Evil Feed is for those who like their horror gory and fed unceremoniously through the grindhouse mincer. Calling it a horror is a stretch. There are no scares. Just overblown gore.
The premise. A restaurant hosts UFC style fights to the death where the loser is then fed to the patrons. This movie is base, puerile and ridiculous. The script and acting fall short. None of this is necessarily a problem. The film could have been stacks of fun, but the tone is way off meaning the attitude to race and gender becomes uncomfortable. It feels not like the characters have these attitudes, but the film itself. This is a problem.
The ‘horror’ genre at the moment seems to lack genuine creativity and the continuing slew of gore-porn isn’t helping.
Everything in Kill Your Darlings becomes a little conflated. That doesn’t mean it is terrible though, just a little skittish, like the beat poets themselves I suppose. You’re never quite sure which story you’re being told, that of a distinctly grisly murder or that of a significant movement in literature. Nevertheless everyone in it is eminently watchable, especially Jack Huston, who plays Kerouac. Honestly, could Huston be anymore suited to the screen!?
As I Lay Dying is clearly very tough source material, adapted from the William Faulkner novel of the same name. This doesn’t stop Franco taking it and running with it.
The style is fractured, including split screens and direct addresses to camera. Does it work? Not really, but that’s not the point. It’s a film that feels very much like a project and experiment. One of Franco’s many. And to be so willing to test and try different things is a quality that should be heralded. I mean Faulkner wrote the original work between the hours of midnight and 4am for six weeks and allegedly didn’t change a word… That’s different, right?
Tracks is a remarkable story, remarkably told. I’m beginning to thing there is literally nothing Mia Wasikowska can’t do as an actress. She takes the role of Robyn Davidson in both hands and coaxes it delicately to life in the most extraordinary fashion. If you ever thought that a woman walking across a desert with four camels and a dog was a trivial matter unlikely to convert well to film, you’re wrong.
My pal described going to see 47 Ronin as keeping the Keanu experience complete. That to me is a good reason to watch it. It is also probably the best reason to watch it. The story is an exceptional one, full of honour and tragedy. This all gets horribly obscured though by CGI and a 12A certificate.
There is unfortunately no getting around the fact that A Fantastic Fear Of Everything, which sounds good on paper, is terrible. Pegg does his best in the lead role to land this crashing plane of a film gently, but unfortunately he’s the only survivor.
It was directed and written by Crispian Mills of Kula Shaker fame. I’m saying nothing.
The plot of Adventureland is very similar to The Way Way Back, which is a great movie. This unfortunately puts this flick about Jesse Eisenberg’s James Brennan working at an amusement park immediately at a handicap. And that’s before you consider the confusing mix of teen gross out comedy and musing on compensatory unhealthy sexual relations covering deeper problems of the self, see Kristen Stewart’s character.
To go back to my first point, watch The Way Way Back instead.
Youth In Revolt is a cut above your average coming-of-age comedies. This is mostly due to Michael Cera’s performance as both Nick Twisp and his french rebel alter-ego Francois.
Aside from this there isn’t too much else going on, but that doesn’t matter in the grand scheme things, there is enough. It lacks the cliches of its genre which is refreshing and there a few scenes that hint at a clear effort to be different from the crowd, which is alway commendable.
If you had any doubts about the calibre of Elizabeth Olsen’s acting credentials, then watch Martha Marcy May Marlene. She’s quietly brilliant as she portrays Martha and her tricky conflict ridden re-assimilation into ‘normal’ society after living in an abusive cult.
There is an eerie uncomfortableness to just about everything in this film as all manner of social situations and relations are questioned by the premise.
There is a fierce heart at the centre of Sin Nombre, its lead Edgar Flores and his performance as ‘Casper’. It’s a dark tale with similarities to American History X as it deals with the tragic pointlessness of the anger and violence of young men failed by civilised society.
It’s a brutal and compelling tale told expertly by Cary Fukunaga, the director behind the exceptional True Detective.