Spotlight of the Month:

Marvel’s “Daredevil”

Season One / 13 Episodes

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Crank

The Code

Starry Eyes

Unbreakable

The November Man

The Quiet Ones

The Big Lebowski

Preservation

The World Made Straight

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Atari: Game Over

The Punisher

Bloodline

Life Itself

Turn

Cujo

Godzilla

Mommie Dearest

Snake Eyes

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Underworld

American Psycho

Braveheart

Three Kings

Space Cowboys

Thanks for checking in, everyone. Hope you enjoyed the Trailers.

Happy Streaming!

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Brian’s Review – “Birdman” Or: “The Unexpected Virtue of Ignorance” (2014)

08 Wednesday Apr 2015

Posted by Victor De Leon in Brian's Reviews, Movie Reviews

≈ 4 Comments

Tags

birdman, Drama, edward norton, emma stone, Indie film, Michael Keaton, naomi watts, Oscar Nominated, Oscar Winning

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What’s it About?

A washed-up actor, who once played an iconic superhero, battles his ego and attempts to recover his family, his career and himself in the days leading up to the opening of his Broadway play.

“Birdman: Or The Unexpected Virtue of Ignorance”

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Directed by  Alejandro González Iñárritu (as Alejandro G. Iñárritu)

By Brian

6 out of 10

A film full of such flawed characters really should add up to more than “Birdman,” from Mexican director and writer Alejandro Gonzalez Inarritu (Babel), provides. Michael Keaton (Batman, Beetlejuice), Edward Norton (American History X, Fight Club), and Emma Stone (Amazing Spider-man) deliver Grade A performances across the board and elevate, what I believe, is a mediocre script to solid respectability. That’s not to say that “Birdman” isn’t a great achievement.

It contains a technical prowess rarely seen, these days, on the big screen. The cinematography is simpky astounding. Director of Photography Emmanuel Lubezki (Sleepy Hollow, Gravity) deserved his Oscar. His camera knows no bounds. It swoops in and out of windows, through narrow and dank hallways, and adds a sense of color inside the darkness that permeates through the entire movie. It’s a gorgeous film to look at.

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So, why such a mediocre number for a film that I admire so deeply on a technical level? Well, other films that give the audience a visual experience do that without the interplay that Birdman wastes its time on. These are deeply flawed characters but I never found any of them all that interesting.

For a group of people, in this case actors, that the American public follows so closely, they have almost nothing to say. Norton’s character is one dimensional and self-serving, Keaton is confused about who he is, and Watson is consistently focused on nothing. In other words, it never hooked me into its world. That really is a shame too because the world is painted so beautifully.

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The buzz will undoubtedly lead many to see “Birdman” no matter what my review says. I certainly would never steer anyone away from seeing such a polished film but I have to caution anyone whose expectations have risen since Oscar night. You will probably feel a bit let down.

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Vic’s Review – “The Battery” (Ben and Mickey vs. The Dead) (2013)

10 Tuesday Jun 2014

Posted by Victor De Leon in Horror Movies, Movie Reviews

≈ 6 Comments

Tags

Adam Cronhiem, Based in New England, Ben and Mickey vs The Dead, Drama, horror, Horror Movies, Indie Horror, Indie Thriller, Jeremy Gardner, Niels Bolle, The Battery, Zombie Drama

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What’s it About?

The personalities of two former baseball players clash as they traverse the rural back roads of a post-plague New England teeming with the undead.

“The Battery” (Ben and Mickey vs The Dead)

Directed by Jeremy Gardner

By Vic

8 out of 10

Writer and Director Jeremy Gardner (The Bags, The Robert Cake) serves up a neat little zombie/survivor horror tale named “The Battery.”  I could easily say it is indeed a very dramatic effort as well. It is a low budget indie film that is refreshing in it’s approach and perspective to the aftermath of a realized zombie apocalypse. Filled with smart and natural exchanges along with some very appealing and delicate imagery, Gardner’s flick is worthy of a watch, indeed.

Gardner’s world is much more about the 2 men that inhabit the film much like Kirkman’s universe is about the survivors. But the similarities end there. It is about the progression of the dynamics and the friendship (or lack thereof) of Ben, played by Gardner and his companion, Mickey, played by Adam Cronheim, who also produced. Both are ex-baseball players, from Pittsfield, that are traveling the rural countryside of New England in a sort of distorted reality.

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Neither of them seem like they are afraid or scared of what has happened around them and they appear to be like two random travelers (Or “Hunter Gatherers” like Mickey exclaims) hiking, fishing and resting in even more remote and desolate backwood places. What Gardner does really well here is show off the incredibly picturesque landscapes with warm photography, by Christian Stella, and also puts us into the everyday and mundane routines of Ben and Mickey. They walk, fish, brush their teeths, observe insects, listen to CD walkman’s and pat livestock. They even measure up abandoned vehicles. Once the jokey and droll interchanges and dialog starts off, “The Battery” becomes a very different sort of of zombie flick.

Gardner smartly focuses on the tiny bits of what is left behind and things that we take for granted. What the movie really is about is how Ben and Mickey see eachother. They argue, sometimes with zombies approaching, they bicker and sometimes they insult one another. They totally sound like 2 young dudes that are stuck with eachother. It seems that Mickey yearns for a more stable environment like staying within the saftey of a house, where Ben feels that being stuck in a house is a deathtrap. Each man is damaged in their own way and Gardner shows us how they individually deal with it. The CD walkman and the constant use of it, along with the music, strikes an interesting and deep chord throughout the movie.

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“The Battery” has very little zombie action to speak of (it isn’t very gory either) and when there is some, it is slow, eerie and sometimes intangible. One zombie moment, though, is quite pornographic, funny and gory. Cronheim and Gardner sell it pretty good here and the chemistry is real. You really begin to like the fellas and even care for them. One believes that the strained friendship is very real even though they never even see eye to eye on anything. Among the already impressive imagery and camerawork (which blessedly does not involve POV or any shaky-cam shit) is the cool music by Ryan Winford and various bands performing cool indie alternative music that Gardner commisoned. It’s fits the mood and tone of the movie very well while remaining diverse.

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Once in Connecticut, after hearing others on an open frequency (while testing out walkie talkies), Mickey longs for other companion-ship besides Ben. Gardner pushes the limits of the relationship of the two that is already frought with tension and Mickey further continues to seek out a mysterious but sympathetic woman on the other side of the walkie talkie. Meanwhile, Gardner supplies more insight with a dance sequence from Ben that is equally humorous and alarming.

But the last act of the movie is where “The Battery” shows us it’s brawn. The performances and the stakes are amped up after Mickey is forced to do something he never had to do before. During another game of catch (they are known as the “battery-men,” the catcher and pitcher duo) something changes but Gardner inserts more scenes of normalcy to level things off. It is the long extended final sequence that really impressed me with it’s unique approach and revealing context. It is just down right creepy and Romero-esque and remains real and daring. Some scenes can go on a bit too long and the pacing gets a bit lost but it is nothing to really gripe about. Gardner’s “The Battery” defies the conventions and is offbeat and a welcome entry in the genre. It’s part road trip movie and definitely all drama.

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The real horror here is how we deal with the breakdown of society more than worrying about the zombies themselves. It isn’t zombie romanticism nor is it a flat out balls to the walls flesh eating horror flick. After sitting through the latest season of “The Walking Dead” and even “World War Z,” “The Battery” is a very solid and picturesque movie to be thoroughly enjoyed and appreciated. It has great tension, natural dialog, vivid exchanges and never dumbs down while never trying to capalize on bigger budgeted efforts. It is even raw in places and the last act and ending will  leave your jaw on the floor for it’s daring ingenuity. Highly recommended, gang. Enjoy!

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Vic’s Note: There is an awesome “Jaws” reference in this movie that you fans out there will really appreciate!

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Brian’s Review – “Fish Tank” (2009)

06 Sunday Apr 2014

Posted by Victor De Leon in Brian's Reviews, Movie Reviews

≈ 5 Comments

Tags

Andrea Arnold, Brian's Review, British Drama, British Film, Drama, Fish Tank, Kate Jarvis, Michael Fassbender, UK

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What’s it About?

Everything changes for 15-year-old Mia when her mum brings home a new boyfriend.

Fish Tank

Directed by Andrea Arnold

8 out of 10

By Brian

Fish Tank has a wonderful correlation that runs through the entire film.  The main character, 15-year-old Mia, is troubled because her small world is changing.  She no longer has a good relationship with her mother or sister, she has no girlfriends, and anytime she leaves her home is constantly in conflict with others.

At one point, she bumps into a rundown trailer park where she sees an old horse on its last legs.  She becomes protective of the horse and demands the owner’s take better care of the animal.  As the story progresses, the horse gets sicker and sicker and Mia’s life gets more and more complicated and confusing.  I realized that the horse was a symbol of her lost innocence.  What better way to capture the end of childhood than a sick horse ready to be put down?  All girls dream unrealistic dreams when they are young.  They want to be a princess, marry a prince, and ride away in the sunset on their pony.

So, what does a young girl do during a time when everything they knew isn’t as it seemed and the world grows darker and colder by the minute?  They hold onto a hope for something better and Mia is no different.  Her passion is for dance and the way it takes her away to a better place in her mind.  There are several wonderful scenes where she dances alone in an apartment building to her music and you can feel what it means to her.  The emotional connection I felt was largely due to the wonderful performance by Katie Jarvis in the lead.  Her scenes are never forced or overacted.  They play out eloquently and in service to the story.

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Is everything perfect here?  No.  While I really enjoyed Mia’s story, there was a sense that there could have been more character interaction.  Mia’s mother and sister are largely wasted as after thoughts when they could have been central in how Mia faces the challenges she does (I won’t spoil them here).  “Fish Tank” is wonderful at presenting confusion but does very little in resolving it.  Some viewers would call that a strength but I consider it a weakness.

Some filmmakers like to leave a lot open ended to let the viewer imagine what could or should have happened to the characters.  But, it’s not about what I think should happen to Mia.  That’s the storyteller’s job and they let me down a little near the end.  But, for those that like cerebral coming of age stories, “Fish Tank” is a must see.

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“August: Osage County” (2013) Review

20 Monday Jan 2014

Posted by Victor De Leon in Movie Reviews

≈ 12 Comments

Tags

August: Osage County, Based on the Play, Benedict Cumberbatch, Chris Cooper, Drama, Dysfunctional Family Films, Ewan McGregor, John Wells, Julia Roberts, Meryl Streep, Tracy Letts

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What’s it About?

A look at the lives of the strong-willed women of the Weston family, whose paths have diverged until a family crisis brings them back to the Oklahoma house they grew up in, and to the dysfunctional woman who raised them.

“August: Osage County”

Directed by John Wells

8 out of 10

By Vic

“Dysfunctional Family” movies are almost their own genre and I do enjoy a good dysfunctional family drama here and there. I don’t engage in dramas very much but when I do, I like it to be worth my time and effort, in order to enjoy, process and appreciate it. A good drama should engage, provoke and explore. It’s in the exploration of the intricate and difficult lives of several women, in this brilliant adaptation of Tracy Letts’ play, where we are emotionally pulled into a world of broken and angry familial confrontations. The material is ripe full of volatile encounters, twists and even some well placed humor. In order for this material to flourish, the film needs a cast that is willing to really bring their A game.

Director John Wells (E.R., The Company Men) handles the film with a deft and proficient hand but it is Letts’ screenplay that is the stunner here. Her story is replete with noxious and horrid disputes and showdowns among a myriad of family members. Her material is actually more like a horror film because the many encounters and verbal dogfights gives one the chills and scares the shit out of the viewer. Letts’ family is a microcosm of dysfunctional personas and the examination of these dynamic characters is grueling, stunning, shocking and hilarious. But really, Wells’ and Letts’ expedition into the gravity and background of what makes the Weston family tick is a blinding look into ourselves.

Meryl Streep (The River Wild, Silkwood) plays Violet Weston, an incoherent pill popping, chain smoking cancer victim who is married to a soft spoken poet and writer named Bev Weston (Sam Shepard). Bev goes missing after hiring a young and shy Native American woman named Johnna (Misty Upham) to help around the house. When we are introduced to Violent, she is in the throes of a drug induced fit where she not only embarrasses herself but Bev as well. When Bev never returns home, she calls the one daughter she feels can help through her this tough time. Even though she has one quiet and sheltered daughter at home, named Ivy, played by the beautiful Julianne Nicholson (Boardwalk Empire). Nicholson’s Ivy is the most subtle and refined of the Weston sisters and therefore she creates a unique dynamic.

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Julia Roberts (Flatliners, Pretty Woman) plays Violet’s eldest daughter, Barbara, who makes it back home to Osage County, Oklahoma. Along with Barbara, comes  her introverted husband Bill (Ewan McGregor) and rebellious and complicated daughter Jean, played by Abigail Breslin (Haunter, Signs). Another Weston daughter, named Karen, played by Juliette Lewis (Cape Fear), arrives with her new boyfriend, the slick and scummy Steve (Dermot Mulroney). Violet’s loud and pushy sister, Mattie (Margo Martindale) also shows up with her subdued and tempered husband, Chris, played by the under-rated and low key Chris Cooper. Once everyone arrives the shit hits the fan.

Bev turns up dead and then the arduous journey of raw conflict, emotional torture and fierce feuding begins. Letts’ screenplay allows us no room to breathe as she piles on clamor after clamor of amazing character revelations. The film is an incredible arrangement of tightly directed and wonderfully acted little vignettes. A funeral for Bev ensues but it is when Wells’ movie returns to the Weston homestead (especially during the calamitous dinner scene) where Streep, Roberts and company open up the floodgates and let out a barrage of charged accusations, abuse, testimonials and plain old insults at each other. It is a very tense and awkward sequence that showcases the absolutely powerful talent this ensemble has with this material.

The movie is chock full of these moments and for it’s entire running time “August: Osage County” manages to goes through multiple levels of tragedy, secrets and emotion with precise flourishes of epic drama. Wells’ camerawork (by DP Adriano Goldman) is subtle (many establishing shots where people and things come into and out of frame). He keeps the interiors dark and the heat oppressive while shooting the open plains wide and beautifully bright. While many may not appreciate Wells’ style of composition, framing and cuts, I found it minimally distracting. Wells, rightfully so, keeps the momentum up by focusing on his actors.

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This is where this movie just rocks. The Cast. Plain and simple. I knew Streep would rock this but it’s Roberts that really impressed me. Her usual sober and staid performances are just about moot compared to her powerful turn as Barbara, here. Roberts, in the third act, is unbelievably dazzling and intense.  Every actor has their “moment” in this movie. Cooper is amazing and his blow up at his wife, Mattie, for treating their son, Little Charlie (Benedict Cumberbatch) like a dopey child is incredible to witness. Roberts and McGregor excel in the film with a useful but strained chemistry reflective of their relationship.

Juliette Lewis, as well, shines as a superficial, chatty and needy younger Weston sister. Overall, the whole ensemble, Breslin and Mulroney included, should be noted for an array of fantastic performances in this imputable and destructive story about a broken family with way too many secrets, grudges and animosity. The personal lives of everyone in this movie coupled with Violet’s damaged and rancorous manipulations actuates pure fireworks.

“August: Osage County” is a pretty bleak film. Many characters are not very like-able and many times the sheer maniacal acting barrages can overwhelm (or even turn some off) but it is still a meaty enterprise. It’s definitely dark and can get very repulsive when these many dynamic characters all confront and abuse each other. It does manage to amuse and create humor when it needs to.

It is a tapestry full of homespun and visceral sketches. It has strong performances that leaves you stunned by the film’s end. The film does not wrap up tidy either and the last few moments will tear your heart out. Wells and Letts along with Streep and gang elevate this small peek into a damaged family into the stratosphere with a wealth of story, characters and drama. By the film’s close, though, you may feel as if you may have been run over by a tractor trailer, it’s that grueling. But, from now on, when I do indulge in dysfunctional family dramas, this film will be the benchmark to compare them all to. Recommended!

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Brian’s Review – “Prisoners” (2013)

06 Monday Jan 2014

Posted by Victor De Leon in Movie Reviews

≈ 10 Comments

Tags

"Prisoners", Crime Thriller, Denis Villeneuve, Drama, Hugh Jackman, Jake Gyllenhaal, Kidnapping Movie, Mario Bello, Melissa Leo, Paul Dano, Police Drama

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What’s it About?

When Keller Dover’s daughter and her friend go missing, he takes matters into his own hands as the police pursue multiple leads and the pressure mounts.

“Prisoners”

Directed by Denis Villeneuve

6 out of 10

By Brian

Writing a review for a film like Prisoners is a tricky proposition. The majority of both the positive and negative aspects of the experience are tied into the plot reveals as you go along. As I pride myself on being a spoiler-free reviewer, I’ll try my best to rate the movie making and leave the reveals to the readers if they choose to watch it.

The craft of this movie is very solid. There’s a shroud over this film that hangs around your neck. As the film takes you to darker and darker places, the environment in the film gets grayer. Similar to what David Fincher’s “Seven” did. The environment itself is a character in the film.

Any film dealing with child abduction is going to give a parent a knot in their stomach. The problem is how do you give the film a palpable feeling of reality? Dark camera work and pouring rain aren’t enough. Any film of this type requires strong performances to sell the grief and desperation of the parents. Luckily, Hugh Jackman brings an intensity to “Prisoners” that creates an unpredictability and humanity to his character. Several times I could put myself in his shoes and wonder if I would go as far as he did to find my child and more often than not, I would.

The negative aspects of this movie really revolve around subjects I can’t discuss in a spoiler-free review. So, I’ll just say that the final twist is a huge disappointment. They had me hook, line, and sinker until the last 25 minutes or so. All of the plot progressions had a believability until you find out why. I still can give a mild recommendation for “Prisoners.” It’s worth watching to see how good Hugh Jackman can be when given such dark material.

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Brian’s Review – “The Wolf of Wall Street” (2013)

02 Thursday Jan 2014

Posted by Victor De Leon in Movie Reviews

≈ 17 Comments

Tags

Biography, Brian's Review, Drama, Jonah Hill, Jordan Belfort, Leonardo DiCaprio, Martin Scorcese, Terence Winter, The Wolf of Wall Street, Wall Street Drama

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What’s it About?

Based on the true story of Jordan Belfort, from his rise to a wealthy stockbroker living the high life to his fall involving crime, corruption and the federal government.

“The Wolf of Wall Street”

Directed by Martin Scorsese

9 out of 10

I always hoped and prayed that one day there would be a movie character that could find a way to snort more cocaine through the course of a film than Tony Montana in “Scarface.” Well, my dream has finally come true. Tony Montana, meet Jordan Belfort. Here’s a guy that can not only snort more cocaine than you but can find a way drink more, swallow more pills, piss off law enforcement just as much, bang hookers, and make more money while doing it.

It would be easy to dismiss “The Wolf of Wall Street” as another Scorsese rise and fall story. We’ve seen these types of films countless times: Goodfellas, Raging Bull, Scarface, Casino, Boogie Nights, etc. Our anti-hero starts small, grows an empire, gets cocky, loses it, and picks up the pieces to try to start again. The problem in generalizing like that is you would miss what makes Wolf so special. The acting, characters, and flawless direction form Martin Scorsese are so on point that we are giving a bevy of film-making riches that could easily fill up 5 lesser films.

There are standout performances throughout but both Jonah Hill and Leonardo Di Caprio deliver Oscar worthy turns. Di Caprio has distinguished himself as one the great acting talents of his generation. His confidence throughout this picture is staggering. He floats from one brilliant scene to another commanding the entire movie in a way that few talents before him ever could. I never liked his character. He’s a conniving self-centered douche. But, he’s always interesting. Jonah Hill is almost as brilliant and his turn towards dramatic roles has been a welcome surprise. He’s fantastic and adds a lot of the film’s irreverent humor.

The main standout in any Scorsese film is his direction and Wolf is no exception. In a world populated with characters who are on the very thin line between sanity and insanity while high on cocaine, his camerawork and flow matches their mood and intensity. You never understand why they choose this life but you’ll experience how they feel after their choice is made. All of those complaining about the redundancy of the “Rise and Fall” bio pics need to take a deep breath and appreciate when a once in a generation director proves that he hasn’t lost a step and graces us with a film of pure adrenaline.

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Vic’s Review – “Step 9” (2012)

01 Monday Jul 2013

Posted by Victor De Leon in Movie Reviews

≈ 2 Comments

Tags

D-Train Media, Danny Hoskins, Derrick Petrush, Drama, Fair Port Pictures, Filmed in Rochester New York, Indie film, Jesse Conklin, Kelly Austin, Local Rochester Film, Rochester NY, Scott W. Fitzgerald, Short Film, Step 9, Stephen Cataldi

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Vic’s Note: I recently had the distinct pleasure of watching a screening of “Step 9” here in Rochester, New York.  I was graciously invited by local D.J. and Film-maker Scott W. Fitzgerald of Fairport Pictures, to attend the showing at the beautiful Memorial Art Gallery here in the Arts district. I would like to personally thank Scott, his lovely wife Kelly, Fair Port Pictures and D-Train Media for the invitation. It was a wonderful and revelatory evening. Thanks, guys!

What’s it About?

A former drug addict attempts to make amends with his ex-wife by telling her a secret he’s been keeping to himself for years.

“Step 9”

“Made direct amends to such people wherever possible, except when to do so would injure them or others”

Directed by Scott W. Fitzgerald

8 out of 10

By Vic

“Step 9” is a powerful and somber short film which is an amazing character study efficiently told with sobering detail and an almost funereal reverence. Co-writer and director Scott W. Fitzgerald, of Fairport Pictures, handles the material with respect and a like-able craftsmanship that leaves the viewer completely immersed. Then eventually exhausted by the deep testimonial that is the result of a 20 minute journey into a man’s attempt to put his life back in order at any cost.

Fitzgerald’s story, which he co-wrote with “Step 9” actress Kelly Austin, is an acute observation that tempers the soul of those who particularly understand the tribulations of the lead character, Ray, played brilliantly by Danny Hoskins. (Better Than Wine) Ray is a recovering drug addict who wants to clear the air about his troubles with substance abuse to his estranged wife, Addison (Kelly Austin of the upcoming “Bury My Heart with Tonawanda”).

Fitzgerald’s film begins bleakly with Addison (Austin) getting into her vehicle in order to follow her husband, Ray. DP Derrick Petrush, from http://dtrainmedia.com/ ( Mason Darby, He’s Our Man!) keeps his camera tight on all the prologue proceedings.  When Addison gets in her car and we see close ups of her starting the ignition and clicking in her seat belt.

Fitzgerald automatically gives the short a claustrophobic feel as Addison drives, the shot lingering of her eyes in the rear view mirror, after Ray one snowy and rainy day. She eventually catches up with Ray at what appears to be warehouse/ storage facility. Addison pulls her car into frame and she watches as Ray and another man, a stranger, are in the middle of what looks to be a transaction of sorts.

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Addison jumps out after moving closer and confronts Ray as the other man turns and runs. Ray tries to calm Addison down as she yells and attacks him. She turns to get back into her car as Ray attempts to explain what is transpiring. But it is too late. Addison gets into the car and Fitzgerald quietly reveals the film’s title as we continue to hear Addison’s crying. The film flashes slowly white then we come to Ray contemplating better and jovial days with his beloved wife as he sits eating a meal. Confined to a compact dwelling, Ray sits somberly and eventually Addison arrives to speak with Ray.

Things are frosty and as Addison tries to be immediate and hurried, Ray comes off as a bit standoffish as he makes a biting comment about Addison’s prosperity. It doesn’t sit well with her and almost leaves Ray alone to wallow. Ray tells Addison about some bad news and he realizes that he is not getting any support or sympathy from her. In the course of the conversation she asks Ray about his prior drug use already making a judgement. Fitzgerald and Austin make their characters hot headed and prone to arguing. They continue this discourse for a while as the movie slowly boils in the incommodious environment.

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Ray begs to have the “old Addy back” as he tries desperately to get her to understand that this disclosure is not easy for him. Meanwhile, Fitzgerald adds the occasional flashback in black and white of Ray being sneaky and devious all the while with a devilish grin on his face. Ray tries to take a trip down memory lane but Addison decides otherwise. Ray, then, proceeds to tell her what he was going through and how he felt during his use as the steely Addison rubs her hands with antibacterial lotion in a very symbolic gesture. Fitzgerald’s characters are people under a microscope in “Step 9.”

They are being slowly picked apart by their movements, dialog and emotions. The short incorporates layers of dynamic drama and it is fueled by slow and deliberate conversation. The  film peels back layers upon layers exposing issues, trauma and deep rooted despondency. Self image, addiction and insecurities come to surface. Especially when Ray finds out something salient about Addison’s past. All of this is on display and it works because of Austin and Hoskins. They play the conflict and then resolution well off of each other.

It isn’t all done with an easy flow though. Hoskins’ somewhat maniacal outbursts towards Austin seems a bit forced and heavy handed but it is fleeting. The script, too, clunks around a bit in the beginning but it finds it’s footing and never trips again. By the end of the short after all things are said and done between Ray and Addison, things are very different and the climax is both appropriate, crushing and eye opening.

“Step 9” is about forgiveness, despair, re-creation and sometimes futility. There is hope in this short though. In spades.  My hat’s off to Fitzgerald, Austin, Hoskins and Fair Port Pictures for putting together a beautifully shot and wonderful short that is well acted, relevant and engaging. “Step 9” is indeed about what the 9th step is all about. Making amends. That in itself is a conviction that Fitzgerald and company express brilliantly in this short. Highly recommend.

“This is not right, Ray. You are a good man. You SAVED us.” – Addison

“The slate is clean.” – Ray

“Step 9” was shot and filmed in Rochester, New York

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You can watch the Festival Cut of “Step 9” from Fair Port Pictures and D-Train Media here:

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