MOVIE REVIEW: Gretel & Hansel

Posted on by Caless Davis.

Rating: PG-13 / Running Time: 1 hour and 27 minutes

Hansel and Gretel, a brother and sister, have been kicked out of their childhood home due to the lack of food and resources available. On their trek to find a permanent place of residence, they start to feel the pangs of hunger and hope starts to feel like a figment of the past. Out of nowhere, they find a house rich with edible treats, beds to lay their weary heads, and protection from the dark forces looking for any easy morsel of blood. An old woman, the owner of the house, would love nothing more than to have a couple of extra hands to help with chopping wood and doing the chores necessary for the upkeep of her residence. Over time, the sister starts to receive visions and nightmares of something sinister that she can’t shake; she fears that she and her brother have stumbled onto an evil force. The old woman, as per legend, is a conductor of dark sorcery who has been luring kids in order to have them as a main dinner course. It becomes a matter of life and death for these two children to defeat this evil force once and for all in order to stop her reign of terror.

“Gretel & Hansel” has style eeking out of every bit of its frightful atmosphere based on the well-known Brothers Grimm folk tale. In the early days of 2020, this art-house horror flick sets itself apart from the pack with piercing cinematography and minimalist but magnificent set design. Cinematographer Galo Olivares uses natural light to expose the fantastic beauty of shrouded woods and the interiors of German-inspired architecture, as well as a stunning use of differential focus to place the emphasis on characters in accordance to the scary world they are traversing. When the film goes really dark, the staging of silhouettes in the frame of wide angles is a creepy sight to watch. The color palette is not wide-ranging, using only three main colors (blue, red, and brown) but it feels accurate and authentic to the period setting of medieval folk tales. Director Oz Perkins follows the journey of two starving kids who end up befalling to the dark sorcery of a witch with stylish use of handheld, medium close-ups and using a 1.55:1 aspect ratio to call back to some of the earlier days of historical horror cinema. “Gretel & Hansel” has the aesthetics of an A24 horror film with a strong emphasis of style over substance.

Unless you are a big fan of the original tale, this film is a hard sell, offering nothing new when it comes down to the mechanics of the story. Problems exist like snail-like pacing and hard to comprehend use of Medieval Germanic language. The horrific moments are not jump-out-of-the-seat worthy and the fear factor becomes lessened by the end. Even with some elements reworked and changed from the source material, the general progression is very easy to follow; at the end of the day, what good is a story if it doesn’t give any compelling or memorable pieces that will stick in the membrane? The literary experience is much more superior while the film could have found better footing as a TV series or a short film. Technical design is the only calling card this film can tout as a major strength.

“Gretel & Hansel” stands head over heels versus other horror films in the month of January, but that isn’t saying much. If you want to be wowed by great technical design, illustrious cinematography, a futuristic inspired score, and some stand out shots, this will fulfill your cinematic sensibilities. If story and pacing are what you cherish, then save your money and wait for the Redbox rental. Most viewers are ultimately much better off just reading the book.

Caless Davis is a Seattle-based film critic and contributor to the Feelin’ Film Podcast. He loves any discussion of film and meeting new people to engage in film discussions on any subject. You can follow him on Twitter and Instagram.

Episode 213: Parasite

Posted on by Aaron White.

For our January Donor Pick, the Patrons chose Bong Joon-Ho’s international sensation for us to discuss. There’s no doubt that this film has taken the world by storm, and for very good reason, as it is a masterclass in filmmaking with layers upon layers to peel back all while enjoying and entertaining domestic thriller. We chat about the biggest takeaways we had from the film, though we likely don’t cover everything possible as this one will be mined for new details for years to come.

Parasite Review – 0:01:06

The Connecting Point – 1:06:37

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MOVIE REVIEW: A Fall from Grace

Posted on by Caless Davis.

“A Fall from Grace” could be a descriptor for Tyler Perry’s career at the current moment. This particular film is a drama centered on a young unproven public defender who is trying to defend the innocence of a woman who admits to killing her husband in a fit of rage until she realizes that there is more to this jilted tale than just the actions of a scorned, heartbroken wife. Twists and surprises abound in an insidious manner, coming out of left field leaving the viewer confused and underwhelmed. The storytelling experience is nothing more than constant narration that points out events and moments, giving no room for the viewer to interpret anything for themselves. Perry is reliant on many flashbacks and chooses to use a jailhouse interview between the public defender and her client in order to flesh out the meat of the film, which speaks to the issues that are present in the screenplay. Tyler Perry needs to invest in a team of advisors to review and undo the bad habits he has developed in the writing room. It has become maddening and insanely frustrating to sit through narratives with no interesting characters and cheap soap opera drama. This film and others like it are only considered “drama” based on the genre but have no real dramatic weight that you expect. You could call “A Fall From Grace” a masterclass in inconsistent tonal structure and a lack of redeemable qualities. Perry also suffers from directional ineptitude, evident in his played out stories that do nothing but reuse the same conventional tropes his fans continue to eat up. Passion is lacking, especially in the laughable and cheap production design that had environments reeking of Dollar Tree inspiration. A moment does not exist in this film where the viewer actually believes they are living in a breathing and stimulating environment; it consists of thrown together moments of melodrama complete with a redundant reality television inspired musical score. There is no figment of entertainment value that shows itself to be apparent or earned. “A Fall From Grace” is the equivalent of a life sucking drain that wastes every minute of its existence.

Caless Davis is a Seattle-based film critic and contributor to the Feelin’ Film Podcast. He loves any discussion of film and meeting new people to engage in film discussions on any subject. You can follow him on Twitter and Instagram.

MOVIE REVIEW: Bad Boys For Life

Posted on by Caless Davis.

Rating: R / Runtime: 2 hours and 3 minutes

An action film shouldn’t be compelled to live up to the heights of a “Die Hard” or the efficiency and marksmanship of a “John Wick” to be considered a blast at the cineplex. If an action film can deliver side-splitting humor, unbreakable chemistry between two characters, and flair that oozes its way into finely staged action set pieces, then you have a winning combination.  “Bad Boys” has been the standard of which buddy cop films have tried to emulate and walk in the same quality footsteps for the last 25 years. The new, and possibly final, entry in the trilogy carries on the same favorable hallmarks that will have longtime fans of the series sitting on cloud nine while also ingratiating newcomers who love stylish and intense blockbusters. Will and Martin remain the best one-two punch working in cinema hands down, and they enjoyed a deserved send off fit for living legends.

Mike Lowrey (Will Smith) and Marcus Burnett (Marcus Lawrence) are still ripping the beautiful and glossy streets of Miami even with Father Time having paid them a visit. Just when things seem set for these guys to ease their way into a life after law enforcement, Mike ends up on the wrong end of an almost successful assassination attempt that has him rethinking his legendary status within Miami PD as “Bulletproof Mike”; it gives him a sense of mortality that he hasn’t gotten a drastic taste of until now. Mike wants to forge on the scorched earth path of tracking down his shooter while Marcus wants to move on from the chaos of law enforcement and settle into being a newly minted grandpa who loves watching reality television. Eventually, the two best friends realize they will need each other more than ever if they want to take down this new vicious threat who has a bit of history with Mike and is looking for bloodthirsty vengeance.

Screenwriters Chris Bremner, Peter Craig, and Joe Carnahan display ambition in crafting a story that pays homage to the Bad Boys brand while also taking some new avenues in adding deep stakes to the festivities. The humor is at a high level, dividing its time between callbacks that die-hard fans will enjoy and the gold standard of back and forth banter that Will and Martin have down to a delicate science. There are serious moments centered on the passage of time, family, mortality, death, and the old adage of “every sin has a consequence”. One area of the story adds a new layer to the character of Mike Lowery and his hidden past that made him into what he is; no spoilers here, but the added dimension represents an emotional core that audiences will appreciate outside of the usual action film hijinks. We have the old guard of characters that will be familiar and a new set that adds something modern to keep the film from just being a retread of past ideas. Newcomers such as Vanessa Hudgens, Paola Núñez, Alexander Ludwig, and others do a serviceable job being more than just window dressing in the presence of Will and Martin. They aren’t fully developed but don’t become annoying either with their time on the screen. Kate del Castillo and Jacob Scipio carve out a place as brutal and intimidating antagonists who carry a clear purpose, and some might say justifiable reason, to carry out the mayhem and suffering they want to inflict on our main characters.

I will admit in my deepest thoughts of nostalgia that I did miss Michael Bay’s high-octane overindulgent action set pieces and the massive number of explosions out of nowhere this time around, but I have no problem with the restrained efforts from the directing duo of Adil El Arbi and Bilall Fallah. The action jumps off the screen with a certain bounce that is admirable in its use of careful quick edits and some one-take shots that are very well done. If there is any word that can describe the tone of the camera movement, it has flashy written all over it. Direct jump cuts, immediate whip pans, and handheld work will keep the viewer on the edge, creating an intensity akin to a volcano ready to explode. Hand to hand combat is strong and features some striking stunt choreography, although unfortunately, it is very easy to tell when the stuntmen are on screen apart from the actors.

If this is the end for the saga of “Bad Boys”, then it has a glorious and satisfying sendoff. This film is not an Oscar contender or even one that will stand the test of time to be known as a guilty pleasure, but it doesn’t have to be in order to show people a fun time. Will and Martin have the special kind of hard to find chemistry that is enough to compel anyone to buy a ticket, and it upholds the prestige set by its predecessors in the buddy cop genre. “We ride together, we die together, Bad Boys for life.”

Caless Davis is a Seattle-based film critic and contributor to the Feelin’ Film Podcast. He loves any discussion of film and meeting new people to engage in film discussions on any subject. You can follow him on Twitter and Instagram.

MOVIE REVIEW: Underwater

Posted on by Aaron White.

Underwater, no one can hear you scream!
(unless of course they have a mic in their dive suit helmet and you do too, and then you can definitely hear them scream but I digress)

 

It’s easier to just get the comparisons out of the way right off the bat. The hot take will be that “Underwater” is “Alien” at the bottom of the ocean. And, of course, there’s some truth to that, or people wouldn’t be saying it. Sure, “Underwater” follows a female primary protagonist, who is part of a crew trying to stay alive amidst the presence of mythical deadly creatures, but much of the film plays out a lot more straightforward than you might expect, instead resembling a traditional natural disaster escape movie.

Narratively, “Underwater” isn’t too deep (heh), and that’s perfectly alright. Director William Eubank makes a great choice utilizing the credits sequence to provide background information that normally would be delivered via boring, pace-slowing exposition. Instead, a collection of newspaper articles, scientific papers, and memos flashing behind the credits tell us that our setting is a drill site in the Mariana Trench, where the deepest drilling in history is taking place, and that reports of mysterious shadowy creatures have been made. Once inside Kepler Station, we meet Norah (Kristen Stewart), reflecting on the isolation and timelessness of life in the deep while brushing her teeth. Within minutes, though, a breach of the station hull occurs due to an earthquake and what follows is a 90-minute rush to rescue, survive, and escape. Along the way, Norah, a mechanical engineer, teams up with fellow survivors. They include a wise-cracking, Alice in Wonderland obsessed goof played by T.J. Miller (who surprisingly has a few jokes actually land), their calm and collected Captain (Vincent Cassell) of the station, and a few others. The Captain proposes a dangerous plan where they will don their deep-sea suits, descend, and then traverse the nearly 7-mile deep ocean floor to reach another station that still has working escape pods. They all know it’s insane, but they have no choice. What follows is a suspenseful group effort to stay alive; some do, some don’t. At times it definitely gets ridiculous and some of the more chaotic action is nearly incoherent in the dark watery setting, but mostly it’s a hell of a lot of fun, with the dialogue kept at a minimum and the propulsive intensity dialed up high throughout. Stewart is a capable lead and her considerable talent is on display, even when not really necessary. She carries an emotional weight for the crew that elevated the film for me, and she is also a part of the film’s most memorable monster moment.

The concept of “Underwater” certainly could have been presented in a longer, smarter, and more dramatically heavy film – one that isn’t so predictable, doesn’t play fast and loose with science, and gives a more thorough explanation about the creatures encountered. But that’s not this movie, and as I said in the beginning, that’s okay. What “Underwater” does is deliver a fast-paced, claustrophobic, action-thriller (backed by an excellent Marco Beltrami/Brandon Roberts score) that works perfectly fine without sea monster aliens even introduced, but that takes joy in leaning into its creature feature third act. It’s wild and at times silly, but I had a great time watching it and would gladly sit through it again when it releases on home video. Not every movie needs to have depth (heh again) to be entertaining, even if its title makes you think otherwise.

Rating:

Aaron White is a Seattle-based film critic and co-creator/co-host of the Feelin’ Film Podcast. He is also a member of the Seattle Film Critics Society. He writes reviews with a focus on the emotional experience he has with a film. Follow him on Facebook and Twitter to be notified when new content is posted.

Episode 208: Die Hard

Posted on by Aaron White.

For December’s Donor Pick episode we tackle a Christmas classic and discuss what makes this action spectacular tower above the competition.

Die Hard Review – 0:00:57

The Connecting Point – 0:57:19

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MOVIE REVIEW: Uncut Gems

Posted on by Caless Davis.

The experience of your physical and mental senses being run through the gauntlet of a pressure cooker has never been more fully realized. Your heartbeat thumps with each new anxiety-filled sequence that won’t resolve itself, and an escalation of stakes conjures sweat to trickle from the surface of your forehead. Even in the quietest of moments, there is a sense that the viewer and the main protagonist will never find themselves out of the massive black hole that has swallowed them whole. The Safdie Bros “Uncut Gems” is a cinematic experience that demands full attention with its cascading thrills, visual/auditory richness, and Adam Sandler’s tour de force performance.

Set in the year 2012, Howard Ratner (Sandler) is a jeweler stationed in New York City who enjoys an impressive clientele that features a who’s who of musicians and athletes desiring custom pieces that stand out. Ratner receives the delivery that he has been salivating over for months, a rock filled with colorful gems straight from the country of Ethiopia. Ratner hopes to score a big windfall of cash from this prized possession in the form of an auction listing, while also getting serious loan sharks and bookies off his neck over uncovered debts. The plan does not go well due to unfortunate circumstances brought on by mishandled gambling decisions and the chaos of Ratner’s personal life unfolding behind the scenes, sending him traveling down a slippery slope of heightened drama and personal turmoil that can prove undo his quest for a high heaven payday.

Adding to the massive characterization of this New York City thriller is Daniel Lopatin’s chilling score, featuring a mixture of 80’s inspired synthesizers, monk chanting, jazz-influenced instrumentation, and pounding drums. The musical accompaniment is important to creating an atmospheric high on par with the thrilling events provided by the story. This is one of the best examples of the year in how a score can serve as a mirror to the emotional texture a film wants to supply the audience. There is an immersion element present in the sound design that is chock full of details and pays emotional dividends. One great example is a sequence that takes place in a club where the insurmountable boom of early 2010’s rap and R&B surround the auditory landscape, filling viewers with an  actual rendering of the chaos present on the screen

Sandler proves once again that he is not just useful in the comedic arena but can also encapsulate larger than life characters. He became Howard Ratner down to the accent, personality, walk, and contradictions. It is fascinating to watch him lose himself and take over the DNA of the film with a performance that is equal parts compelling, entertaining, and award-worthy. Lakeith Stanfield is wonderful in his supporting role and continues to travel upward to respectability in the cinema world. Basketball enthusiasts will be ecstatic to see Kevin Garnett have a major role in how this film unfolds, too. He is such a loveable cult of personality, playing himself, which is far from a fault but icing on the cake.

The Safdie Brothers feel right in their element with another adrenaline-filled ride that follows their previous breakthrough “Good Time”. This effort strikes white-hot with the handling of tension and offers a great exploration of morality in the dangerous world of high stakes gambling. The intense direction sparks growing suspense and dread that never leaves. Quick cuts, push in close-ups, and panning shots are employed with a showmanship style that captivates. It can be very hard for most films to keep up high energy because there is a risk of driving off the tracks and losing a sense of newness present in the tone. The Safdie Brothers have incredible talent displaying prominent control which keeps the audience hooked into what will be coming around the corner. This all leads to a shocking conclusion that will not leave my mind even with the advent of a new decade. Let’s just say that viewers will get their money’s worth, but it may not be in the manner of what they expected.

Darius Khondji’s work as cinematographer is visually powerful and hard to keep from gawking in amazement. The use of neon and fluorescent lighting in evening vignettes feels natural to the worldwide reputation of New York, also known as “The Concrete Jungle”. There is an air of grittiness, but also classy opulence, in the production design; apartments and houses that give off the style of high taste even with the characters and sequences involved being rife with uncertainty and sometimes illicit behavior. The look of a flashy extravaganza complete with luxury but embodying the same surface area as a Scorsese crime drama in homage brings the film home in a majorly impactful way.

“Uncut Gems” is a film that will test your strength and stamina in how much intensity one human body can handle. It is a drama that builds and builds on entertainment, suspense, and fascination until it releases it all in a climactic supernova, making it an integral part of the year in cinema.

Caless Davis is a Seattle-based film critic and contributor to the Feelin’ Film Podcast. He loves any discussion of film and meeting new people to engage in film discussions on any subject. You can follow him on Twitter and Instagram.

MOVIE REVIEW: Black Christmas

Posted on by Caless Davis.

The best experience anyone can have going to see a new film in the theater is being surprised by what new ideas it brings. Audiences are dazzled when venturing into the unknown and having their imaginations sparked. Contrary to that, some films follow the trends and cliches that have been established before. One genre that has fallen victim to this syndrome is horror films, specifically more so the reboot variety that aims to introduce an old story to new generations. “Black Christmas” is a case of a reboot trying to bite off more than it can chew in trying to balance the brand of horror its predecessors emulated while roping along social message parallels. It all adds up to a horrible cinematic experience and an easy candidate for a “Worst Of The Year” label.

Issues are abundant in every area, but especially so in a story that is comical and barebones which involves a supernatural/fantasy cult of men who hunt for women on a college campus during winter break. Audiences are treated to a narrative that will have you believe that a statue bust of a dead college founder can possess the souls of young men and turn them into murderous villains intent on keeping women from being a threat to the male population. The classic “toxic masculinity is the real enemy” message hits you in the face like a gust of wind almost throughout the proceedings. As a man, I am a staunch defender of female empowerment, but films like this make that message very obvious, with nothing new to say about this current societal issue nor any pleasant subtleness. “Black Christmas” comes off like a poorly written piece of fan fiction using Wikipedia articles as a source. Saying this film is predictable would be a serious understatement. There are no surprises in store; it can easily be foreseen who the villains are, who will be killed, and all of the twists that carry a facade of being clever. There is no thrill factor, which is a big no-no for an aspiring horror film and the pitiful attempts at comedy all fall flat on the floor. A better place for this cinematic eyesore would be an MTV Original Special or Netflix film with no one having to waste a dime on promotion.

The characters are not unique and suffer from a lack of development which keeps the viewer from caring who makes it to the end and who does not. Even the lead character is shorted by the writing as only being a victim of a sexual assault, with no other distinguishing trait. The villains look and speak like prototypical smug alpha males who lack a menacing presence and are reduced to angry misogynistic trolls spitting logic akin to the “He-Man Women Haters Club” skit from “The Little Rascals”. Imogen Poots was such a winner in the cult classic “Green Room” that it’s painful to see her subjected to this wannabe “deep” horror drama that shortchanges its own feminist message with rudimentary structuring.

“Black Christmas” is one of the worst films of the year and is a joyless bore of generic horror conventions. If you want to see a horror-thriller that has something to say about the female experience in the greater perception of society, check out the original predecessor and gems like “The Babadook”, “It Follows”, “Rosemary’s Baby”, and “Carrie”.

Rating:

Caless Davis is a Seattle-based film critic and contributor to the Feelin’ Film Podcast. He loves any discussion of film and meeting new people to engage in film discussions on any subject. You can follow him on Twitter and Instagram.

MOVIE REVIEW: 6 Underground

Posted on by Caless Davis.

After more than 20 years deep in the scene of Hollywood, Michael Bay has become set in his ways. During a blast of a start with blockbusters such as “Bad Boys”, “The Rock”, and “Armageddon”, Bay looked like he was headed on a fast track for bigger and better things. Over time, the excitement dwindled into apprehension and caution. Instead of testing out new frontiers for his imagination, complacency became the new buzz word surrounding his films, with them featuring an increase in bolder and audacious action set pieces while there was a steady decrease in any figment of story or cohesiveness within the structure of his projects. Bay is a frustrating director to watch as he continues to settle for the bare minimum and not tap into his potential greatness. “6 Underground” is the action film that is the sum result of who Bay has become over the last decades – a generic filmmaker.

Action sequences in the film are arcadey and mayhem populates the screen, bloating it with a constant supply of weak enemies, chrome cars, bullets, blood, and extravagant stunt work. Adding on to the claustrophobia, the jagged editing is enough to trouble even people with the highest of attention spans. Many moments possess so many cuts in a short time that there is no room for the frames to breathe. When people fight hand to hand, you don’t see any of the blows connecting or landing at their destination. There is a heavy emphasis on explosions, even when you are not sure how cars and objects are easily combustible. Some of these sequences feel much longer than they need to be; the continuity required to allow momentum to build and deliver on its promise gets lost. On the contrary, elements of entertainment such as this would make for a fantastic video game. The film has frequent callbacks to games like “Call Of Duty” and “Grand Theft Auto” that will melt the heart of teenage boys everywhere with its hyper and energetic tone.

Wernick and Reese’s script is immature, barebones, and filled with a weird love affair for dated pop culture references – just like they’ve done in the “Deadpool” and “Zombieland” franchises. References span from “Breaking Bad” to Britney Spears to “Butch Cassidy and the Sundance Kid” to “Nick at Nite”, and then there is a painfully cringe-inducing rendition of the opening lines of Eminem’s “Lose Yourself”. The release date says it’s the year 2019 but this film will have viewers thinking they are still operating in the mid to late 2000s. What passes for humor is stereotypical quips on different ethnicities, raunchy middle school sex ponderings, and lame use of poorly timed punchlines. We are in the mind of screenwriters who are trying to create mindless entertainment that is “cool” and “flashy” to stand out. The story is the last thing anyone is paying attention to; if anyone can crack the code as to why we have this group of wannabe mercenaries going around looking to take out villains on high pedestals, more power to them. Nothing makes sense as to why and how these characters came to be. The audience is told (through copious amounts of exposition) that a billionaire just decided to fake his death and become dead to the world. This techie then goes around looking for other people willing to share in the same sacrifice and become a part of this “ghost” team and make the world less evil to live in. Sounds great on paper but the choppy emotional beats and awkward time jumps make it difficult for anyone to wrap their arms around this material.

“6 Underground” is a playground that looks exciting to play in but nevertheless leaves nothing memorable to latch on to. Michael Bay is who I thought he was: a one-note director practicing the golden rule of insanity, making the same film over and over again expecting a different result. “6 Underground” is an audacious mess of the action experience.

Rating:

Caless Davis is a Seattle-based film critic and contributor to the Feelin’ Film Podcast. He loves any discussion of film and meeting new people to engage in film discussions on any subject. You can follow him on Twitter and Instagram.

MOVIE REVIEW: The Report

Posted on by Aaron White.

“The Report” is a mandatory and sobering look into the numerous unlawful violations and devaluing of humanity that occurred in the CIA’s Detention and Intelligence Program during the United States’ post-9/11 “War on Terror.” Daniel Jones (Adam Driver), a Senate staffer, is tasked with the job of investigating the CIA and uncovering their countless injustices, which tests his own emotional fortitude and belief in the hierarchy he occupies. The film offers an inside look into the dirty game of politics and how distrustful our own government has been about being forthcoming with their own citizens.

Scott Z. Burns, who served as both writer and director, holds nothing back in exposing the truth, while also pacing this story in a fluid manner that will command your attention. “The Report” plays out more like a documentary than a feature film thanks to an engrossing sense of realism and the rock-solid acting performances all-around. Adam Driver is having a tour de force of 2019, and this film just adds to his immense hot streak by way of a commanding performance steeped in determined heroism. Annette Bening, Jon Hamm, Michael C. Hall, Tim Blake Nelson, and Maura Tierney round out an excellent supporting cast and each adds nuance and credibility to the story being expressed on screen.

“The Report” will likely make your blood boil over how the federal government has operated in the name of “protecting our country”, but films like this should be championed for telling the stories that many would rather be kept in the closet.

Rating:

Caless Davis is a Seattle-based film critic and contributor to the Feelin’ Film Podcast. He loves any discussion of film and meeting new people to engage in film discussions on any subject. You can follow him on Twitter and Instagram.