Downhill Review

Downhill

Dir: Nat Faxon and Jim Rash

Starring: Julia Louis-Dreyfus, Will Ferrell, Zach Woods, Zoë Chao, and Miranda Otto

Take a moment the next time you are on vacation, at the amusement park, the beach, or any place where families gather to relax and partake in fun, and look through the crowds of smiling faces for that one family that is in the midst of a bad day. Where the kids are having complete meltdowns, and mom and dad are barely holding it together as years of unresolved past arguments and quarrels rise slowly to the surface. If it’s not happening to you, it’s a fascinating sight to see.

“Downhill”, a remake of the 2014 Swedish film “Force Majeure” from director Ruben Ostlund, takes a look at a vacation-from-hell scenario for a family on a skiing trip in a foreign country. Directors Nat Faxon and Jim Rash, who last helmed the 2013 film “The Way Way Back”, compose this version of the film with a lesser emphasis on mechanisms like masculinity, the line that divides fear and cowardice, and relationship inadequacies. Instead, the writing and directing team focus on the surface situation of ‘flight versus fight’ and allow the strengths of their actors, Will Ferrell playing more reserved than normal and Julia Louis-Dreyfus controlling the tone with her anxious and irritated demeanor, opportunity to control the blending serious dramatic themes with awkward comedy moments.

Billie (Julia Louis-Dreyfus) and Pete (Will Ferrell) are taking their two young kids on a skiing trip in Austria, they are staying at a luxury resort tailored for adults. Pete, from the moment they arrive, seems distracted by his phone while Billie is doing her best to make the vacation fun for everyone. While eating lunch at an outdoor restaurant, a controlled avalanche is initiated by the resort; as snow rolls down the mountain it begins to look more and more threatening to Billie and Pete, just as the snow crashes into the restaurant, Pete grabs his phone and runs away from Billie and the children. Once the white dust settles, Pete returns as if nothing happened while Billie is holding her children and trembling with fear.

Faxon and Rash pace their film with a swiftness, moving into the primary conflict of the movie with ease and then focusing on the ramifications of the event between Pete and Billie with a string of interesting and amusing scenarios. While this helps keep the narrative moving it also stifles some of the thought-provoking interactions and internal conflict that Billie and Pete are experiencing about themselves individually and one another collectively. “Downhill” doesn’t pursue the depth that “Force Majeure” explored, instead it examines the superficial emotions, the surface anger and frustration that Billie feels and the outward denial and selfishness that Pete exhibits. While it doesn’t ruin the experience of “Downhill”, it does display a lack of emotional connection between the married couple. 

Julie Louis-Dreyfus is very good throughout the film, her comedic timing works well when her character is annoyed but also adds a nice bit of charm as things begin to progress more complicated. Will Ferrell pleasantly provides some restraint in his needy and selfish portrayal of Pete. While Ferrell is good, though there are few moments that don’t work for the character, such as a long scene involving Pete recalling his time as a single man after being offered a drink from an attractive onlooker. 

“Downhill” isn’t interested in finding pathways to deeper intellectual topics, however, that doesn’t mean it isn’t any less interesting watching two people struggle to patch the worn pieces of married life amidst awkward encounters and cringe-worthy scenarios.  

Monte’s Rating

3.00 out of 5.00

Miss Bala Review

Miss Bala

Dir: Catherine Hardwicke

Starring: Gina Rodriguez, Ismael Cruz Cordova, Matt Lauria, Aislinn Derbez, Cristina Rodlo, Ricardo Abarca, and Anthony Mackie

Explosions and bullets blaze around the silhouette of a lone female wearing a beauty pageant dress and holding an assault rifle. Bodies flee the mayhem, bodies fall to the ground, but a changed woman marches forward with survival and the promise of freedom motivating her every step. It’s a wonderful sight to see. 

“Miss Bala”, a remake of the 2011 film that was also Mexico’s submission for the Academy Award’s Best Foreign Language Film category, is offered a frenzied Americanized update starring Gina Rodriguez. The film, directed by the talented Catherine Hardwicke, doesn’t stray too far from the original premise but adds a great performance from the cool and clever Gina Rodriguez and supporting tough guy gangster Ismael Cruz Cordova. 

Gloria (Gina Rodriguez) is a makeup artist working in Los Angeles. Her childhood friend Suzu (Cristina Rodlo) lives in Tijuana and is planning on competing in the Miss Baja beauty pageant. Gloria is coming to support her friend and help with her makeup. Before the pageant, Gloria and Suzu head out for a night on the town when a group of armed drug cartel members comes to assassinate a political figure at the club they are at. During the chaos the two friends are separated, Gloria tries to find her friend but comes face to face with Lino (Ismael Cruz Cordova), the leader of the drug organization.

The narrative in “Miss Bala” pushes an aspect of empowerment throughout, Gina Rodriguez does a nice job of displaying the transition of Gloria’s trauma and helplessness to ultimate resolve and revenge. Still, there is something missing, or lost, in the composition of this updated version of the film. The analysis of the socioeconomic environment in Mexico, the honest citizens forced into fear-induced captivity, and the corruption that makes trust an unreliable commodity are only touched upon in this version; the focus is clearly aimed at the inevitable action sequences and the empowerment of one intelligent woman’s demand to survive. The empowerment angle is actually very well-conceived throughout the film. 

Gina Rodriguez accomplishes the transformation into a confident and shrewd hero nicely. However, she is also assisted by an interesting performance from Ismael Cruz Cordova who composes the villain Lino with a subtle hint of chivalrous merit that is ultimately smeared by a life lived by using fear as a weapon. When the dynamic between the two is utilized effectively, “Miss Bala” shines as a character piece driven by the natural cat-and-mouse dynamic of motivations between the abductor and the abducted. In one of the better scenes Lino takes Gloria to a small village he grew up in, they share a meal and Lino talks about his past while Gloria figures out her exit plan. 

Director Catherine Hardwicke is a very capable director hampered here by a script that is looking for mass appeal in the action-thriller genre. The performances will keep your attention and the occasional action scene will fulfill the need to watch a likable character find her comeuppance, however, these moments are fleeting in a film that just doesn’t commit to being more than a familiar tale we’ve seen many times already. Still, the image of a brave woman owning her femininity and staring down danger is a welcome sight on the silver screen.

Monte’s Rating

2.75 out of 4.00

Suspiria Review

Suspiria

Dir: Luca Guadagnino

Starring: Dakota Johnson, Tilda Swinton, Mia Goth, Chloë Grace Moretz, and Angela Winkler

The way one discovers a film is important. Some films can transfer from simple moving pictures into some kind of transportive experience, where you will remember everything that contributed to the event and its effectiveness. Dario Argento’s horror masterwork “Suspiria” is one of those films. For me it was a 35mm print that was slightly distressed inside a theater with sticky floors and stale popcorn. It was an experience that I would never forget. 

In today’s film world no film is sacred enough to be kept from being remade or reimagined, even a film as well-regarded in the horror community like Argento’s “Suspiria”. Also, when you mention a film during first encounters with cinephiles as holding a place on your cinematic handshake, as I do, it’s impossible not to have speculations or expectations attached. Director Luca Guadagnino, who last helmed the impressive drama “Call Me by Your Name”, takes on the daunting task of remaking  Argento’s film and transforms it into a wholly individual artistic expression that is equally beautiful as it is completely brutal. 

Susie Bannion (Dakota Johnson) is an aspiring dancer from America who arrives unexpectedly and uninvited to the Helena Markos Dance Company in West Berlin. Provided the opportunity to showcase her talent, Susie dazzles Madame Blanc (Tilda Swinton) and is summoned to attend the prestigious school. Amidst the all female dance troupe, Susie begins to experience strange occurrences, ones that overtake her when she performs.

Mr. Guadagnino is known for meticulously crafting the elements in his films; from the boisterous emotional content, to the beautifully designed environments, and the luscious locales that richly compose the backdrops, the director understands how to arrange captivating frames and characters you can’t help but get attached to. All of these facets are present in “Suspiria” as well, the film is gorgeously composed on all technical levels. The photography zooms and whips across and through the dance school’s staircases and studios while lingering in disheveled streets and vacant lots in Germany. The construction of the dance facility is a maze of hallways and mirrors swathed with gothic fascinations, an oddly ornamented room or the darkened corners of a hidden dungeon are equally unsettling. The score from composer Thom Yorke is mesmerizing, a mix of ambiance and vocal work that blends nicely into the chaos of it all. 

Tilda Swinton, who has worked with the director quite a few times, is fantastic in numerous roles here. Ms. Swinton’s versatility is exceptional, the actress can do anything, even taking on the primary male performance in prosthetic makeup. Dakota Johnson is also good, playing naïve with a wild-eyed charm but also completely determined to the extent of seeming obsessive. It works for the progression of the character who discovers new things about herself, awoken amidst the witchcraft of the dance she is performing.

The aspect of history is the only, minor, misstep in the film. The script, written by David Kajganich, composes a backdrop in Germany that features 1970’s political upheaval featuring riots, violence, kidnappings and mentions of the Baader-Meinhof group and also the Holocaust. There’s a lot going on beyond the story of evil deeds in a dance school. Whether commentary to discuss the role and abuse of women during times of political dissonance, or how fear induces emotional change over the course of continued trauma, or simply a backdrop to keep 1972 Berlin relevant amidst the chaos of devilish dances and evil enchantments, the writer and director are clearly alluding to some kind of connection. 

Still, Luca Guadagnino’s “Suspiria” is absolutely entrancing and hypnotizing. The design elements are stunning and the performances are impressive. The film remarkably transitions between arthouse compositions and grindhouse exploitations, the ballet of blood and brutality is off the charts at times. This re-envisioned take on Argento’s classic stands confidently on its own designs. 

Monte’s Rating

4.50 out of 5.00

A Star is Born Review

A Star is Born

Dir: Bradley Cooper

Starring: Lady Gaga, Bradley Cooper, Sam Elliot, Dave Chappelle, Andrew Dice Clay, and Anthony Ramos

The first version of “A Star is Born” was made in 1937 and featured Janet Gaynor and Fredric March as two star-crossed lovers on dramatically diverse paths of fame in show business. It’s a story that no matter the time period, seems to encompass all the romantic touchstones that construct heartfelt Hollywood fables about chasing that seemingly impossible dream of finding love and making your passion a reality. That’s probably why this film has been made four times in four vastly different eras associated with the quest for stardom.

The most recent iteration of “A Star is Born” features pop superstar Lady Gaga, in good company with Judy Garland and Barbara Streisand who previously played the role, and Bradley Cooper doing triple duty as actor, writer, and director. Mr. Cooper, who seems to have deep admiration for all the previous stories, builds an earnest adaptation that is grounded by naturalistic performances and a narrative that invests in the melodrama of relationships. 

Jackson Maine (Bradley Cooper) is an aging alt-country rock star, singing boot stomping ballads while high on alcohol and pills. Jackson stumbles and mumbles through concerts, in flashes displaying why he is a rock star and in other moments why his star is fading into oblivion. While looking for a bar to go on another bender, Jackson staggers into a drag bar and encounters a singer named Ally (Lady Gaga). Her version of Edith Piaf’s “La Vie en Rose” completely enchants Jackson, pulling him from his alcoholic spiral and into an impromptu date that will change both of their lives.

Mr. Cooper displays early in this film a keen understanding of building and manipulating the beauty involved in the Hollywood love story. With frames that linger and examine the enraptured faces of two people who are falling deeply, passionately in love with one another, Mr. Cooper displays how easily the spell of love can overtake characters and also audiences. It’s in the first 50 minutes of this film, which slowly and deliberately invests in the budding relationship of Ally and Jackson that one will effortlessly fall entranced with everything that Mr. Cooper is doing with the story. The casting of Lady Gaga is perhaps the director’s greatest achievement here; the power and screen presence of the actress is no clearer than when her character finally gives in to her fears and performs an emotionally charged duet that will have you swooning over Gaga’s rendition and also the pair's romance. 

This early romantic drama is beautifully and achingly achieved, but even the greatest of romances eventually have to deal with the perils of reality. When Ally and Jackson’s relationship encounters reality, one that is filled with the cruel sting of the music business, things begin to crumble. Jackson realizes that his career isn’t making an upward turn and Ally realizes that her star is far from reaching its peak. Jackson’s drug abuse gets worse, Ally’s career is guided in a different direction than expected, and quickly the romantic gaze disappears. 

Everything in the second half of “A Star is Born” becomes a familiar tale, one that quickly delves into the turmoil complicated relationships experience with short illustrations that don’t allow for the kind of growth and control displayed when the relationship was developing early in the film. Instead, there is a loss of time and space as the romance ages, which unfortunately dulls the experience of displaying how effortless love can transition into complicated love which is an altogether different yet equally fascinating aspect of relationships if provided the attention.

Aside from the romance is a story about two artists who care as much about their craft as they do about their relationship, perhaps more in some ways. On one side we have a story about a musician struggling to remain true to his ideals, one that is examined with sober metaphors in an empty parking lot and drunken stupors in crowded places. On the other side is the story about a musician being swept into the power of the system and their own stardom, one that features simplistic pop music sensibilities and a Saturday Night Live performance that feel less than genuine. In the end, however, it’s Lady Gaga’s character Ally that ultimately rules the show. The character is ambitious and independent, she pushes past the expectations created by those around her while refusing to succumb to the easy indulgences that have defined the two men she loves in her life. 

Amidst some minor problems with pacing and the structure of the narrative that defines two separate aspects of a romantic relationship, “A Star is Born” is still the kind of heartbreaking Hollywood tale that is easy to fall in love with. 

Monte’s Rating

3.75 out of 5.00

The Beguiled Review

 

The Beguiled

Dir: Sophia Coppola

Starring: Nicole Kidman, Kirsten Dunst, Elle Fanning, Colin Farrell, Oona Laurence, Angourie Rice, Addison Riecke, and Emma Howard

In the midst of the summer blockbuster season, it’s understandable that we would get a remake or ten. So why am I making this statement in review about Sophia Coppola’s “The Beguiled”, because, unknown to a few people, it’s a remake of a Don Siegel directed film of the same title from 1971, which starred Clint Eastwood. “The Beguiled” is one of Mr. Eastwood’s most overlooked and severely underrated films. A tale that straddles the line of horror and melodrama, it offered Mr. Eastwood an opportunity to take a break from the western hero character that had defined his early work and ushered in a transition for the actor to become the updated hero with a gun in “Dirty Harry”. 

Sophia Coppola has quite a career already; “The Virgin Suicides” and “Lost in Translation” are two highlights that display the director’s talented eye for filmmaking. It may seem obvious to those that are familiar with Ms. Coppola’s catalog to understand why she would remake “The Beguiled”, the director has a particular talent for crafting strong and complicated female leads but also creating an interesting and multifaceted ensemble. Ms. Coppola’s version of “The Beguiled” is a captivating work, one that is beautifully photographed and filled with absorbing characters.

While collecting mushrooms in the smoke of the morning surrounding an old plantation house in the South sometime during the Civil War, young Miss Amy (Oona Laurence) encounters a wounded Union soldier named John McBurney (Colin Farrell). Showing compassion on the man, Miss Amy helps him back to her home, a former school for girls that is run by Miss Martha (Nicole Kidman). The small group of women nurse Mr. McBurney back to health, an agreement is made that once he is better the group will call the Confederate troops roaming the area to take him into custody. However, Mr. McBurney manipulates his way into the lives of these women, turning them against one another..

Ms. Coppola’s style of filmmaking is restrained and quiet at times, ethereal in the way the narrative and camera evokes emotion from certain scenes and characters. The entire location is immersed in a haze of canon smoke; you can feel the destruction and isolation of the world around them. The design of the environment is exceptional, many times resembling a fairy tale in certain moments. 

The narrative here still brings in the element of fear; is Mr. McBurney someone who can be trusted? Are his intentions pure? Where the original film went for something more akin to a gothic horror film that reveled in the exploitive elements of sex and violence, Ms. Coppola’s is more interested in developing a dramatic thriller that focuses on the atmosphere created by people and the subtle characterizations associated with women of different ages and experiences. For the director’s style, “The Beguiled” works better as the moody character piece that she is trying to create. To assist, the film also adds in some interesting narrative facets. There is a greater emphasis on the outside world invading and influencing the environment of the women. The emotions that Mr. McBurney makes the women feel allow them to envision a life away from the plantation, a life some of them are desperately trying to reach.

Unfortunately Ms. Coppola’s effort erases a significant aspect of this time period, chiefly the aspect of slavery. While the film never makes it a point to let the politics of the world surrounding the plantation to invade, aside from a few Confederate soldiers who stop by momentarily, this film is content to stay with the women and their uninvited guest. 

Nicole Kidman seems made for the role of Miss Martha, her cold and methodical personality fits the structure of the school. You can feel her influence on every character in the film. The director’s reliable collaborator, Kirsten Dunst, is also great as Miss Edwina. Ms. Dunst has a consistent look of remorse on her face, it’s not until the soldier enters the equation that Miss Edwina shows a glimmer of a smile, a glimmer of hope. Elle Fanning also shines as the meddlesome and coy Miss Alicia, playing the character somewhat naïve but also completely understanding of what she is doing, her connection with Mr. McBurney is played as a game. 

“The Beguiled” is a beautifully composed film, a signature quality of Ms. Coppola’s style in crafting scenes and establishing an environment. While the energy in the film wanes slightly at times, in the steady hands of Ms. Coppola it’s still a haunting and subversive take on the original story.

Monte’s Rating

4.00 out of 5.00

Poltergeist (2015) Review

Poltergeist

Dir: Gil Kenan

Starring: Sam Rockwell, Rosemarie DeWitt, Saxon Sharbino, Kyle Catlett, Kennedi Clements, Jane Adams, and Jared Harris

93 Minutes

PG-13

“They’re here”. The 1982 horror classic “Poltergeist”, directed by Toby Hooper of "Texas Chainsaw Massacre" fame and highly influenced by Steven Spielberg, has been an influence for many horror films since its release. It's no surprise, especially for a horror film, that a remake would be inevitable.  How does one fill the shoes of the original “Poltergeist”? You don’t. It’s impossible. Director Gil Kenan, who directed 2006’s animated “Monster House”, takes on the unenvied task of updating “Poltergeist”. And, aside from a few accomplished scenes and set pieces, this updated product hits all the highlights but looses all the substance that made the original a portrait of quaint suburban life turned into a nightmare.

The Bowen family moves into a suburban community and strange occurrences begin happening in their new home. Eric (Sam Rockwell) is looking for a fresh start after being recently laid off from his job and his wife Amy (Rosemarie DeWitt), a stay at home mom, is struggling to accomplish her dream of writing a book. They have three kids, a moody teenage daughter named Kendra (Saxon Sharbino), a timid younger son named Griffin (Kyle Catlett), and an inquisitive younger daughter named Madison (Kennedi Clements). The strange events heighten in severity and young Madison is taken captive by the entity. The Bowen’s, with the assistance of a group of paranormal researchers, must come together to take back their family.

The pacing for this new update is noticeable faster. It’s only a matter of minutes before the first jump scare is employed. The scares are reproductions from the original, the clown doll makes an appearance as does the spooky tree, but their scary effect is diminished because of their familiarity. The best setup is one of the only originally composed scares in the film, one that involves a drill and a hole in the wall. It’s an effective and welcome scare. Where the original film slowly and meticulously built the terror, playing on perceived apprehensions with blindsiding imagery accomplished primarily through practical special effects, this updated film utilizes a more contemporary style with the usual digital approach that has come to define many theatrical horror releases today. Still, amidst the familiar beats are glimpses of originality. Like the portal to the other dimension which is now investigated by a flying drone and envisioned with pulsing strobes peering into the darkness. Or the promising introduction that hints at underlying strains for this family due to a damaged economy. It’s unfortunate that the narrative doesn’t try to incorporate more imaginative or creative ideas. Instead of building on the established concepts and turning this film into something freshly modernized, a quality that all the best remakes have, it feels content with being basically a carbon copy of highlights from the original.

Sam Rockwell is good here, composing a character that smiles brightly to mask the stress and anger that creeps through when his family isn’t looking. The children in the film do a decent job as well, especially young Kyle Catlett whose fear and worry are conveyed nicely with movement and expression. Jared Harris has the most difficult job, filling the shoes of Zelda Rubinstein. It's an awkward and subdued attempt that functions as a movement into the final act of the film.

The problem with the remake for “Poltergeist” is the past it has to live up too. If it weren’t called “Poltergeist” the film would be less harshly judged. There is an expectation that exists with remakes; to what extent does the creative team remain dedicated to the source verse being original. The balance for remakes lies somewhere in between, look no further than the 1978 “Invasion of the Body Snatchers”, “The Thing” in 1982, or recently the 2013 version of “Evil Dead” for successful examples.  The 2015 version of “Poltergeist” isn’t the worst update but it is far from the best, an example of another misguided remake attempt.

Monte’s Rating

1.50 out of 5.00