“Class of Nuke’em High is a great intermediary between the higher-end Troma productions such as the Toxic Avenger franchise and the ‘sexy comedies’ Kaufman focused on earlier in his directing career.”

Class Of Nuke’em High

Directed by Richard W. Haines

Every Troma Entertainment release provides a sense of familiarity to its viewers; not only because they have a tendency to re-use scenes in more than one movie, but because their self-effacing style and deranged approach is exactly what you come to expect from a Lloyd Kaufman production.

Class of Nuke’em High is no different, as this 1986 film saw Kaufman (directing here as Samuel Weil) fresh off the success of his landmark creation, The Toxic Avenger. All of the typical B-movie attributes are here, and then some: outlandish costumes and make-up, insanely cheap special effects, a continuous soundtrack in the background and of course, a ton of frontal nudity.

Though not as gory or elaborate as future Troma Entertainment productions, Class of Nuke’em High actually contains a better storyline. The students at Tromaville high school, on the outskirts of the Tromaville Nuclear Plant, have been acting weird lately. No, it’s not because they were given scripts written by Kaufman and Haines, but rather because the weed the ‘Cretins’ (a local gang) have been buying and selling from a power plant official is actually grown near the plant itself. Upon smoking it, hilarity and hijinks ensue.

The second half of the movie will please traditional Troma fans, as it introduces a particularly familiar monster (some kind of Alien/Hellraiser hybrid), and a lot more slash and splat. The whole thing kind of unravels towards the end but it’s to our advantage, as zanier punchlines and more dramatic, gratuitous effects take prominence.

Class of Nuke’em High is a great intermediary between the higher-end Troma productions such as the Toxic Avenger franchise and the ‘sexy comedies’ Kaufman focused on earlier in his directing career. As one high school student smugly suggests early on in the film, “even if there was a little radiation around here, who gives a shit?” We’re thankful Kaufman carries that attitude into every one of his productions.

- Myles Dolphin

http://www.troma.com/

Pulling John

Directed by Vassiliki Khonsari

If the name John Brzenk doesn’t ring a bell, don’t worry: he’s just an airline mechanic for Delta. But since 1983, he has also developed and cemented his legendary status as the greatest professional arm wrestler of all-time (as certified by the Guinness Book of Records). His utter dominance of professional arm wrestling surpasses all other similar supremacies in pro sports; to his peers he represents a hybrid of Gretzky, Jordan and Pele. No wonder he’s dubbed “the legend” everywhere he goes.

While Sylvester Stallone’s 1987 flick Over the Top failed to popularize professional arm wrestling in America, the sport is alive and well in over 120 countries worldwide. Countless tournaments and competitions are organized on a yearly basis, and rankings are attributed based on weight classes. Filmed over the span of 4 years, Pulling John directors Vassiliki Khonsari & Sevan Matossian set out not only to film the definitive documentary on pro arm wrestling, but also to cast the spotlight on 3 of its biggest stars: Brzenk, Travis Bagent and Alexy Voevoda.

Strangely reminiscent of King of Kong: A Fistful of Quarters, Pulling John is a fascinating look at the reputation Brzenk has built across the world, bending thousands of wrists along the way. Every single person interviewed speaks very highly of the soft-spoken, somewhat reserved individual who is reminiscent of Steve Wiebe. Brzenk’s accomplishments are so astounding they border on questionable: he’s won 95% of his matches in the past 25 years and he’s often beaten wrestlers much bigger than him. He’s won in 5 different weight classes during the same tournament more than once and he even beat a 600-pound pig farmer from Georgia.

Travis Bagent, meanwhile, embodies Billy Mitchell’s attitude as the arrogant Southerner whose main goal is to dethrone Brzenk atop the world rankings. Voevoda is a similarly captivating character, the spiritual giant from Socia, Russia who idolizes Brzenk and who promotes the importance of being in touch with nature and the environment. All three individuals converge towards the end of the film and until the final match, the ‘legend vs talented youngsters’ feel kept me glued to my seat while I rooted for Brzenk to keep winning.

With absolutely zero knowledge that such a highly organized and competitive circuit existed, I was completely enthralled by the film and how it managed to focus on the athletes’ lives both on and off the stage. The archival footage is impressive and effective at conveying how devoted these athletes are to their sport, which will actually be a spectator sport at the next Olympic Games.

In true cinema verite style, Pulling John is a simple and compelling documentary in which the characters on the screen tell their own story. It truly deserved its official selection at the 2009 SXSW and along with King of Kong, it is very successful at telling a tale that would not likely have been heard otherwise.

- Myles Dolphin

Directed by Miguel Sapochnik

Have you ever seen Repo! The Genetic Opera? It premiered at Fantasia on July 18^th, 2008 to a packed house. Upon receiving mixed reviews the film obtained a limited theatrical release in North America the following winter and was finally released on DVD a few months later.

Surely you must be asking yourself several important questions by now, such as “why is he wasting my time with this garbage information?” and “are my pop tarts ready?” Well, my friend, your pop tarts ARE ready and the movie I am about to review is a blatant rip off of the aforementioned one

Yes, sadly, Hollywood and its six major movie studios have sunk to new lows. Not only have moviegoers put up with remake after remake for the past decade or so, but now Universal Pictures and its visionless executives felt it was necessary to use the exact same storyline as Darren Lynn Bousman’s rock opera.

Some people might argue that there is a clear distinction between both films, as one is aimed at a particular niche (horror fans) while the other is a mainstream Hollywood blockbuster. I don’t think so. It’s obvious that the idea of organ repossession by repo men working for an evil corporation in the future is the plot for both, and there is no denying that. Even Bousman expressed his anger towards the making of Repo Men on his Myspace blog: “Okay, lets get this out – I AM NOT HAPPY ABOUT REPO MEN! In fact, I am really let down. All it takes is one viewing of the trailer to see how similar our movies are.”

Now, you might also be wondering whether Repo Men is any good. There’s an answer for that too: no! The plot is actually something you’d exactly expect a rock opera to be about, isn’t it? It’s such an absurd storyline that without the musicals and the flamboyant costumes, what are you left with? It almost sounds like a really bad idea Philip K. Dick would have thrown away almost immediately after having developed it. However, you’ll always find a director desperate enough to tackle ANY project and in this case, it’s inexperienced British filmmaker Miguel Sapochnik, who thought it would be clever to associate mambo music with fight scenes (the movie was originally called Repossession Mambo).

Yes folks, that’s not a typo. Dude thought he was Stanley Kubrick for a second there in trying to juxtapose typically happy music with scenes of extreme violence. It didn’t work, and please don’t quit your day job. As for me I am still trying to grapple with Hollywood’s fascination with the future and all things associated with it. I can see the appeal in imagining a world hundreds or thousands of years from now but if people speak and act exactly like they do now, it’s not a very accurate depiction of the future, now is it?

Regardless of my rant, I am willing to divulge a few details about this film. I wasn’t entirely disappointed with everything: Jude Law and Forest Whitaker, a duo likely picked among dozens of names in a hat, do exhibit some kind of on-screen chemistry and it was fun to see them in relatively unorthodox roles. They work for The Union, the corporation who will gladly install a shiny new (expensive) organ inside you if only you can find the cash to pay for it within three months. If not, then Law and Whitaker get sent out to hunt you down. While the script is entirely “fill in the blanks” thanks to Eric Garcia and Garrett Lerner, Law is a versatile actor who can pull off the role of a convincing killer in one movie and play a completely different character in another. Thank God for the little bit of violence this movie was able to produce because for the most part I was thinking about when to send in my income tax return. Of course there’s the generic love interest between Law and Alice Braga, the Brazilian hottie with the tight clothes. Her introduction to the story does add some much needed spunk, as she is almost entirely composed of organs which are now “owed” to The Union. Dilemma!!!

If you enjoy Matrix-style action (especially the scene where Neo fights off several dozen Smiths in the white hallway) coupled with Shoot’em Up nonsensical power violence, then you might actually enjoy Repo Men. It’s mindless entertainment, that’s for sure. However if you’re as hard to please as my ex-girlfriend was, then you’re in for a long night! As a weird hybrid of comedy, horror and action, it’ll appeal to a large demographic but ultimately one that this writer does not belong to.

- Myles Dolphin

Shutter Island definitely begs a second viewing, and while it might not rank up there with earlier Scorsese classics, it remains a masterpiece in my eyes, and a production that has set the new standard for all future psychological thrillers.

Shutter Island

Directed by Martin Scorsese

Before seeing Shutter Island, all I knew about the plot was that it revolved around two U.S. marshals investigating the disappearance of an escaped mental patient on an island off the coast of Massachusetts. The lack of information is an effective marketing strategy that should be employed far more often, as it increases word of mouth and creates a strong buzz that normally wouldn’t accompany a movie that had spilled all its beans in several trailers (i.e. The Wolfman).

Keeping in mind that I can’t divulge too much about the plot because it would ultimately ruin your viewing experience, I can tell you that Scorsese adapted Dennis Lehane’s novel of the same name particularly well, especially in weaving back and forth between different elements of the story. With a non-linear narrative as complex as this one, a novice director could have really missed the mark by foreshadowing too much and too early, but thankfully we’re dealing with Martin Scorsese here, a veteran who chooses to feed us bits and pieces when he sees fit.

His trusty muse, Leonardo DiCaprio, delivers one of his greatest performances to date. DiCaprio is truly believable as U.S. Marshal Teddy Daniels, a family man and war veteran with a troubled past, most of which is explained through deftly placed flashbacks. As he and his partner (the almost equally brilliant Mark Ruffalo) investigate the crime, we truly realize how devoted DiCaprio became to this character. Frequent close-ups of his face illustrate DiCaprio’s rightful place among today’s most versatile actors.

Speaking of versatility, the island’s chief administrator (Dr. Crawley) is played by the always brilliant Ben Kingsley, who would be my initial choice if ever I had to choose the ideal poker partner. His deceitful ways has the two marshals running around the island looking for answers, many of which are not acquired easily. Dr. Crawley seems compliant at first, and a lot would suggest he is, but there’s something just not quite right about him. Kingsley’s composure prevents us from putting our finger on it.

What is also enjoyable about this movie, besides the myriad of amazing performances, is the confined setting with which Scorsese chooses to focus his attention. As an island completely detached from the outside world, with no communication and very little transportation opportunities to or from the mainland, Scorsese is able to explore the various nooks and crannies that the island has to offer. This is where shades of Hitchcock are most apparent, and where Scorsese’s talent for crafting a psychological thriller is best in evidence.

One extremely important aspect of the film, its score, plays a prominent role in setting the mood during the most vital moments. Music supervisor and long-time Scorsese collaborator Robbie Robertson hand-picked a collection of classical compositions and combines the right sound with the right scene, time after time. A particular ‘loop’ of four identical notes, performed on violin, is used throughout the movie on several occasions but its most effective use is in the second scene, as DiCaprio and Ruffalo set foot on the island. This seemingly effortless sequence is at once unobtrusive and spine-chilling.

At times this movie might remind you of particular scenes in Mean Streets or Cape Fear, but in the end it really cannot be compared to anything else Scorsese has created. Therefore, it must be judged on its own merits, and by that process it truly deserves high praise: not only for the genius of its slow and teasing delivery, but for retaining its integrity until the very last scenes. You might get a glimpse of foreshadowing halfway through the movie, but the last twenty minutes will have you gripping your seat in awe as the tantalizing twist finally unfolds.

Shutter Island is definitely begs a second viewing, and while it might not rank up there with earlier Scorsese classics, it remains a masterpiece in my eyes, and a production that has set the new standard for all future psychological thrillers.

- Myles Dolphin

When comparing these critical scenes to their counterparts in such classics as An American Werewolf in London or The Howling, they are simply not in the same league.

The Wolfman

Directed by Joe Johnston

Joe Johnston walks into a bar and says: “Bartender, I’ve directed Honey I Shrunk the Kids, Jurassic Park III and Hidalgo. I think that warrants a free drink.” The bartender turns around and shoots Joe’s head off with a shotgun. I didn’t say it was going to be funny.

Oh, how I wish something similar had actually happened a few years ago. Unfortunately, such malevolent desires are rarely fulfilled, and movies such as The Wolfman are still green-lit by studio executives.

While Benicio Del Toro, Hugo Weaving and Anthony Hopkins remain excellent actors in their own right, their combined efforts to save this sinking mess of a movie proved most futile. Not only is it an embarrassing remake of the 1941 original which bore the same name, but it is an insult to every man, woman and child who wastes his or her hard earned cash on this film.

You see, movies of this genre, in this day and age, are supposed to take advantage of modern visual effects, not make efforts to leave the most impressive parts on the cutting room floor. This is exactly what Johnston accomplishes during what could be the movie’s most imposing scenes: Del Toro’s transmogrification process.

By cutting at rapid-fire speeds and limiting the process to 15 seconds or less, the audience is left in a daze, and it feels like Johnston wants to get to the killing as soon as possible. When comparing these critical scenes to their counterparts in such classics as An American Werewolf in London or The Howling, they are simply not in the same league. The end product is comical to say the least, as Del Toro resembles a man in some kind of makeshift gorilla suit. Besides the teeth and elongated fingers, there is very little semblance of a werewolf.

The decision to cast Del Toro (Laurence Talbot) in the first place is an intriguing one. I’ve always been against casting high-profile actors for these roles because as soon as they transform, they become unrecognizable and essentially forgotten by the audience. Therefore, it could be said that it doesn’t really matter who you’re casting, as long as the plot is distracting enough (in this case it really isn’t). Del Toro will most likely look back on this with a certain amount of shame, as his sub-par performance is somewhat of a low-point in an otherwise distinguished career. Here, he is somber and constantly mumbling, as if repeating his role of a recovering heroin addict in Things We Lost In The Fire. When there should be some kind of established sympathy for his character by the end of the movie, there is none, and in turn we realize how little character development there has been in the 80 or so minutes he has been on screen.

Meanwhile, Weaving reprises his role of Mr. Smith from The Matrix as a detective from Scotland Yard with a slow, cal-cu-la-ted sp-eech. His goal is to find out exactly who, or what is killing all these villagers, and by George he’s going to do it. Hopkins plays Sir John Talbot, Laurence’s evil father with a secret past and easily the best performance in the movie. Fortunately for you, the rest aren’t worth mentioning.

The final insulting blow Johnston lands on his viewer is a series of belittling jump scares, many of which can be foreseen much in advance due to Danny Elfman’s lifeless, predictable score. Add to the mix Andrew Kevin Walker’s script, which harkens back to another similar period-film he wrote, Sleepy Hollow. What’s the deal with always having bumbling, clumsy villagers who trip on their own shoelaces, and who couldn’t shoot a stray cat if their lives depended on it? Please reply at the bottom of the page, Andrew.

Make note that The Wolfman is for hardcore lovers of this genre only, and that if you’re expecting anything more than an original plot and an intimidating werewolf, you’re going to be extremely disappointed. On the bright side, fans of the moon will be satisfied as for some reason, as Johnston chooses to show how bright and full it is every 3 minutes or so.

- Myles Dolphin

bills itself as a low-budget film bent on entertaining audiences…

Daybreakers

Directed by Michael and Peter Spierig

Over the years several pairs of brothers have directed high-grossing, successful Hollywood films. Notable duos include the Cohen’s, the Wachowski’s, the Hughes’ and the Farrelly’s. However, the Spierig brothers from Australia will never, ever be on that list.

They are responsible for the abysmal mess entitled Daybreakers, the latest film to emerge from the enormously annoying vampire/zombie craze that’s been sweeping North America for almost two years now. Despite an impressive cast that includes Ethan Hawke, Willem Dafoe and Sam Neill, the movie never delivers on its promise to entertain and terrify, like the taglines on its early posters seemed to indicate.

No, instead it just crashes and burns, like so many films of its genre have done before. Unfortunately I’m a gullible person, easily lured to the cinema by attractive and shiny trailers that feature star-studded casts. I keep hoping that great trailers will translate into great movies, but like the lottery, we keep playing in the hopes of winning; and we never do.

Daybreakers has a very simple premise (a dwindling human population and a rising vampire population means less and less available blood for the latter), and it even bills itself as a low-budget film bent on entertaining audiences the same way B movies do. Yet, the two most important aspects the movie should be focusing on (gore and humor) are surprisingly low in supply. Dafoe’s character (Lionel ‘Elvis’ Cormac), one of the last humans fighting for survival and equipped with a crossbow, should be blowing people away left and right, as well as making wise cracks a la Ash from Army of Darkness, but all we get from him is a few instances of monotonous combat and the worst one-liners you can imagine. The kind that don’t belong in a B-movie, but rather in something sadder and lower in budget, if such a thing even exists.

Fortunately Hawke’s character (Edward Dalton), a brilliant scientist looking for a human blood substitute, is significantly less one-dimensional than Dafoe’s, although it’s still extremely painful listening to what he has to say. When both characters find each other and interact it’s hard not to cringe, especially when Dafoe explains to Hawke that the feeling of sunshine on one’s skin is akin to being like “a piece of fried chicken”. Many such one-liners yielded exactly zero laughs from the audience at the cinema that night, and I’m glad I wasn’t the only one to want to get up and throw something at the projector behind me, in the hopes of smashing it to pieces and therefore saving whatever was left of my brain. Oddly enough the slow motion scenes, which will undoubtedly elicit numerous comparisons to The Matrix, produced the most laughter, but the kind Nelson from The Simpsons would dish out.

It’s true, I have little or no fascination for the vampire film genre, but I was willing to give Daybreakers a chance because it promised not to take itself and its premise seriously. In attempting to do so, it totally missed the mark and landed somewhere between Blade 3 and Dracula 2000. I would have appreciated more vulgarity and recklessness from Dafoe and Hawke, two of my all-time favorite actors, but their desire to participate in such an awful movie will make me even more skeptical of their next roles.

Daybreakers had been in post-production since late 2007 but in all honesty, Lionsgate should have left it on the shelf and saved us all a lot of grief and frustration. Its movies like this that make us look forward to the release of the upcoming Tooth Fairy, starring Dwayne Johnson.

- Myles Dolphin

1- Children Underground (2001)

Directed by Edet Belzberg

A little-known Romanian documentary about homeless kids living in Bucharest subway stations. I’ve never seen anything this sad. It’ll make you want to adopt one of them.

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2- The Bridge (2006)

Directed by Eric Steel

A look at the most common suicide spot in America: the Golden Gate Bridge. Footage of jumpers and interviews with their relatives and friends. It’ll make you appreciate life.

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3- Who killed the electric car? (2006)

Directed by Chris Paine

A fascinating look at the rise and fall of GM’s electric car, the EV1. It’ll make you wish you had one.

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4- An Inconvenient Truth (2006)

Directed by Davis Guggenheim

Whether you believe in global warming or not, a must-see nonetheless. It’ll make you take a long, hard look at the subject.

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5- Up the Yangtze (2007)

Directed by Chinese-Canadian director Yung Chang

A look at the people living along the Yangtze River and how their lives are affected by the building of the Three Gorges Dam. Not only are most of them forced to move, but like many Chinese farmers they are forced to transition towards consumer capitalism. Visually stunning, and it’ll make you buy a ticket for a cruise up the Yangtze (I did it myself in 2002).

6- March of the Penguins (2005)

Directed by Luc Jacquet

This documentary made it official: I am in love with emperor penguins. It’ll make you cry.

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7- Religulous (2008)

Directed by Larry Charles

Bill Maher the atheist looks for answers to some very difficult questions. Only he can make fun of religion like this. It’ll make you rip that chain from around your neck.

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8- The Cove (2009)

Directed by Louie Psihoyos

Documentaries about animals are particularly touching, and this is no exception. Seeing this has altered my feelings about dolphin and whale hunting forever. It’ll make you want to become an activist.

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9- Encounters at the end of the world (2007)

Directed by Werner Herzog

The most beautiful cinematography I’ve seen in years. Herzog’s soothing voice takes us around Antarctica, meeting the people who call it home. It’ll make you want to visit.

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10- Jesus Camp (2006)

Directed by Rachel Grady and Heidi Ewing, 2006)

Not unlike Religulous, this is a documentary that’ll make you think twice about organized religion and its consequences on impressionable kids.

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- Myles Dolphin

Directed by Cherien Dabis

There is an obvious correlation between the 2003 invasion of Iraq and the rise in Islamaphobia across the United States. Arabs (or anyone Arab-looking) who had already established their lives in the States before that year suddenly found themselves the target of racial prejudice, and those who would immigrate shortly after would be subjected to the same kind of treatment. In Amreeka (the Arabic word for America) we follow a single Palestinian mother, Muna (Nisreen Faour), and her teenage son Fadi (Melkar Muallem) as they embark on a life-altering journey from the confines of Palestine to the wide open spaces of rural Chicago in March 2003. After winning the Green Card lottery and weighing the pros and cons of such an important move, they eventually travel halfway across the world and into the home of Raghda’s family, Muna’s highly Americanized sister.

The result is not quite what Muna expected. America isn’t all that it’s hyped up to be: the fact that she can’t find a decent job because of her ethnic background is reminiscent of her daily struggles with the Israeli border guards who would often belittle her. Her son’s integration within the American high school system isn’t any smoother, as he is automatically demonized for being Middle Eastern, and even jokingly asked “not to blow the school up”. It is very difficult for him to gain any respect in an overwhelmingly ‘pro-troops’ environment.

The animosity they both face is loosely based on the experiences of rookie director Cherien Dabis, who assembles an interesting cast of character actors for these roles. Alia Shawkat (Arrested Development) is also featured and it turns out that she is actually half-Iraqi: she takes Fadi under her wing and attempts to instill some American values in him. The film’s authenticity is conveyed by the interactions these characters have, but especially between Muna, Fadi and the Americans they encounter. Furthermore half the movie is shot in Arabic, which is very effective at showing how the characters really feel whenever they use it in an English setting. More often than not it is used to lament about the current state of things, which really makes you empathize with the characters.

The movie has no political agenda, although the Palestinian-Israeli conflict is portrayed in a certain light, but rather aims to establish the hardships that Muna and Fadi can’t seem to escape, and to make us realize that under the skin we’re all exactly the same. The resilience they exhibit is quite commendable and their capacity to adapt in a foreign, hostile environment puts a feel-good spin on an otherwise morose story. There are several comedic moments thrown into the mix, which mostly involve Muna learning about American culture. My favorite scenes involve her asking the simplest questions to random strangers, i.e. “You would like to lose weight, wouldn’t you?” or “Why is your hair blue?” Her curiosity and broken English make her an extremely likeable character, and one that you find yourself rooting for by the second half of the movie.

If anything, Amreeka serves to remind us of the far-reaching implications of American mass media, and the stereotypes that are propagated through it. It’s also a fascinating insight into the transition experienced by millions of people who land on North American shores every year, and who face an uphill battle as soon as they “get off the boat”. This movie had a considerable effect on me and I highly recommend it to anyone with an interest in culture and social dynamics.

- Myles Dolphin

The Men Who Stare at Goats

Directed by Grant Heslov

According to Jon Ronson’s book The Men Who Stare At Goats, the U.S. government has experimented with various extra-sensory ‘abilities,’ such as remote-viewing and mind control, since the 1950s. These highly classified sub-divisions of the Army were developed in the hopes of creating a different kind of warrior, one who could harness mental abilities to destroy his adversary. Although many of these divisions were kept under wraps, journalist Ronson (known as Bob Wilton in the film) got wind of a low-profile Army project after having met Jim Channon, the former colonel who wrote a manual for the creation of the ‘First Earth Battalion,’ an army unit to based upon New Age principals. The book, which inspired the film, charts the absurd journey that began with this chance encounter. It contains a wild, often questionable, but ultimately fascinating story of introspection and destiny.

Channon (known as Bill Django in the film) is a war-vet turned peace guru played by the versatile Jeff Bridges, a role reminiscent of the wackier characters Bridges has played in the past, such as ‘The Dude’ in The Big Lebowski and Jack Lucas in The Fisher King. An advocate of peaceful alternatives to warfare, Django is put in charge of a small unit dedicated to developing paranormal combat techniques. His most gifted student, Lyn Cassady (played by an enigmatic Clooney) is pursued and eventually befriended in Baghdad by a young Wilton (played by Ewan McGregor). When Cassady reveals his mission to Wilton, the two team-up and set off on a series of adventures. Wilton feeds off of Cassady’s neurotic behavior, and both characters are able to find clearer paths to their destinies with each other’s help.

The story shifts back and forth between past and present, a technique deftly exploited by rookie director Grant Heslov and talented screenwriter Peter Straughan, who aimed to preserve as much of the story’s alleged authenticity as possible. Much of the film is a vehicle for Wilton’s introspection, and the ways in which he learns more about himself and his destiny. Along the way we discover more and more about the First Earth Battalion through Cassady’s wild stories, which are truly weird, especially since most of them really (well, maybe) took place. The title, for example, comes from an experiment Cassady was forced to participate in; after having stared at a goat for several minutes, the poor animal fell to the floor dead (a cinematic effect achieved by using a special breed known as “Fainting” goats).

Top-notch, diverse performances ensure the movie’s effectiveness, with each character significantly different in personality and style. Kevin Spacey rounds out a star-studded cast by playing Larry Hooper – the ‘Judas’ of the group, if you will – Django’s mean-spirited ex-student, whose mission is to sabotage his arch-nemesis, Lyn Cassady. The jealousy and spite towards his more gifted colleague is often brilliantly portrayed by Spacey’s deadpan reactions, and the various encounters between both characters are the highlights of the film.

Director of photography and Clooney right-hand man Robert Elswit (There Will Be Blood, Syriana, Magnolia) uses the beautiful New Mexico backdrops to his advantage and the editing is flawlessly executed by Tatiana Rigel (Lars and the Real Girl, Jackie Brown).

I’ve always been a sucker for a movie that’s based on a true (-ish) story and I was quite impressed with Heslov’s effort with this film. I left the cinema with a huge grin on my face and a strong desire to read Ronson’s book, a feat not often achieved with movies these days.

- Myles Dolphin

As I left the cinema Friday night still reeling from my experience, I realized that the perfect barometer for Spike Jonze’s Where the Wild Things Are was the 4-year old girl walking with her mom in front of me. Throughout the film I could hear her alternating between laughing, crying and screaming. In a nutshell, those are exactly the kind of emotions that this movie elicits.

The hype surrounding Jonze’s latest creation (ten years in the making) was deafening and the stakes were high considering last year’s mini-debacle when test footage leaked online spurred many to lash out against it. However in his traditional perfectionist style, Jonze took it all in stride and eventually created a truly beautiful interpretation of Maurice Sendak’s famed children’s book.

Once our protagonist (a neglected Max Records) escapes to the island where the wild things are, long-time collaborator and brilliant cinematographer Lance Acord relies on simplicity to convey his idea of pure, unadulterated fun. Using mostly a handheld cam, Jonze and Acord follow the newly-appointed king (Records) and his rag-tag, bickering followers (monsters voiced by James Gandolfini, Catherine O’Hara and Forrest Whitaker, notably). The Wild Things, who essentially personify a bunch of innocent, schoolyard kids, interact with Max in such an easygoing way that it’s hard not to develop a natural fondness for them. Like any kids their age, they lack the evil tendencies that adults have to judge and scrutinize, and thus Jonze takes us on quite an exciting ride where we witness the trials and tribulations of their newfound friendship.

Jonze’s creativity is unmatched here and during several scenes, I was reminded of my first couple viewings of Labyrinth, and how that magical aura made me feel every time I saw it. This is no different. Although the direction of the plot often switches back and forth from happy to sad (perhaps once too often), it’s a story that is simply too good and heartwarming to dislike.

Ultimately the studios who produced this movie (Village Roadshow and Legendary) decided not to market it as a kid’s movie and I commend that decision. The subtleties and undertones are simply too demanding for a child who might only appreciate half of the film’s content. It can get pretty hectic at times, too, such as when Max and the Wild Things take an impromptu nap together, with the former caught in a rather claustrophobic situation, or when the tensions mount towards the end and one of the Monsters storms off in a violent manner. There are simply too many adult ideas about childhood for children under the age of 10 to grasp.

The soundtrack is poppy and you will often find yourself tapping to the beat; it’s one of those scores that will remind you of the times you just let go and enjoyed the freedom associated with being a kid. While simple in its aesthetics but clever in its delivery, this is a story you’ll want to see more than once. A classic for many years to come and a guaranteed Oscar nomination for Jonze.

Myles Dolphin

As a huge fan of Natural Born Killers and White Men Can’t Jump, I used to look forward to every Woody Harrelson movie. For awhile we were spoiled with excellent performances but in the past decade, I’ve been thoroughly disappointed with almost every role WH has signed up for. Well, believe it or not, you can only bash zombie brains for so long before it starts getting really old. Here’s proof.

Colombia Pictures and Ruben Fleischer, the rookie director at the helm of this picture, decided it was time to jump on the ‘Zombie comedy’ bandwagon and produce something that everyone has already seen before. Why? Because it’s a cash cow that’s damn profitable at the moment and at the same time, they figured they could ride Jesse Eisenberg’s (or should I call him Michael Cera V2?) coattails. This young lad, ironically, last appeared in Adventureland. See the similarity? It doesn’t stop there, but I’ll avoid wasting your time.

Sure, Eisenberg is funny from time to time, especially when he reacts to Harrelson’s rage issues, but his accelerated retorts and nervous composure eventually get on your nerves. Furthermore, he plays the role of narrator and thus we have to listen to him twice as much. His novelty, just like Cera’s, is quickly wearing off, and it would be time for him to start researching radically different roles if he wants to ensure a long and fruitful career.

Next disappointment is #66 on Maxim’s Hot List of 2009, Emma Stone. Her waspy voice and enthusiastic use of mascara wasn’t going to salvage this mess, nor was Abigail Breslin’s performance; she seemed well out of place in her first “teenage” role. These two didn’t have nearly as much chemistry as Eisenberg and Harrelson did, yet, they were supposed to be sisters. A lot of the generic “we have to stick together” nonsense is included in a pathetic attempt to strike a sympathy chord with the audience, but it doesn’t stick as too often, as the dialogue veers wildly from comedic to dramatic. The writers’ indecisiveness and lack of confidence shines through and we have to take that into account when blaming our lead characters for such abysmal conversations. The worst part, though, was certainly when Eisenberg (as narrator) proudly exclaimed that Harrelson was “in the killing business, and business was good.” Hadn’t I heard that elsewhere this past summer?

All in all, this is clearly a vehicle for Eisenberg’s continued rise to stardom. Expect a deceptively simple plot (two guys and two girls in a zombie world, making their way to an amusement park because it’s supposedly safe there), with one-dimensional characters and MTV-ready dialogue. Add to that about a hundred gratuitous references to pop culture because you know, it’s fun ridiculing Titanic, Anaconda and Miley Cyrus. The only highlight is a fantastic cameo by Bill Murray, but one that ultimately feels forced, kind of like Mike Tyson’s in The Hangover.

Should zombie movies be comedies or horrors? I’m on the fence, but one thing I do know is that they should bring something original to the table, unlike Zombieland.

Myles Dolphin

Daybreakers

Directed by Michael Spierig & Peter Spierig

In 2003 the twin Australian filmmakers, The Spierig Brothers, unleashed the no-budget, frenetic, zombie opus titled Undead onto the world. Now after a six year hiatus, they have finally returned with the world premiere of their new movie Daybreakers, at TIFF’s Midnight Madness. Daybreakers tackles the vampire genre with all of the energy and enthusiasm shown in Undead, but now with a bigger budget, a more revered cast, and a better script. The vampire film has become almost as tired as the zombie film, but with even greater presence in the mainstream. It’s saturated with things like Twilight and True Blood, taking the terrifying Draculas and Nosferatus, and transforming them into pop icons like Edward Cullen. Now the Spierig bothers are breathing some new life into the vampire genre with their extremely inventive second feature. In this world, power has shifted into the hands of the vampires, driving the few remaining free humans into hiding. The rest are locked in massive facilities designed for the farming of blood, but the supply is growing low. Ethan Hawke (Gattaca, Reality Bites) plays a human-sympathizing vampire scientist, working to try and discover a blood substitue to be manufactured by the blood farming corporation controlled by vampire Sam Neill (Jurassic Park, Event Horizon). When the blood supply is estimated to run out in under a month, chaos breaks out, and Hawke’s character encounters a band of renegade humans, including Willem Dafoe (Boondock Saints, Spider-Man), who aspire to change everything. The result is awesome. Daybreakers is fast, loud, atmospheric, funny, and at times very scary. The gore is plentiful, as are the explosions.  The take on vampirisim is very fresh and clever. As the vampires have taken over society entirely, they have developed lots of neat gadgets to make their living easier, and the Spierig’s have explored this concept well.  Neill is exceptionally creepy as the vampire executive, matching the rest of the appropriotely exagerrated performances.  There is a mix of practical effects and CGI, and some of the CGI is a bit on the cheesey side, but this is completely forgivable when you discover the Spierig brothers ran out of money and did much of the effects themselves. After realizing the twins put a hand into almost every aspect of their filmmaking, you know it is a work of love. Of what I have seen so far at Midnight Madness, Daybreakers has been the most fun and exciting. It will receive a worthy theatrical release from Lionsgate in January 2010, and I implore you to see it then. Official Website

Lars Von Trier is never one to shy away from controversy. In 1998, Zentropa was the first mainstream film company to produce hardcore pornography. Guess who it belongs to? Despite that highly interesting fact, that’s the closest you’ll ever see Von Trier’s name associated with the word “mainstream,” because nothing this man creates can ever be labeled as such.

Antichrist is no different. Over a span of two decades, Von Trier has experimented with many directing styles and in the process, has actually created styles all his own. Although the Dogme 95 movement he helped create broke up in 2005, Von Trier still conformed to many of its rules (known as ‘The Vow of Chastity”) during the making of Antichrist, such as shooting on location and not building any kind of set. The element of ‘purification,’ so vehemently emphasized within this period is once again prevalent in this movie, as its story is acted out by a cast of two (yes, two) actors: Willem Dafoe (He) and Charlotte Gainsbourg (She). The two-actor system works remarkably well as it draws us into their world much more effectively than any other movie could, with no star-studded cast to distract our attention and no glitz or blinding special effects to patronize our intelligences. Charlotte Gainsbourg’s performance was so good that she was awarded the Best Actress Award at Cannes this year.

A few months ago, when I first read early reviews of this movie, I was rather reluctant to see it, based on the fact that I had never been a huge Von Trier fan and because the movie’s subject matter wasn’t exactly appealing to me. Yet, the world we live in often has a way of surprising us, and I must admit that I was pleasantly surprised following the screening of this movie. The casting, whilst minimal and seemingly simple to achieve, had to be done just right due to the characters’ dispositions. Dafoe is very convincing as a patient, loving therapist who only wants the best for his troubled wife. Following the accidental death of their toddler, the couple embarks on an arduous journey to repair the psychological damage caused by the tragic event. By blaming herself for her child’s death, She adopts many elements of nihilism as well as a deep resentment against women in general. Following a series of panic attacks, He is able to calm Her down and they both engage in the first of several graphic sex scenes. While She often resorts to hasty sex in order to cope with her inner demons, He initially resists her but eventually feels compelled to give in to Her desires, knowing it goes against His ethics as a therapist. The dialogue is relevant and well-written and the performances are undeniably very powerful.

Von Trier’s world is extremely dark, as he uses very low contrast to depict grief, pain and despair (chapters 1-2-3) through the eyes of his characters. The cinematography is simple and stunning, without surprise, as it was orchestrated by Anthony Dod Mantle, the Oscar-winning cinematographer from Slumdog Millionaire. Low-light situations take centre stage as we often find the characters in dark rooms. Many scenes take place in the middle of the night but Von Trier’s use of the Red One camera (capable of recording at resolutions up to 4096 horizontal by 2304 vertical pixels [1]) gives us a clear image of what’s going on. Cut scenes are sometimes used to depict dreamlike situations that the characters experience, and they help propel the narrative along. Due to the prologue and epilogue being filmed in monochromatic, super slow-motion, Von Trier might be accused of being pretentious and over the top, but I assure you that it is for foreshadowing purposes and it makes sense once you see the bigger picture.

Antichrist also benefits from an excellent score. Von Trier uses all kinds of distorted noises to emphasize the relationship between sound and image. In accordance to one of the Dogme 95 rules, sound must always have a direct correlation with the scene being filmed, i.e. in a diegetic way (telling a story as opposed to showing). Jet engines, screams, drums and screeches are all sporadically used throughout the movie, not unlike Eraserhead, where the score was equally important as the images on screen. Once the characters make their way to ‘Eden’ (a cottage they own in a forest) in an attempt to mend their fractured marriage, it gets pretty spooky sound-wise and I was very impressed with the way Von Trier kept it clean and simple. It’s definitely the best way to keep an audience on its toes.

Billed as a horror movie, Antichrist is more of a psychological thriller due to the intense battle of wits between He and She. For some, many moments might be hard to watch as the movie contains graphic violence and a good amount of unsimulated sex. Nevertheless, when critics at Cannes called this “shocking” and“controversial”, they were dead wrong. I’ve seen much worse. This movie actually contains an interesting, thought-provoking story and one that will leave you scratching your head. That’s always a good thing for me.

I don’t want to ruin the connection between the movie’s title and its meaning within the story by telling you my interpretation but in the end you’ll probably have a different one than mine. The perverse relationship between nature, sex and nihilism will have you questioning the characters’ motives long after you’ve finished watching, and this is why Antichrist comes highly recommended.

[1] http://en.wikipedia.org/wiki/Red_Digital_Cinema_Camera_Company

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Directed by Niel Blomkamp

South Africa has been to hell and back during the past century. Famine, corruption, AIDS and the apartheid era have seriously hindered the country’s chances of becoming a serious player within the African continent. A few years ago, local director Neill Blomkamp produced a short film entitled Alive in Joburg, a 6-minute science fiction “documentary” that would eventually be expanded to become District 9. The aforementioned short was so well made that Peter Jackson commissioned Blomkamp to direct the ill-fated Halo movie, but when that project fell through, Jackson felt that his South African counterpart should have another shot at directing a full-length film.

His enlarged gut was right on the money. Produced by WingNut Films, District 9 is one of those rare action gems that don’t come along very often. In it, Blomkamp expands upon the themes that were touched upon in Alive in Joburg, especially apartheid. Under the guise of a giant alien slum, District 9 explores racism, segregation and cultural differences, the very problems that plague civilizations all over the world.

When a large number of aliens (more than a million) have been quarantined smack in the middle of Johannesburg, the locals get restless. They demand for relocation and they eventually get their wish when the MNU, a large multinational arms manufacturer, takes control of the ‘camp’ and decides to relocate its inhabitants 200km outside the city. However, this isn’t as easy at it seems. The aliens have been confined to this slum-like environment for more than two decades, and they don’t exactly want to leave. Subsequently, a fruitless effort to have them sign eviction notices sparks a massive riot and MNU’s own renegade security is called in.

Meanwhile, one man has been put in charge of relocating the aliens, Wikus van der Merwe (played brilliantly by Sharlto Copley). His main task is to overlook the entire operation and to hand out eviction notices. By signing them the aliens essentially ‘agree’ to move, thereby rendering the process ‘legal.’ Merwe and the MNU couldn’t care less about the aliens’ welfare, and they continuously treat them like animals as they are being rounded up.

Copley’s performance is absolutely worthy of high-praise. In the first half of the movie he plays an abrasive, narrow-minded twit whose power trip gets him into deep trouble. A mysterious black sludge is sprayed into his face and a few hours later, he is taken to hospital. There he realizes that his left hand has turned into a claw, and while it would be irresponsible of me to tell you more, it sure is tempting! I felt deep resentment for Merwe until about midway through the film (he refers to the aliens as ‘prawns’, a derogatory term) and then, I slowly found myself empathizing with him and his condition. By the end of the movie I (and the rest of the room) was rooting for him, and that is a testament to the fantastic writing by Neill Blomkamp. Any director who can make me feel ecstatic, stressed, angry and sad in the same movie is a genius.

The seamless CGI integration reveals shades of Peter Jackson’s guidance and the editing is superb. Often, I was completely immersed in the film, entirely oblivious to the fact that half of what I was seeing was animated. If you were impressed with the exosuit in Aliens, this will blow you away. Blomkamp has definitely earned his wings, so to speak, with this effort.

Ultimately, Blomkamp’s film can be interpreted in many different ways. I hope his audiences get the main, underlying message though, which is that people of different ethnicities worldwide aren’t getting along, and it’s all a matter of miscommunication and lack of information. Here, the aliens are sequestered and unable to leave; subsequently, the citizens of Johannesburg see them as intruders and urge them to go. You wouldn’t have to travel too far to see something like that in real life. District 9 is as close to perfection as it gets for an action film, and you should definitely catch it when it opens this weekend.

Myles Dolphin