A Temporary Hiatus

I am here to tell you all that follow and read that I won't be posting for awhile. As the Summer months draw to a final close, I have a lot to do. Not only must I try and cram as much fun stuff into the last week as I possible can, but I have school assignments that I must finish for Honors. I have a feeling that the first few weeks of Freshman year highschool (especially in a town such as mine) will be rather annoying until it falls into the duldrums of every other year of school anyone has ever gone through.

I am also trying to set up another site, but one of those neat-o horror blogs. Because I am one of those crazy horror film junkies who looks into the aspects of the behind-the-scenes, and marketing, and if they follow 'the rules' and such. I haven't posted much on it besides setting up the actual main thing and what not, but I'll probably be posting a little more on that since I'm trying to get it on it's feet.

So if you are interested in supporting that:
http://www.aguidethroughhorror.blogspot.com/

I thank you in advance and I will probably be posting, maybe once a month on here, with a review or update or something from September until November, so I just thought that I'd let those of you that read know.

And I hope to find that you're still here in November!

Thanks, and see you then!
-Nick

#36-Where The Wild Things Are (2009)

Where The Wild Things Are

It is truly saying something, when I believe that what is quite possible one of the most important films of 2009 is based on a children’s book that has merely ten sentences in it’s entire construct. Based on the 1963 book of the same name by Maurice Sendak, Where The Wild Things are is recreated for film by also famous novelist Dave Eggers, and acclaimed director Spike Jonze.

Jonze is most notable for directing the Charlie Kaufman films, Adaptation and Being John Malkovich, (which I really need to re-watch) both of which are excellent films. Here he takes a slightly different approach adapting a children’s novel rather than some very original adult material. However, simply because it is based on a book for kids does not make Where The Wild Things are any less dramatic, adult, or important than his previous works.

Where The Wild Things Are is about a young boy named Max who is the young child of a single Mom. Max faces some of the normal calamities that strike childhood in these times, such as the single parent, a new step-parent, an older sibling and simple loneliness. All these conflicting emotions come together one night, and after a fight with his Mother, Max finally does what most children only dream of and run away. He escapes onto a boat and sails across the ocean to an island full of ‘Wild Things’ where they make Max their king, and he begins his rule.


Jonze is one of the bright young talents in Hollywood. He has made great film after great film again and again, without hitting a wrong note thus far. Jason Reitman is a director of similar talent, along with Edgar Wright, and possibly Marc Webb, depending on what his next move is. Jonze’s talent is still on display here, with Wild Things having an exceptionally cool look and feel to it. The film moves a long at a decent pace, even if there are moments when it drags, and not much is going on. The hardships of being young are captured here perfectly, and you can still feel the sting of the one painful snowball that seemed to end every fight. The emotion is incredibly rich and flowing here, with each Wild Thing representing an emotion that Max would have experienced in the real world. It is a great way of communicating ideas and themes throughout the film, without beating the audience over the head with them.

"I'm an explorer mostly"

Max Records, the young boy who plays Max does an amazing job as the films leading man. He is the only real person on screen for ninety percent of the film and carries emotion very well. He is surrounded by imaginary creatures and manages to keep himself in the correct place mentally. His performance has few of the memorable scenes in which people scream and yell, but has a more subdued feeling about that makes it even more unbelievable. The voices of the Wild Things are cool as well, coming from some extraordinary talent, including the likes of: James Gandolfini, Lauren Ambrose, Chris Cooper, Forest Whitaker, Catharine O’Hara, and Paul Dano. It also includes some small performances from Catharine Keener, as Max’s Mother, and Mark Ruffalo as her boyfriend.

The creatures look great. They are a combination of computer animation, puppetry and real life actors inside real suits. The three forms mesh together really well and create a really nice looking effect. The CGI gives them facially movement that allows them to express great emotion as each has their own personality, while the suits and puppetry make them look real, and give them a natural element.

Where The Wild Things are is simply astonishing. Jonze and Eggers manage to make their own creature from this classic story, while holding true to Sendak’s work. Jonze is a fantastic director, and knocks this one out of the park, and continues to play his career perfectly. The young boy Max Records is the most astonishing child actor I have ever seen in a film, and I think his performance deserves some recognition. He carries the entire movie on his back for over an hour and a half, and never once does his performance flinch. He is at times, angry, happy, sad, engaged, lonely and often all of them at the same time. The film captures the image of childhood in all of it’s inglorious beauty, and is often real to the point of heart break. The film is slow sometimes, but never is it boring. This is less of a children’s movie as it is a film for adults to remember what it’s like to be a child. Karen O creates some fun, if at times annoying hipster tunes that do fit the film, and the cinematography captures the wild rumpus that we have in all of us.

I Give Where The Wild Things Are A:

4.5/5

#35-Fantastic Mr. Fox (2009)

Fantastic Mr. Fox

Acclaimed writer/director Wes Anderson brings two new things to his resume with his heading of Fantastic Mr. Fox. The first being that this is his first animated feature, and the second, his first ever time adapting a work to the big screen. He is mostly successful in this new endeavor but it can also easily be said that Fantastic Mr. Fox is Anderson’s weakest career link.

The story of Fox plays out rather simply. Through a series of circumstances Fox decides to buy a new home for his wife and child under a large tree near three very large industrial plants. Fox reverts back to his old ways and decides to start stealing from the farms of the three large corporate heads. When they find out where the Fox lives, they attempt to kill him, but fail and instead decide to dig out the many animals that live there, keying the idea that they must come out for food and water eventually. Fox and the other animals devise a plan to survive, and continue surviving as they dig for their lives.

This was a very brave move on the part of Anderson. Someone who has never directed an animated feature, to simply jump headfirst into the project, which has a dedicated fan-base due to it being based on a famous children’s novel by Roald Dahl. And I was one that was rather skeptical about this idea, until I saw how fantastic the animation came out. This is some of the best stop-motion I’ve ever seen, with some cool little tricks and Anderson styling’s to keep the viewer
interested.

"Thats my thing, my catch-phrase"

The film has an incredible voice cast that includes the likes of George Clooney, Meryl Streep, Jason Schwartzman, Bill Murray, Michael Gambon, Willem Dafoe, and Owen Wilson. While I do miss the times when trained voice-actors were hired for animated films, all of the cast does perform rather magnificently, and I was caught off guard by how much I didn’t recognize some of their voices.

 

With all this being said and done the plot for Fantastic Mr. Fox is incredibly weak. It is clever and fun while it lasts, but it simply cannot sustain the length of the film, which isn’t even an hour and a half. Anderson teamed up with frequent co-writing partner Noah Baumbach once again for this film, and whether it was the source material, or they were severely off their game, I will never know. There are some jokes in here that are used over and over again that get old very quickly. The plot is easily solved and has a decent amount of inconsistencies that sometimes make it hard to sit through. Why there is a manhole directly in the middle of a supermarket is beyond me. The family dynamic is repetitive and completely unoriginal which seems especially odd for Mr. Anderson who’s greatest films revolve around dysfunctional families. A saving grace does come in the form of a few decently clever lines of dialogue, but they certainly can’t completely save the screenplay that had already gone to hell in a neatly lined hand-basket.

The film has the great visual style of the any Wes Anderson flick, and he does greatly directing in a medium that was totally foreign to him. Voice acting is inconceivably unrecognizable from a stellar cast of great performers. The sets were designed incredibly well, with bright colors and interesting tricks that are sure to keep you interested but the films near lack of any emotional hold-up cannot stand near the likes of today’s animated giant Pixar, who continually puts out movies that tug on our heart-stings. The film is a fine rental for a quick watch, or if you have children, but for the most part it is unfortunately something to be skipped.

I Give Fantastic Mr. Fox A:
2.5/5

#34-Altered (2006)

Altered

Altered.The film is about a group of crazy alien-hunting nut-jobs who, when on a hunting trip capture one of the evasive creatures and bring it back to their home. One of them claims to have been abducted before, and his an implant to prove it. Claiming that the alien mother-ship can track and follow him especially with them having a creature they lock themselves up in his garage for safety, and slowly begin to rot away at each other and the alien in the middle of the room.

The film is just bad. Just bad in general. It was avalible for instant play on Netflix one day, it was short, sounded cool and I was bored. From the director of The Blair Witch Project, a film that doesn't require much direction, and it shows. The film looks terrible, has a clunky feel, and a lot of the time nothing going on. The acting is bad as well from four unknowns who for the most part should remain unknown. It takes place in a garage which gives it a drab feel and a very boring atmosphere, with absoloutly no creepiness at all.

The only saving grace to the film is some decent special effects, which we hardly see. The film is stupid, slow, boring, and had terrible acting. Some cool alien special effects that we never see definatly cannot make up for all those mistakes. I should've known with this straight-to-dvd horror film, but alas against my better judgement I gave it a try, and it came back to bite me. Won't being doing it again anytime soon.
 
I Give Altered A:
1/5

#33-Hedwig And The Angry Inch (2001)

Hedwig And The Angry Inch

Most of the films that are on my "Top Whatever" are films that I have seen years ago. This is not the case with Hedwig And The Angry Inch which I saw for the first time only about a month ago. It is based on an Off-Broadway musical written by and starring John Cameron Mitchell, who also writes, directs and stars here. The film is often compared to The Rocky Horror Picture Show for obvious reasons. A transexual main character, darkly humourous elements, and puck rock themes. It has even gotten to the point where midnight showings complete with shadow casts of the two films are shown back to back. I however, despite how much the midnight movie freak within me disagrees, can easily say that Hedwig And The Angry Inch far surpasses even the best elements of Rocky Horror.


The film is about a young boy named Hanzel (Ben Mayor-Goodwin) who is living in communist East Berlin right after the wall has gone up. Not going to school as a child, Hanzel has nothing to do but listen to American Forces Radio, where the great glam rockers of the eighties are constantly on display. David Bowie and Lou Reed being his all time favorites. By the time he has reached teenagehood, he cannot wait to get out of Berlin, and the opportunity presents itself in the form of Sgt. Luther Robinson (Maurice Dean Wint) whom falls in love with Hanzel, and Hanzel with him. The two plan to flee the country and escape then get married in America. This is impossible however because of complete cavity searches, so Hanzel's mother (Alberta Smith) gives her identity to Hanzel and gets him into a doctor to perform the operation. Unfourtanetly, the doctor cuts to short and leaves, now Hedwig (John Cameron Mitchell) with a "one inch mound of flesh". later in America, Sgt. Luther finds a new boy and leaves Hedwig on her own. To support herself she tries to become a glam rocker similair to her favorites in late 90's America, while falling in love with a strict Christain boy Tommy Speck (Michael Pitt).

Lets get this out of the way, the performance here by John Cameron Mitchell is simply fantastic. In this role he completely embodies the character of Hedwig so thouroughly it is uncanny. He was nominated for a Golden Globe for the performance and her surely deserves more recognition than that. He has a great voice that he uses to belt out some fun tunes, great comedic timing and inspiration, and a high bar of expansive dramatic set pieces that cannot be topped. His portrayal is fun, energetic and inventive, and even with wacky costumes and tons of make-up, he manages to bring out some truly deep emotion when the time is right.

The performances across the board are astonishing. Mitchell, Pitt, and Smith all perform admirably. One of Pitt's earliest performanes is a real treat to watch, since I've been enjoying his work ever since I discovered him in Funny Games. Another great, and key performance comes from Miriam Shor who plays the character of Yitzhak another character in drag, this time a woman as a man, and the back up singer in Hedwig's band, who play mostly in salad bars. There are very few other roles in the film, as the stage play was originally a one-man monolouge by whomever was playing Hedwig. The story was expanded here, and these characters being full fledge, and as such the main part of Hedwig is given the most screen time. So much screen time, there are only four supporting roles making five major roles total.

"The moutains streched up to the sky, sometimes higher"

The music in the film is awesome as well. The music was taken exactly from the play to the movie, and the songs written by Stephen Trask are infectious and addictive. They are less glam rock than say Bowie or Queen, but closer to the punk-rock hair bands of the same era. All of the band members have a great stage presence, as all the performances were done live. The songs make you want to get up and jump around, bang your head. In fact I bought the CD and have put some of the songs on my exercise playlist. When the songs are rockin', they rock, but like all great rock band's, Hedwig also has some medatative slow songs, that in all honestly make me feel connected to him. In the context of the story, and the character of Hedwig the final song: Midnight Radio is one of the greatest songs of all time, and is truly heartbreaking.

The story written my Mitchell is near percfection. It has characters we love, and side with, as well as root for and connect to. Hedwig is a truly inspirational creation and I hope there are people out there who look at this, and use it as inspiration to fufill their dreams. The screenplay is strong and unique, with flashbacks and story-tellings of an amazing ability. The direction by Mitchell proves he is more than just a pretty face for screen fame, but a great force to fight with in the directing world. In front of the camera, he is great, and behind the camera he is a genius. Mitchell might as well have redefined the medium with this film, and is someone that I am keeping a very close eye on.

The costumes and make-up are superb as well. Hedwig is a treansexual, and has to be created by make-up in that sense. But being a glam rocker he has all kinds of crazy make-up and costumes that make him a truly Bowie-an figure. Hedwig is to Hanzel, what Ziggy Stardust was to Bowie. Hedwig is sometimes a punk-rocker, a store clerk, a man, a woman, and even a bee-hive queen from '73 but what ultimatly comes out is his humanity.

Hedwig And The Angry Inch is one of the best, and one of my favorite films of all time. The inspirational story of being who you want to be, and dealing when you have to shows us that being human is not always a gift, but it is never a curse. During all of her turmoil and trouble she never gives up on her dream, and technically fufills it. One of the greatest creations in film history, potrayed by one of the best actors, and given the best platform by one of the best directors. Musically the film is a miracle, and the screenplay is phenomenal. A groundbreaking story that is humours as well as hurtful, giving us a true view of the world, whether we face the same challenges as Hedwig or not.

I Give Hedwig And The Angry Inch A:

5/5