SOME-BROOKLYN-FUCKIN'-PIZZA

May 24, 2013 • 4 notes • thelawnwranglerwrites

The Hangover Part 3 (2013) - by Todd Phillips, starring Zach Galifianakis, Ken Jeong, Ed Helms, Bradley Cooper, John Goodman

I ended up really liking The Hangover Part 3. It’s weird to think, sure, but I’ve got my reasons, and I do in fact feel that they’re solid. In concluding a trilogy of films, it’s a great finisher, as well as stand alone comedy. Todd Phillips and crew managed to do some damn good work.

thelawnwranglerwrites:

At the point of its conclusion, the Hangover trilogy closes itself out on a high note, solidifying its legacy in a similar way to Steven Soderbergh’s Ocean’s films. In proper pattern, the first of the series is strongest and most beloved, part two is generally disliked despite having its moments, and the third and final portion ended up being strangely good and likable. Despite the eyebrow raising rehashing of a plot that was The Hangover Part 2, Part 3 actually finds itself capturing a lot of the elements of what made the first film so special, along with other aspects that help it stand out on its own, in really impressive ways.

Working with a strange action thriller plot, and story devices from the preceding two films, Todd Phillips manages to make some good on these storied characters. With the franchise already having jumped various sharks, I suppose going in, there really was no holding back. And yet Phillips and gang manage to manage to sidestep the issue film number 2 had. For the record, that issue is just a big, glaring piece of laziness, which is reusing structure. In, you know, not doing that, they actually manage to make an entertaining and properly developed action-thriller. The same level of intrigue had in the first film feels fresh once again in discovering absurdist twists and turns throughout the adventure. This is more of a proper sequel than part two was, as it feels like it really went somewhere.

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May 21, 2013 • 4 notes • thelawnwranglerwrites

Mud (2012) - by Jeff Nichols, starring Matthew McConaughey, Tye Sheridan, and Jacob Lofland

Mud is a really good movie! I wrote a review for it. The first review I’ve written in a while. It feels good. But yes, check this movie out- it’s great.

thelawnwranglerwrites:

Mud is a small film that shows the softer side of recently acclaimed drama director Jeff Nichols. That said, in succeeding while telling a uniquely tall, humanistic tale that isn’t as harsh as his two previous films, Take Shelter and Shotgun Stories, Mud doesn’t find Nichols holding back on his truly talented, under spoken brand of filmmaking and storytelling. It’s the nature filled scenery, meditative, amorphous score, and damn-near-real setting that reminds you who made this, or at the very least reminds you how down to earth this tale is- it helps keep you sucked in. In fact, it helps heighten the special air of his voice and brand, amplifying its effects in the process. The story he tells is that of love and the mistakes that come as a result of it, between adults and children alike, and thanks to his appropriately assembled cast, Nichols managed to make his most real film yet. Mud has an adventurous edge to it, to the point of it having a sort of Spielberg feel to a good majority of it. But as a result, when the film’s jabs hit harder, Nichols does not back down, keeping the tale and tone at an appropriately believable base, which keeps you consistently interested in such an intriguingly simple, yet out of left-field tale. With focused framework and filmmaking capturing such demanding, yet perfectly natural performances, Nichols made Mud all that it absolutely should be, leaving it as a story with strong, sweet legs.

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March 7, 2013 • 4 notes

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.

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.

January 18, 2013 • 19 notes

SUCCESSFUL ALCOHOLICS (2010) - Jordan Vogt-Roberts

I was pleasantly surprised by this short film’s dark, honest edge. It started out somewhat funny, but it then appropriately tackled the heft and seriousness of the protagonists’ addictions, and the negative impact it has on their relationship. In seeing their lives somewhat spiral when they lack liquor and are left to their own truthful devices, it’s quite sad, and doesn’t sugar-coat any of it, maybe with the exception of some well placed, non-intrusive bits of humor. It’s not an easy short film to watch, but that just adds to the merit behind it. The uncomfortable truth behind the humor and drama present are really well expressed via performances and a harsh script. The only issue I hold with it is that I wish there was more, as what we have is nothing but fascinating.

Jordan Vogt-Roberts’ direction is loose and simple, until the main couple starts to get a bit chaotic in looking for liquor and dealing with each other. The camerawork and pacing turns hectic, well-matching the uncomfortably dark nature of the situations. Montages and even singular moments of discussion have a strange flashiness to them, but the usage of such doesn’t scream fun. Rather, it well highlights the harsh realities we’re observing. The black comedy chord is struck correctly and impressively. I suppose it was strange that the score used is straight from Little Miss Sunshine, but that awareness aside, the music worked quite well in a tonal juxtaposition sense.

I’ve always trusted Lizzy Caplan as a capable actress, always coming through in delivering strong performances. Her role in Party Down especially impressed me, and her performance here pays off in a similarly humorous but honest and tragic way. To her side is an even more impressive TJ Miller, who I was pleasantly surprised to see was capable of pulling off drama. His rambly demeanor and sense of humor works well, but also applies well to his somewhat denial filled character. As a man who is convinced that his slowly collapsing lifestyle is actually working for him and the woman he loves, he’s quite a depressing character to observe, and TJ uses his humor to humanize him as much as genuine acting does. His realistic delivery of anger and humor are unsettling, and when he shows hints of genuine care, it makes the role all the more tragic, and the performance even more impressive. Together, the couple’s chemistry works through good and bad times, and never ceases to fascinate.

What I find most interesting is that the script is by TJ Miller. TJ is a man that never takes things too seriously, based on practically all creative works he undergoes. While it seems like the film had a lot of improvisation in it, whether the dialogue was written or not, it’s still impressive knowing that TJ wrote such a willingly serious piece. Sure, there are some good bits of humor here and there, but a lot of it mixes well with the dark tone, and not to mention, the entire thing is actually quite depressing. I give kudos to the man, as it shows some serious ability as a storyteller. The fact he went this far and took it somewhat seriously throughout not only pays off well for the story, but gives credence to the versatility within the man’s possibly more expansive than expected talent.

I’m really curious on if Miller and crew here would be interested in making something bigger than this, but in a similar vein. Honestly, I think they could pull something very special off. Even with some strong comedy personalities present like Nick Kroll, Matt Braunger, Nick Thune, and Tony Hale, they all contribute appropriately to the film’s overall tone. A full length feature in a similarly dark dramedy voice could be really good if taken as seriously as it was here. We could at least trust that the humor, serious or not, would still be strong and intact, as it’s clear that these guys really know what they’re doing. I’m just glad that they’re appearing to be entirely capable in such a bigger way, as well, and I can’t wait to see what else they could pull off.

January 12, 2013 • 8 notes

GANGSTER SQUAD (2013) - Rueben Fleischer

Rueben Fleischer is a talented, capable director, especially when it comes to visuals. When looking deeper at his films, you’re going to find that they’re fairly shallow in context, but nevertheless, have a great amount of fun in them. Here we find Gangster Squad, a pretty looking violent romp that is nothing more than a good time at the movies. It’s a broad, somewhat goofy film with nothing crucial at its core. If you take it as exactly that, then you should be able to experience the weird amounts of fun that it has to offer.
Action set-pieces and locations all around are colorful and dreamy, if not over-exaggerated for the time period. That aside, when its time to spill some blood, Fleischer’s style does not hold back, and is perfect in delivering the right amount of heft with each hit and shot. Through usage of slow motion, enjoyably advantageous cinematography, and rhythmic pacing, Fleischer’s application of practically music-video directing sensibilities works as well as I hoped it would. A good amount of the fun to be had with this film is through these gleefully violent, well-crafted moments. As a piece of pure ridiculousness and excitement with nothing too challenging below the surface, Gangster Squad serves as a good piece of proof of what Rueben Fleischer does best. He can make a good-looking film and can occasionally sell a punch-line. With Will Beal’s script being somewhat simple, Fleischer did well with an easy plot, well-thought-out action, and a cast that’s willing to play.
Everyone present here does some standard to good work, especially as an ensemble. Anthony Mackie, Michael Peña, Robert Patrick, Giovanni Ribisi, Ryan Gosling, and Josh Brolin share a great amount of chemistry throughout, with Brolin doing a good job as pack leader. I’m thankful that Ryan Gosling’s character played a sort of sidekick to Brolin, as I don’t think I would’ve been able to stand his voice if he drove the film, but also, he just does a great job as slight comedic relief and as a friend. Plus, his romance with Emma Stone didn’t take up too much time, and at least had some connection to the main plot. But the MVP here is Sean Penn, whose performance is so aggressively absurd that it’s applause worthy. It’s stuff like that which help make Gangster Squad shine in its appropriate categories.
Sure, it’s a bit empty in depth and reverence, and can sometimes take itself too seriously, but by its end, Fleischer and gang found a satisfying equilibrium. With all the clichés, goofy one-liners, and cringe-worthy violence, Rueben Fleischer managed to make Gangster Squad is the epitome of an easy to enjoy spectacle, and is starting to really find his place as a filmmaker. I urge you to check out Gangster Squad expecting absolutely nothing but pure fun through visuals and action. This is storytelling at its most basic levels, but even with that, Fleischer and crew just put so much else in there to enjoy and smile at throughout this strangely entertaining little bout of a film. Gangster Squad is absolutely ridiculous, and for that, I love it.
Honestly, watch this film just for Sean Penn. He’s insane in this picture, and half the fun of it all, really.

GANGSTER SQUAD (2013) - Rueben Fleischer

Rueben Fleischer is a talented, capable director, especially when it comes to visuals. When looking deeper at his films, you’re going to find that they’re fairly shallow in context, but nevertheless, have a great amount of fun in them. Here we find Gangster Squad, a pretty looking violent romp that is nothing more than a good time at the movies. It’s a broad, somewhat goofy film with nothing crucial at its core. If you take it as exactly that, then you should be able to experience the weird amounts of fun that it has to offer.

Action set-pieces and locations all around are colorful and dreamy, if not over-exaggerated for the time period. That aside, when its time to spill some blood, Fleischer’s style does not hold back, and is perfect in delivering the right amount of heft with each hit and shot. Through usage of slow motion, enjoyably advantageous cinematography, and rhythmic pacing, Fleischer’s application of practically music-video directing sensibilities works as well as I hoped it would. A good amount of the fun to be had with this film is through these gleefully violent, well-crafted moments. As a piece of pure ridiculousness and excitement with nothing too challenging below the surface, Gangster Squad serves as a good piece of proof of what Rueben Fleischer does best. He can make a good-looking film and can occasionally sell a punch-line. With Will Beal’s script being somewhat simple, Fleischer did well with an easy plot, well-thought-out action, and a cast that’s willing to play.

Everyone present here does some standard to good work, especially as an ensemble. Anthony Mackie, Michael Peña, Robert Patrick, Giovanni Ribisi, Ryan Gosling, and Josh Brolin share a great amount of chemistry throughout, with Brolin doing a good job as pack leader. I’m thankful that Ryan Gosling’s character played a sort of sidekick to Brolin, as I don’t think I would’ve been able to stand his voice if he drove the film, but also, he just does a great job as slight comedic relief and as a friend. Plus, his romance with Emma Stone didn’t take up too much time, and at least had some connection to the main plot. But the MVP here is Sean Penn, whose performance is so aggressively absurd that it’s applause worthy. It’s stuff like that which help make Gangster Squad shine in its appropriate categories.

Sure, it’s a bit empty in depth and reverence, and can sometimes take itself too seriously, but by its end, Fleischer and gang found a satisfying equilibrium. With all the clichés, goofy one-liners, and cringe-worthy violence, Rueben Fleischer managed to make Gangster Squad is the epitome of an easy to enjoy spectacle, and is starting to really find his place as a filmmaker. I urge you to check out Gangster Squad expecting absolutely nothing but pure fun through visuals and action. This is storytelling at its most basic levels, but even with that, Fleischer and crew just put so much else in there to enjoy and smile at throughout this strangely entertaining little bout of a film. Gangster Squad is absolutely ridiculous, and for that, I love it.

Honestly, watch this film just for Sean Penn. He’s insane in this picture, and half the fun of it all, really.

January 8, 2013 • 4 notes • thelawnwranglerwrites

Dark Horse

Here’s my review for Todd Solondz’s Dark Horse! Wow what a light-hearted one this was! Really, though, I love this film. Find out why!

thelawnwranglerwrites:

Dark Horse is a brutal film without violence and with only partial bouts of aggression. It covers a dark slice of life through an uncomfortably funny yet truthfully delusional lens. Through director Todd Solondz’s observational, silent, and partially ironic approach to capturing this story, we get to focus on the performances, and deliverance of some well developed, tragic characters. Leading the film is Jordan Gelber as Abe, a man-child who is stuck in life, working a job he hates, living with parents he doesn’t like, collecting action-figures and other nerd-friendly memorabilia. Abe’s story is an unstable one, as he flows in and out of daydreams, and is driven by poor, selfish decisions that highlight a certain amount of delusion. This film catches Abe at a strange time in his life, where it seems he wants to finally do something with his life. Solondz’s story asks if Abe is ready, or even mature enough to tackle life on his own. It’s not an easy story to take in, but it is a fascinating one, that as it goes on, really has you building an opinion and sort of empathy of this broken protagonist, whether you like him or not. Something wrong has happened either to him or within him, and how things play out is both psychologically intriguing and dramatically impressive. Dark Horse is indeed a dark comedy, and by my definition of dark comedies, it does right in focusing on characters, story, and maintaining a specific tone, all while finding a good amount of humor within its unique tale. It definitely is not for everyone, but those who can appreciate such a harsh filmic portrait will more than likely be at home with Dark Horse.

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January 5, 2013 • 4 notes • thelawnwranglerwrites

Les Miserables

Here’s my review for Les Miserables. It’s good. The movie I mean. I feel like the review is pretty decent too. Not as sad.

thelawnwranglerreviews:

I’m not a musical guy. I’m sure this isn’t the first time you’ve heard that, but it’s true. I see the appeal, but can never really get into it. I always feel like there is a lack of genuineness that comes with the style, as if it’s all about pandering and lacking in subtlety. Tom Hooper’s take on Les Miserables has me second-guessing that opinion, because if this is what can be done with musicals, then color me interested. The grand scale with which Hooper brings upon this tale is mind-boggling- fantastical to a degree that feels magical but entirely fitting. With performances and capturing such, a strong level of intimacy is used to approach singing performances and all. The various aspects of Les Miserables, including its story, style, performances, and music, surprisingly never get in the way of one another, and thanks to such a talented cast and crew under Hooper’s strong direction, it ends up being everything and more that the original story could deserve out of artistic reverence and respect.

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January 1, 2013 • 4 notes • thelawnwranglerwrites

Review- A Thousand Words (by Brian Robbins, starring Eddie Murphy)

OH, OH, COOPCOOPERBERG AND OTHERS WHO CARE, I ACTUALLY DO HATE A MOVIE FROM 2012! Eddie Murphy’s A Thousand Words! Good God this movie is NOT GOOD IN THE SLIGHTEST, HOLY HELL. Here’s my review, revel in my misery.

Bless and have a good night.

thelawnwranglerreviews:

1/5

When it comes to practically anything, but especially film, I’m an eternal optimist. I hope things are good and turn out good, no matter what. Again, I HOPE, but don’t really expect. When the odds are stacked and something looks awful, I can’t do much but pray. Prayer doesn’t, nay, can’t save Eddie Murphy’s recent thoughtless money-grubbing attempt at comedy in film with A Thousand Words from being God-awful. You know what saddens me even more? Other than the fact that I actually really like Eddie Murphy and that I tried to see this with hopes of it being decent? It’s that there’s probably a good story to tell with this film’s premise. The film is somewhat of a parable, or at least tries to be, thus causing it to steer toward the sentimental and maudlin in trying to teach a lesson. And you know what? The pushes toward those aspects are just as crappy as the comedy. I mean since when was the Chili’s “Baby Back Ribs” song not only relevant, but comedic to any degree? NEVER. Maybe except for 2004. Yet he just goes for it- pure ambition. Eddie Murphy goes for something that is destined to fail, and dammit, he succeeds in doing that.

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December 1, 2012 • 4 notes • thelawnwranglerwrites

Killing Them Softly

Here’s my review for Killing Them Softly!

thelawnwranglerreviews:

Killing Them Softly has probably less than ten moments of violence within its runtime, but every time a gun is discharged or punch makes contact with a face, it is downright brutal. These sequences are uniquely handled, but ultimately have the same purpose- these are business transactions made by a cold and calculated business man who stays as disconnected as possible in his line of work. Murder is what he does best, and every single step taken is thought out and planned to go accordingly. It’s a fascinating film to watch, with a complicated and interesting crime plot to witness play out. Andrew Dominik’s direction is gorgeous and heavily detailed with sharpness and appropriate style. His visual trickery with this film not only looks good, but is full of context and practically academic worth. As well, his script is dense as a crime thriller, similarly strong to the likes of stuff like In Bruges and Pulp Fiction. But on the other side of things, it’s a story with a lot to say- call it commentary, an opinion, or a point, but this film has ideas on its mind. Dominik has absolutely no fear about delivering on such without getting too preachy, let alone executing anything else this film has to offer in its well deserved R-rating. Killing Them Softly has balls and packs a mean punch- it may piss some people off, but I think that’s something to admire, even if you are part of the “offended” crowd, as it at least sticks with character. Outside of this somewhat idealistic side, the film is just a strong, really intense, and unique crime thriller that will excite and disturb with satisfaction.

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November 26, 2012 • 2 notes • thelawnwranglerwrites

Indie Game: The Movie

My review for the documentary Indie Game: The Movie. Just a fantastic film overall, I cannot stress enough how highly I recommend people watch this. You’ll laugh, you’ll cry, you’ll feel good, and maybe even some passion will rub off onto you, or it’ll ignite something strong within you. There’s heart in this film, and through ROUGH ROUGH ROUGH times, these protagonists persevere, and it’s fascinating to watch unfold.

thelawnwranglerreviews:

Aside from comedy and film, an equally beloved passion of mine is video games, and the worlds surrounding video games. My sense of humor and love of writing was practically crafted since I was a kid by Jeff Gerstmann and gang from the Gamespot now Giant Bomb sites and podcasts. I am one of the guys in the forums complaining and praising things. I am one of those that enjoy watching people play games and discover the beauty or ugliness behind them. I am one of those who has considered wanting to make video games. Only a few really bother to take that route to fruition, mainly because as cool as it sounds, it also sounds super difficult in a similar vein to filmmaking- it’s crazy on all levels. Again, much like filmmaking, going indie and working small and under the radar is definitely a possibility, but as brutally honestly portrayed in the documentary Indie Game: The Movie, it brings upon familiar but still intensely harsh hordes of drama and heartbreak to those who take it upon their selves to embark on this kind of endeavor. But like any creative and artistic form of expression that can destroy you in any and all aspects, when you push through to the end with all your will, you get something really worthy out of it- these polar extremes of human will, passion, and emotion are beautifully portrayed in this clever, truly well made documentary that is highly celebrated for a reason.

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November 20, 2012 • 29 notes

Beforel Orel (pardon my late night writing - point is, this was brilliant.)

Beforel Orel was as strong as any episode from Moral Orel’s forced peak within the third season. Though things were halted there, it’s clear that this show’s still got quite a lot of life in it- this is made apparent with the new special/episode/thing in BEFOREL OREL: TRUST. It was a fantastic mixture of themes, dark humor, and character development. Seeing all this foreshadowing and backstory behind Orel’s growth as a Christian was an absolute treat, especially when involving his grandfather’s influence, and Clay’s cowardice. The tragic rift between Clay and his father was heartbreaking in the most perfect way, in terms of serving the story (as well, it served for great drama.) Scott Adsit was as strong as ever picking Clay back up as a character, really pulling his acting chops as he did throughout the rest of the series. Really impressive work on his behalf. All the returning cast do a fantastic job, especially Carolyn Lawrence as a young Orel, who makes him as a four year old the most adorably idiotic little thing ever. In other news, Joe Unger as Orel’s grandpa was quietly fantastic, playing somewhat of a straight-man to Orel, as well as everyone else from Moralton. His performance is earnest and befuddled to sweet ends, all the way up to Grandpa’s final confrontation with Clay, which calls back the depressing circumstances behind their relationship, and shows a truly hurt side of both parties that hits really hard.

Continuing from that point, I felt this special was just brilliantly written as a whole. Aside from the comedy, Moral Orel is also well loved for its tendency to get serious, which Beforel Orel definitely manages to do. The sweetness between Orel and his grandfather is heartwarming, and the development of Orel as a child is quick but successful, as well as humorous in working with lil’ Orel’s naivety. Plus, the satire Moral Orel is beloved for is ever present and stronger than ever, in somewhat of a tragically sweet way. Harsh beats aside, this is also just another great reminder that Dino Stamatopoulos and gang are pros at writing quick witted, absurdist comedy that flies by at alarming rates. In regular Moral Orel fashion, the visual gags are as brilliant as ever, as is the general sense of humor, which is as dark as ever. The scenes involving Shapey’s conception and birth are especially hilariously well developed, on page and on screen. Duke Johnston directed the hell out of this, continuing the show’s impressively constructed and flowing style with great usage of music and cinematography. The visuals whip around and move with flourish, really complimenting the fantastic colors and lighting and animation involved. Orel praying at night with his window open is intimate and quite gorgeous, while Bloberta’s delivery room is hectically decorated and disorganized, matching with the dutch tilting and chaotic movement of the camera. The animation is in absolute top form, as is everything else about this fantastic program.

As a whole, Beforel Orel’s “Trust” is good enough proof that Dino and everyone else involved with Moral Orel are still strong in their abilities, and can possibly only get better. I really hope they get picked up once again, as this is leaving me wanting more and more.

Also, does ANYONE know the names of the song played in this episode? They were really used, and just generally sounded really good!

November 18, 2012 • 9 notes • thelawnwranglerwrites

Silver Linings Playbook

Here’s my review for Silver Linings Playbook, David O Russell’s new film that is DAMN good. Beautiful film full of great filmmaking, dark comedy, and fantastic performances that deliver some uncomfortable, but brutally honest emotions. It’s a satisfying fare that I highly recommend everyone checks out.

thelawnwranglerwrites:

Silver Linings Playbook gets away with more than any sweet story like it should be able to, but rightfully so, and much to audience satisfaction. It’s a film about broken people that desperately try to get by, but constantly break and end up hurting each other in the process. You’ve got a great, somewhat dark sense of humor floating around, as well as very confrontational, while disturbingly uncomfortable drama and character dynamics. Outside of the tone, where the film goes with this can easily feel like standard coming of age/fixed human affair. But Silver Linings is executed to the point where it almost feels like the film is absolutely aware of this, and doesn’t merely toss it aside, but embraces it, and makes something out of it- it makes it even more emotionally worthwhile and damaging. It’s a strong film that deals with heartbreak and exchanging denial for hope and truth, in a very engaging, up-close manner, delivering on the strengths of its direction and performances. Frankly, what else could you expect from a film by David O Rusell, who makes this seemingly trite, emotional story his bitch that is just something else. Most of all, it’s a sweet film. So sweet that it’ll melt your damn heart, and even if things go the way you’d expect them to, you’d be glad, because it’s so important that it works out in such away. As things work out just right after so much destruction and attempts at reconstruction, you’ll be left smiling by the end of this story.

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October 25, 2012 • 6 notes • thelawnwranglerwrites

The Lawn Wrangler likes Video Films! (and stuff!): The Comedy

Here’s my small review for The Comedy, by Rick Alverson, starring Tim Heidecker, Eric Wareheim, and James Murphy from LCD Soundsystem (which should be his first name.) I really wish I could write more… I can feel myself getting rusty. I’ll be working on that folks. In the meantime, check out my review, as well as the movie. It’s really something, my friends…

thelawnwranglerreviews:

As expected, The Comedy is really weird, and I love it. It is absolutely the kind of movie you’d want to see multiple times and really stew over, and I feel like it’s with good merit. Rick Alverson’s made a beautiful looking, contemplative piece that lets the actors live and breathe their characters to a disturbingly real end. Especially truthful in their performance is a shockingly strong Tim Heidecker, who pulls out all of his abilities to be ridiculous and uncomfortable for the sake of antagonistic humor, and a surprising amount of drama- truly impressive stuff. Plus, if you can deal with the characters’ bull shit, you’d probably find this film absolutely hilarious, as much as it is sad and downright disturbing.

September 23, 2012 • 2 notes • thelawnwranglerwrites

The Do-Deca-Pentathlon

Here’s my review for the most recent Duplass Brothers film, The Do-Deca-Pentathlon. Fun, sad, personal, and overall easily enjoyable, I highly recommend checking this out on VOD.

thelawnwranglerreviews:

The Do-Deca-Pentathlon is a very awkward film. Awkward to a point where many instances feel so real and relatable that it’s disturbing. That feeling of staying at a relative’s place over the weekend, those weird moments where you aren’t really doing anything with the rest of your family, uncomfortable outgoings, etc. The Duplass Brothers have really managed to capture this sense of realism to a T, and it’s impressive on a layered perspective. A lot of this essence can be traced back to the actors involved. There are only 5 main characters, and yet those involved do an amazing job of acting as a family unit, as well as individual beings. There’s an understood sense of respective livings being affected by the interactions shared amongst this clan. Everything is interrelated, and when these people interact, it’s 100% natural, to a satisfying and impressive degree.

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September 22, 2012 • 7 notes • thelawnwranglerwrites

The Master

Guys, I kind of reviewed The Master (it’s been a while since I’ve reviewed anything, so bear with me.) And guys, it’s kind of amazing.

thelawnwranglerreviews:

The Master

So… Paul Thomas Anderson is pretty damn good at making movies, huh? I mean hell… holy hell this is a heck of a movie. Much like 2007’s There Will Be Blood, The Master is most definitely a bit of an actor’s showcase. Not to say that there isn’t some visual eye-candy; the film is shot on 70mm and is crafted beautifully. Honestly, it just looks flat out gorgeous, with colors, composition, long tracking shots and all. I highly recommend seeking the movie out in 70mm- working with this format was a first for Anderson, but goodness he does it justice and doesn’t waste a frame. Though take note that this is also Anderson’s first work without DP Robert Elswit, who was substituted for Coppola favorite Mihai Malaimare Jr. The difference is noticeable, but not to a negative degree, and mayhaps I only say this as a die-hard fan. This plays into the overall unique tone The Master has in comparison to Anderson’s past films. Up until There Will Be Blood, there’s been a very deliberate speed and attitude to his works- spirited, kinetic, and yet important. With his past two efforts, his handle has become much more intensive. There Will Be Blood and The Master share very brooding and in-your-face from a sniper’s distance, with manipulative, slap-you-in-the-face writing, direction, acting, and filmmaking overall. It’s almost without consent how hard he hits now-a-days. The Master’s much more experimental in this sense, reminding the viewer even more of something like Punch-Drunk Love in a way- it’s a very risky, pent-up film, but with such great and curious payoff.

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