[Review] Jesus People
I both love and hate the mockumentary format in film (and TV). Shows like The Office and Parks and Recreation can take the simple concept of a TV crew working as tangible, off-screen characters to capture these characters' intimate moments in a believable way. Of course, the presence of these minor characters can lead to funny moments when characters break the fourth wall to acknowledge the insanity (The Office's Jim being the most popular example).
However, the style of the mockumentary can also end up being a mixed bag, having too much in common with the overused found footage genre. In a way, the mockumentary is to comedies what found footage is to horror - when it works, it's on point, but when it fails, it feels lazy and uninspired. Where does Jesus People fall? Read on and find out.
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Jesus People
Director: Jason Naumann
Rating: N/A
Release Date: April 11, 2014 (limited release)
Fearing that he's losing his son Eli (Chris Fennessy) to the secular world, Pastor Jerry (Joel McCrary) is desperate to re-connect with him before it's too late. However, "too late" may not be late enough after a vague medical diagnosis sounds severe. Pastor Jerry, fearing his death is fast approaching, attempts to reach out to Eli by forming a Christian pop band, Cross My Heart. After tapping former popular Christian singer Gloria Hamming (Edi Patterson), church member Zak Crowning (Damon Pfaff), beauty pageant winner Cara Bosch (Lindsay Stidham), and dedicated youth group teacher Ty Raney (Richard Pierre-Louis), the band records their first single, "Save the World." When the song grows bigger than any of them imagined, it signals the dissolution of the band just as they were growing big.
The slant behind Jesus People is the hilarity and sometimes conflicting existences of Christian bands. On the one hand, they find success in Christian radio, but the limiting scope isn't enough for what they want to achieve. When they release a "secular" remix of the song, it shoots up the Top 40 list, but alienates their Christian base. A lot of the humor comes from this controversy where some of the band members aren't Christian, just playing the part for the means of success. Religion is a touchy subject, especially in the form of a comedy, but Jesus People doesn't lampoon the religion in a negative way, which was pretty surprising, considering what the film's about.
The mockumentary style of shooting also benefits the film's nature. Ty is Jesus People's "Jim," constantly turning to off-screen director Jodi (Nikki Boyer) for assistance or assurance that the banality of some of the group's discussions is, in fact, real. The breaking of the fourth wall, within the context of the documentary, is also a sly way for Pierre-Louis to look directly at the viewer for that same reaction; usually, this would be cheesy and an all-too-easy way of poking fun at the film for a quick laugh, but it works in Jesus People.
The narrative itself isn't all too exciting, never outgrowing past the concept of "Hey, let's film a mockumentary about a Christian pop band," but the novelty of exactly that (a mockumentary about a Christian pop band) is enough to warrant a look at the film. Characters, albeit one-note and shallow, do at least experience a full arc, with no one character outweighing another, both in terms of character development and screen time. The issue, however, is that it's just not that funny. There are moments where you'll chuckle over a cute line or scene, but it never warrants a real laugh out loud reaction.
[Review] Cesar Chavez
[To commemorate the limited theatrical release of Cesar Chavez, we are re-posting this review of the film from this year's South by Southwest.]
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Cesar Chavez
Director: Diego Luna
Rating: N/A
Release Date: March 10, 2014 (SXSW)
Cesar Chavez was not only one of the largest and most influential icons in Latino culture, he was also one of the premier faces of the civil rights movement during the 1960s. Yet, director Diego Luna's portrayal of the labor leader's life is the first time Chavez's story has been put on the big screen. Why is that? I'm not entirely sure, but because of the gravity behind the film and how important Chavez was to many people, Cesar Chavez, the film, carries an added layer of spectacle. Because of this, it's a bit difficult to view Cesar Chavez from an objective perspective, yet its the subjectivity behind his story that will ultimately drive the film's success... or failure.
Much like all other biopics, Cesar Chavez is a fictional take on Cesar Chavez's (Michael Peña) life, spotlighting some of the major events Chavez went through, such as the formation of the United Farm Workers union, the Delano grape strike, the Modesto March, and one of Chavez's many fasts. By his side are his wife, Helen (America Ferrera), and Dolores Huerta (Rosario Dawson), another pivotal figure in the formation of the UFW. Within the context of the film, the main source of conflict for Chavez comes in the form of one grape farm owner (John Malkovich) who unites other farm owners to resist Chavez's demands for proper treatment of their contract workers. Another subplot involves the alienation between Chavez and his oldest son, creating a dichotomy between the love he received from the public, but the backlash he was receiving privately.
As I mentioned in my introduction, Cesar Chavez was one of the most important Latinos in American history... nay, one of the most influential cultural icons in history. Because of this, expectations will be high for audiences watching Cesar Chavez that may affect how the film is received. On the one hand, it's about time Chavez's life was immortalized on the silver screen. At the same time, I feel like the film will be more positively received because of who Chavez was rather than by the merits of the film itself. Cesar Chavez isn't a bad film. In fact, I think it highlights Michael Peña's true talents as an actor. However, a part of that could come from the very fact that he's portraying Cesar Chavez, yet it takes a certain ability to portray such an iconic figure. Do you sense the catch-22 I've been struggling with here?
Cesar Chavez isn't a bad film, but it doesn't necessarily stick out. Luna's depiction of Chavez's plight is great, fitting perfectly within the framework of a film, but like all biopics, reception is mostly based on the audience's familiarity with the figure. The conflict is resounding enough for audiences to be drawn to, and there are certainly going to be audiences cheering on with "Se se puede!" chants, but those will mostly come from the independent theaters. Cesar Chavez is one of the most important luminaries of the civil rights movement and Latino community, and while Cesar Chavez is a solid film that encapsulates a part of this amazing man's life, it'll unfortunately be overshadowed by the spectacle of the fact.
[Review] The Raid 2: Berandal
[To commemorate the limited theatrical release of The Raid 2: Berandal, we are re-posting this review of the film from this year's Sundance Film Festival]
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The Raid 2: Berandal
Director: Gareth Evans
Rating: N/A
Release Date: January 21, 2014 (Sundance)
The Raid: Redemption practically came out of nowhere and introduced me to a new form of action films. From the completely visceral cinematography capturing every bone break and ounce of gushing blood to the introduction to pencak silat, a form of Indonesian martial art that is as brutal as it is beautiful to watch. Where The Raid: Redemption lacked in story and narrative, it more than made up for in immensely entertaining and awe-inspiring fight sequences. What made the film so successful is not the aforementioned fight scenes, but because of writer/director Gareth Evans' tight focus, with the film taking place almost exclusively inside one apartment building complex.
Following on the heels of Redemption, The Raid 2: Berandal expands on the narrative, introducing audiences to the world outside of the Jakartan slums. Redemption's protagonist, Rama (Iko Uwais), turns to a senior officer to report on the events of Redemption and to take down the city's corruption once and for awhile. In order to do that, he's ordered to go undercover and infiltrate the ranks of one of the largest mob syndicates run by Bangun (Tio Pakusadewo) by befriending Bangun's son, Uco (Arifin Putra), in jail. Before long, tensions escalate into a gang war in which nobody is safe.
The plot of Berandal can be a bit confusing and overwhelming, especially for those who haven't seen Redemption yet. Where Redemption thrived in its small scale, Berandal grows the universe and storyline exponentially, introducing a myriad cast of characters. Once past the early confusion, however, the film finds its narrative stride as Rama navigates the criminal underworld. The themes are endless in Berandal, with father/son dynamics, revenge, and redemption being the most noticeable themes purveying the film. Evans' writing in Berandal is sound; whereas I had my concerns that such a large expansion would muddle the overall film, those thoughts were quickly erased in the film's first act. While Rama is the center of the action, Uco is the center of the drama, and Putra's performance is enough to sustain the plot in between fights. Most action films leave audiences just wishing for the story-driven scenes to hurry up; Berandal never lets the tension go, whether it's in the form of a fight or a plot-driven sequence; needless to say, the pacing is spot-on and near perfection. However, in saying that, the film's true bread and butter is in the action scenes.
Simply put: WOW. I don't know how Evans and his team of choreographers did it, but literally every action sequence has at least one moment where you can't help but drop your jaw in awe, surprise, excitement, entertainment, disbelief, fright, happiness, etc. I don't want to spoil anything too specific, but Berandal features one of the greatest car sequences you'll ever see in a film. If you thought you saw it all in Redemption, wait until you see Berandal; much like how the plot is expanded upon in the sequel, so too are the fight sequences. They're visceral, desperate, entertaining, and above all else, as brutal as you can imagine. With a shaky cam, each attack is accentuated with a camera shift, each throw is met with a tumble, etc., proving just how well the cinematography complemented the fights. It can be dizzying at first, but it just adds to the entire experience. The fight sequences become more nuanced and elaborate as the film goes on; there's also an evocation of classic video games (Mega Man comes to mind) where Rama will rush through grunts, meet somebody with a sense of a challenge, then finally ends with a pseudo-boss fight.
If you loved The Raid: Redemption, you're going to find yourself enamored with The Raid 2: Berandal. It's bigger, better, and more badass in every way possible, just like every successful sequel should be. Words simply won't do this film justice. Watch Berandal the first chance you get - you can thank me later. While it may be too early to tell, the The Raid franchise just might be the next greatest action film franchise... so long as Evans and his team stay on board.
[Review] Bad Words
Jason Bateman isn’t exactly an actor on the up-and-coming. With successful television series Arrested Development and other films like Horrible Bosses and Up In the Air, he’s definitely already made a name for himself that has a pretty strong following. Bad Words, however, is his first step into directing a feature length film, and I must say that this comedy full of quick wit and, well, bad words was an enjoyable movie worth seeing if in need of a few laughs.
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Bad Words
Director: Jason Bateman
Rating: R
Release Date: March 14, 2014 (limited)
Guy Trilby (Jason Bateman) is introduced as a 40-year-old man in the crowd at The Golden Quill National Spelling Bee competition. As an adult in an environment that is intended for the thriving of kids, it is believed that he’s a parent of one of the competitors until he steps up onto the stage. While his enrollment in the tournament doesn’t go uncontested, he proves his right to be up there competing by finding a few loopholes in the rule book. Without giving much of a reason as to why he’s doing this, parents are becoming enraged for the sake that their children won’t have a fair chance in the competition. He isn’t alone in this though. Jenny Widgeon (Kathryn Hahn) is a journalist following Trilby from competition to competition in the hope that she will catch the moment in which the estranged man reveals his real reasons for competition as he escalates higher and higher in the tournament. Along with her is young Chaitanya Chopra (Rohand Chand), a young boy that is completely unfazed by Guy’s choice to be a loner in life and forms a bond with the man after much persistence to be friends.
I went to this film without knowing too much about it other than a faint memory of seeing the trailer just a few months earlier, but what little expectations I had were not let down whatsoever. It’s full of quick wit and great comebacks from Bateman’s asshole of a character, and there was rarely a scene in which I wasn’t laughing. Trilby doesn’t have any intent on befriending anyone as an adult at this grade school competition, but the non-stop efforts of young, fellow competitor Chaitanya Chopra to be friends with Guy has a great impact on the humor displayed in the film. Most of the jokes are from the things that Bateman says to this naïve kid and the situations he puts them both into. In fact, the overall inappropriateness of the whole film is the driving force of this comedy, and I enjoy the seemingly mature level of immaturity that this movie took on.
I truthfully don’t have too many complaints about what I was privileged to watch. This wasn’t a comedy that changed my life forever, and I don’t see it doing any better in theaters than any other average comedy that has been put onto the market. Regardless, it was a genuinely easy viewing that kept me laughing throughout it’s entire duration, and I feel like it accomplished its goals.
Everyone in the cast put in some of their best effort for this production. Bateman is excellent at playing this person who is seemingly one of the worst human beings in existence, and his minimal evolution of a character was executed perfectly. Kathryn Hahn also brings some hilarity through her determination and underlying loneliness in the film. Allison Janney is great in comedic roles, but her character, Dr. Bernice Deagan, is the director of the spelling bee and remains serious while she’s featured.
2014 seems to be stacked with a bunch of comedies to look forward to seeing, with a lot of them coming out in late spring. Bad Words is no exception to my anticipation of a string of good laughs to come. The plot line, while predictable, was simple and easy to follow. It wasn't created to change the world of comedy, and it was an equal balance of hilarity that works that made the film just right for pure enjoyment. I don't have a dying urge to see it in theaters once again, but I probably wouldn't contest it if someone were to pop it into the DVD player on another night. If you're in need of a good laugh and have nothing better to do, I would definitely confirm that seeing this movie is worth getting into theaters to see.
[SXSW Review] Space Station 76
[Ruby Hornet will be covering SXSW from March 7th to March 16th. Follow along as we bring you exclusive film reviews, photos, daily features, and interviews with filmmakers, actors, and musicians!]
Space Station 76
Director: Jack Plotnick
Rating: N/A
Release Date: March 9, 2014 (SXSW)
In Space Station 76's alternate universe, space travel was already established and a common thing by the 1970s. Of course, despite advancements in technology, the same problems that plague us still exist: frosty interactions with others, identity crises, and just general human drama. Space Station 76 uses the framework of an alternate '70s space station to craft a story that is universal (pun intended), albeit with its own quirks. However, does it benefit from its setting, or is that nothing more than a gimmick that ultimately doesn't pan out to much? Read on and find out.
When assistant captain Jessica (Liv Tyler) joins the crew of Space Station 76, all of the simmering emotions the pre-existing crew felt comes to a head. Captain Glenn (Patrick Wilson) struggles with both his secret homosexual affair with an ex-crew member and sharing duties with Jessica, Misty (Marisa Coughlan) is in a loveless marriage with Ted (Matt Bomer) while ignoring their young daughter, Sunshine (Kylie Rogers). Donna (Kali Rocha) dreams of joining a more upscale space station with her newborn and husband, Steve (Jerry O'Connell), who is conveniently enough having an affair with Misty. Space age drama? Check.
Space Station 76 uses the space station setting to put all of these fractured people into a closed setting to drive the conflict, but it doesn't actually employ much from the space setting. In a way, I love that it doesn't lean heavily on this admittedly one-off joke, but at the same time, I would have loved to see more of the space station elements to play into the plot. A few jokes do play off of some of the space station tech, but more would have definitely helped. The time setting, however, is apparent from not only some of the aforementioned tech (such as a R.O.B.-esque robot psychiatrist) to the crew's lingo and clothes. It's a bit cheesy, but writer/director Jack Plotnick plays up the cheese effectively.
The issue with Space Station 76 is that it isn't very compelling. The film plays as a space opera, which in and of itself allows the film to be over-the-top and extravagant, yet Space Station 76 doesn't take advantage of it. It's as if Plotnick attempted to keep the film light and grounded within the confines of its setting instead of letting it float freely. Because of this, the film suffers from a lot of missed opportunities at the cost of dramatic and comedic progression. If played off as a straight satire on the '70s space setting, Space Station 76 could have been better. Instead, the film feels like an elongated sketch that never found itself.
[SXSW Review] Premature
[Ruby Hornet will be covering SXSW from March 7th to March 16th. Follow along as we bring you exclusive film reviews, photos, daily features, and interviews with filmmakers, actors, and musicians!]
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Premature
Director: Dan Beers
Rating: R
Release Date: March 7, 2014 (SXSW)
High school comedies have always followed the same basic formula: everyman protagonist, a group of friends, parties, sex, and shenanigans to bring everything together. Looking at the successes and failures of other high school comedies over the years, it takes more than just an outlandish premise and a talented cast - there needs to be that extra element that can help a film separate itself from its brethren. Does Premature possess that special touch that helps it be more than just "another high school comedy"? Read on and find out.
On the most important day of his young life, Rob (John Karna) has to ace an interview with a Georgetown recruiter, lose his virginity to one of the hottest girls in the school, Angela Yearwood (Carlson Young), and cap it all off with a night spent with his best friend, Gabrielle (Katie Findlay). However, the interview goes terribly, he cancels his plans with Gabrielle, and he prematurely ejaculates during his hook up with Angela. When he wakes up, he finds himself in a wet spot... at the beginning of the day. Before long, Rob realizes that he's stuck in a loop of the day's events until he can make them all right... or be forced to trigger the Groundhog Day events with his own hands. Pun intended.
Premature follows in a long line of high school comedies. However, the added time travel/Groundhog Day element adds a wrinkle to the film that not only becomes an essential plot device, but one that's inherently funny. Every time Rob ejaculates, the day resets. It's a blessing and a curse, this gift Rob has been granted from the gods. Of course, with a trigger such as this, it's hard not to let writer/director Dan Beers go full-on with it, allowing Premature to have fun while also steering the film from going too far off from the path. Unfortunately, I don't think Premature went as far as it could have with the ability to turn back time so easily. In saying that, for it to veer off into more outlandish situations would have alienated the tone of the film, so it's a mixed bag of sorts.
Premature is a fitting ode to Groundhog Day and John Hughes films (including a Glenbrook High School reference to Hughes' own alma mater, Glenbrook North), right down to the film's tone that leans more towards youthful naivety instead of raunchy sex shenanigans. However, I think this both helped and hurt Premature; I would have liked more risks to benefit more from the trigger plot device. While the jokes won't always hit, what will is the heart and character-focused priority over easy sex jokes typical of the high school comedy genre. If you're expecting Premature to be the next Superbad, your expectations aren't going to be met. Go into Premature expecting more John Hughes and less Judd Apatow, and I think you'll have a better reaction to the film.
[Review] Awful Nice
The bond between siblings is an unexplainable one with many benefits and pitfalls. One day, your brother or sister could be giving you their leftover candy, but in the next they could be trying to rip your eyeballs out. Growing up with two younger brothers, I must say that the latter happened more so when we were younger, and sometimes I feel the need to continue this immature behavior. This only seems to be making up a small portion of the complexity that is sharing the same gene pool as other people who kind of look like you in one way or another. Regardless of the indifferences that siblings may face, it's a bond difficult to break.
Awful Nice is a comedy of its own breed that taps into the dysfunctional side of these sibling relationships. I saved myself from having a tainted opinion of what this film would entail by going into it completely blind, and I was pleasantly surprised by how much I enjoyed the antics of the two brothers in the film. Perhaps it is because they reminded me of my own brothers in a way. Regardless, I think this was a story worth the viewing.
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Awful Nice
Director: Todd Sklar
Rating: R
Release Date: March 7, 2014
When Jim Brouillette (James Pumphrey) hears news that his father has passed away, he is forced to track down his brother Dave (Alex Rennie) for the upcoming services. While they may be brothers, there seems to remain very few similarities. Jim, a married family man and college professor, tries his best to be responsible in all of his efforts. Contrarily, Dave is quite a deadbeat with not much accomplished in his years of life. It's been awhile since they've been united, and their indifferences are brought to life in the most inopportune setting of a funeral. Their disagreements are put aside with the discovery that they both have inherited the family's lake house in Branson, Missouri, and thus prompts a road trip to check out the current conditions of the house and hopefully sell it for a check to be split between them. The house is a complete dump, and Dave convinces Jim to stay and help him fix it up and mend their lost bond.
The film follows the basic requirements of most sibling movies, but the execution of it was absolutely well-done. The humor of it all seems to be driven by Dave's crazy, bachelor-like antics, and the more Jim resists his behavior the more I found myself laughing. Even in the first scene alone we are introduced to a naked Dave laying on the ground of an indian reservation. However, this is a weird breed of humor, and I think that its just one of those movies that's either going to be loved or hated. The speed is fairly fast paced, and to not pay attention for even a minute could mean that something important in one way or another could be missed.
Whether a viewer has siblings or not, I think there is a little bit of something for everyone who may watch this movie. The whole time I was watching it I felt this relation to Jim and his attempts to keep his head on his shoulders, but Dave definitely gave me the vibe of my younger brother Donnie who enjoys stirring the pot and being controversial whether he intends on doing so or not.
I think that Awful Nice is a pleasant addition to the spring release library. Film is really slow at this time of the year, and this is something that I believe would be worth getting out of the house and seeing. It captures the essence of the inescapable bond that is family, and I felt like it was so relatable on many different levels.
I firmly believe this a film that everyone could enjoy in one way or another, but even more so when a viewer has siblings that drive them nuts. Jim and Dave are very eccentric in their own unique ways, and a multitude of fist fights and arguments have a weird way of proving their sibling relationship. The jokes fell one after the other, whether they be contrived or situational. I really appreciated the humor peppered throughout, and I hope that someone else could enjoy it as well. A weirdly heartwarming tale with it's even weirder conclusion, I think this is the kind of dysfunctional tale that was entertaining in most of its efforts.
[SXSW Review] The Infinite Man
[Ruby Hornet will be covering SXSW from March 7th to March 16th. Follow along as we bring you exclusive film reviews, photos, daily features, and interviews with filmmakers, actors, and musicians!]
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The Infinite Man
Director: Hugh Sullivan
Rating: N/A
Release Date: March 7, 2014 (SXSW)
Time travel films are my kryptonite, and I don't mean that in a negative way whatsoever. If I find out a film has some type of sci-fi element that involves intricate loops and that not only add depth to the narrative, but also gets audiences more involved and invested in piecing all of the events and characters together. When used properly, the time travel device can greatly enhance the experience; misused, and it just feels like any other gimmicky device to entice potential audiences. The Infinite Man is not such a film.
To celebrate their anniversary, the eccentric scientist Dean (Josh McConville) takes Lana (Hannah Marshall) to special resort with a full itinerary planned. However, when it turns out that the location has closed, Dean does everything he can to salvage the weekend. His quest for the perfect weekend is further ruined when Lana's ex-boyfriend, Terry (Alex Dimitriades), shows up, and an altercation between the two men takes place. After letting Lana leave with Terry, Dean spends the next year dedicated to meet the perfection he was unable to display a year prior by creating a time traveling device. Through a series of events, Dean takes Lana into the past in hopes of salvaging the lost weekend... no matter how many attempts it takes.
At its base, The Infinite Man is a love story with a sci-fi ploy to help drive the main crux of the film. However, the story isn't just about Dean's love for Lana; rather, it's the journey of his ability to let go and understand that he can't always be in control of everything. As somebody who can sometimes be a meticulous planner and has to schedule almost every facet of his life days and weeks ahead (you should see my SXSW schedule), I empathized strongly with Dean. His ethos is driven not from his desire to control Lana, but to express just how much he loves her. Unfortunately, his attempts to express himself goes too far.
With one set, a barebones cast of characters, and an emotional story that must be carried not only emotionally, but comedically by its cast, The Infinite Man could have easily fallen apart were it not for McConville and Marshall's acting abilities, with Dimitriades' smaller role balancing the two leads with his comedic follies. McConville fits not only as the everyman protagonist that anybody would cheer for, but also for those of us who are so full of love, but struggle to express it properly and fittingly. Marshall's role as the object of Dean's desires could have been marginalized to bring further focus on Dean, but writer/director Hugh Sullivan wrote her part exceptionally well so that she not only was Dean's "reward," but also a capable support for him. (Unfortunately, I can't go deeper than that for fear of spoilers.)
Lighthearted and fun in its comedy, nuanced with depth in its narrative, The Infinite Man could have been one large mess of a film. However, Sullivan's ability to not only keep the sci-fi elements clear and easy to understand, but to keep the focus at Dean's personal core is what helps The Infinite Man balance everything deftly. You'll enjoy putting the puzzle pieces together; you'll cheer Dean on, even when you've noticed the negative signs of his acts; and you'll leave the film with a smile on your face.