Tag Archives: #crazy

Everything Everywhere All At Once

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Release: Friday, March 25, 2022

👀 Theater

Written by: Dan Kwan; Daniel Scheinert

Directed by: Dan Kwan; Daniel Scheinert

Starring: Michelle Yeoh; Ke Huy Quan; Stephanie Hsu; Jamie Lee Curtis; James Hong; Jenny Slate

Distributor: A24 

 

 

***/*****

No one makes a movie like Daniel Kwan and Daniel Scheinert, nor does anyone dare try. Relatively unknown as the guys behind viral music videos such as DJ Snake’s Turn Down For What, the writer/directors etched their shared first-name moniker into audiences’ minds forever with their supremely strange feature film debut Swiss Army Man in 2016. Now they return with a proposition that makes their first effort seem unadventurous by comparison.

With a fatter budget and increased confidence Daniels take massive swings for the fences with their own indie flavored multiverse movie. Everything Everywhere All At Once is undeniably the product of two of the most inventive and unapologetically odd filmmakers running around Hollywood at the moment. It is also a rare casualty of production company A24’s artist-friendly approach. Unfettered weirdness mutates from exhilarating to eventually exhausting over the course of two long and chaotic hours.

In the off-kilter and unpredictable world of Daniels nothing is certain except death, taxes and this pesky thing called Jobu Tupaki, an anarchic entity intent on destroying literally everything in existence. The story centers on a Chinese-American family whose matriarch is unwittingly pulled into a confrontation with this threat. In acquiring all kinds of abilities and insight jumping in and out of the various lives she might have lived she becomes the only one who can stop it. However, her ability to succeed may well hinge on her willingness to make amends with those closest to her.

The simple yet heavy question “what if my life went differently” is at the heart of this highly cerebral and often ridiculous journey. When we first meet her, Evelyn Wang (a dynamic Michelle Yeoh) is not exactly living the high life. Struggling to make ends meet with her laundromat, she is preparing for an audit by the IRS (represented by an amusingly frumpy Jamie Lee Curtis) while nervously awaiting the arrival of her intimidating father Gong Gong (James Hong). All is not well on the home front either as husband Waymond (Ke Huy Quan), at wit’s end trying to make their life happy, trails her around with divorce papers. Meanwhile daughter Joy (Stephanie Hsu) wants to introduce Gong Gong to her girlfriend Becky (Tallie Medel) but Evelyn doesn’t think that is a good idea.

There is enough tension and acrimony in the early going to serve a compelling family drama on network television. But this is Daniels, not This is Us, and so the film with all of its fantastical elements takes a rather circuitous route in elucidating what really matters. When we arrive at the IRS building the story takes on an entirely new life — The Matrix meets Boots Riley — and it’s as though Daniels have bailed on their early suggestion of more intimate drama. In an elevator, a transformation occurs and suddenly Evelyn’s pushover hubby becomes a kung fu master brimming with charisma. Like Morpheus, this more assertive Waymond from the “alpha-verse” has searched far and wide to find the right one for the job.

As it was with Swiss Army Man, the established rules and mechanisms that enable the action to tick forward can be challenging to accept. Here you’ll receive a crash-course in “verse-jumping,” learn what “mind-splintering” is (and perhaps, like me, experience it yourself) and encounter bagel-worshipping cults and people with hot dogs for fingers. Absurdism is part of the filmmakers’ appeal, but Everything Everywhere takes liberties with your goodwill — a moment in which a man flings himself across a room for the specific purpose of impaling himself on a sex toy seems like an easy cut to make.

Fortunately the performances are really good, particularly the dynamic between Yeoh and Quan. Together they imbue the narrative with just enough humanity to make the insanity relatable. Yeoh is a force to be reckoned with as she multitasks as both hero and an everywoman. Semi-retired actor Ke Huy Quan makes a triumphant return to the screen, falling toward the center of emotional devastation as a man who can’t imagine any version of his own life without his wife. As the daughter, Hsu fits in nicely as well, creating a character full of believable torment — a young woman caught between cultures who never seems to measure up to expectations.

Everything Everywhere toes the line between artistic freedom and pretentiousness. For all that this swirling mass of energy and ideas does differently and at times movingly, the cumulative effect is not entirely satisfying, the payoff frustratingly minimal for all the energy required to keep pace.

Gonna take this to another level.

Moral of the Story: Kung Fu Bagel. Enter the Bagel. Big Bagel in Little China. Whichever way you want to slice it, this crazy visual feast is unlike anything you’ll see this year. Personally, I don’t think the film’s messaging is particularly original or profound, but there’s certainly stuff here to strike an emotional chord. And I also do appreciate how the film’s conflict revolves around imperfect people vs chaos, rather than pure good vs pure evil. The villain(y) is refreshingly nuanced. 

Rated: R (for rocks!)

Running Time: 139 mins.

Quoted: “So, even though you have broken my heart yet again, I wanted to say, in another life, I would have really liked just doing laundry and taxes with you.”

All content originally published and the reproduction elsewhere without the expressed written consent of the blog owner is prohibited. 

Photo credits: http://www.impawards.com; http://www.imdb.com 

In the Earth

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Release: Friday, April 16, 2021

👀 Hulu

Written by: Ben Wheatley

Directed by: Ben Wheatley

Starring: Joel Fry; Ellora Torchia; Reece Shearsmith; Hayley Squires; John Hollingworth; Mark Monero

Distributor: Neon

 

 

 

 

***/*****

Cabin fever never sounded so appealing after “getting back out there” in the new psychedelic experiment from avant-garde British filmmaker Ben Wheatley. His tenth film In the Earth is a thoroughly disorienting and unsettling venture through the woods, one set against the backdrop of a global pandemic.

Filmed over the course of just 15 days and during a locked-down August 2020, In the Earth may be horror done on the cheap but it doesn’t particularly look or feel like it. What admissions there are chiefly surface in some character interactions that feel rushed, while later on the more abstract passages can feel indulgent to the point of being filler. Impenetrable though it may become, you have to be impressed with the fact Wheatley has wrangled together such a crazy movie amidst creatively infertile conditions.

It’s what he manages to pull off with setting and atmosphere that leaves a bruising mark and that serves as the best distraction from the film’s financial limitations and, quite frankly, the barriers to comprehension it tends to build, particularly towards the end. A stone monolith with a perfect hole in the middle watches over all. You’ll spend almost the entire movie trying to get in its good graces so that it may allow you to understand what the frikk it is. The table-setting (and plain old setting) is reminiscent of Annihilation (2018) but this time the foolish entrants aren’t loaded with pistols and rifles and thingies that explode. Nope, just backpacks and research materials. And, as with so many characters in this kind of story, plenty of arrogance.

Stripped of the basic comfort of likable protagonists — they’re not unlikable per se, but hard to get a read on — In the Earth is a trippy, gory and at times perverse horror that follows a scientist and a park ranger into a forest laced with threats, some natural and others inexplicable — a surreal and dangerous ecosystem with its own rules, its own creepy mythology and maybe even its own agenda. Martin Lowery (Joel Fry) arrives at a lodge that’s been converted to a research facility on the edge of a dense forest just outside Bristol, England. He’s here to check in on a colleague and former lover, a Dr. Olivia Wendle (Hayley Squires), who hasn’t been seen or heard from in months.

Upon arrival he’s whisked through a rather serious sanitization procedure and meets a few researchers hanging about the place, all of whom seem physically and mentally worn down. Martin is to make a two-day trek to her research base deep in the woods, accompanied by experienced park guide Alma (Ellora Torchia). With all his focus on rescuing Wendle, he has no time to really care about the strange painting on the wall of the lodge, a depiction of an apparent woodland creature known around these parts as Parnag Fegg. That’s nice. It’s just cool artwork though, right?

The journey starts off with a bad omen as Martin confesses with annoying nonchalance to a lack of fitness and experience roughing it. Then a midnight assault in which both campers lose all essential equipment, including shoes, forcing them to continue barefoot. (Does this style of hiking ever end well?) Eventually they cross paths with a grizzled loner (Reece Shearsmith) who after a tense standoff introduces himself as Zach and offers to help and heal. It is at this point your brain might recall that early childhood lesson: Do not drink the mushroom milk offered by strange men in the woods.

All of this, including the unholy and stomach-churning sequence that soon follows, remains predictable for a horror flick buried deep in the deciduous. Especially when you have nervous doctors back at the lodge foreshadowing the shit out of people’s tendencies to get “a bit funny” in the woods. On another level, for those better traveled in Wheatley’s exotic and weird brand of filmmaking you know the film is, sooner or later, going to walk off a cliff.

Avoiding of course the literal precipice, In the Earth frustratingly descends into an edit-fest, assaulting you with aural and visual menace in massively churned-up chunks of footage that feel pieced together from the weirdest acid trip you could possibly have. Dissonant sound overwhelms while strobing lights penetrate the eyeball like knives. Encroaching fog presents a terrifying new challenge while the stone monolith continues to breathe and sigh. The final act is something to behold, if not quite believed or even understood. Like the film overall, it becomes something to admire rather than enjoy.

Stoned out of your mind

Moral of the Story: Though appearing to be set in a time similar to our present miserable reality, this appears to me to be as much a movie about man’s relationship with nature as it is one about man and virus. Far from a crowd-pleasing good time, In the Earth is a novelty horror for the more adventurous. 

Rated: R

Running Time: 103 mins.

Quoted: “Let me guide you out of the woods.”

All content originally published and the reproduction elsewhere without the expressed written consent of the blog owner is prohibited.

Photo credits: http://www.impawards.com; www.movieinsider.com 

Malignant

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Release: Friday, September 10, 2021

👀 Theater

Written by: Ingrid Bisu; Akela Cooper; James Wan

Directed by: James Wan

Starring: Annabelle Wallis; Maddie Hasson; George Young; Michole Briana White; Jake Abel

 

 

 

 

***/*****

Horror maestro James Wan returns to his stomping grounds with Malignant, an unabashedly strange film with a concept stretched like Playdoh to imaginatively icky extremes. Though featuring the gritty detective subplot of Saw, the creaky house tropes of The Conjuring and the mental trauma aspects of Insidious, the Australian has put together a delirious reel that feels different from the rest of his filmography (and more than a little David Cronenberg) with its spectacle of body horror.

The original story, a collaboration between Wan, his wife Ingrid Bisu and one-time American Horror Story writer Akela Cooper, opens with a creepy, adrenaline-pumping prologue at a Seattle medical facility before seemingly ditching it for the present day. Madison (Annabelle Wallis — Annabelle; Silent Night) lives in the suburbs with husband Derek (Jake Abel). They’re trying to have a child but Madison is struggling with the pregnancy. It takes no time to learn Derek is not a good support system. Returning home early from work after not feeling well, her concerns are met with resentment and eventually violence, leading to Madison experiencing a series of troubling dreams that turn out to be anything but dreams; they’re visions of murders happening in real time, one even involving her husband.

After surviving an attack from what she believes killed Derek she awakens in a hospital to even worse news. Wallis does not miss the opportunity to sell a mother’s anguish. Yet Wan and company have much more suffering on their minds as they put their fully committed lead through the wringer, scaling up her torment and ratcheting up the tension in steady increments. Braving a return to the same lonely house despite the gestures of her sister Sydney (Maddie Hasson) and insisting it’s “the one thing that won’t be taken” from her, she continues to experience harrowing scenes of people — those in the medical field, it seems — being hacked to death in their own homes. And rather than sweaty sheets she’s constantly “waking up” in a dried pool of blood on her pillow.

Meanwhile the authorities are rubbing their eyes red trying to make sense of the attack, which has been labeled a home invasion. The problem is the lack of evidence of breaking and entering, and weirder things like fingerprints with impossible orientations. Detectives Shaw (George Young) and Moss (Michole Briana White) may not quite appreciate what they have signed up for as digging into Madison’s apparently troubled family history brings about more questions than closure.

As they search for links between the victims and Madison circumstances only become more bizarre, each twist of the directorial knife getting more personal and . . . well, more twisted. That applies on an aesthetic level as well, the filmmakers deploying a number of creative camera stunts to pull us not so much into a world but a head space that’s never less than uncomfortable. Joseph Bishara’s shrieking score amplifies the mood. Transformative VFX early on not only communicate this uniquely cinematic sensation of being “there” with Madison, the motif helps prepare us for the full-on assault of insanity Wan commits to in the final stretches.

Marking a return to horror for Wan who has spent the last several years making big budget, commercial movies, Malignant proves he is not afraid of a little experimentation. It is also proof of the amount of goodwill he has built up in Hollywood. Original stories aren’t sexy anymore. Studios and ticket buyers have an increasing lack of adventurousness in common. It is difficult to part with your hard-earned cash on an unknown entity, even one helmed by an established director, when Marvel hardly needs the word-of-mouth to convince you Loki will be fun. Warner Bros. have gambled on Wan’s concept, itself a gamble on a modern audience’s willingness to go with the flow and to become absorbed in a singular experience.

Malignant is certainly an experience, one with a knack for tattooing its bizarre imagery into the back of your brain. Though the denouement leaves something to be desired, Wan unable to tame the beast as effectively as he builds it up, the majority of the film offers a unique challenge to viewers. This is a movie that you don’t watch so much as let happen to you. Like a freakish corporeal spasm the whole thing feels a little bit out of (your) control in the way a good horror should, twisting and reconfiguring into a pretty unpredictable beast. Those looking for something that feels grounded in reality, the door is right over there. 

“Who’s this joker?”

Moral of the Story: The most divisive horror movie I can recall in some time, Malignant goes for broke and very nearly breaks. Or for some viewers, it might be broken fairly early on. Either way, and despite my three-star rating (which I feel is strong, but not quite a rave) I would describe James Wan’s “new vision of terror” as a must-see. It’s in theaters and on HBO Max. For something so visually intense I’d highly recommend the theater setting. 

Rated: R

Running Time: 111 mins. 

Quoted: “It’s time to cut out the cancer.”

Get a taste of the absurdity in the Official Trailer #2 here! 

All content originally published and the reproduction elsewhere without the expressed written consent of the blog owner is prohibited. 

Photo credits: http://www.impawards.com; www.hauntedmtl.com 

Free Guy

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Release: Friday, August 13, 2021

👀 Theater

Written by: Matt Lieberman; Zak Penn

Directed by: Shawn Levy

Starring: Ryan Reynolds; Taika Waititi; Joe Keery; Jodi Comer; Lil Rel Howery

 

 

 

***/*****

Following more the logic of the heart than the brain, Free Guy is a whacky but entertaining circus of big visual effects, videogame Easter eggs, and shameless (more like proud) product placement for parent company Disney, which now owns the world. It’s also the perfect environment for Ryan Reynolds to flourish, one in which cutting loose and just doing you is the whole point. Or was supposed to be!

The movie’s big draw is of course Ryan Reynolds doing his typical Ryan Reynolds thing, but this is also literally a love letter to gamers and coders. Being knowledgeable about technical stuff will surely elevate the experience though by no means is it a requisite. Free Guy takes a surprisingly high concept approach to a basic template. This is all about a guy (lowercase ‘g’) pursuing his dream girl, a pretty classic convention often obfuscated by all the chaos. Very little here is designed to be stored in the long-term memory. Instead director Shawn Levy and his writing team work overtime to stimulate the pleasure center of the brain as often as possible, injecting silliness, cartoonish violence and a surprising amount of heart into one hyperactive summer blockbuster.

In an open-world game called Free City, Guy (Reynolds) wakes up each morning in a Groundhog Day loop of obliviousness to what this place really is and his role in it. His best friend is Buddy (Lil Rel Howery — Get Out; Bird Box), the cheerful security guard at the bank where Guy works as a teller. Neither has a clue that their lives are a programmed simulation. One day on his way to work he passes a woman humming a Mariah Carey tune and is smitten. He pursues her but unfortunately that train goes off the rails. However something profound has changed within him.

Molotov Girl’s the name and “Leveling Up” is the game he must play if he is to impress her. So of course the eternally upbeat and decreasingly naive Blue Shirt Guy plays along, but he won’t gain experience by doing what most players do — holding NPCs (non-player characters) hostage, blowing things up, generally being lawless savages. No, he’s going to do good deeds, a strategy that earns him Molotov Girl’s respect and a cult following. In fact he fast becomes a “player” of interest for many throughout the world plugged into Free City, represented in a series of stilted cameos by real YouTube celebrities and gamers.

His increasing autonomy also attracts the attention of game developer Antwan (Taika Waititi), for whom the brilliant code writers Keys (Stranger Things‘ Joe Keery) and Millie (Jodie Comer — Killing Eve; Star Wars: The Rise of Skywalker) work as dogs for their master. I mentioned before how very little is going to be remembered for long, and if you’re a fan of the Kiwi comedian that’s definitely a good thing. He’s actually pretty awful as the movie’s one-note villain whose whole deal is stealing other people’s work and being as insufferable as possible. In fairness, the character isn’t written to be anything more but his acting is of a quality where you suspect the director didn’t have the cohones to edit his Oscar-winner.

Maybe the director didn’t feel like meddling because he has so much on his plate. Free Guy is arguably over-ambitious, particularly considering a sequel has already been green-lit. What’s going to be left to tell? Yet for all that it is burdened with, the story moves pretty fluidly as it hops in and out of the game, an anarchic environment inspired by the likes of GTA, Fortnite and The Sims, with spirited input from the young Keery and Comer keeping us invested in the affairs of the real world. Concurrent to the Guy plot is a heist involving precious data which could incriminate Antwan and potentially save Free City from his future nefarious plans. To get there, Millie and Keys need to access a secret location called The Stash, and they could really use some help.

Combining the playground aesthetic of Ready Player One, the voyeurism of The Truman Show and The Matrix‘s march toward salvation, Free Guy is a Frankenstein of elements and homages that somehow ends up morphing into its own ridiculous thing. I mean, where else are you going to see Reynolds as an evil David Hasselhoff avatar whose coding is disturbingly incomplete and whose face is super-imposed on an actual bodybuilder? Okay, so I lied. That’s one thing you’re never going to forget from this movie.

Lucky Guy

Moral of the Story: Huge entertainment value trumps logical storytelling and one seriously annoying villain. Because I am a big fan of Ryan Reynolds’ comedic act Free Guy is probably my favorite blockbuster of the year. It’s far from perfect but it is really fun and super easy to get along with, even for non-gamers such as myself. 

Rated: PG-13

Running Time: 115 mins.

Quoted: “Is this what recreational drugs feel like?”

Check out the pretty sweet new music video for Mariah Carey’s Fantasy here! 

All content originally published and the reproduction elsewhere without the expressed written consent o the blog owner is prohibited. 

Photo credits: http://www.impawards.com; 20th Century Studios 

Extraction

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Release: Friday, April 24, 2020 (Netflix)

→Netflix

Written by: Joe Russo 

Directed by: Sam Hargrave 

The more cynical takeaway here is that Extraction exists for no other purpose than to prove that the three — er, make it four — Marvel Cinematic Universe alums who have made it possible are capable of more hard-hitting, violent movies. The marketing seemed pretty simple: Here’s another Avenger unleashed in an R-rated movie. Chris Evans got The Red Sea Diving Resort; Chris Hemsworth gets Extraction. (On that note, who the heck is Robert Downey Jr.’s agent?)

As if to one-up his own brooding performances in Thor: The Dark World and the opening stanza of Avengers: Endgame, the hulking Australian goes from being superheroic to super-sullen in this straightforward and straight-up bloody action thriller directed by stunt coordinator extraordinaire Sam Hargrave. In his directorial début he is joined by his buddies Joe and Anthony Russo — the fraternal duo behind some of Marvel’s biggest chapters. The former writes the script and serves as a producer alongside his brother. That pedigree of talent in front of and behind the camera ensured Extraction won the popularity contest with housebound audiences earlier this year, becoming the most-streamed title in Netflix’s catalogue of originals.*

To be more charitable — and more honest — Extraction is a throwback to gritty, ultra-masculine action cinema of the past, a one-note drama that knows its boundaries and doesn’t try to cross them. It isn’t gunning for any awards, but if you’re looking for a way to get your adrenaline pumping, this fast-paced adventure of bone-crunching action should do the trick. Based on the graphic novel Ciudad, the movie pits Hemsworth’s black ops mercenary Tyler Rake against multiple waves of bad guys crawling the cramped streets of Dhaka, Bangladesh. His mission is to rescue Ovi (Rudhraksh Jaiswal), the teenaged son of a drug lord, from a rivaling kingpin. He’s reluctantly sent in by fellow merc Nik Khan (Golshifteh Farahani), along with a support team who are here mostly to help fill the movie’s dead body quota.

What should have been a simple in-and-out turns into basically a suicide mission as the sadistic and well-connected Amir Asif (Priyanshu Painyuli) gets wind of the rescue attempt and puts the city on lockdown, sending reinforcements to all possible exit points. Meanwhile, Ovi’s guardian Saju Rav (Randeep Hooda) is highly motivated to retrieve the boy himself, with his family being threatened by an incarcerated Ovi Sr. Prison walls don’t make this man any less dangerous when there is this much pride at stake. Saju puts his years as a special forces op to good use, muscling through any and all objects standing in his path and leading us to the expected confrontation with Mr. Rake himself.

The cat-and-mouse game that ensues is more technically impressive than it is emotionally involving. While we get some insight into what drives this brooding badass into such dangerous situations, it’s really just window dressing to the carnage that unfolds in the present tense. If you squint you can see a bond beginning to form between Rake and the blank canvas of a schoolboy in his ward (in fairness to the young actor, he just isn’t given enough to do other than look scared). Joe Russo squeezes the orange hard, until some droplets of juicy redemption emerge finally for Rake, a man clearly being consumed inside by pain from a traumatic past.

The editing team paces the story pretty breathlessly, leaving you with as little time to think as its characters, which can only be a good thing when you have a protagonist this immune to dying. The marquee scene, a protracted mid-movie battle between Hemsworth and Hooda that incorporates car chases, falls from rooftops and hand-to-hand combat, proves why Hargrave is one of the best in the business when it comes to building up an action sequence that remains not just white-knuckle but also coherent. The final showdown on a bridge is also quite memorable, with bullets flying everywhere and vehicles set ablaze as all characters converge on the targets.

Unfortunately it is the epilogue that proves to be the movie’s biggest misstep. For the most part Hargrave assembles a lean, mean and self-contained story but when it comes to finishing things off, he becomes weirdly non-committal. As it turns out, he isn’t nearly as ruthless as his leading man. Still though, lack of character development and emotional depth notwithstanding, Extraction gets the job done in brutal and stylish fashion.

* the game has changed. Netflix’s metric now considers two minutes sufficient time for a person to have ‘viewed’ something. it used to be you had to watch something like 75% of a movie or a single episode for that to be counted as a view. 

Drowning in despair

Recommendation: I haven’t mentioned anything in my review about Extraction‘s reliance upon the white savior trope, and that’s because I’m not entirely sure it’s problematic. This movie has some undeniably ugly moments (child soldiers, for example) and yes, it is clearly a vehicle for star Chris Hemsworth, but in my view it is Randeep Hooda’s complicated family man who is the movie’s most interesting character. Story-wise and thematically this is pretty basic stuff but it certainly succeeds in its capacity as an ultra-masculine action thriller.  

Rated: R

Running Time: 103 mins.

All content originally published and the reproduction elsewhere without the expressed written consent of the blog owner is prohibited.

Photo credits: Netflix

The Platform (El Hoyo)

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Release: Friday, March 20, 2020 

→Netflix

Written by: David Desola; Pedro Rivero

Directed by: Galder Gaztelu-Urrutia

In any other year the Spanish-produced, dystopian horror/thriller The Platform would still be an interesting albeit nauseating allegory for the dog-eat-dog world in which we live. Now, in the era of a global pandemic, with priorities shifted and critical resources running in drastically short supply, the depiction has become chillingly timely.

The Platform (original title El Hoyo) is the feature directorial debut of Galder Gaztelu-Urrutia and it is an angry one. He isolates his cast in a brutally violent, multi-floored metaphor for the imbalance of wealth in a capitalist society. This exceedingly grim tale of survivalism plays out entirely in a brilliantly designed high rise prison complex in which inmates are paired off on each floor, and the lower the floor number (i.e. the closer to the top of the structure) the better off you are. Each concrete cell has a large, rectangular hole carved out in the middle of the floor, through which a platform carrying a mountain of delicious foods descends every 24 hours from the Michelin star-worthy kitchen located on the top floor.

Ostensibly there’s enough food to go around but it proves very difficult to convince those above you to ration what they consume. You have a couple of minutes to dine before the platform makes its way down through the mist of an unfathomable depth, where those on lower levels must contend with the leftovers . . . of the leftovers . . . of the leftovers, until the spread is reduced to scraps and bones. Beyond that, self-preservation really starts to kick in and the desperate resort to cannibalism. Welcome to the Pit or, if you’re a part of the Administration, “vertical self-management center.” This is a place that makes Shawshank look like the Marriott. A place where suicide by way of hurling one’s self into the yawning abyss seems like a good alternative to death by starvation — or indeed, being eaten by your roomie.

Subtlety is not one of the strengths of David Desola and Pedro Rivero’s screenplay. Instead it revels in symbolism and sadism. They provide an audience surrogate in Goreng (Ivan Massagué), a young man who becomes a focal point of a revolt. His interactions with his cell mate Trimagasi (Zorion Eguileor) give us an intriguing entry point into all this madness. While everything is “obvious” to the jaded elder, who is nearing the end of a 12-month sentence, Ivan struggles to get a grip on this new reality. He stashes an untouched apple in his pocket for later, only to discover hoarding is a punishable offense.

In the opening moments Trimagasi assures us where we are now (Level 48) is not such a bad place to be. In fact it’s pretty good, considering there are at least some 150 levels and you only spend a month on any given level. At the end of that period, prisoners are gassed and sent to a different one, which could be good news or it could mean a month of starvation. It’s like Chutes and Ladders but with bloody consequences. The filmmakers take a sadistic pleasure in playing with this motif of awakening into the unknown.

The delirium brought on by the Pit is filtered entirely through Ivan’s point of view. However the story also provides several different characters for him to feed off of. The screenwriters are not really interested in personalities. Instead they deploy the supporting cast more symbolically: There’s Imoguiri (Antonia San Juan), a former Pit authority figure whose terminal cancer diagnosis has inspired her to seek change from within; Baharat (Emilio Buale), a black prisoner who only ever gets shit on for trying to move up a notch; and a number of other contributors convey the varying psychological states of being on a higher or lower level.

The most fascinating character however is a woman named Miharu (Alexandra Masangkay) who freely roams through the prison supposedly in a desperate search for her missing child. Her agency becomes a vital piece in this puzzle of understanding what Ivan is and will become and, ultimately, what this movie is suggesting about society and class structure. While the ending is bound to frustrate those who are expecting the movie to continue to spell out everything, there is enough here to extract something positive out of this otherwise insanely dark and disturbing descent into human despair.

Recommendation: Not for the squeamish, nor for those who are bothered by English dubbed dialogue (that was a hurdle I personally had to overcome). With that out of the way, I’m now pretty eager to see Vincenzo Natali’s sci fi/horror Cube from 1997 — a movie that this Netflix offering has been compared to by a number of critics and bloggers alike. And vice versa, if you’re a fan of that cult classic I’d imagine you’re going to have some fun with this one. 

Rated: R

Running Time: 90 mins.

Quoted: “This is not a good place for someone who likes reading.”

All content originally published and the reproduction elsewhere without the expressed written consent of the blog owner is prohibited.

Photo credits: IMDb; The Maine Edge 

Yesterday

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Release: Friday, June 28, 2019

→HBO

Written by: Richard Curtis

Directed by: Danny Boyle

Imagine all the people living day to day without the music of the Beatles. Imagine John Lennon aging into his 70s, living a quiet life with an un-famous instead of infamous significant other. And imagine being Jack Malik (Himesh Patel), the only one in the world who still has a recollection of the band and their indelible influence. These are the things the very silly but undeniably charming romantic comedy Yesterday imagines and then makes real.

Jack is in a bit of a pickle. Well, first he’s in a hospital bed and missing some teeth after getting struck by a bus when a global blackout hits out of nowhere. Up to this point his pursuit of his musical passions has not been going well. He struggles to get gigs and when he does he plays to dwindling crowds, some of them so small his mates and his so-obviously-more-than-friend/manager Ellie (Lily James) are the crowd. When he plays a classic Beatles tune for them one afternoon and they’re none the wiser, Jack sees an opportunity. The blackout has seemingly wiped away the collective memory of the band that redefined music not just for a generation but forever. It’s not all bad though because apparently Coca Cola, cigarettes and Harry Potter no longer exist either.

Provided he can remember the lyrics, why not start passing off ‘Eleanor Rigby’ as his own? We don’t have to go crazy here and exhume ‘Yellow Submarine’ or anything like that but, really, who is he harming if he claims authorship of some of the most popular songs ever written? So he does, and with Ellie’s hand gently on his back, guiding him in the direction of his dreams yet unwilling to abandon her post as a schoolteacher, he embarks on the path to superstardom. He brings along his very socially awkward friend Rocky (Joel Fry) as his roadie.

Along the way Jack meets British singer/songwriter Ed Sheeran, for whom he opens at a big show in Moscow and later gets into a songwriting “battle” where the two are challenged to come up with a new song on-the-spot. I’ll let you guess as to how that works out. Jack’s situation becomes more complicated when he is introduced to American talent manager Debra Hammer (a deliciously nasty Kate McKinnon), who convinces him to dump bonny old England for the sunny coastlines of L.A.. Once there he faces increasing pressure to not only put together a collection of smash hits which will form “the greatest album of all time” but to overhaul his image into something that screams Success.

Yesterday is a fluffy bit of entertainment surprisingly directed by Danny Boyle. I say surprisingly because while it has the vibrant colors, fancy camerawork and busy mise en scène that make his movies so visually energetic and engaging, it is Richard “Love Actually” Curtis’s writing that ends up characterizing this movie. The fantastical premise is as littered with plot holes and contrivances as much as the soundtrack is with Beatles classics (the usage of which reportedly took up about 40% of the overall budget!). Yesterday is Boyle’s fourteenth directorial effort and it just may be his most formulaic.

Despite the flaws, none bigger than the fact the story never really delves below the surface of its complicated morality, it is hard to hate on a movie that is so amiable and so full of heart. That largely comes down to the efforts of the cast who make for great company at each and every step of the way. British-born actor Himesh Patel proves to be an impressive singer, and his genuine chemistry with Lily James had me smitten from pretty much minute one.

Recommendation: A bonafide cheesy, feel-good movie. I’m trying to decide if you’ll get more out of this thing if you’re a Beatles fan or a sucker for a good romantic comedy. As far as the music goes, Yesterday feels like a “Classic Hits” soundtrack. 2020 has been a rough year to say the least so far. Maybe “hunkering down” with a movie as familiar and ordinary as this is just what the doctor ordered. 

Rated: PG-13

Running Time: 116 mins.

Quoted: “Miracles happen all the time!” 

“Like what?”

“Like Benedict Cumberbatch becoming a sex symbol . . . “

All content originally published and the reproduction elsewhere without the expressed written consent of the blog owner is prohibited.

Photo credits: IMP Awards; IMDb 

Uncut Gems

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Release: Christmas Day 2019 

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Written by: Ronald Bronstein; Josh and Benny Safdie 

Directed by: Josh and Benny Safdie

If they have proven anything in their last two movies it’s that few filmmakers stress you out quite like the New York born-and-bred Safdie brothers. Uncut Gems is, in a word, intense. This is a very aggressive mood piece that puts you in the headspace of a man losing control — of his wares, his sanity, his life. Relentlessly paced and cacophonous at almost every turn, the provocative presentation tests your nerves from the opening frame to the very last.

Starring Adam Sandler in a rare dramatic turn, Uncut Gems is the sibling’s follow-up to their attention-getting Good Time (2017). Indeed, if you watched that movie and noted the irony of the title as you watched things go from bad to worse for Robert Pattinson, you’re better prepared for the gauntlet that comes next. Uncut Gems throws us into New York City’s Diamond District and up against walls as Howard Ratner, a high-end jeweler and compulsive gambler, frantically runs around trying to pay off old debts by incurring newer, bigger ones. He’s in deep with the mob, but he also must contend with a wife who hates him, a girlfriend on the side, a basketball player’s superstitions and a doctor with news about a certain body part. It’s probably never been great being Howard but he’s certainly seen better days.

As for the guy playing him? You’d have to go back to the start of the new millennium to find a time when there was this much love for “the Sandman.” He became a critical darling for his work in Paul Thomas Anderson’s Punch Drunk Love (2002) and the praise is arguably even more deserved 17 years later; the 53-year-old is a hurricane force in Uncut Gems. He’s playing a version of characters that have made him a household name in silly comedies galore, but this is one perpetual screw-up whose failures are decidedly unfunny. Not even Barry Egan’s life was this messy. And Sandler really seems to be having fun looking ridiculous, blinged out head-to-toe and sporting extra-curly, extra-greasy hair and a set of fake pearly whites that really pulls the sleazy image together nicely. The wardrobe department helps him look the part, but it’s up to Sandler to walk the walk and talk the talk — and oh boy, does he “talk.”

The theft of a big chunk of stone from the Welo mine in Ethiopia sets the wheels in motion for one wild, turbulent ride. This stone contains pockets of rare opal and is what they call in the trade an uncut gem. Its very existence seems to inspire chaos as we watch crowds swarm around a miner who has just broken his leg in an attempt to extract it. Given the way the movie opens on a different continent, I feel like there’s meant to be some quasi-Blood Diamond commentary here on the real human cost of the gem trade, how first-world materialism is inextricably linked to the suffering and exploitation of the third world, but there’s not quite enough content here to support that wild theory. Ultimately the opening sequence is more effective at establishing aesthetics rather than ethics. There is a hyperactive quality that extends to the rest of the film, particularly in the way people interact, that never allows us to get comfortable. Characters yelling over each other will become an anxiety-inducing motif.

We shift from Africa circa 2010 to America two years later via a crafty (and kinda gross) opening title sequence married to the curious synths of Daniel Lopatin (a.k.a. Oneohtrix Point Never)’s explorative electronica. The New York captured in Uncut Gems is shaped by the Safdie brothers’ experiences growing up with a father who worked in the Diamond District and has a very specific energy that cinematographer Darius Khondji helps convey through his frenetic camerawork. As it is set in a part of town largely characterized by family-run business, the filmmakers restrict the cityscape to a claustrophobic network of small, private rooms where access is a privilege and often a source of frustration.

Howard’s gem store, a cozy little nook where the world’s creepiest Furby dolls reside, is one such hallowed space. Though we pass through the malfunctioning security vestibule without complication, we are immediately bombarded with Howard’s problems. It’s a particularly bad day today because his debt collectors have come calling. He owes a six-figure sum to a nasty loanshark named Arno (Eric Bogosian), who also happens to be his brother-in-law. He’s bad news enough, but his enforcer Phil (Keith Williams Richards) is the kind of guy whose phone calls and texts you avoid to the detriment of your face. Together these two make for some of the most memorable thugs in recent movie memory — arguably since Daniel Kaluuya went all bad-boy in Steve McQueen’sWidows.

Howard just may be able to save himself when he procures that precious infinity gem stone. He’s confident it will sell in the millions at auction. As we quickly learn his clients have deep pockets — he caters mostly to rappers and athletes, no small thanks to the hustle of his assistant Demany (Lakeith Stanfield) — so he just can’t help but show off the product to Boston Celtics star Kevin Garnett, who expresses interest in purchasing it. After listening to Howard wax poetic about its mystical properties KG becomes convinced being in possession of the opal will elevate his game in the NBA Playoffs. To placate the seven-footer (who is actually very good playing himself), Howard agrees to loan him the rock for a night, taking his 2008 championship ring as collateral. He then deviates from his original plan by pawning the ring to place a large bet on the upcoming game. If there’s one thing Howard is more aware of than the danger he’s in it’s the opportunity to make a little profit.

The Safdies actually wrote this screenplay ten years ago, along with frequent collaborator Ronald Bronstein. They’ve created a deliberately circuitous narrative to reflect the sloppy manner in which Howard conducts his business, at the office and elsewhere. Nothing goes smoothly. There are so many intersecting dynamics and diversions and dead ends along the way it’s amazing we even have the time to see what his family life is like (spoiler: it ain’t pretty). His long-suffering wife Dinah (Idina Menzel) knows all about the affair he’s having with his assistant Julia (newcomer Julia Fox). She has agreed to wait until after Passover to divorce him but the way work keeps following Howard home — the little incident with the car trunk, for example — just may expedite that process. Meanwhile his kids don’t really fit into his busy schedule. Of course the neglected family dynamic is a familiar trope, but the Safdies — and particularly Menzel who is really fun to watch — creatively thread it through the narrative to give us a better understanding of how much Howard is truly losing here.

In the end, Uncut Gems offers a unique but pretty uncomfortable viewing experience. The truly nerve-wracking climax simulates the thrill of a gambler’s high. This confronting drama is a curiosity you admire more than you purely enjoy, though I personally did get a kick out of seeing sports radio personality Mike Francesa pop up in a cameo as one of Howard’s restaurateur friends, Gary — just one of several non-professional actors involved. Uncut Gems is a perfect reminder that being entertained can sometimes mean feeling like you’re on the verge of a nervous breakdown for two straight hours.

“I’m not smiling inside.”

Recommendation: Like its protagonist, Uncut Gems is by and large caustic and unpleasant. Sandler acquits himself very well, playing a character you really can’t take your eyes off of even when you want to. Yet for a movie whose style is very in-your-face, it’s the abrasive dialogue that you may have a harder time getting out of your head. To put it magnanimously, the colorful language comes across as authentic New Yorkese. To be more honest: it is the single most compelling reason for me not to sit through this ordeal twice. Please understand this Recommendation section is not written on behalf of Common Sense Media — I’m not one to complain about swear words or someone who evaluates all movies for their Family Values appeal, but in Uncut Gems the f-bombs are excessive to the point of becoming a distraction. 

Rated: R

Running Time: 135 mins.

Quoted: “Come on KG! This is no different than that. This is me. Alright? I’m not an athlete, this is my way. This is how I win.”

All content originally published and the reproduction elsewhere without the expressed written consent of the blog owner is prohibited.

Photo credits: IMP Awards; IMDb

Parasite

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Release: Friday, November 8, 2019

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Written by: Bong Joon Ho; Jin Won Han

Directed by: Bong Joon Ho

I don’t know why, or how, I have never seen a Bong Joon Ho movie before now. The South Korean filmmaker is one of those major voices of world cinema that’s hard to ignore. Yet here I am, crawling out from underneath a (scholar’s) rock. And I wonder if all his movies are quite as metaphorical as Parasite? Or as good. Even if they aren’t he already has a fan in me; you all know how much I love metaphors. Even if they aren’t exactly subtle.

Parasite is a brilliant allegory for class warfare that to’s and fro’s between homes, between worlds and between seemingly disparate genres. The story, collaborated on by Ho and screenwriter Jin Won Han, focuses on the relationship between two families existing on opposite ends of the wealth spectrum. As you might suspect from the title, we are supposed to feel a certain way about that relationship, maybe even take sides. Ascertaining who the real bad and good guys are — or, if you like to play the metaphor game like I do, as we are perhaps intended here, who the real “parasites” and “hosts” are — is kind of the whole point of the exercise. Judging who is actually being victimized proves thrillingly challenging when every character is shaded with a moral grayness, when there is more going on beneath the surface than what first appears.

Ki-taek (Song Kang-ho) is the sloven patriarch of the Kim clan. He’s fallen on hard times with his restaurant business having collapsed. He has absolutely no prospects of securing regular income, but he does have the love of his family. His wife Chung-sook (Chang Hyae Jin), disaffected twentysomething daughter Ki-jeong (Park So Dam) and college-aged son Ki-woo (Choi Woo Sik) help him fold pizza boxes as a way to make some pennies. They steal wifi from upstairs (you just have to find the right corner in the right room) and allow themselves to be swallowed whole by the debris storms blown in from outside as street cleaners effectively double as fumigation for their semi-basement-level apartment.

Ki-taek can only see it as a blessing when a family friend, Min-hyuk (Park Seo-joon), one day comes by and gifts Ki-woo a “scholar’s rock,” which he says will bring material wealth to those in possession of it. Ki-woo views it as more metaphorical (then again, he says that about everything). That same friend later offers Ki-woo a job opportunity — he’s leaving the country to study abroad and needs someone to replace him as a tutor for the daughter of the wealthy Parks, who are apparently “nice but gullible.” For Ki-woo, who’s tired of combatting the homeless who like to urinate near their kitchen window, this is a no-brainer; he just needs some important documents to be forged and to make a good impression during the interview.

After gaining the Parks’ trust Ki-woo puts into motion an ambitious plan to get other members of his family involved. One by one they will each take on a different role serving this well-to-do household. Chauffeurs, live-in nannies, art therapists — opportunity abounds here. If all goes according to plan, something Papa Kim does not like to do as he thinks plans always fail, they will pull this off without ever being suspected of being related. What results goes beyond the most ingenious home invasion scheme you’ve ever seen; this is more like a life invasion — a long con of increasing boldness as the Kims set about vicariously living that sweet life, feeling very little remorse over the things they have done to ingratiate themselves into a world in which they seemingly do not belong.

Parasite made history at Cannes last year, becoming the first Korean film to take home the coveted Palme d’Or, the swanky film festival’s top prize.* I’m really not trying to invoke Ron Burgundy here but it’s kind of a big deal. Some fans have even renamed the honor the ‘Bong d’Or.’ So that’s been fun, and Parasite has been a fun movie to follow. It’s become a buzz word, a fashionable Google search ever since it first premiered, with Ho at the center of a lot of Oscartalk. Can he vie for one of those, too? Or is that just asking too much?

I tell you what would be asking too much: wanting more than what he delivers in his seventh feature film. The intrigue factor is ratcheted up constantly by a smart concept, a camera that moves voyeuristically through the intricacies of gorgeous, purpose-built sets, and Ho’s confident, playful direction. How he keeps Parasite from tipping completely into serendipity is no small feat, even though there are one or two elements here that threaten to cross the line (basement-operated light-switches, anyone? What architect thought that was a good idea?). Performances are uniformly excellent, and on multiple levels.

What’s most impressive is how Parasite fashions incredible entertainment out of a sobering reality. Ho is clearly sympathetic to the struggles of the working class and he’s put together a movie that’s both cultural and universal. This is the product of a director who has spent some 50 years watching his home transform from one of the poorest to among the most advanced industrial economies in the world. While Parasite certainly speaks to the direness of the Korean class divide its greatest strength is how it feels accessible as a human drama about dignity and decency.

* it also became THE FIRST KOREAN Film TO HAVE WON A GOLDEN GLOBE AWARD.

“….did I leave the house unlocked again?”

Recommendation: For this Bong Joon Ho newbie, Parasite is among the best movies of 2019. It’s a scathing indictment of the capitalist system that also happens to be blisteringly entertaining. Its message is creatively and powerfully delivered without being obnoxious. If you enjoy movies with sophisticated plots and that do not fit neatly into any one particular genre, Parasite should burrow deep into your skin. 

Rated: R

Running Time: 132 mins.

Quoted: “They’re rich but they’re still nice . . .”

“They’re nice because they’re rich!”

All content originally published and the reproduction elsewhere without the expressed written consent of the blog owner is prohibited.

Photo credits: IMDb 

The Lighthouse

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Release: Friday, October 18, 2019

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Written by: Max Eggers; Robert Eggers

Directed by: Robert Eggers

In 2016 Robert Eggers transitioned from production designer to director. Even then it was clear he was a filmmaker with uncommon confidence and intelligence, concocting a truly unsettling period piece in the supernatural horror The Witch. His experiences designing the look and feel of a variety of short films served him well in a feature-length format and he combined his obsessive attention to historical detail with a command over story and performance to produce one of the year’s most discussed and divisive films and one of my favorites.

Very loosely based on a real-life tragedy Eggers’ second feature film The Lighthouse is uncompromisingly strange but also a beautiful synthesis of technical elements, committed performance and mind-bending mystery. It is time we start having conversations about him being among the most distinct directors working today. Harkening to early sound pictures of the late ’20s and early ’30s the movie is shot in stark black-and-white and framed in a near-perfect square (1.19:1) aspect ratio and relies as much on its unique presentation style as it does some wicked narrative sleight of hand.

The story is written by the director and his brother Max. It’s a fairly simple conceit — a tale of possession and/or chronic cabin fever; of lonely men succumbing to their baser instincts before falling apart completely as much darker forces take hold. In playing with increasingly unreliable perspectives the screenplay spins out a web of unexpected complexity, a descent into psychosis that’s evoked by arguably career-best turns from Willem Dafoe and Robert Pattinson. They play adversarial lightkeepers running on dwindling supplies of alcohol and sanity when their four-week station on a remote island gets prolonged indefinitely after a bad storm hits.

Set in 1890 The Lighthouse is a period piece that slowly evolves into a fever dream that draws upon Herman Melville with pinches of H.P. Lovecraft. As such, the production is even more reliant upon visual technique and precision-tooled editing than Eggers’ previous throwback to primitive living. The camerawork becomes freakishly kaleidoscopic as time goes on. The visual language is arguably more important than the actual dialogue, which often comes across as prosaic babble delivered in foreign tongues — especially when the characters get epically liquored up.

The deeper we go the more Eggers seduces with his technical prowess, introducing more flash-cuts, more jarring juxtaposition and emphasizing the ornate, brass and wind-instrument-heavy sound design — both ominous and period-accurate — to encourage the vicarious feeling of losing your mind. That damn foghorn! Haunting hallucinations (or are they?) obscure what’s real from what’s imagined: Anatomically correct mermaids (Valeriia Karaman) and tentacled monsters derived from some depraved fantasy serve just as well as the basis of my own personal, ongoing nightmares.

While you could certainly write essays on the specific design of the movie, The Lighthouse owes no small thanks to the thunderous performances. Pattinson’s stock just keeps rising, here playing a young man with lots of buried secrets. Ephraim Winslow is a former lumberjack now learning the “wickie” trade who claims he’s attempting to make a fresh start. He’s sentenced to the most unpleasant, physically taxing duties in the daytime all while contending with some pesky seagulls who just won’t leave him be. Dafoe essays another iconic role in Thomas Wake, a cranky sailor with a penchant for cryptic messaging; an old fart who gets his jollies criticizing the young lad, barking orders and engaging in some weird behavior during his night shifts. He has, for example, an affinity for stripping naked at the top of the lighthouse, enrapt by something the light provides beyond warmth.

Though it is a rather bewildering journey, one that ends in an insanely dark place, the tension — at least, for the moments when Eggers and company might still have been sane — rides on some amusingly relatable dynamics. There’s a passage around the midway point that plays out like Animal House stuck in the 19th Century — aye, pre-plumbing, pre-electricity, pre-a-lot-of-damn-comfort. We all grit teeth at our roommates for their worst habits but because this is a Robert Eggers movie, everything is elevated to extremes.

As the weeks pass, initial tensions give way to a mutual respect for one another’s specific code of conduct. A night of drunken revelry suggests the two may have more in common than they previously thought. When an inevitable act of rage triggers a second storm, a tempest of fear, distrust and contempt to rival the whipping winds and salt-lathered waves threatening to sweep the men to the briny deep, it seems everything is conspiring against their best efforts to coexist. The actors play off each other with such ferocity, Dafoe and Pattinson seemingly intoxicated by one another’s manic energy and feeding off of unique and reportedly exhausting work conditions.

Crucial to Eggers’ brand of storytelling is setting and how he manipulates the natural to turn something entirely unnatural and yet chillingly authentic — not to mention uncomfortable, and not just for us in cushy recliner seats taking in some seriously disturbing imagery and deranged behavior. As The Lighthouse was filmed on location budgetary constraints weren’t really the issue but rather being able to endure what Mother Nature threw at the cast and crew. They not only endured, but used foul weather to further enhance the exhibition of suffering in the space of the movie. Over a month-long shoot a series of nor’easters blasted the small fishing community of Cape Forchu, Nova Scotia. For a particular scene Pattinson had to wade into the freezing sea more than 20 times as cinematographer Jarin Blaschke (who also shot The Witch) battled with lenses overcome with fog. Reminiscent of Alejandro Gonzalez Iñárritu’s The Revenant the actual misery bleeds into the fabric of the movie itself.

With The Lighthouse Eggers proves that his Puritanical nightmare was no flash in the pan. It also proves the then-33-year-old had room to improve. His sophomore feature is simply spectacular. How early is too early to label someone an auteur? Perhaps two films in to a directorial career is premature. It might be a good idea to hold off on that before seeing what he does with The Northman, a tale of revenge set in the 10th Century, involving Icelandic Vikings. I have to be completely honest though, I’m predisposed to loving what he does next and it’s barely in its pre-production stages. What makes me so excited is how this man clings to his vision like few filmmakers currently working. He creates experiences that are the epitome of what cinema is: getting lost while sitting in one place, stolen to somewhere else that’s both right in front of you and deep in your head.

Welp, honeymoon’s officially over

Recommendation: The movie to beat this year for me, The Lighthouse is an even greater achievement from rising talent Robert Eggers. The cumulative weirdness slowly frays the mind, morphing into something it wants to forget but won’t be able to. It was met with near-universal critical acclaim during the film festival circuit earlier this year, and deserves those plaudits. It’s an experience unlike anything you’ll have this or any other year. However I won’t hesitate to throw in the caveat that this old, creaky seafarer’s yarn is not for the mainstream crowd. Abandon all hope, ye who enter here seeking rational explanation.

Rated: R

Running Time: 109 mins.

Quoted: “Damn ye! Let Neptune strike ye dead Winslow! HAAARK!”

All content originally published and the reproduction elsewhere without the expressed written consent of the blog owner is prohibited.

Photo credits: http://www.impawards.com; http://www.imdb.com