[Review] Unfriended
Unfriended
Director: Leo Gabriadze
Rating: N/A
Release Date: March 13, 2015 (SXSW)
Billed as ushering in "a new era of horror," Unfriended had quite the tagline to live up to leading up to its SXSW premiere. As technology and horror continue to grow alongside one another, many young filmmakers are utilizing creative ways to incorporate what's become everyday life into the genre that loves to twist and subvert it. Something that has been toyed around with in recent years is utilizing multiple "screens" to tell the story. For example, Nacho Vigalondo's Open Windows told the entire film through screens a la security cameras, laptops, cell phones, etc.
Similar to the aforementioned film comes Unfriended, but raises the stakes (and technical difficulty) of telling a gripping, compelling horror film completely through a teenage girl's laptop. Does Unfriended ultimately succeed in its attempt of truly ushering in this new era of horror, or does it become yet another failed attempt to modernize horror films?
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On the anniversary of their high school classmate Laura Barns' (Heather Sossaman) death, Blaire (Shelley Hennig), Mitch (Moses Jacob Storm), Jess (Renee Olstead), Adam (Will Peltz), Ken (Jacob Wysocki) and Val (Courtney Halverson) are having a normal night, video Skyping one another. However, a mysterious, unseen stranger named "billie227" claims to be Laura and is seeking revenge for a humiliating video that led to her suicide. To accomplish this, "billie227" pits the friends against one another as their deepest secrets are revealed, threatening to not only ruin friendships, but could lead to untimely deaths.
The film can be a bit jarring to watch as everything plays out through Blaire's laptop, immersing the audience and having them become a part of the film as another unseen voyeur watching high schoolers fight amongst one another. At the same time, it's very reflective of our modern society where technology has replaced such intimate meetings just a generation earlier would have by physically meeting one another. While I'm only in my late 20s, I never experienced group Skype calls with people outside of conference calls for work, so the immersion of contemporary high schoolers' interactions and essentially becoming "one of them" adds an extra layer of tension once the horror truly begins.
It's easy for experimental genre films to be forgotten once the festival circuit has ended, but Unfriended is definitely not one that will be forgotten easily. With NBC Universal's backing, the film is destined to have some minor success at the box office, and will find a devoted audience. It may not reach Paranormal Activity levels, but I can see Unfriended serving as a stepping stone to both cast and crew alike.
[SXSW Interview] Raekwon
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Video by Elijah Alvarado
During SXSW last month, we had the chance to catch up with RH homie Raekwon The Chef. Rae talked to us about his crowdfunding campaign for "The Purple Tape Files" a documentary based on the making of his debut album "Only Built 4 Cuban Linx." This year marks the 20th anniversary of the project that not only solidified Rae as a solo artist but one of the best MC in Hip-Hop. We also talked about the creative process for his new upcoming album Fly International Luxurious Art (F.I.L.A). He discusses collaborations on the project with A$AP Rocky, Rick Ross, and bringing in new producers to the fold. Check out the first part of the interview above and the second part below.
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Steven Piet, Erik Crary, John Ashton (Uncle John)
Photo by Emily Reas
Uncle John was one of my favorite films from SXSW this year, as is not-so-subtly hinted at in my review of the film, because of the film's invitation to explore its characters. And what better way is there to discuss a film than meeting with its writers, directors, and lead actor? Just a short period of time before Uncle John's premiere at SXSW on March 16th, I sat down with the film's co-writers and co-directors Steven Piet and Erik Crary, as well as Uncle John himself, John Ashton. Read on as we discuss the film's story structure, inspirations, and more!
[RH Photos] The Culture Clash at SXSW 2015
Photos by AngieStarPhoto
SXSW came and went yet again this year, and as Austin cleans it's streets and goes back to normal, many of us out-of-towners are back home still recollecting the culture combo we were part of. Whether you're from Chicago, Atlanta, California, Texas, New York City, the UK, or anywhere else in the world, SXSW has become a place where anyone can come to mix culture, share art, collaborate, and eat endless delicious food options. In the past week, I've received more CDs, mixtape downloads, Instagram followers, and openly met more strangers and brand ambassadors than I ever have.
SXSW truly is a festival of its own kind. There's much more than music, film showcases and conferences, as it's more of a combination of Texan culture, art, food, and most of all, a diversity in people. Outside of the local "Keep Austin Weird" types, you have endless writers, bloggers, photographers, videographers, musicians, and actors from all over just trying to stick out and be seen or heard, and all in an open, free spirited form. Most intriguingly, it's all random... one minute you could be listening to a rock band on Rainey Street and the next you're bumping into Wiz Khalifa downtown, then backstage with comedian Hannibal Buress and Chance the Rapper at the Fader Fort (true story). And right when you think you've seen or experienced the most random scenario, someone else will share an even more random story with you. It's on open environment that connects all types of people and this is what loved to capture on the festival. I'm not saying it wasn't fun shooting the performances at various venues, but it was the wandering, behind-the-scenes, spontaneous perspective I loved the most - the plethora of food trucks were a definite plus.
Here are some photos I gathered that I feel capture the essence of the people and scenery while walking around at SXSW. From locals, to people of all ages from different parts of the world, to the food scene, culture, ambiance, and most of all, the great American gem that is Austin, Texas. Find more photos here.
Uncle John
Uncle John
Director: Steven Piet
Rating: N/A
Release Date: March 16, 2015 (SXSW)
Anxiety and tension can be a film's greatest assets when used appropriately. Sure, horror films may rely on supernatural entities, quick scares, and gore to frighten audiences, but nothing is more harrowing than watching the slow build of something sinister you're not quite sure of, and the anxiety over waiting for it to reach a head. The best psychological thrillers can take the slow build and create an unease that we can all relate to, given the genre's tendency to stay grounded in its narrative and characters. At the same time, we don't always find ourselves in scenarios where a mysterious disappearance affects us directly. Rather, we find our tension and anxiety within our interactions with everyday people, especially in regards to romantic pursuits.
Uncle John takes the elements of harboring a secret in a small town and the tension caused by a budding romance between a manager and her employee to create a hybrid psychological thriller/indie romance that, despite my inadequate summary of the film's tone, works extremely soundly and shows that combining two vastly differing genres into one film can be done successfully.
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A small-tight knight community in a small Illinois town is stunned when a man known for his rambunctious past goes missing following a round of personal apologies as a means of atonement. Unbeknownst to everybody but the missing man's brother, Danny (Ronnie Gene Blevins), the anonymous and unthreatening John (John Ashton) has everything to do with the disappearance, but his calm, friendly demeanor hides his dark secrets. Meanwhile, a graphic designer in Chicago named Ben (Alex Moffat) finds himself facing his own tension when a new project manager, Kate (Jenna Lyng), is assigned to work with him. While their interactions are cordial, they soon begin to grow closer to one another, despite the social scrutiny of workplace relationships. Each narrative converges into one when Ben pays John a visit as both men must overcome their respective tension to deal with the secrets they hide.
As I mentioned in the introduction, I'm doing a terrible job at summarizing the film, because while the overall sweeping dual narratives are enough to entice curious viewers, the true strength of the film is found in the nuances of the direction, tone, and performances. It's hard to simply capture those feelings into words without spoiling the film, especially in one like Uncle John where the payoff is not only satisfying, it leads viewers down a path of character analysis in which they try to decipher each characters' true natures and intentions.
Honestly, I can try as hard as I can to best praise Uncle John, but it truly is one of those remarkable films where you'll enjoy it more going into it blind. Uncle John is perfect for cinephiles that love to dissect and analyze every aspect of a film, but also has enough appeal to attract casual viewers. One thing is clear: Uncle John is the type of film you'll enjoy debating and discussing with other film fanatics after multiple viewings. Isn't that what the medium is all about?
[SXSW Interview] RKSS (Writers/Directors of Turbo Kid)
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Video by Elijah Alvarado.
If you missed my review of Turbo Kid, I highly recommend reading that soon. It was, hands down, my favorite film out of SXSW 2015, and one I'll have no problem championing and supporting in the upcoming months as it begins to play across the rest of the country. It's been such a long while since a film's hype and buzz was lived up to, making Turbo Kid that much more enjoyable.
During SXSW, we had the chance to sit down with Yoann-Karl Whissell, Anouk Whissell, and Francois Simard, the writers and directors behind Turbo Kid that collectively go by the name RKSS (short for Roadkill Superstar). Watch our video interview where we discuss the influences behind the film, the struggle to make Turbo Kid tonally sound, and more!
Turbo Kid
Turbo Kid
Directors: Anouk Whissell, François Simard, Yoann-Karl Whissell (RKSS)
Rating: N/A
Release Date: March 17, 2015 (SXSW)
Nostalgia is a lovely thing, especially when it comes to art. It adds that little extra something that allows us to connect to, love, and appreciate it just a bit more. When done improperly, however, nostalgia can handicap and hold back works of art that aren't strong enough to stand on their own. Turbo Kid relies on the nostalgia of various '80s films and genres, but treats the time period with reverence while not allowing its attention to certain stylistic choices to negatively affect the overall film.
Turbo Kid, then, fits very well in the modern landscape of indie films where equal focus is given to both production value/quality and dedication to a style/tone that all but guarantee it will become your next favorite cult film. Even if you're unfamiliar with or not a fan of '80s films, Turbo Kid has enough energy and infectious charm to assure you'll fall in love with it.
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In a dystopian alternate 1997, the world has been ravaged by some type of apocalypse, leaving behind a barren wasteland where everything goes. The Kid (Munro Chambers) is an orphan traversing across the wasteland for comic books and '80s trinkets to collect and trade for water (which is a rare commodity in the world). During one of his treks, he meets Apple (Laurence Leboeuf), an enigmatic girl who quickly deems The Kid her new best friend by attaching a tracking device on him. While he's initially annoyed by her presence, the Kid eventually becomes attached to her, especially after they're attacked by a biker gang run by the vicious Zeus (Michael Ironside), who himself pits captives against one another in deathmatches where the loser has their blood cleansed and purified for water.
While the Kid is able to escape, Apple finds herself captured by Zeus' henchmen. During the escape, the Kid comes across a ship implied to be the hero of his comic book's, complete with a power suit that gives him powers. Teaming up with Frederic (Aaron Jeffery), a vigilante known for his arm-wrestling prowess, they're able to rescue Apple from Zeus' clutches. However, by doing so, they draw the ire of Zeus' full attention.
While Turbo Kid is set in 1997, the film's presentation makes it seem as if it was shot during the '80s, complete with a time-appropriate score and sound effects, bright-colored costume palettes to contrast against the drab and gray of the wasteland, and a charm that befits '80s films. The film draws from various post-apocalyptic '80s films like BMX Bandits and The Road Warrior in terms of scope and style, especially with the practical visual effects and level of gore that befits the campiest of '80s films; however, it also possesses the innocent charm and hopeful optimism that helped define '80s teenage protagonists.
Beyond the '80s-inspired aesthetic, Turbo Kid is just an amazingly fun film. It's fun to see the Kid express his awkwardness over getting attention from a pretty girl, just for somebody to get their head decapitated completely with a copious amount of blood gushing out just a few minutes later. Again, while I do believe there's something in Turbo Kid for everyone, there will be those who just don't enjoy primal fun qualities like practical blood effects, synth-heavy scores, and a loose plot that is both serious in delivery, but doesn't take itself seriously at the same time.
Give Turbo Kid a chance, and I can guarantee it'll become the film you try to rally all of your friends to watch.
Get Hard
By now, I'm sure most of you reading this are aware of the controversy surrounding Get Hard and its less than savory content. For those untrustworthy of the media and wary of overly-sensitive audiences at SXSW, I can say Get Hard is full of tasteless homophobic and racist jokes that feel completely out of touch and out of place in the contemporary climate of heightened social awareness.
Despite the uproar over the mistreatment (or perceived mistreatment, as some might argue) of the race and sexuality topics, we all know comedies are constantly attempting to push the envelope for laughs. Is this an excuse for the one-note joke that fuels the film's plot, or some of the machismo "jokes" that portray homosexuality as some disgusting counterculture? Not at all. However, without the controversy lies a comedy begging for laughs that, ultimately, it never delivers.
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Get Hard
Director: Etan Cohen
Rating: R
Release Date: March 27, 2015
James King (Will Ferrell) is a rich businessman convicted of tax evasion and sentenced to a 10-year prison sentence despite never committing any wrongdoing. Worried that he won't survive prison, he turns to the owner of the carwash he frequents, Darnell Lewis (Kevin Hart), for help after he wrongfully assumes the latter has spent time in prison. Sensing an opportunity to make easy money, Darnell goes along with the facade, entangling James in various hijinks in an attempt to make James hard. Such scenarios include turning James' mansion into a makeshift maximum security prison, complete with James' maids and workers taking on roles as prison guards, Darnell introducing James to his gangbanger cousin and his crew, and a sexual encounter with another man at a gay bar.
The film's title, Get Hard, is enough to determine whether or not you'd enjoy this film. Does the sexual tension behind the title make you laugh at the thought of Kevin Hart attempting to help Will Ferrel "get hard"? If so, this film is for you. And really, what was to be expected of a film with such an obvious joke truly summarizing the film's tone and direction? It's one thing to be so obtuse with a film's subject matter -- it's another thing to take the premise and truly satirize it and provide conscientious, thoughtful commentary on such issues like racism, class disparity, and gay-straight relations. Instead, Get Hard goes for the obvious jokes that, to be honest, can't even be considered jokes due to their inherent lack of humor.
But again, I'm not the target audience for Get Hard, and as has been made apparent since the film's premiere at SXSW, neither was Austin's SXSW audience. That's fine, as I'm sure there will be Will Ferrell and Kevin Hart fans will flock to Get Hard and laugh at all of the sexual innuendos behind the name, gag in unison with Ferrell as he expresses his disgust over fellating another man, and chalk up all of the controversy surrounding the film to overly-sensitive types that "can't get a joke." For the rest of us, we'll just await the next Judd Apatow film for our Hollywood comedy needs.