2016 movies

Movie Review: CLOSET MONSTER

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closet_monster.jpgCLOSET MONSTER (Canada 2015) ***
Directed by Stephen Dunn

Starring: Connor Jessup, Aaron Abrams, Isabella Rossellini

Review by Gilbert Seah

When the first queer films were made, coming out was a hot topic. Now decades later when LGBTs are accepted and it is considered more incorrect to be prejudiced than to be LGBT, the issue of coming out is no longer than big an issue. CLOSET MONSTER treats the issue as still relevant, made so because the subject coming out is till as stressed as the first gay doing so decades back and that he has a class A asshole father.

So, CLOSET MONSTER is a Newfie movie of an East Coast teenager and aspiring special-effects makeup artist, Oscar (Connor Jessup, BLACKBIRD) struggling with both his sexuality and his fear of his macho asshole father. Oscar has a girlfriend, Gemma (Sofia Banzhaf) but pines for the new cute boy, Wilder (Aliocha Schneider) at his workplace. Schneider is quite the looker. But Wilder is straight but sympathetic. The film teases all the way whether the relationship will happen, but the film takes a few turns. The film uses the boy’s hamster (with a gender twist on it too) to provide insight to the story. The hamster is voiced by Isabella Rossellini.

The film ends up a welcome comedic twist on the coming-of-age genre. The film is not without flaws but given the fact that this is a first-time feature, CLOSET MONSTER is an assured debut.

CLOSET MONSTER has made the rounds already at Toronto’s TIFF and the INSIDE OUT LGBT Film Festival as well as various other festivals around the world. It has won many awards including Best Canadian Feature at both TIFF and Inside Out and awards at other gay festivals around the world as in Melbourne and Miami.

 

 

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Film Review: CAPTAIN FANTASTIC (USA 2016)

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captain_fantasticCAPTAIN FANTASTIC (USA 2016) **
Directed b Matt Ross

Starring: Viggo Mortensen, George MacKay, Samantha Isler

Review by Gilbert Seah

This new family drama tells the story of an eccentric father, Ben (Viggo Mortensen) who becomes the CAPTAIN FANTASTIC of his 6 children, forcing and training them deep in the forests of the Pacific Northwest (though shot in New Mexico), totally isolated from society.

If the plot sounds familiar, Harrison Ford played such a father who did the same in the 1984 Peter Weir film THE MOSQUITO COAST based on the Paul Theroux novel. The novel was much better than the film. But the film did not have as dramatic an impact as this new one – though CAPTAIN FANTASTIC totally bombs in its last 20 minutes. Remove the last 20 minutes and the film would have stood much better as a believable relevant and current family drama.

When the film opens, one of the sons, Bo (George MacKay) has just violently killed a deer. He is now a man having completed his rites-of-age passage. The father praises him. The film goes on to reveal other aspects of the training, a combination of survival skills as well as worldly knowledge in all fields including philosophy and American History. (Math skills seem to be left out in the equation.) When the mother dies, the father is forced to take his family to civilization. The challenges of the outside world are more than Ben and kids had envisioned.

Worst of all, Ben intends to fulfill his wife’s wishes of being cremated while her father, Jack (Frank Langella) plans a religious funeral ceremony.

For a film with this serious a subject matter, the film both written and directed by Matt Ross (28 HOTEL ROOMS) achieves some good humour. It is this humour, mainly derived from the smugness of the all-out-against civilization that hits the right notes. But Ross is also quick to turn the tables. By the mid-section of the film, the audience and the children (as River Phoenix turned against Harrison Ford in THE MOSQUITO COAST) turn against the father.

The dramatic set ups display a good combination of drama, conflict and humour. The best of these is the dinner table scene where his family meets his brother’s family. The conflict between him and his sister-in-law, Harper (Kathryn Hahn), with his brother, Dave (Steve Zahn) trying to cool the fight is brilliantly staged.

The film also contains suspenseful segments (the attempted rescue of one of the sons from the grandfather’s house).

But the film almost succeeds in making both a statement on American consumerism and family values before it all goes bust in its last 20 minutes. The father drives off alone only to discover later than his 6 children has somehow hidden in the bus. How can this be possible if the father is so skilled in survival skills that he had not noticed this. Where can 6 kids, most of them grown up hide in a bus? The removal of the mother’s coffin from the graveyard and performing the cremation ritual is all a little too much, especially with the entire family bursting into song and dance.

Despite the film’s flaws, the performances, especially by the young cast portraying the six children are more than fantastic. The film should be seen for this reason alone.

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Movie Review: LAST CAB TO DARWIN (Australia 2015) ****

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last_cab_to_darwin.jpgLAST CAB TO DARWIN (Australia 2015) ****
Directed by Jeremy Simms

Starring: Michael Caton, Ningali Lawford, Mark Coles Smith

Review by Gilbert Seah

Based on the 2003 stage play by Reg Cribb, LAST CAB TO DARWIN is the story of a cab driver, Rex (Michael Caton). Rex who is diagnosed with stomach cancer, drives thousands of miles to Darwin in the Northern Territories where euthanasia is just legalized in order to to die with dignity. Rex is an unsavoury character and leaves behind the only woman Polly (Ningali Lawford-Wolf) who loves him.

This is the kind of subject that audiences turn away from. This might be the reason the film was hardly noticed when premiering at last year’s Toronto International Film Festival. The characters in Australian films are often harsh and crude, the landscape bleak and racism existent. But surprisingly, this film ends up a totally winning film at the end.

The film is basically a road trip. Rex drives off to Darwin, meeting other people on the way.

One of these people is Tilly. The film relies on the relationship of Rex and Aborigine Tilly. Both have led problematic lives and are reluctant to change. In a key scene Rex tells Tilly: “I don’t tell you how to lead your life and you don’t tell me how to lead mine!” But Tilly affects Rex’s life and vice versa. A lasting and precious friendship develops between the two.

Actor Michael Caton carries the film confidently on his shoulders, apt at conveying sympathy in a character hardened by life. He is without family and friends with no will to live. Those who recognize Caton will remember him in one of the funniest Australian low budget hit of all time, THE CASTLE. His role is similar to that of the one in THE CASTLE, an underdog fighting the big guys. In THE CASTLE, he fights the authorities who want to buy his home (a man’s home is his castle) to put in an airport runway. In this film he is fighting for the right to die. The federal government and church will do their all to prevent this as to allow it would be to give power to the common man. The film’s story thus takes on greater proportions. Director Simms keeps the tale of Rex intriguing from start to end.

The film contains a relevant message on euthanasia. Though a little predictable at the end, Simms’ film unfortunately tends to be too sentimental. The story also appears desperate in trying to get a happy ending, though happy endings are not always possible in some stories.

For a film with the theme on death, LAST CAB TO DARWIN is surprisingly full of life. It is occasionally a feel good movie. When I was in Sydney during Christmas when the home video of THE CASTLE was released, I could not rent a copy as all the copies were out in all the video stores. in Sydney. Quite unbelievable! LAST CAB TO DARWIN will not likely share the same success as THE CASTLE, but it comes pretty close as an unforgettable movie.

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Movie Review: Absolutely Fabulous: The Movie (2016)

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absolutely_fabulous.jpgABSOLUTELY FABULOUS – THE MOVIE (UK 2016) ***
Directed by Mandie Fletcher

Starring: Jennifer Saunders, Joanna Lumley, Jane Horrocks |

Review by Gilbert Seah

At one point in the movie, Edina Monsoon (Jennifer Saunders) quips: “Sixties are the new forties.” When the first AB FAB skit appeared in1990, both actresses Saunders and Joanna Lumley were in their forties. Now, more than twenty years later, they are still at it, creating havoc in the PR world of high fashion.

When AB FAB the movie opens, Edina is still running her PR agency that is quickly running out of money and interest. The duo realize that Edina needs a miracle to save her company and renew her reputation. Edina tries to recruit high fashion model Kate Moss at a party but accidentally pushes her over the balcony into the Thames. To hide from the press and bad publicity, the two take off to the south of France with Edina’s grand-daughter, Lola in tow, hoping to tap her youth in the fashion business. Patsy gets married. Other crazy adventures ensue.

Films made from TV series (KEVIN AND PERRY GO LARGE, HOLIDAY ON THE BUSES and THE IN-BETWEENERS) more than always have their characters go on holiday. Though Patsy and Edina do not really go on holidays, they end up in the south of France to escape being arrested. Here at least, the wealthy affluence of the French suits the environment of the characters.

All the characters from the TV series are present from Bubbles (Jane Horrocks), Edina’s useless secretary to her daughter, Saffron (Julia Sawalha) to her thieving mother(June Whitfield). The film updates the characters. Saffrom is now a mother who has a daughter, Lola.

Written by Saunders and directed by Fletcher who was responsible for a few TV episodes, the story is often all over the place. At one point the duo’s in London at a PR party and the next, Patsy is married in France. Anything can happen and often does. But no one can really take the incidents seriously either. These are the reasons the film works. It is good to laugh at the antics of the two, and they never go stale. But the writing poses a bit of a problem when it tries to rationalize Edina’s reckless living. There are also prize comedic set-ups like the chase with the two in a tiny ice-cream van and the hilarious designer Huki Muki event.

A long list of cameos is often common in films on high fashion (ENTOURAGE, ZOOLANDER). AB FAB THE MOVIE contains a list too long to mention though quite a few of the British faces will go unrecognized by North American audiences. A few stand out like Kathy Burke’s foul mouthed Magda. Burke is always a joy to watch.

The film has already opened in the U.K. and has broken box-office records. Saunders and Lumley appeared in person during London Pride march a week before the film opening. This comedy is just what the doctor ordered to distract from the world’s blues (Brexit, US shootings, ISIS attacks).

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Movie Review: GHOSTBUSTERS (2016). Direted by Paul Feig

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ghostbusters_2016GHOSTBUSTERS (USA 2016) ***1/2

Directed by Paul Feig

Starring: Melissa McCarthy, Kristen Wiig, Kate McKinnon, Leslie Jones

Review by Gilbert Seah

It took tons of effort and luck before GHOSTBUSTERS could be get this fresh look on the screen. The original 1984 hit version is best remembered as a classic that should not be tempered with. The original 4 that made GHOSTBUSTERS in 1984 including the late Harold Ramis who died in 1984 made a pact that no more GHOSTBUSTERS movie could be made unless all agreed. Bill Murray was the one who objected to all the previous scripts till this one written by Katie Dippold (THE HEAT) and championed by Paul Feig (BRIDESMAIDS). Bill Murray has a cameo as a supernatural activity debunker. And many loyal fans were upset that the film is given a female cast instead.

The film begins with an impressive opening sequence with a tour guide played by TV SILICON VALLEY’s Zach Woods explaining some paranormal behaviour before poltergeists appear. The story then moves on to professor Erin Gilbert (Kristen Wiig) who reunites with friends (Melissa McCarthy, Kate Mckinnon) to rid NYC of a ghost invasion. The film contains no boring romances, no life lessons or unnecessary drama – just plain silly fun with a female twist.

GHOSTBUSTERS runs out of steam at parts but the audience knows that another funny part will arrive just around the corner. A lot of the humour is provided by the 4 main actresses, who for the most part work well together to keep the laughs coming fast and furious. McKinnon is the most manic of the four, playing the scientist inventor, whose technical gibberish can hardly be understood at times. But who cares? Though Wiig plays the most serious of the four, the professor who loses tenure and has to return to fighting ghosts, she provides a good number of laughs. In fact, the film’s two funniest laugh-out jokes come from her, in the segment where she is manically runs to warn the mayor (Andy Garcia) having dinner of the ghost invasion. McCarthy overdoes it as usual. She does look funny in her oversized jumpsuit, showing that she is game in having a good time. One can get too much of her, while one wishes there is more of Leslie Jones, the reluctant subway employee who joins the group.

The special effects work well. A number of ghosts look like the ones from the original. But the film might be too scary for younger children.
The new GHOSTBUSTERS at least learns from the original. The script by Katie Dippold improves while it can. The original theme song recorded by Ray Parker, Jr. back in the day that was the number 1 hit that stayed on on the billboard for 3 weeks is used at various points in the movie, obviously both reminding and reviving audience’s fond memories. Improvements in the film include adding a human villain, the one that opens the portal for the ghosts. Another is the addition of a new character, Kevin (THOR’s Chris Hemsworth) the male equivalent of the pretty dumb blonde secretary. Kevin has major problems answering the telephone while carrying on normal duties, creating more problems when he becomes possessed. Hemsworth displays a surprising flair for comedy and dance.

GHOSTBUSTERS definitely pleases as evident during the promo screening I attended. It takes quite a lot to both getting the audience to applaud as well as to stay for the closing credits.

 

 

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Movie Review: OUT OF PRINT (2016) Documentary

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out_of_print.jpgOUT OF PRINT (USA 2016)
Directed by Julia Marchese

Starring: Kevin Smith, Seth Green, Patton Oswalt

Review by Gilbert Seah

OUT OF PRINT celebrates the repertory cinema. This is a film that older cineastes can relate to as repertory cinemas were common back in the days. Now with film streaming, VOD and DVDs, the repertory cinema is a dying breed. For myself, my love for movies grew with the rep cinema 10 minutes walk from my home in Singapore. The program changes every day, which allowed me to see a lot of films while around the age of 12, when not allowed to take the bus alone to go to the city centre. Also, immigrating to Toronto, the festival rep cinemas allowed me to catch up on all the oldies, foreign films and classics that I was unable to see in Singapore. And the price was always right.

At the start of the film, director Kevin Smith (DOGMA, CLERKS) says that if you can watch a film on your phone, then you should not be watching this film. Quite so true.

OUT OF PRINT concentrates on just one such cinema that exists in L.A. called the New Beverly.

OUT OF PRINT is a doc that, despite the fact that I really wanted to like it, does not do much. It picks on a couple of topics. Topics like the advantages of watching a movie in a theatre with a full house compared to alone in a house; the dedication of the New Beverly staff; the eccentricity of projectionists and the history of the owners are examined. Cameos from famous actors and directors like John Landis, Kevin Smith, Clu Galager, Seth Green, Rian Johnson, Edgar Wright are then given a few sentences to speak on each topic. The reactions are sometime repeated. But nothing new is learnt or insight given regarding the subject, unless one has been living in a cave for the past few years. The only time the film gets interesting is when it goes into the mechanics of how an image is projected on the big screen using the projector. Other than that, it is the rep staff praising themselves or the talking heads trying to be smart or funny. Unfortunately they are not that smart nor funny.

The film finally delves into something more current – the arrival of digital cinema. But Marchese ends up turning the subject into sentimental nostalgia.

It is only during the last 20 minutes that the film compares other rep cinemas around the U.S. and outside the U.S. Director Marchsese spends quite a bit of time on the Prince Charles in Cinema at Leceister Square, London. I remember watching films there for 1.99 quid. Ironically I saw Richard Kelly’s (one of the directors spotlighted in this doc) DONNIE DARKO there.

Despite the impressive list of cameos, OUT OF PRINT becomes tedious quite fast. Nothing is also sad of what the New Beverly is at the present time. The last thing said in the film was that it bought over by Quentin Tarrantino. It is also surprising Tarrantini was not interviewed for this film.

Movie Review: OUR LITTLE SISTER (Japan 2015) ***

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our_little_sisterOUR LITTLE SISTER (Japan 2015) ***
Directed by Hirokazu Kore-da

Starring: Haruka Ayase, Masami Nagasawa, Kaho

Review by Gilbert Seah

Though not his best, the latest from Kore-da (AFTER LIFE, LIKE FATHER LIKE SON) contains all the charm and some traits from his best films. In OUR LITTLE SISTER, a character remarks that God has not created perfectly and it is up to man to make the best of it. Like his masterpiece AFTER LIFE, in which human beings after death have to film their best memories to take to heaven to remember forever, humans make a big difference in the lives of Kore-da’s characters.

Three grown sisters (Haruka Ayase, Masami Nagasawa and Kaho) who live in their late grandmother’s sprawling home in Kamakura, a genteel city south of Tokyo take their teenage half sister, Suzu (Suzu Hirose) to live with them after their father’s death. The seasons drift by, marked by the arrival of cherry blossoms (beautifully shot), the making of plum wine, or a showering of fireworks.

The sister learn to deal better with their problems. The neat thing about this film is the observation of the behaviour of Japanese sisters. The film would turn out a whole lot differently if it were set in America with a dysfunctional family of sisters. The film is based on the graphic novel by Akimi Yoshida. A pleasant and occasional charming drama about life.

The film played In Competition at the 2015 Cannes Film Festival. The film has since won 10 awards, including Best Film and Best Director at the 2016 Japanese Academy Awards.

Movie Review: THE SECRET LIFE OF PETS (USA 2016) ****

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the_secret_life_of_petsTHE SECRET LIFE OF PETS (USA 2016) ****
Directed by Chris Renaud, Yarrow Cheney

Starring: Louis C.K., Eric Stonestreet, Kevin Hart, Jenny Slate, Ellie Kemper, Albert Brooks, Lake Bell, Dana Carvey

Review by Gilbert Seah

What do pets do after their human owners leave for work? The imagination of the writers Cinco Paul , Ken Daurio and Brian Lynch entertain audiences with the notion. The story follows the adventures of one male pup, Max (Louis C.K.) who leads a sheltered and spoilt life with his owner Katie (Ellie Kemper). Max hangs out with other pets like Chloe (Lake Bell), Mel (Bobby Moynihan), Buddy (Hannibal Buress), and Sweet Pea (Tara Strong). Trouble soon arrives in paradise. One day, Katie adopts a giant dog called Duke (Eric Stonestreet) who Max does not get along with. But when they get lost and encounter both animal control and an evil rabbit, Snowball (Kevin Hart), they are forced to join forces. Animated features usually have a story involving saving the world like the DESPICABLE ME movies. This one has the pets trying to return home.

It is half way through watching THE SECRET LIFE OF PETS that it suddenly dawns that a good chunk of the storyline is derived from Pixar’s TOY STORY. Just as Andy has his favourite toy, cowboy Woody, Katie has her favourite pet dog Max. Just as Woody finds his toy universe shaken by the arrival of new toy Buzz Lighyear, Max finds his comfortable world undermined by the rival dog, Duke that Katie brings home. But that is not all. The toys speak and move when the humans are away just as the pets speak in their secret life of their own. But the filmmakers are clever enough not to call their film PET STORY and to take the storyline on step further. The toys can never match the antics of pets. The fact that millions watch cat antics on youtube is proof of the fact.

The cuteness factor is high and the cuteness can get a bit annoying at times. The trailer displayed lots of it. But most of what is seen in the trailer is finished off in the film’s first 10 minutes. But the cuteness antics are occasionally very funny and work well, when used more sparingly.

The voice characterizations are lively, working well with the creatures created. Standing out is Steve Coogan’s Oz, the alley cat and Kevin Hart’s Snowball. The name Snowball was likely taken from the name of the pig that led the revolt against human beings in George Orwell’s ANIMAL FARM.

The music by Oscar winning French composer Alexandre Desplat (THE GRAND BUDAPeST HOTEL) is a big bonus. Two catchy songs “Welcome to New York” by Taylor Swift and “Lovely Day” by Bill Withers can heard at the beginning and end of the film respectively.

As the film is made by Illumination Enetertainment, responsible for the DESPICABLE ME films, the studio is quick to remind audiences of the fact. A Minion animated short Minions is featured before the film. The Pharrell Williams Oscar winning song “Happy” is heard as a cameo song on the radio of a cab that passes by the pets. One of the pets wears a Minion outfit to a costume party. But one of the funniest sequences has Duke and Max in heaven in a sausage factory where the hundreds of sausages have faces, all the animated sausages looking like orange Minions.

One might compare and the animation of THE SECRET LIFE OF PETS to Disney’s Pixar films. Still SECRET LIFE has enough merits for it to stand on its own as excellent family entertainment and fun. If SECRET LIFE spins out a few sequels, no one will complain.

 

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WEINER (2016) Documentary Movie Review

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weinerWEINER (USA 2016) ***1/2
Directed by Josh Kriegman and Elyse Steinberg

Review by Gilbert Seah

WEINER is the documentary of the rise and fall and rise and again fall of young congressman, Anthony Weiner. His final run for mayor of New York City forms the gist of the film though it ends with his complete defeat.

Weiner’s (his name made fun of, throughout his sex scandal) downfalls (twice) are due to his uncontrollable sex urges. He posted pics of him self in underwear as well as engaged in telephone sex. Weiner was caught once causing him to finally resign from his post as congressman. He was largely forgiven as he ran his campaign for mayor, with wife, Huma (she is Arabic) by his side. Huma forgives him. But his phone sex is again discovered and his fans were reluctant to forgive him a second time. The media, obviously has a field day.

But who really wants to watch a not so well known politician fail because of a sex scandal? There are more pressing topics in the world such as ISIS attacks and environmental issues. But directors Josh Kriegman (who also served as cinematographer) and Elyse Steinberg keep their film a fascinating and absorbing watch. Part of this is due to Weiner granting them almost full access in filming both his private and political life. Some of these segments, particularly the ones dealing with his wife and aide reactions are almost unbearable to watch. But it is these issues and the life lessons demonstrated that lift this doc above the average.

One is the side story of Huma, the long-suffering wife who has to stand by her husband for better or for worse. If the story sounds similar to what Hilary Clinton went through, Huma is at present one of Hilary’s top aides in her campaign. Though the husband was caught only sex texting or sex phoning and not having actual sex, it is the humiliation that gets the better of Huma – especially when Weiner commits the sex thing the second time.

The human race is so unforgiving for any politician caught in a sex scandal though a notable majority f human beings cheat and watch porn in real life.

Well, the people did forgive Weiner the first time as evident by the booing whenever Weiner’s politicians bring up the scandal in their speeches. But people were not forgiving the second time. This sociological behaviour also makes the film completely compelling.

The directors create suspense with captions like day 2 before election day; day of election day; using the countdown to the film’s effect. The camerawork is top notch, as evident in the segment in which one crew of cameramen follow Weiner and wife as they escape from their pursuers while the other trail the pursuers. This segment has the thrill like a chase in an action film.

WEINER succeeds as an absorbing documentary about betrayal and its sad effects. There are clearly no winners.

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THE BFG (USA 2016). Directed by Steven Spielberg

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the_bfg.jpgTHE BFG (USA 2016) **
Directed by Steven Spielberg

Starring: Mark Rylance, Ruby Barnhill, Penelope Wilton, Jemaine Clement, Rebecca Hall, Bill Hader

Review by Gilbert Seah

THE BFG (big friendly giant) premiered at Cannes this year in the out-of-competition category to rave reviews. So expecting a lot from Spielberg, the director who is reputed to be a creator of dreams, I went into the BFG film (a film with a story of a giant collecting dreams in a bottle) expecting a lot but was duly disappointed.

The film based on the Roald Dahl children’s novel, deals with an orphan named Sophie (Ruby Barnhill) who lost her parents when she was a baby. Sophie is kidnapped from the orphanage one night by the BFG (Oscar Winner Mark Rylance from Spielberg’s NEST OF SPIES) and brought to Giant Land. There, Sophie befriends the BFG. The book and film fail to give a satisfactory reason of Sophie being kidnapped. The BFG turns out to be one who captures dreams and delivers them to children in the human world. In Giant Land, Sophie meets the other nasty evil human-eating giants. Going back to London, she convinces the Queen (Penelope Wilton) to capture the evil giants. That is the story, a simpler one compared to other Dahl’s stories.

Spielberg opts to leave out Sophie’s orphanage life. Nothing is shown about her life there, except of a mention by her to the BFG that the matron Mrs. Conkers is nasty and gives out lots of punishments such as locking children in the cellar which is rat infested. Not one other child is shown in the film leaving out a key element in the film – the human element. Other characters like the Queen’s Head of Army and Air Force, the King of Sweden and Sultan of Bagdad are largely left out. There are no ‘real’ human beings in the film except for Sophie. Everyone else like the queen and her men are shown as clowns and just pawns for the story’s movement.

At least the special effects animation and Janusz Kaminski’s cinematography are nothing short of stunning. The look of Mark Rylance as the BFG looks very close to Quentin Blake’s illustration in the Dahl book. From the very first frame to the last, there is always the feeling of awe. But the basic human story is lost. Special effects have undermined the simple pleasure of a Roald Dahl book. There can always be too much of a good thing. After being in Giant Land for an hour, the special effects animation begin to look normal.

Spielberg keeps his film in family mode. There is not gore or any scene in which a giant gobbles a human being. When Sophie is eaten by a giant in her dream, she is seen thrown into a dark black hole. Spielberg also resorts to cheap laughs like fart jokes The BFG offers Sophie a fizzy drink called frobscottle that causes noisy green-coloured flatulence. The flatulent humour is revisited when the Queen herself drinks the frobscottle.

The film is dedicated to Melissa Mathison, the scriptwriter (she also wrote E.T.) who passed away during the film’s production.

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