The BFG doesn’t waste any time getting us into the action. We are barely introduced to young Sophie (Ruby Barnhill) who is awake at 3am in her dilapidated London orphanage. After hearing a noise outside, she goes to the balcony and sees something amazing. She spots a giant around 30 feet tall shrouded with a cloak to keep himself hidden. As they meet eyes, she runs back inside to hide under her blanket, and we see a large hand come through the window. Less than 10 minutes into the movie, Sophie is already being whisked away to Giant Country where the giant tells her that he intends to keep her for the remainder of her life.
Lucky for Sophie, the giant who snatched Sophie away is a Big Friendly Giant who sets off to Dream Country every night to collect dreams and spread them to households while bottling the nightmares away in his lab. He is indeed big, but as we soon learn, the other 9 giants are as much as twice as large as him and they aren’t so friendly. They eat humans, and children are some of their favorite snacks. With imaginative names like Meatdripper, Fleshlumpeater, Bloodbottler, and Gizzardgulper that could only be concocted by Dahl. I was disappointed that Mathison and Spielberg made these supposedly menacing creatures into giant ogres who pose dwarf-sized threats.
Continue reading Spielberg’s BFG (2016) Review
How deeply should I think about a movie who’s star is a farting corpse? If that were really all it was, I wouldn’t be giving it a second thought, but any movie that leaves a theater of people alternatively cackling with raucous laughter and asking themselves what the hell they just watched is worth talking about. I did come away with one thought… From now on, I’m going to fart in front of my closest friends as an expression of love.
I’m not even sure how a movie like Swiss Army Man is conceived. Though I guess I should expect it from the directing duo, “Daniels” who made the crazy video for the song, “Turn Down For What.” I don’t know how they came up with the idea, but I’m glad that they did. I’m glad that films like this are being made. As sophomoric as much of it was, it was strange and unique and beautiful.
Paul Dano and Daniel Radcliffe turned in a couple of funny and very moving performances. This film has so much ambition for a bleak, body oriented comedy. The focus is the absurdity of the human condition. We’re led along by our gross bodies, yet we spend all our lives denying and concealing their urges. The film frequently achieves a kind of weird poetry. A shot of a pallid, waxy Radcliffe laying in a bed of clover with a turd next to his head is especially beautiful. It sounds completely absurd and unappealing as I write it here, but that is what this film does so well. What sounds disgusting or juvenile actually plays out very differently on screen.
Underneath all of the bodily function humor, we have a very familiar story about a fairly sad protagonist who overcomes his fears and issues with the help of an eccentric and fearless friend. Filled with great pop culture references, “If you don’t know Jurassic Park, you don’t know…” and catchy music that will have you humming along, this is an emotional film that left me with a huge smile beaming across my face. I’m not sure how long it will linger in my memory or how it will stand the test of time, but I had a great time watching it. I think the ending will leave you questioning what you just saw while you laugh uncontrollably. Be sure to see it with people. This is a film that like a fart should be shared with the ones you love.
The Neon Demon is an uncompromisingly divisive film. The 10th feature film for Nicolas Winding Refn who has made quite a name for himself with his unique style and controversial subject matter. His best known previous film was the extremely well received 2011 film, Drive, starring Ryan Gosling. After returning to the screen with Ryan Gosling in 2013’s Only God Forgives, Refn has now chosen to make a very female-centric film in The Neon Demon. In it there is a stirring commentary on the culture of beauty in our society today.
Refn said that this film was allowing him to be born into the body of a beautiful 16 year old girl. He didn’t know what it was like to be beautiful and with two daughters, the oldest of which is 13, he wanted to explore the idea of beauty and see how deep the rabbit hole goes. Some believe that Refn has gone too far and has slipped into the realm of smut in his latest film. I can see where they are coming from since there are some very extreme taboos that he plays with including cannibalism and necrophilia. However, while it certainly is not for everyone, The Neon Demon is a powerful film which has had me pondering its themes of beauty and death ever since I saw it last week.
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With Independence Day: Resurgence, Roland Emmerich is giving Michael Bay a run for his money and solidifying his status as the Director you call if you are looking for global catastrophe.
I try to watch a movie for what it is. This is not an artful indie flick with snappy dialogue. This 20 year old cluttered sequel to the 1996 smash Independence Day is a summer popcorn movie. That usually means destruction in between bursts of vapid or humorous dialogue, Resurgence delivers according to those expectations. But for some reason, Emmerich feels the need to continually remind us that this is an Independence Day sequel instead of just making an Independence Day sequel. It seems like we can’t go more than 5 minutes without some visual or auditory clue that we are watching the child of his most accomplished work.
Continue reading Independence Day: Resurgence (2016) Review