[Review] Friended to Death
Do you ever have them nights where you're sitting around, hanging with your boys Ben and Jerry, and question everything in your life? No? Oh yeah, me neither... Anyway, for those of you who may have, perhaps you thought about a lot of things, like "Why aren't any of my friends texting me?" or "Should I order pizza too or is that too extreme?" Maybe you even thought deeper down into a dark place where you grow a curiosity for the hypothetical. In this state, you may have thought about death, but did it ever cross your mind to think about who would be at your funeral? Friended to Death, the latest dark comedy from Sarah Smick and Ian Michaels, tells the tale of a man who goes to extreme lengths via Facebook to find out. While it may not have been the most amazing comedy to be put on the market, I found an appreciation for the lighthearted nature of a topic that could be taken down an extremely serious route.
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Friended to Death
Director: Sarah Smick
Rating: R
Release Date: May 2, 2014
Michael Harris (Ryan Hansen) is a ticket-crazy Los Angeles parking enforcement officer who is just as obsessed about posting his ticketing adventures on Facebook as he is about administering tickets. What seems like a perfect day for him turns into a downward spiral with unemployment and the loss of a very good friend. However, Michael isn't the kind of guy to do nothing about this. With the help of friend Emile (James Immekus), he creates an alter ego of sorts using Facebook, the one thing he trusts the most in order to gain back the attention of Joel (Zach McGowan), the friend who left him to bite the dust. For a man who seems to be extreme, it only seems appropriate that he would go to the length of faking his own death in order to see who actually cares about him.
If you're looking for a comedy that will keep you laughing out loud to the point where you can't breathe and you regret buying popcorn because now you're choking on that, you probably won't get that out of this. Regardless, it should be kept in mind that that wasn't the goal of this film. It's very tounge-in-cheek, and I appreciate the cheesiness that emulates from it. With a character as ridiculous as Michael, it's not something that is supposed to be taken seriously, and I think it is a nice way of bringing to light a big social media addiction that seems to be rising up around the world.
This was Sarah Smick's first feature length directing gig, and I think that she was able to capture this character's ridiculousness and antiheroism in a way that left you somewhat pitying and relating to him on a level. I think that's a pretty impressive task considering not too many of us would go to the lengths this character did to pretend he is no longer alive. Talking about the cinematography, I think the colors are awesome. It's a very vibrant, cinematic film, and it really does justice to adding to this 94 minute satire. No, you won't see wild angles that have never been done before, but why would that be the point of making this anyway? I really think that the coloring of this contributed to this film in a very refreshing manner.
While I thought that the film was nice in its lighthearted selections, there was a point in the film in which I was kind of twiddling my thumbs because I was almost too annoyed by this guy's antics. It felt like he was going on with this for too long of a portion of the film. If there were to be improvements made, I would hope for a really big curveball that would seem impossible for him to get out of. This isn't to say that I didn't find enjoyment from watching how this all works out for Michael, but I think something needed to save me from my impatience.
Overall, I would definitely say that this film captured the light I was expecting to feel from it. Poking fun at the issues that many people are facing everywhere when it comes to social media and its addictive qualities, I would say it is just a film defending something I really like to rant about. I hope to see more from Sarah Smick and Ian Michaels as they create more movies, and I think they will only get better over time.
[Review] Tasting Menu
I’m a huge fan of cooking, but have never found myself to enjoy films that center around someone who enjoys the same hobby as I do. Regardless of my stubborn belief, I always do my best to keep an open mind to things that I have already labeled as pointless by giving them another try. On this note, I decided to view Tasting Menu, and just like with my food, I was disappointed when I discovered the lack of spice this film brought to me. It’s attempt at complexity was diminished with the over-utilization of plot lines, and to be honest I still have no idea what I was supposed to take away from my viewing.
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Tasting Menu
Director: Roger Gual
Rating: PG-13
Release Date: April 18, 2014
At the height of her success, Chef Mar Vidal (Vincenta N’Dongo) has decided that she is going to close down her world famous restaurant. Marc (Jan Cornet) and Rachel (Claudia Bassols) made a reservation at this restaurant a year beforehand without the knowledge that it would also be the last night of the establishment’s existence. The event, for this reason, makes the occasion even more important, yet Marc and Rachel are no longer together. The dinner is the first reunion between the pair since their split a year earlier, and neither of them were stubborn enough to give up their seats at the coveted restaurant. The night is still young, and it seems that everyone in the restaurant is going to have a memorable experience on this evening of conclusions.
The initial premise of this film sounds kind of charming. A couple rekindling their lost fire of a relationship over a once in a lifetime opportunity dinner seems like something that a person could relate to in one way or another. However, on top of this plot there’s a lot of other minor ones, such as a widowed countess who was close friends with the chef and two Japanese men escorted by a Spanish girl who becomes interested in Marc. Not to mention Rachel’s boss shows up with the hopes of extending their relationship to a very new level. Because of all of these different plot lines, I endured the whole film hoping that they would all come together to make one. To my dismay, I felt as if I endured a whole 90 minute introduction into what could potentially be a few good movies. In fact, it felt like I was just getting a few samples from a Tasting Menu of the whole film.
I thought that there were a lot of ideas from this film that could have been very great as different films. The countess’s relationship with the chef would have been a nice coming of age film about sharing old experiences with youth, the escort of the Japanese men could have possibly been the other woman in a shaky relationship with a woman and her ex, or it could have solely centered around the woman and her ex. Regardless, these are all very strong plot points that might just have been too independent to bounce off one another. In the end, the movie came off to me as a collection of cliches, and unfortunately I still have no idea what I was to take away from my viewing of it. Potential lies underneath the surface of all of these different plots, but it’s too scattered to follow. A bit of narrowing in topic choice would turn this film that was very bland and two-dimensional into a work that is a bit more full of life.
[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.
[Review] The Tontons: "Make Out King and Other Stories of Love"
Hailing from Houston, groovy foursome The Tontons put themselves on the national radar with their brand new, soulful album The Make Out King and Other Stories of Love. Out officially today, the album has been streaming for the past couple weeks, inviting listeners to experience the buzz of The Tontons magnetic record before they can get their hands on a copy.
The band (singer Asli Omar, bassist Tom Nguyen, drummer Justin Martinez and guitarist Adam Martinez) have been together for the long haul, pumping out their seductive rock sound to everyone who would give them a chance. The Tontons don't fit into any one genre, but instead spread themselves over an array of sounds leaving you reeling and wondering how you are going to describe them to your friends.
"Our song is as random as our look. Like, you look at us and people usually don’t know what to expect or what we’re going to sound like, I think we like to keep people on their toes," Omar said during an interview with Ruby Hornet's own Jake Krez at Fun Fun Fun Fest 2013.
Make Out King comes out of the gate with the up-beat single "Magic Hour," which I believe is the best way to start off the album. This song is currently my favorite. It's surfer rock vibe eases you into the song only to blow you away with Omar's powerful, thick vocals. Her voice has a sultry rawness that reminds me of Amy Winehouse at times, mixed with a belty, strong sound of Genevieve Shatz from Chicago outfit Company of Thieves. Weird match up, I know, but oh so good.
The album plays a bit of tug-o-war between a fresh pop-rock sound and steamy, laid back, blues-y R&B ballads like "Kidd Cemetery." This song really stuck out to me because of it's sexy, cosmic sound and revealing lyrics. Omar sings "I hurt, you hurt, but it's all in fun." The album seems to be extremely personal, allowing listeners to envelop themselves in the stories. In "Bones 1," Omar sings about daunting life decisions like having children, getting a 9 to 5 and settling down almost as if she's convincing herself: "Today's not that day, I'm not that girl."
The Make Out King and Other Stories of Love shimmers, radiating strength and sadness, all the while making you want to dance. The buzz and boldness of the bass from Ngyunen, the sick dynamic riffs from guitarist Adam Martinez, and the steady super tight beats from Justin Martinez, operate smoothly with passion and precision allowing Asli Omar to wail and whisper over the tracks with deep lustrous vocals.
You can and should snag the album on The Tontons bandcamp or iTunes today!
[RH Review] The Spectacular Now
I'll admit something: When I saw the first trailer for The Spectacular Now, I said, "The Spectacular Now is indie film bait with the common trope of self-discovery, coming of age themes, but that’s exactly what I’m attracted to." After watching the film, I can confirm that I was only half-right. Spoiler alert: The Spectacular Now wowed me in a way I haven't been wowed in a very long time. Allow me to try to find the words to convey exactly why.
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The Spectacular Now
Director: James Ponsoldt
Rating: R
Release Date: August 2nd, 2013 [NY and LA]
Sutter Keely (Miles Teller) is the popular class clown that everybody can't help but like. He's the life of the party, has an equally popular and awesome girlfriend, Cassidy (Brie Larson), and truly embraces living for the now. However, when Cassidy breaks up with him, Sutter's life begins to change, although not in the way you'd expect. After a long night of drinking, a girl from his class, Aimee (Shailene Woodley), finds him sprawled across a yard on her newspaper route. What began as a budding friendship becomes something more as Sutter's attempts to essentially mentor and guide Aimee transition into a deeper connection that Sutter might not be able to comprehend.
Behind the jokes and public facade, Sutter has a dark side to his life that can serve as a bit of a warning to audiences. Despite being only 17, Sutter is a budding alcoholic always seen with a flask full of whiskey. The characteristic defines his actions, sure, but the point doesn't come heavy-handed by director James Ponsoldt (Shamed) or screenwriters Scott Neustadter and Michael H. Weber ([500] Days of Summer). The Spectacular Now can be seen as a warning against underage drinking or alcohol dependency, but it never feels like an outright propaganda-filled activist statement. Rather, it's understated and subtle, or as subtle as it can be every time Sutter takes a drink out of his super-sized "big gulp" or flask.
When Sutter and Aimee get together, and she begins to pick up on his habit, I kept worrying about where it would lead. The tension was never overbearing, but I had the chilling feeling that something would happen, and it wouldn't be good. It wasn't too dissimilar from the suspense in horror films, but at least in those films, you know for a fact something's coming; in an independent drama, you don't know when, if, or how that "something" would come. This foreboding notion not only helped humanize Sutter and Aimee, but it also makes you actually care for these characters, and what's more important for a film than an audience empathizing and connecting with them?
There are some common tropes in the film, such as father-son dynamics, popular boy falling for a not-so-popular girl, relationship drama as a narrative crux, and the obvious "coming-of-age" epiphany that characterizes the genre. However, such tropes and cliches are tropes and cliches because they're taken from real life, and sometimes I forget that. The Spectacular Now featured real characters who, for better or worse, find themselves in these situations because they're real situations that we have or will find ourselves in.
As I walked out of the theater and reflected over the film, all I could think about was just how right it felt. Sure, I'm biased, because it truly played to my film interests, but it did everything right and what I love in independent dramas. Ponsoldt, Neustadter, and Weber wanted to create a high school film that was devoid of everything that "high school films" have become, reintroducing a level of reality to a film that isn't reliant on an overbearingly dark drama or sophomoric shenanigans. Honestly, Films like The Spectacular Now truly affirm why I've dedicated an extensive period of my life towards covering films.