[RH Review] Kill Your Darlings
I saw the best minds of my generation destroyed by madness...
The Beat Generation brought forth the first counterculture literary movement in America when Allen Ginbserg, William S. Burroughs, and Jack Kerouac made waves with their new take on literature and writing. While Ginsberg went on to become a celebrated poet, Burroughs a champion for alternative writing methods, and Kerouac as the angel of desolation for every single teenager and young 20-something that picked up On the Road, one key figure that shied away from the spotlight was Lucien Carr.
It was Carr who introduced Ginsberg, Burroughs, and Kerouac to one another; it was Carr who was the glue that held everybody together through many nights of manic hysteria; it was Carr who even suggested flipping the literary social norms. Yet, it was also Carr who threatened to ruin the lives of those around him before their spectacular lives even had a chance to truly begin. Kill Your Darlings tells that story.
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Kill Your Darlings
Director: John Krokidas
Rating: R
Release Date: October 16, 2013
Early in his educational career at Columbia University, Allen Ginsberg (Daniel Radcliffe) befriends the enigmatic Lucien Carr (Dane DeHaan), an upperclassman with a captivating aura and a penchant for rebellion. As Carr introduces Ginsberg to a lifestyle he never before witnessed, he draws the ire of David Kammerer (Michael C. Hall), a former teacher obsessed with Carr. Together, Carr and Ginsberg share a new vision for literature, propelled by the help of Carr's other friend (and old friend of Kammerer's), William S. Burroughs (Ben Foster), and fellow Columbia student, Jack Kerouac (Jack Huston). However, the overbearing presence of Kammerer begins to create tension amongst the group as Ginsberg's attraction to Carr grows. It isn't long before the dark secret Carr holds begins to slowly pervade the group, coming to a head one fateful night that'll change the lives of everybody involved forever.
I'll be blunt: There have been a handful of films detailing the Beat Generation released over the past three years (On the Road and Howl), yet Kill Your Darlings is leaps and bounds better than the other films. Anybody worried about Radcliffe's career can rest assured that he will be able to overcome any lingering doubts post-Harry Potter. His portrayal of Ginsberg is played with nuance and subtlety - you can see the longing in his eyes, hear the devotion and desperation in his words (including a great American accent, to boot!), and feel the discomfort through his body language.
Radcliffe's performance is equally matched by DeHaan. Whereas Radcliffe plays Ginsberg with subtlety, DeHaan's Carr is the complete opposite, full of flamboyancy and charisma. Whether it's his naturally icy gaze or the aura of commandment he's exuding, DeHaan's take on Lucien Carr is one of the best performances I've seen all year. Every scene he's in, eyes naturally gravitate to him and ears perk towards his words. In these instances, the audience becomes Radcliffe's Ginsberg. Chemistry plays a huge role in films, and the chemistry between Radcliffe and DeHaan is sublime. You long for DeHaan/Carr through Radcliffe's/Ginsberg's longing.
While playing a minor role, Ben Foster is just as likely to steal a scene as DeHaan and Ginsberg are likely to pull audiences in towards them. His robotic monotone is almost an exact mirror of Burroughs' vocal delivery; I suggest comparing clips of Burroughs speaking to Foster's lines in Kill Your Darlings, and you might not catch who is who. I feel that Foster has been unfortunately overlooked over his career, but hope that Kill Your Darlings attracts the right people to give him the due he deserves.
However, one complaint is Jack Kerouac's depiction in the film. This may be my complete and total bias towards Kerouac, but his characterization in Kill Your Darlings painted him not as the introspective voice of the Beat Generation, but as a bumbling oaf (with a New York accent) who just happened to write. The accent could be because of Huston's natural British accent seeping over his American accent, but the characterization could be due to the script or direction. After all, in a film full of literary visionaries, the line had to be drawn somewhere, right?
Despite my complaint of Kerouac's characterization, first-time director John Krokidas made a remarkable debut. His confidence in his vision and actors' performances help make Kill Your Darlings so enthralling. You don't have to know Kerouac's sad poetry, Ginsberg's honesty, Burroughs' unfortunate descent into drugs to enjoy Kill Your Darlings, and when that interest can be made without previous knowledge/awareness of characters in biopics, you know you've exceeded many expectations.
The names of both the actors and the people they portray may be what attract you to Kill Your Darlings, but it'll be the film's direction, performances, and story that will keep you talking about it.
Score: 
8.5 out of 10
[CIFF Capsule Review] La Jaula de Oro
[Ruby Hornet will be attending the 49th Chicago International Film Festival from 10/10 - 10/24. Be sure to follow along as we bring you coverage from the longest-running competitive international film festival in the country. You can find all of our coverage from this year's CIFF here.]
La Jaula de Oro
Director: Diego Quemada-Diez
Country: Mexico
CIFF Screenings: October 16, 2013 (8:00pm), October 17, 2013 (6:00pm), October 22, 2013 (1:15pm)
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To some, the United States represents hope for a prosperous future. The path some have to take to achieve that future can be dangerous and oftentimes illegal; however, the risks far exceed the alternative. In director Diego Quemada-Diez' La Jaula de Oro, three Guatemalen teenagers embark on their own journey to to fulfill the promises "the North" has to offer. After befriending a Tzotzil Indian along the way, they run into various problems that threaten to deter their journey. La Jaula de Oro portrays the hardships facing immigrants on their paths for a better life.
La Jaula de Oro doesn't try to politicize the plot or tell a feel-good story about illegal immigration. Instead, Quemada-Diez depicts the harsh realities facing those attempting to enter the US. The ending is bittersweet, but real... unfortunate as it is. The purpose of foreign films and foreign film festivals like the Chicago International Film Festival is to show a piece of life that aren't normally seen by American movie audiences. There have been amazing immigration films in the past (Sin Nombre being one of the better films of the past few years) that have been glamorized and stylized. La Jaula de Oro runs counter to that with a gritty depiction of this journey, both aesthetically and narratively that doesn't add a layer of Hollywood sheen to undercut the film's message.
Score: 7 out of 10
[CIFF Capsule Review] Like Father, Like Son
[Ruby Hornet will be attending the 49th Chicago International Film Festival from 10/10 - 10/24. Be sure to follow along as we bring you coverage from the longest-running competitive international film festival in the country. You can find all of our coverage from this year's CIFF here.]
Like Father, Like Son
Director: Hirokazu Kore-eda
Country: Japan
CIFF Screenings: October 16, 2013 (6:00pm), October 19, 2013 (7:00pm)
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How would you react when you found out the life you were living was a lie, that the child you have loved and nurtured for six years turns out to not be your biological son at all? In Hirokazu Kore-eda's Like Father, Like Son, the Nonomiya family discovers that their son, Keita, is not actually their son at all. When presented with this shocking news, they meet with another family in a similar situation. As is common with films of this nature, the Ryota Nonomiya is a strict, hardworking man raising Keita to be just as hardworking; however, their biological son, Ryusei, is a bit more "wild" and reared by the laidback, but loving Sakai family. The two families attempt to work through their situation by integrating the families with one another, but at what cost to the children?
Family plays an important role in Japanese culture, and films like Like Father, Like Son analyze just how important bloodlines are, even in modern society. Kore-eda opens up the "Nature vs. Nurture" debate with the film, but in a way that engages its audiences. Like Father, Like Son is heartbreaking at its most emotional points, funny at its most lighthearted, and entertaining and captivating throughout. There are so many ways the film could have failed, but the right tone, flow, and plot helped make Like Father, Like Son one of the best films of this year's Chicago International Film Festival.
Score: 8 out of 10
[CIFF Capsule Review] Lasting
[Ruby Hornet will be attending the 49th Chicago International Film Festival from 10/10 - 10/24. Be sure to follow along as we bring you coverage from the longest-running competitive international film festival in the country. You can find all of our coverage from this year's CIFF here.]
Lasting (Nieulotne)
Director: Jacek Borcuch
Countries: Poland and Spain
CIFF Screenings: October 14, 2013 (5:45pm), October 15, 2013 (3:00pm)
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Summer love rarely lasts, yet it's usually because of circumstances outside of the couple's hands. Yet, for those days, weeks, months, those shared moments feel like they're everlasting. In Jacek Borcuch's Lasting, Michal and Karina fall in love while on holiday in Spain. However, a life-changing encounter Michal has with an overzealous landowner changes the trajectory of the relationship. In a film in which Michael's harboring of a secret presents the main source of conflict, it's Karina's own secret that further balance's Lasting's theme of secrecy.
Lasting was awarded the Cinematography Award for a World Cinema Drama at this year's Sundance Film Festival, and it shows with its soft hues accentuated by long, contemplative silences. The contrast between the heavenly, dreamscape-like landscape of Spain with the muted, dreary sights of Poland further drive the connection between cinematography and narrative.
Score: 6 out of 10
[CIFF Capsule Review] Blue Ruin
[Ruby Hornet will be attending the 49th Chicago International Film Festival from 10/10 - 10/24. Be sure to follow along as we bring you coverage from the longest-running competitive international film festival in the country. You can find all of our coverage from this year's CIFF here.]
Blue Ruin
Director: Jeremy Saulnier
Country: United States
CIFF Screening: October 13, 2013 (8:15pm)
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20 years after the double murder of his parents, Dwight returns to his hometown when the convicted murderer is let free. After he takes vengeance into his own hands, the tables are turned on him as the now-deceased murderer's family begins a manhunt to avenge their relative's death. Blue Ruin is a psuedo-noir film rife with violence, bloodshed, and a great example of a revenge thriller.
Blue Ruin is dark, both visually, thematically, and humorously. Scenes where harsh shadows envelop Dwight invading an empty house are contrasted with funny dialogue exchanges between himself and those around him, whether they're with his hunters or his high school best friend. Dark comedy can be a mixed bag if used incorrectly or exaggerated, but Blue Ruin balances it well. Not many films can laugh at a witty response, jump when somebody's face is blown off, then laugh again when it comes to disposing the body.
Revenge thrillers are usually about the fulfillment of revenge and the journey the character takes to accomplish it. Blue Ruin, however, takes it to the next level with moments of character introspection balancing the weight of blood. In just his second feature length film, writer/director Jeremy Saulnier showed how much potential he can bring to the film world; it's only a matter of time before the film world takes notice.
Score: 7 out of 10
[CIFF Capsule Review] Tanta Agua
[Ruby Hornet will be attending the 49th Chicago International Film Festival from 10/10 - 10/24. Be sure to follow along as we bring you coverage from the longest-running competitive international film festival in the country. You can find all of our coverage from this year's CIFF here.]
Tanta Agua
Directors: Ana Guevara Pose and Leticia Jorge
Countries: Mexico, Netherlands, Uruguay
CIFF Screening: October 13, 2013 (6:00pm)
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Tanta Agua tells the story of a divorced father, Alberto, taking his young son, Federico, and daughter, Lucia, out on vacation in Uruguay. However, his plans for a fun getaway are thwarted when harsh rainstorms take over the town. His optimism slowly begins to fade as his children are uncaring of his attempts to connect with them. While Alberto attempts to salvage an otherwise ruined trip, Lucia discovers her first taste of adolescent pain when a boy she develops a crush on has eyes for another girl.
Tanta Agua takes the formula of a broken family vacation and spins it with a South American flavor of a bittersweet, coming-of-age dramedy. Lucia's heartache over her crush is compared to Alberto's heartache over his inability to connect with his children. Yet, the film is never emotionally-draining or preachy with its themes. Rather, directors Ana Guevara Pose and Leticia Jorge crafted a film that banks on the subtlety of its themes as the pitter patter of raindrops against the family's vacation house roof.
Score: 6 out of 10
[CIFF Capsule Review] Raze
[Ruby Hornet will be attending the 49th Chicago International Film Festival from 10/10 - 10/24. Be sure to follow along as we bring you coverage from the longest-running competitive international film festival in the country. You can find all of our coverage from this year's CIFF here.]
Raze
Director: Josh C. Waller
Country: United States
CIFF Screening: October 12, 2013 (10:15pm)
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Raze is kind of like the female version of Fight Club minus that film's expository themes of schizophrenia and anti-consumerism. Instead, it attempts to justify rounding up a dozen or so girls together in fights to the death with a cult/secret society obsessed with Greek mythology about strong women.. If the women don't fight in these gladiator-style 1-on-1 fights or lose, their loved ones are killed by secret assassins... or something. Zoe Bell (Death Proof), Quentin Tarantino's go-to girl for female body doubles, stars as Sabrina, a hardened, wiser "older" woman who is captured by the aforementioned cult and must fight for her own survival. If the plot sounds ridiculously shallow, that's because it is. The film's menagerie of characters run the gamut of stereotypical characters, such as the sheepish, shy girl, the girl with the hidden talents, the bloodthirsty girl who embraces the challenge, etc.
However, pulpy, B-movies like Raze never worry too much about plot. Instead, the focus is on how gruesome and entertaining the action can be. Often is the case with films of this nature, the fight scenes are a lot of fun. With Bell's background as a stuntwoman, she's given the spotlight to show off her fighting chops in fights that are similar to MMA matches with a mix of hand-to-hand combat and wrestling techniques. Raze isn't for the faint at heart, though. Since fights are to the death, you'll see women with their faces caved in after a dozen point-blank punches or blood stains against the secluded arena's brick walls.
If you can weather character stereotypes and pointless plots in exchange for brutal, one-on-one female fight scenes, Raze might just be the film for you. It left me wanting more, plot-wise, but once I contextualized the medium of pulp, B-movies, I was able to excuse the otherwise lack of depth. Buy some popcorn, a large Icee, and enjoy the ride.
Score: 6 out of 10