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Chapter 27 (2007)
An Ambitious Little Character Study That Falls Just Short of Greatness
Chapter 27 is a very tragic film, both in the subject matter of John Lennon's murder as well as its sheer amount of unreached potential. Firstly, I'll get this out of the way: Jared Leto's performance is absolutely sublime. He plays a Mark David Chapman who is awkward, sad, and kind of a loser, but simultaneously very chilling and dark. It is truly the performance of an actor who has completely immersed himself in the role, and brings it to a 6 from a 5 or even a 4 singlehandedly for me. In fact, all of the performances are at least decent. The direction is interesting, showcasing Chapman's deterioration as it goes on, and the use of hand-held camera in most shots gives a much more realistic, human feel to all of the increasingly disturbing goings-on throughout the film. There are a few very interesting recurring motifs that enlighten some of the stranger aspects of Chapman's personality, and begin to explain. It has all of this going for it, so the question remains: where does this movie fail? Well, I think it must be mentioned that the film was cut a full 16 minutes from its original Sundance version. Whatever the reasons for these cuts, whether the original version was poorly received and the missing minutes may have actually detracted from the rest of the film or simply a classic case of production studios not understanding an artistic vision, they severely hurt the overall product. I have read that the main point of the film is that Chapman is a metaphor for America as a whole, which has never managed to pull itself out of a state of adolescent confusion. This theory is supported by certain parts of the film, particularly at the beginning and the end, but I'm not sure that the director's vision is really focused enough to actually make that the case. Chapter 27 seems generally confused as to its intended purpose. Is it a character study of a severely damaged individual? No, the film distances itself from that interpretation almost immediately when Chapman narrates that his early childhood and abusive father is "not important". Is it a tragedy of a man who wants nothing more than to find an identity, and in doing so destroys his life? That is closer, and some evidence does bear that out to a point, but again I don't feel as if the tone of the film's conclusion really makes that the case. Perhaps this has been rather vague, but the truth is that Chapter 27, while certainly interesting, is a woefully pointless piece of cinema. Jared Leto's performance aside, this film is really nothing very special; it simply exists, rather uninterpretable. With all that it has going for it, it could have and most likely should have been much better.
Mondo Trasho (1969)
A Mildly Interesting But Ultimately Boring Stepping Stone Towards Greatness
Mondo Trasho, the legendary John Waters' debut film, is rife with pacing issues, ugly camera-work, and all around monotony from beginning to end. The ugliness of the film overall is unsurprising, as this is Waters' lowest budget ever at $2,100, about $13,000 today. However, understandable as some of the films' problems may be, it is still mostly a chore to sit through. Still experimenting with forms of storytelling, Waters dug through his record collection to populate nearly the entire film with a collection of 50s and 60s pop music, opting out of traditional dialogue to essentially make a bizarre, trashy silent film with very few sequences of actual speech (3, by my count, each lasting less than two minutes in this 86 minute film). There are a few sequences in which this strange approach to the storytelling actually does convey it well. For example, early on in the film the nameless character played by Mary Vivian Pearce is being stalked by Danny Mills' also nameless foot fetishist, and through cutting between them sets contrasting moods with their two soundtracks. This technique is the main way in which this method of storytelling is put to actually creative use; to juxtapose two different characters' emotional states and set a tone. However, unfortunately it seems that this was Waters' only coherent idea with the project; most of the time the music seems as meandering as the drawn out sequences, which are often drained completely of any initial humor after minutes and minutes of seeing a single bizarre scenario on screen. There are about three thoroughly enjoyable sequences in the entire film that point towards what Waters would later become capable of: Divine's introductory scene, the scene involved Dr. Coathanger, and the final three minutes of the film. These scenes, the last of which contains one of the only instances of dialogue in the entire film, manage to capture the trashy, often perverse and transgressive humor of Waters in genuinely interesting ways, but could not be stretched to feature length. The fact of the matter is that in Waters' infancy as a filmmaker he manages to pull together some interesting ideas and an intriguing mode of storytelling, but sadly comes up short on nearly all fronts due to overlong scenes and repetitive sequences.
Pink Flamingos (1972)
The Filthiest Movie Ever Made, Even 43 Years Later
Pink Flamingos is truly a sight to behold. Its gargantuan cult reputation is very well deserved, because, simply put, their is nothing else like it, not even in the rest of John Waters' oeuvre. Such a strangely entertaining and cartoonish film has never been made before or since. Waters seemed to somehow pull together the perfect cast for all of his persistently odd roles, a cadre of characters all willing to indulge in sexual perversities, tastelessness, bestiality, and the consumption of various human waste products. The low-grade film stock, the strange long takes punctuated only by zoom-ins, the weird overacting by everyone in the cast, and the disturbing montages set to classic oldies music all works together to become an entirely new film experience. I can't say that it's one that I fully understand, or even that I would like to see another film like it, but I can't deny that this film is truly delightful. Every scene pulsates with anarchical glee, the costume and makeup exudes cartoonish brilliance in every shot, and of course their is the unforgettably divine Divine, otherwise known as Glenn Milstead. His (her?) sheer energy and magnetism in every scene elevates the film immeasurably; no wonder he was Waters' muse. Replete with obvious line flubs, clear awkwardness during certain scenes, and shots which should probably have had a few seconds trimmed, this is certainly a trash masterpiece, the diametric opposite of high art, and Waters' crowning achievement as a filmmaker. Were this to be made by any filmmaker other than the supremely strange Waters, it most likely would have fallen flat on its face. No other auteur has ever been in the motion picture business who so well understands the value of utter garbage, and so revels in all that is dirty and depraved in the world. This film demands that the audience bask in the glory of trash as entertainment, and that we live, breath, and worship refuse. While I cannot say that I agree, or that I will partake in these activities anytime soon, it somehow manages to make it enticing. Pink Flamingos is the crowning achievement of waste throughout all of mankind's existence. The only reason that it gets a 9 and not a 10 from me is that there were several instances where the depravity did begin to sicken me rather than entice, though these were rectified shortly afterwards. Also, I think that if I gave it a 10 I might go to hell.
Cube (1997)
A Thrilling and Surprisingly Thoughtful Little Gem
I know that this film is very well known, but I don't believe that it is generally given due credit for its accomplishments, which are myriad. Despite the surprisingly low budget for the production, director Vincenzo Natali succeeds at crafting a very taut, interesting, and extremely well-paced thriller with very fleshed out characters, a rarity in the science fiction horror genre. Throughout the film's 80 minute runtime, not only is the audience able to observe the very well-designed, claustrophobic and surreal sets progress seemingly into infinity, but also the excellent dialogue between the characters further develop them as very believable people. While this film is replete with the usual scares and thrilling set pieces for which this genre is known, it goes the extra mile by remaining totally unpredictable on a story level throughout. From the beginning to final sequence, no character's motivations, backstory, or final outcome are known for certain. With the claustrophobic atmosphere and very good acting from all around, Natali invites the audience to dive deep into the depths of human suspicion, paranoia, and ultimate decline when placed in unconquerable situations. However, while this is a significant part of the film, what truly put Cube over the top for me was its surprising subtext regarding not only the typical topics encountered in science fiction horror fare, but also a far more broad and relatable human message of the struggle to maintain some sense of being and purpose in the face of purposelessness. Perhaps I am reading too deeply into this by making these claims, but I feel that the titular Cube may represent life as a whole; a series of seemingly pointless choices and pitfalls in the form of a puzzle. Only by perseverance through even the darkest depths of human psychology can anyone hope to escape the labyrinth and achieve transcendence. The film's ending, though I won't spoil it, gives new meaning to this message, and leaves much food for thought. Despite all of this praise, I can't quite bring myself to give this film a 10. There are a few very clichéd moments in the film, near the beginning especially, and only around the 25 minute mark does it really begin to feel like something entirely original. However, once it does, it becomes an immersive and potent piece of science fiction.
Lola rennt (1998)
A Fantastic and Breathtaking Ride Through Life
Run Lola Run is the best use of style over substance that I have seen in at least 20 years. It's a stylish epic told at a manic pace, and director Tom Tykwer masterfully controls the tone of all of its myriad different sequences. It careens chaotically through choices and the paths of numerous people's lives, going so fast at many times that the audience is barely even able to keep up. Oftentimes it is unclear why the choices that have been made affect others' lives so deeply, but still this doesn't matter. What this film is is a frenzy of lavish camera moves, superb use of tension and recurring motifs, strange twists, feverish philosophy, and just the right amount of quiet, still scenes to keep the audience from growing fatigued (Neveldine & Taylor could learn something). While many have dubbed it a "no-brainer", I would argue that this film goes deeper than that, though by how much I can't be quite sure. It is incredibly fast, but also grounded by fleshed out characters, a complex web of narratives, and excellent performances all around. It's opening sequence and the narration over it give hints of some vague philosophical undertones, regarding the hustle and bustle of nameless persons and the strangers whose lives you affect in ways which you cannot begin to imagine. And with its interesting narrative structure (which would be a spoiler if I elaborated on it, but trust me, it's very interesting) leaves some contemplation; how much of the film was real? Was it all real? Is multiverse theory real in this universe? (Okay, now I'm right up against it, so I'll stop) I'm not sure if even Tykwer knows the answers to these questions, but the fact remains that this is a superbly directed, ridiculously fun and idiosyncratic film. While it is very similar in themes to the 1987 Polish film blind chance, it is the style that manages to give Run Lola Run an entirely original, gleefully fresh feel. While I fear that this may be Tom Tykwer's magnum opus even at the age of only 50, this is a spectacular, whirlwind, layered, and passionate legacy to leave.
El mariachi (1992)
An Extraordinarily Impressive Low Budget Debut
Robert Rodriguez's beginnings are nothing short of inspiring; a poor Mexican-American who rose from nothing to follow his dreams and, through some rather unorthodox methods, raised the $7,000 dollars that would film his debut work and make him a millionaire. Whilst his later filmography has been rather hit and miss in my opinion, this debut work is nothing short of staggering with the knowledge of how it came to be. Rodriguez's grasp of tone, pacing, and a surprising amount of dramatic poignancy throughout the story combine with the low budget charm of the film to create an extremely entertaining and fascinating debut. El Mariachi's greatest strength is its unique sense of being; while Rodriguez pays homage to mysterious stranger action films like the Dollars trilogy, and it is true that several of the plot beats are rather clichéd and predictable, the strong sense of humor and undertones of melancholy keep it feeling fresh and wholly original. This is not to say that it is without flaws, however. The previous clichéd plot beats are a definite setback, and in addition, due to the low budget not allowing for a large cast, many smaller roles (in reality simply passersby during filming) deliver very wooden performances that do take one out of the film's usually strong emotional center. But the low budget itself provides some of the film's best aspects as well as some of its worst; the setting of the Mexican slums coupled with the grainy film quality and shaky camera-work provide an experience that is very organic and enjoyable. This is, in my opinion, Rodriguez's closest that he has ever come to the style of film which he and his more successful friend Quentin Tarantino strive for: a poignant, organic, and incredibly enjoyable film paying homage to the classics of its genre while simultaneously carving out an identity of its own. This is a must see for fans of action films and independent cinema in general. If only Rodriguez had managed to keep up this sense of strong-willed, inventive cinema, he might be regarded as well as Mr. Tarantino; but alas, we only have this one film to show for that career path. Still, it's pretty damn awesome.
Tim and Eric's Billion Dollar Movie (2012)
I Don't Know What the Hell This Is, But I Like It
This is one of the strangest films I have ever seen, mainly due to how much it leaves you near constantly questioning what is going on. Not so much from a narrative standpoint, but in the absolute weirdness of the humor, which, having been taken out of Tim and Eric's usual 45 second sketch format and placed in a feature length film, seems even more jarring than usual. This is not a bad thing, however; I do love me some Tim and Eric weirdness. That's the main point of this film: you HAVE to already be familiar with this style of humor, or you will HATE it, trust me. Within the first 10 seconds of the film, the uninitiated will ask the following questions: Why is Jeff Goldblum saying that his name is Chef Goldblum? Am I watching a commercial before the movie? Why did he say hi three times? Am I going to hate this movie? If you had to ask all of these questions, then the answer to the last one is most certainly yes. The crux to Tim and Eric's anarchical humor is acceptance of everything; in order to enjoy any of their material, one must essentially accept that almost everything is clichéd and trite, and here is a nihilistic parody of that as well as the entire world. This is not to say that you can't criticize this film; I doubt that even the most fervent of Tim and Eric supporters laugh at all of their jokes. For me, those that fall the most flat are the gross out gags; the ones involving diarrhea, semen, urine, etc. (if you've seen the movie, you know what I'm talking about) Even so, I'm sure that Tim and Eric understood this, that many would dislike some of these gags, but simply didn't care. Even more, I think that this movie strangely enough wouldn't work without them. The spirit of all of this duo's products is a fierce sense of experimentation; were it that every joke felt the same, or even that there were coherent running gags, that experimentation would be lost. This is a movie for a distinct group of people who want to see complete insanity unfold before them, without a hint of normality throughout the entire thing. If you want to try out something like this, I suggest going to the television series first, as it is shorter and far easier to digest. If you are already a fan of the show, however, you will love this thing, as I did. It's demented weirdness at its finest.
The Interview (2014)
One of the Least Merited Controversies of the Century
The Interview is an incredibly dumb movie. Anyone could guess that by its extremely sensationalistic premise, but it goes extremely far beyond any expectations of stupidity. What happens when you put the usual Seth Rogen and James Franco brand of humor, the bro-iest known to man, into a political setting? Absolute idiocy. From the opening and closing credits scenes as well as the overall feel of it, I get the sense that Seth Rogen (who co-directed and co-wrote the story for the film as well as co-starred) was going for a sort of modern, knowing, and fun propaganda film against North Korea, a-la the superhero comics where they would kill Hitler, but many times it simply doesn't work. While there are a few very funny scenes that I found myself laughing out loud over (most of them involving Kim Jong-Un's actor, Randall Park), the form of semi-improvisational and frat boy-ish humor which Franco and Rogen always employ constantly ruins the intended tone. For it to work all the way through, all characters would have to be caricatures exaggerated to the extreme, however the film doesn't seem to understand this; at least, not entirely. The FBI agents are normal people, which works isolated from the rest of the film as Rogen and Franco bounce their usual idiocy off of them, but as soon as we arrive in North Korea the tone changes dramatically towards the faux- propaganda film for which I assume they were shooting. It all just leads to a half-baked bit of a mess, with unrelated little semi-improvised skits continually placed one after the other, complete with a final act that seems oddly self-serving and unrealistic, even more so than up to this point. Again, this would have worked if the propaganda film tone had been upheld throughout, but due to the strange mish-mash of comedic bits, I'm left feeling unsatisfied; it's like having a conversation with your funny friends about North Korea and they're trying too hard to make you laugh. Sometimes they succeed, sometimes they don't, but they're still your friends. Franco and Rogen make a harmless movie here, but it's dumb, and frankly it doesn't really deserve to be paid for.
The Pest (1997)
John Leguizamo is the Worst Part of His Own Movie
The Pest stars John Leguizamo as the titular character and Jeffrey Jones (the principal from Ferris Bueller's Day Off) as the main antagonist. However, while it is standard to list out other cast members, for this film there really is no need; The Pest is a John Leguizamo film through and through, mainly to its detriment. While the film contains the cult charm and wackiness that I can understand would appeal to others, I won't mince words by saying that whenever John Leguizamo was doing a racial impression or making a fart/dick/gay joke (an abundance of all are within this movie) I prayed that the villain would just shoot him in his annoying head. The worst part of the movie comes at the beginning, during an extremely bizarre rapping sequence with Leguizamo in the shower that made me chuckle approximately 0 times, and this is exemplary of the main problems with the film: The Pest is not funny, he's annoying. I mean the character The Pest, specifically. Because, while the film is scatterbrained, nonsensical, and replete with logical errors and puzzling actions, I actually found myself laughing quite a bit at the performances of the other characters. With a change in writing and performance from the titular character, I might have actually enjoyed this film; just a typically clichéd 90s comedy but with a bizarre premise that could land in some very intriguing situations. I'm sure that the cast and crew all found Leguizamo very funny, an assumption that is pretty much verified by Jeffrey Jones clearly trying not to laugh during an early scene in the movie. This is probably why he was clearly allowed to ad-lib so much throughout. However, while I'm sure he's a nice guy, I really can't stand him, and the only reason I'm giving this film a 3 instead of below is due to the interesting premise, the occasional funny joke, and the fact that I'm sure that it's only really my sense of humor that prevented me from enjoying this film. If you find people like Carrot Top or Robin Williams or other energetic comedians funny, you'll probably like this.