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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:

You Made it Weird #139 - Bert Kreischer

Bert Kreischer’s presence on You Made it Weird is comparable to a fan being on the show, or a long lost brother finally connecting with Pete. There’s an excitement and energy that comes with Kreischer to damn near everything said and done, which is so warm and fresh, preventing it from being too much. Spontaneous chemistry at every single topic checkpoint comes up, and it makes you as excited as Pete and Bert are, because you can truly sense their giddiness and appreciation for one another’s ideals. Pete’s green light sensibilities and adoration for “laser accuracy” in call-back and round-about jokes are shared almost exactly with Bert’s lively, honest demeanor. If Bert isn’t as playful and open as Pete, he’s more so, and it shows when he delves into his brutally honest stories and feelings about love, life, and death, as well as into games and pranks like calling the last guest, Mike Bridenstine, and making fun of him in a fake butt-dial. It’s hysterical and highly enjoyable, because you’re right there with them. Hell, just watch the Vine that they made of the Fake Laugh Until It Turns Into a Real Laugh game- that’s it. That’s exactly what this episode is, just gleeful bits of fun and delight. Funny delight. Funny D. Laser.

Bert, like Pete, is incredibly welcoming and comforting in discussion, so like any good relationship with both sides giving 100% of their respective 50%, the combination of Bert and Pete just works too perfectly. Ending in a glorious game of Sing a Pop Song that You Don’t Know, this episode is possibly one of the best of the You Made it Weird catalog so far. It’s full of serendipity, friendship, and too much laughter. You too will laugh, you’ll feel, and you’ll smile. I guarantee this episode will put a smile on your face more than once. Bert Kreischer made it weird, but also made it fun in the process.

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.

Comedy Bang! Bang! - A Spiritual Journey

It’s a strange worry that I have, but every time the main guest on Comedy Bang! Bang! is someone who really isn’t with the whole alternative comedy scene or fits into it in some way, I fear for un-fun awkwardness. One thing I think we all (mainly myself) must take into account is how greatly Scott Aukerman has grown into his position as host, and comedic presence on his own. In a safe 98%, if not 100% of the time now, Scott manages to make the experience for the guest and listeners a good one some how, making the awkward and magical all part of the fun. No matter who the guests are, big and small, Aukerman always manages to pull off a great episode with their help.

With episode 210, I didn’t necessarily feel my initial fear too badly, as the guest is Adam Brody. I’ve always found Brody to be completely capable and hilarious in almost everything he does, especially in weirder things like The Ten, or Jennifer’s Body, or even Grind. Similar to Michael Cera (who has really grown into his own, but that’s for another conversation) or Colin Hanks, Brody was a fantastically low-key, but entirely participating guest for the show. Fun bits were shared, and even when Joe Wengert’s much weirder character of Shelby Orangina comes into play, Brody stepped up to bat and even helped push the ridiculousness. Major kudos to him, especially these days for branching out and doing more interesting projects, like indie films or participating in things like Comedy Bang! Bang! or Burning Love. His great talent is warmly welcome and fits well into the stylings.

This episode is a special one in bringing to light some of the show’s best character players that happen to be somewhat underrated. Joe Wengert and Lauren Lapkus seem to each have a special brand of character they like to mess with, but dammit do they do it well, mainly because overall, they’re just purely talented and funny people. Lapkus’ recent turn as Scott’s nephew Toby made for a blast of an episode, and in this episode as a high schooler (unknown if friends with Marissa Wompler) named Traci Rearden, she really got to stretch her legs and create an interestingly weird character. Independent yet emotional, Lapkus’ Traci made fantastic additions and playful banter as a co-host, being the right amount of weird while staying with Scott. I’d love to see more of Lapkus, as I think that she’s on the precipice of some really good recurring characters.

Along with Lapkus comes improv monster Joe Wengert. The two worked together beautifully in an episode last year with Tim Heidecker, and they don’t disappoint again as separate characters that when combined, make for great chemistry and insanity. The same kind of magic happened with this episode, pleasingly so. Shelby Orangina is a character with a simple bit, but Wengert just knows how to exploit it and really run with a premise, using all of its worth by the end of the episode. It reminded me of a Superego character, not only in terms of voice and comedic direction, but because Wengert is just so fast on his toes. Wengert is a favorite on Matt Besser’s Improv 4 Humans, and his comedic ability transfers quite beautifully in much more long form affairs. His wit is quick and strong, rivaling that of CBB favorites. In correlation, he’s incredibly playful with bits and scenarios, always making for something funny. Either on his own or with another character player like Lapkus, among others, Wengert is a strong presence that deserves some more air-time and attention.

This episode, along with 208 with Steve Yeun, was a warm reminder that Scott Aukerman can still pull off a great episode with a guest that isn’t entirely familiar with the show. He’s always generally been able to pull off a good episode, but as of recently, he’s done nothing but that. In fact, the guy is getting much better as it. As mentioned in a recent interview, “Auk-Dog” said that the podcast is basically improvised fun that doesn’t require too much thought anymore. After 200+ episodes, Aukerman proves that to be absolutely correct, and that his ability comedically and as a host is just improving project by project. Comedy Bang! Bang! TV has him working a unique personality, as well as writing some of the most ridiculous comedy in recent years, and the podcast keeps him on his toes. I cannot wait for the world to get more and more of Scott Aukerman, mainly because the more he is just himself, the more it’ll weird out most people, and that’s funny to me.

Also, check out the last episode with Wengert and Lapkus, as well as Lapkus’ other great appearances. Hell, check Wengert on Improv 4 Humans. You’re gonna love them, I’m sure of it.

thelawnwranglerwrites:

Delocated! - The Frrt Identity

Delocated’s series finale is a fantastically directed and written piece of comedy that showcases what you love about the show, and exactly what you’ll miss about it. It’s the apex and perfect example of Glaser’s absurdist humor and vision coming to life in such a blatantly serious way, despite the insanities of context. He plays it all straight and perfectly, even with his characters ridiculous nature- he plays true to that as well, making everything work most of the time, if not all the way. It was a perfectly knit little series that reached for the stars and grabbed a few before it was pulled back down. It stuck to its premise all the way through, even going to the occasional extremes that felt necessary in reaffirming what was actually going on. For that, I salute Glaser and crew for sticking to their guns, and taking Delocated to a dark, but hilariously proper point of fruition.

Even before the pilot, Delocated jumped the shark with its premise. The shark was rolling into work with his coffee in hand, and Jon Glaser and crew jetted over it in a fucking rocket, blowing the shark up in the process. The joke of a guy with a ski mask on and having his voice modulated is hilarious as is, and in many ways, could probably only work as a small sketch in other contexts. Jon Glaser instead made it a staple, and drove it home by bringing even more insanity to it. The show proceeded to mix elements of action and thriller sensibilities with ideal directionality that leaves the feeling that this show is probably run by an insane person. On the contrary, honestly, as Jon Glaser hand in crafting this show is quite a brilliant and bold one. By the third season, he had set up such a crazy world and plot concerning this character and the Russian Mafia that one couldn’t help but feel that like an off the rails improv scene, he has taken himself into such an extreme corner that he’ll have to explode out of. In common practice, Glaser didn’t disappoint in heightening the absurdity, but working with respective rationale that made Delocated’s closure feel fitting, in addition to its dark, strange outlook. 

Writing and performing the character of Jon is a special art form, mixing magical confidence with a certain level of idiocy that you observe with a cocked head and awe as if it were a puppy, or your friend who makes the dumbest decisions all of the time. He’s an idiotic, self-proud dummy that we all love, and “The Frrt Identity” remolds this character without compromising what is so great about him in the first place. As per the name, we see Jon in this strange, unexpected action hero position. Glaser plays it perfectly, and sells the action surprisingly well, for being somewhat of a normal bodied man. And mixing Jon’s beloved, crude mindset and personality into it made for such an interesting tone shift that I was left wanting more. This episode fulfills some of my weirder dreams of Jon being some sort of fucked up action anti-hero with the exact same attitude. If Deadpool were to have a true voice, it would be Jon from Delocated. It was a bit of an aside, I know, but you can’t say that that wouldn’t be pretty amazing, right?

As mentioned before, I must say that this is a truly well directed episode, in terms of upholding Delocated’s comedic pacing and tone, and in terms of delivering action in a disturbing but still humorous light. Firstly, to get rid of any spoiler-specific moments, I’ll touch upon where the show is left off. Let’s be honest, it was a quite messed up direction to go in, but the ridiculousness was maintained, and they really went for it in terms of tone. The usage of a specific song in a certain moment was truly inspired and dark, but I got a little giddy during it, in a way that I only get for shows that showcase such style in truly unnerving moments, like Breaking Bad or Eastbound and Down. And if the moment intended on mimicking such scenes and tone, then kudos- they nailed it 100%. In bothering to go to this darkly humorous corner for its end, I simply applaud Jon Glaser and director John Lee. Also, in showing Jon’s face? The casualness and voice still being modulated made it still work perfectly. They really went all out with it, and made it fit to the show, and yet somehow beat expectations in such a gleefully rough way.

In matching with the Bourne films’ tendency to do action scenes in a visceral, music-less light, director John Lee did a great job of playing with subtle parody, but also upholding the great visual tone that the show has worked with from day one. The show’s reality show conceit became less and less present, yet visually upheld as the show moved on, but still, the shakiness of hand held camerawork and usage of censorship and crash zooms always added a great sense of comedy through and through, similar to the style’s success in shows like Arrested Development, and a little more overt in something like Parks and Recreation. Though even with “drama” and intensity, the show managed to have such a surreal, unique voice that whether or not a scene was funny or inherently funny in concept, it’s still quite striking in deliverance. It’s such a fun, weird show with a look that they made their own from the beginning. They did the conceit right, and always kept it fresh comedically, and for that, among many other reasons, I will miss it. Granted, I‘m glad they went out on such a strong episode.

So long, Delocated. You deserved a movie, or more seasons, or at the very least a box set with the entire series on there. What the future of Jon’s adventures is at this point, I do not know. What I do know is that the ride we were taken on, though short, was sweet, daring, and utterly insane. I’ll miss it, and never forget it. 

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.