SOME-BROOKLYN-FUCKIN'-PIZZA

It’s Such a Beautiful Day (2012) - Don Hertzfeldt

I just finished watching this… and I am still absolutely speechless and lost in thought. So beautiful is this full piece, pondering upon life, death, and damn near everything in between. It strikes so hard, with Hertzfeldt’s creative and stark visual prowess, through animation and visceral analog filmmaking. The writing, so succinct and powerful, yet with a sense of presence and awareness to its glee and darkness. My heart is still racing and breaking all at once just thinking about the roller coaster of an adventure that Hertzfeldt takes his protagonist Bill on. So harsh, yet so important to consider and endure. So willful and helpless, yet so meditative and deliberate upon its execution, and when in full charge of its reins, so chaotic. But by that token, considering the idea of it being under control, this film works with the unexpected pacing, bravado, and nature of shock and awe. Even its narrator is caught off guard at a certain moment- we’re witnesses along with Bill, and in many cases, are in the passenger’s seat. This film is an emotional experience that drags you along at an unknown, sure to change pace. It’s scary, it’s saddening, and will make you really think. To that end, it’s so very important and impactful that I can’t but help but urge you to seek this out. Don Hertzfeldt’s creation is astounding and beautiful, and should be praised as a strong step in experimental storytelling, filmmaking, animation, etc.  Not since the Tree of Life have I been so shaken to my core in thinking about absolutely everything that could be considered close to the heart and mind. 

Find it here at Don’s Vimeo page. It’s $2, and $6 to own. After watching it, I’m definitely going to purchase it for download. Well worth it.

Excuse me, for I will now go cry for a little, and then go for a walk around the block.

thelawnwranglerwrites:

Spring Breakers (2013) - Harmony Korine 

Spring Breakers is my favorite project that Harmony Korine has taken on in his career so far. While I’ve loved his work thus far idealistically, or of what I’ve already seen, this film seems like an incredibly well executed experiment with an actual sort of point to its mindlessness, or exact opposite of such. Sure, he’s always had something to say with the crazy things that he makes and depicts, but here, if there was a message to be detected or ideals to be placed, anti or not, I felt it and felt it hard. Filled with disturbingly natural and beautifully cartoonish (James Franco is an absolute monster in this film) performances of pure energy and vigor, and a kinetic style that’ll please the eyes of both art house and action film fans, Korine’s efforts with Spring Breakers feel like they’re being fired off on all cylinders, but with brilliant tonal intention and consideration on his mind. On either end of the spectrum, you’ll either get to observe thick ego and action in fascinating depictions of youth and minor power, or enjoy a tense and strangely humorous thriller that’s so absurd and tense that you’ll be laugh and/or cringing regardless. The great thing is that both sides will still be seeing the same exact piece of life lit by neon lights and gunfire, scored by party anthems and operatic orchestrations, highlighting innocence and bare asses all at once. Regardless of which end of the reception spectrum you stand on, and no doubt it’s a love it or hate it situation, it’ll be hard to deny that Spring Breakers is nothing short of fascinating.

Jack The Giant Slayer (2013) - Bryan Singer

I suppose my favorite thing about my viewing experience of Jack The Giant Slayer is that I saw it at the Metreon in San Francisco, CA. They apparently have the largest IMAX theater in the country, and goddamn does it live up to that, and not disappoint. Plus, 3D glasses are getting bigger, which is good for us glasses wearers. I always say they should just make 3D visors that layer in front of glasses. Or maybe lenses that can just be slapped onto glasses. That’d be cool, right?

Oh shit, I saw a movie too, huh? Okay, well, let’s start here: Jack The Giant Slayer is okay! Kind of! It’s a pretty dumb film, but fun enough to warrant at least a decent time if you watch it correctly. Technically, it’s really well done. If you can see it in a 3D or IMAX capacity, I’d recommend watching it there. Otherwise, this is a movie that would be on TV in the lobby of some place that you can watch and have zero investment in, and you’ll be okay. The humor and set up are upsettingly familiar- GRANTED, it’s based on the well-known story. You know how this goes down. But even in executing upon certain levels of magic and wonder through the eyes of children and youth, or striking fear, the film is quite middling until they actually reach the Giants. I just realized that maybe a film about a dude named Jack slaying all players of the San Francisco and New York Giants would be a hell of a film, and I’ve optioned it, that’s mine, I called it.

The action is quite interesting, with few points of tension that are actually executed quite well. And then you see the size difference between giant and human. It just looks funny, to be honest. Regardless, the film is playful and has some decent action here and there. Acting wise, there is one key performance worth watching, which is Stanley Tucci as a dastardly backstabber. What a delight of fun ham his performance is- a great source of entertainment, no doubt. Otherwise, I just didn’t care for anyone, maybe with the exception for Ewan McGregor’s character. Nicholas Hoult’s face still annoys me but is negated by his decency as an actor, but the script doesn’t give him a lot to play with, unlike something like Warm Bodies did. This is just a film that slaps you in the face slowly and whispers into your ear that a majority of this was done in green screen. While most of this stuff looks good, it’s still a obvious fact that if not on board, can really suck you out of the movie and into thoughts of what the people two seats in front of you are thinking.

I hate to be negative, but this film doesn’t have much meat on its bones, maybe other than technical aspects of action. Seriously, don’t bother unless you’re watching this in a heightened capacity; I mean that movie theater wise, or physically and mentally- I don’t know what your deal is, but what ever floats your dick. Jack The Giant Slayer truly fascinated me in some of the choices it made, especially in where it ends, but as a movie-going experience, I’d say it’s the right amount of ironic fun and genuinely neat technical filmmaking to make for a decent time at the theaters with friends or something. Otherwise, there’s not much going on here that I can hold it high graces.

Oh, I got another one: Jack: the GIANT Slayer. He turns into a member of Slayer that happens to be giant. I know, I’m great at this stuff.

The Bitter Buddha (2013) - Steven Feinartz

The Bitter Buddha is a well-constructed documentary that follows a subject that is fascinating enough to drive it home even on his own. Eddie Pepitone is a man with a lot to say, and a lot of energy to say them with. A lot of people associate him with being a very angry, spirited guy, and though I agree with the spirit, I feel that this documentary offers an intriguing view into an actually nice, intelligent guy who applies such an interesting and unique voice to his comedy. Humorous tidbits of life, introspection to writing processes, and the universal humanity within comedians make this film work, mainly in considering that while various comedians are involved, we have a central character. We have a large perspective of the comedy world and how it feels as a whole about Eddie, but in focusing on Eddie for the most part, especially as the film takes on a plot and timeline, really helps its cause and overall effect. It also helps that the film is really well made by director Steven Feinartz. In that latter portion where we follow Eddie building up to a big set that will have his somewhat difficult, but beloved father in the audience, the emotional tension is captured in such a true and non-manipulative way. I suppose that can be attributed to Pepitone’s overall truth in humanity, which makes for a fascinating look at the dividing line between his persona and true self. Most comedy documentaries tend to lose focus because of such differing views and lack of a distanced stance in capturing such. In looking at comedy ideals, and specifically those of one truly special man, The Bitter Buddha succeeds in being both entertaining and relentlessly interesting. If you don’t already love Mr. Pepitone, this documentary will definitely change your mind, or at least give great, respectful context. Comedy nerds and fans, you’ll be doing yourself disservice in not seeing this film.

I’m Still Here: The Lost Year of Joaquin Phoenix (2010) - Casey Affleck

For some reason, this film came to mind the moment I woke up.

…I’m Still Here was fucking awesome. I watched the Master last night, and in my second viewing, everything still held up. In fact, the film as a whole exceeded the high levels of appreciation I already had for it. Phoenix’s performance glowed in an even brighter light, and is still beyond impressive, despite the fact that I, and many others, expected and hoped for nothing less. My ideals of Phoenix’s ability basically came with I’m Still Here. I’ve always known that he’s a great actor, but he never really did a film that slapped me across the face and demanded my attention and appreciation at that point. Guess what I’m Still Here did for me. Whether it was a hoax or not didn’t matter to me- I was just fascinated by the entire situation. The idea to witness the process and effect of celebrity is a great one, and in taking a documentary approach, the execution is brutal and true in a disturbing way. And now knowing that it’s all performance, I have to give extreme kudos to both Phoenix and Casey Affleck. Affleck’s direction and capturing of their experiment up against reality’s response is bold, brave, and shows hints of ridiculous talent and potential as a director. Joaquin Phoenix, in knowing that this was all a performance, proved his worth in two ways. As a dramatic actor, we’ve always known that he’s capable and damn good at what he does. When things begin to break down, his performance starts to get scary and even more enthralling. You don’t know how to feel about him as a character, and yet you follow him through to the end. In another sense, and this goes for both Affleck and Phoenix, in its minor doses below the overarching message and emotional resonance, or whatever serious undercurrent is present for you, this movie is damn funny. I mean the idea itself is absurd and laughable, and in key scenes of insanity, the character that Phoenix puts on is unbearably hilarious, and he sells it too well.

The most brilliant thing about this film, in my opinion, other than the direction of its seemingly pretentious, yet ultimately poignant ending, is how they deliver upon what spurred this all- the David Letterman interview. We’ve all seen it. The film basically knows that. In covering this sequence, Affleck basically showed the interview in a much more tragic light, by showing Joaquin’s agent uncomfortably watching from the green room. Plus, you’re going into this portion with a lot of context for the character. This is Joaquin’s last chance at some sort of redemption (at the time), and he fucked it up. The shift in perspective is intelligent and tragic, and one example of the great things to be seen in I’m Still Here. Its uncomfortable humor, surprising poignancy, and strong commentary make it a fascinating experiment and film that even if you don’t like it, you have to respect it.

And holy SHIT is the ending beautiful, just visually and with its usage of Ludovico Einaudi’s Due Tramonti. While it somewhat breaks an awareness wall or two, as an overall piece of closure for the tale, I can’t help but absolutely adore it.

A Glimpse Inside the Mind of Charles Swan III (2013) -Roman Coppola

I got to see a screening of Roman Coppola’s new film: a screening that differed from my first viewing experience in several ways, though mostly for the better. For starters, it was in a theater, which allowed me to view the film without distractions, which definitely paid off in the film’s favor. As well, Roman Coppola himself was there, and gave a nice, intimate Q&A with our tiny, but interested crowd. The film held up quite well, and even played much better than expected with a crowd. Coppola’s imaginative vision managed to win the crowd over, despite less than impressive critical response. 

I honestly see this being the case with this film’s life form this point on. It’s a good crowd pleaser for fans of a certain filmmaking ideal. For that exact reason, I can see why people would not like it, but I think it fits into such a snug glove of style and concept that this is just one of those movies that has the right and wrong audiences for it. If you’re way into Wes Anderson films, and others of the colorful, quirky like, then this film is exactly for you, and actually would probably please to those ends. It’s colorful and has an imagination that takes you in and out of day-dreamscape. Coppola approaches the headspace of an interestingly heartbroken character, and while he does pander in his thoughts, it’s clear and interesting enough to hold a film up, especially when you reach these world-changing moments. In his Q&A, he admitted that he wanted to tell a tale of heartbreak with a quirky character that leads a playful life. By that logline, I think he succeeded swiftly, and to entertaining, interesting ends.

Coppola has seeds of goodness within him, clearly from his roots, and he continues to go to interesting places. I’m very intrigued by what else the man will do next, be it collaborations or his own personal projects. I know for certain that the latter will at least be ambitious in their own little ways. For what it is, A Glimpse Inside The Mind of Charles Swan is a well-made character examination of a film. It’s got a child-like wonder to it that wins you over with ease. It isn’t the most challenging character study, and it doesn’t really go anywhere that your standard mumblecore tales of love and loss of it has been, but that doesn’t mean that its spirit isn’t in the right place, and going in the right direction. In that, I think Coppola did a good job. It’s a really well-made film with a funny cast backing it. Plus, Charlie Sheen actually does a pretty convincing job. He felt committed to the voice and tone of the piece and character, and seemed to actually give it his all. That’s how I see this film as a whole- it’s the little indie drama that could. It accomplished what it set out to do, and should have a decent little shelf and mini-cult love life.

I recommend checking it out if you aren’t entire out of love for Wes Anderson-like sensibilities. If you have at this point, this film is a pure no-go. I want to support it, but you would honestly just be wasting your time, because this is everything and anything you’d want out of a quirky, somewhat emotional tale. Packed with a eye-candy visuals/set design and a BEAUTIFUL soundtrack (at the very least, check that out), this movie may be right up your alley, or down the wrong one with various muggers at the end of it. Did that metaphor work? I’m going to say yes. 

(It kind of didn’t.)

THE LAST STAND (2013) - Kim Ji-Wong

The Last Stand is far from a perfect film, especially from a storytelling standpoint. There are various threads being dealt with here and there throughout such a concise timeline, and the pacing of these different occurrences can be a bit skittish. What does impress, though, is the hectic and overall goofy nature of the film’s tone and method of attack. Director Kim Ji-Woon makes a relentlessly enjoyable and outlandish action film (that also happens to look really good), which mashes everything it has set up together in the end for a fascinating third act. Throughout the film, we’re rushed from various locations, through various points of view and shifts in emotion- while it is frantic and rushed, it delivers exposition and character appropriately, and helps build up to something brilliant. Even if said build up isn’t necessarily 100%, it all feels worthwhile in the end, when things come down to the titular event. Everyone in the cast finally gets to shine, from Schwarzenegger, through supporting roles from the likes of Luis Guzman, Johnny Knoxville, and Forrest Whitaker, all the way to a delicious villain role from Peter Stormare. It’s a fun little ensemble that is easy to get behind and fun to watch work together in such a tight situation. Schwarzenegger does well in his cinematic comeback, doing well in what I always find that he does well- he gives his role his all, and it works. The Last Stand is reminiscent of films like Hot Fuzz and The Rundown. While it isn’t as smart as Hot Fuzz or slightly more focused, it delivers on being a top notch action romp that makes for a great, violent, dumb, and cool looking time at the movies.

ARGO (2012) - Ben Affleck

Argo is in prestigious league with films like Ocean’s Eleven and The Italian Job (remake), meaning it’s another movie that I can really enjoy with my dad. It’s a thrilling, fascinating piece of filmmaking that is equal party fun and intriguing. I loved the film even more the second time around, and the strength and intensity of the third act still holds up as an example of brilliant thriller filmmaking, and proof that Affleck is getting better and better as a director. I was also reminded of how great of an ensemble cast is at work in this film, especially in the 6 hostages. Their frantic chemistry and panic feels natural and unsettling, ultimately doing a fantastic job in really humanizing these personalities throughout. One note I personally took is that I think it would’ve been sweet and reasonable to give the supporting actor nod to Bryan Cranston over Alan Arkin. Cranston had a lot more to play with in his role, and he really deserves some love as of late. Arkin already won an Oscar, deservedly so, and a good majority of the fun his performance exudes comes from his standard Arkin demeanor, which never disappoints, and mostly an impressive script. I think Cranston’s intensity and aggression, especially nearing the end of the film, is Cranston firing on all cylinders, giving a truly impressive performance. That aside, I’m still glad that Argo is getting a lot of love, and that it won for Affleck’s direction and the big prize at the Golden Globes. I’d highly enjoy a repeat at the Oscars, mainly on the standpoint that Lincoln and Zero Dark Thirty don’t win Best Picture, but still- if Argo sweeps the show? I’m a-okay with that.

A GLIMPSE INSIDE THE MIND OF CHARLES SWAN III (2013) - Roman Coppola

WANDERLUST (2012) - David Wain

This evening I decided to take a more interesting route in watching Wanderlust. I’ve seen the film many times. I think it shows great improvement in David Wain as a filmmaker and is comedically strong as anything he and his crew have done before. The comedic pacing and assuredness of this film is something to marvel at, truly. Here’s my full review for some more thoughts.

Now… onto more pressing matters. 

WANDERLUST: BIZARRO CUT (2012) - David Wain

If you’re lucky enough to own a copy of Wanderlust on DVD/Blu-Ray, you have the additional version of the film that is the Bizarro Cut, which is essentially an alternative cut of the film. It utilizes deleted scenes, unedited blue-screen shots, cuts that include fuck-ups and awkward delivery, extra improvisational gag-runs, insanely aggressive editing, and a complete disregard for proper structure that basically nukes the fourth wall from the get-go. This shorter version of the film is crafted by an insane person, and contains entirely fresh footage, with little-to-no repeat factor. You get weird jokes about Paul Rudd and The Ten, Jennifer Aniston actually watching Wanderlust, members of the filmmaking crew getting in the shot, etc. This is fun for anyone and everyone who’d like Wanderlust and other films like it, but for the filmmaking and comedic pace and creation fan, this is a goldmine of brilliance. The unrelenting pace wastes no time in exhausting you of your breath and any sense of belief in what the hell is unravelling before you. It’s a piece of comedic magic that I highly recommend that everyone who appreciates the work of Wain and his friends should seek out. 

One day I wish to show this to someone saying that it’s the actual film. Frankly, while it just lacks coherency and stability, it pretty much isn’t far off from the real thing.

THE TEN (2007) - David Wain 

The Ten is such a weird goddamn movie. Its premise is simple, but director David Wain and co-writer/co-star Ken Marino have crafted such a uniquely comedic film around the Ten Commandments. First off, every single piece of dialogue uttered throughout is absolutely ridiculous. It’s exhaustingly brilliant and strange. This film is what David Wain and gang can do on their own terms, if they had no one stopping them. Just the small actions made here and there and small pieces of dialogue that confuse and astound and barely make any sense really make up a good amount of what Wain and friends do best. Everyone in this cast, from your expected players to weirder additions like Liev Schriber, Winona Ryder, and Adam Brody, is absolutely on board with this special tone of comedy. Those three actually especially impress in how willing they are to be absolute nut-cases when they need to be. Its a strong ensemble dealing with really strong material. There’s no remorse for the insanity that goes on, and really no attempt to be normal, which is nothing but a good thing, especially with such a variety of stories and ideas being played with. It’s a great showcase of Wain’s comedy directing at its best, and gives a good idea of the ridiculousness you can expect in his later films. If you’re a fan of Wain, Stella, or The State, then you’re absolutely at home with The Ten, and won’t be disappointed.

Also, remember when Justin Theroux played Jesus Christ? Damn that was perfect.

kingshitdave replied to your photo:Ocean’s Eleven (1999) - Steven Soderbergh This…

Agreed on the parent comment. One of my fav father son moments with my dad is seeing this in the theaters, we both love the series.

Right? I saw the following film in theaters with my parents and it’s just such a fun, easily accessible time. Soderbergh applies his style to a level I can look at and appreciate, but also works with such a fantastic cast and script that pleases on pure base value. A fun series that really holds up well. 

Now, for the next one… kind of.

OCEAN’S THIRTEEN (2007) - Steven Soderbergh

Yes, I skipped Twelve, so sue me. Really, I don’t mind Ocean’s Twelve that much. I think it’s a very funny film with a beautiful soundtrack. It’s just that I was so excited to go to Ocean’s Thirteen that I just went right to it. This film’s sense of humor is as strong, if not better than Ocean’s Eleven, and is equally as satisfactory to me. Its plot is a little more absurd, but work on such a fun, character based level that I think manages to increase the interest invested in it. Soderbergh’s style has improved since Eleven, and really applies well here, with making a really beautiful looking film with brilliant bits of style here and there. The montage showing how much everyone in the casino is earning at once is nothing short of fantastic and awe-inspiring. I saw this film around the time I really got into admiring directors and their personal styles, and it didn’t fail to impress me as strong as it does now as it did back then. Just a really funny film with excellent filmmaking backing and pushing it- the kinds of films I hope to make some day.