Krampus (2015)

Krampus

**/****
starring Adam Scott, Toni Collette, David Koechner, Krista Stadler
written by Todd Casey & Michael Dougherty & Zach Shields
directed by Michael Dougherty

by Walter Chaw I used to have a collection of short stories edited by Isaac Asimov, The Twelve Frights of Christmas. Ramsey Campbell’s “The Chimney” is anthologized therein, and though it’s not directly a Krampus story, it’s sort of a Krampus story and was, at least, the first time I’d been introduced to the concept of something like an anti-Santa. It’s a great story. Michael Dougherty’s Krampus is not great, but with all the lulls and jokes misfiring, it does give you plenty of time to think about other things. (I didn’t like his Trick ‘r Treat either.) What works about the film are its first twenty minutes or so, where Dougherty seems to be setting up an unpleasant, nasty little commentary on the commodification of Christmas. There’s trouble, though, when the parts of your movie that work are the parts that compare best to Jingle All the Way. I’ll say, too, that there’s genuine delight in the appearance of weird snowmen on the lawn during a blizzard blackout, stranding a shitty family alone with their thoughts while a German alpine demon lurks about outside–as well as hope, however self-deluding and fleet, that Dougherty’s going to pay off the early abduction of the second-most sympathetic child of six. Alas, it’s ultimately as compromised as Trick ‘r Treat. The last five minutes are a masterpiece of playing both sides against the middle and pandering to an intended middlebrow audience. Like its PG-13 rating, Krampus is a devil’s bargain between horror film and family film. It’s the kind of thing that only really worked when it was Gremlins.

Tales from the Crypt Presents Demon Knight (1995) [Collector’s Edition] + Tales from the Crypt Presents Bordello of Blood (1996) [Collector’s Edition] – Blu-ray Discs

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Demon Knight
***/**** Image B+ Sound B Extras A
starring Billy Zane, William Sadler, Jada Pinkett, Brenda Bakke
written by Ethan Reiff & Cyrus Voris & Mark Bishop
directed by Ernest Dickerson

Bordello of Blood
*/**** Image B Sound C+ Extras A
starring Dennis Miller, Erika Eleniak, Angie Everhart, John Kassir
screenplay by A.L. Katz & Gilbert Adler
directed by Gilbert Adler

by Walter Chaw I didn’t have HBO as a kid. Didn’t even have cable. When I went over to friends’ houses, I would spend a lot of time wanting to watch MTV to try to catch up on all the popular culture I was missing. “Remote Control”, the first Jon Stewart show, “Dream On”, “The Kids in the Hall”–each of them represent gaping holes in my pop education. Lump in the Walter Hill-produced “Tales from the Crypt” anthology program with that group of things I knew about but only by title and reputation. My first exposure to the EC Comics-inspired/adapted-from show was through reprints of “Tales from the Crypt” and “Strange Tales” comics during the early-’90s industry boom. Then Ernest Dickerson’s fantastic Tales from the Crypt Presents Demon Knight (hereafter Demon Knight) satisfied every single expectation I had of something seeking to honour the ghoulish, sometimes puerile depravity of William Gaines’s seminal source material. It’s as gory as it is corny and smart as hell for recognizing that those were the only requirements. Doesn’t hurt that the practical-effects work is goopy and inventive. Oh, and the cast is exceptional.

Fantastic Fest ’15: Short Films

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by Walter Chaw

The Babysitter Murders ****/**** (d. Ryan Spindell) For certain artists working in the short-film format, I don't have any idea how or why it is they haven't been called up to the big leagues yet. This speaks as much to my prejudice, obviously: there's nothing wrong with the short form. In literature, many of my favourite writers are best in the short form. In film, though, there's so little real opportunity for distribution that it seems a particular shame when guys like Ryan Spindell have only produced shorts. I'm not complaining (his work is excellent), merely hoping he has the means to continue. Spindell's latest, The Babysitter Murders, is so expertly composited that it would be kind of a shame to dissect it at all. Sufficed to say that it unearths a new place to take Wes Craven's Scream meta funhouse, and does it without a hint of smugness or show-off-y insecurity. It's beautifully paced, conceived, and executed. Look at a cooking scene early on, set to "Fast & Sweet" by Mondo Boys feat. Kestrin Pantera–the way it's shot and edited, the way Elie Smolkin's camera stalks and Eric Ekman cuts it all together. The movie's premise–a babysitter alone on a stormy night when a psycho escapes from an asylum–is as rote as they come, but Spindell, as he did with The Root of the Problem and dentists, finds something new to say. The performances are to a one pitch-perfect and the gore is appropriately horrifying; it's a film balanced in that space between hilarity for its excess and hilarity for its brilliance. I'm out of superlatives. Spindell is one of the finest voices working in genre right now, carving out a niche that's neither self-serious nor self-abnegating. He's full of joy, this one, and his movies are treasures.

Aladdin (1992) [Diamond Edition] – Blu-ray + DVD + Digital HD

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***½/**** Image A Sound A Extras A+
screenplay by John Musker & Ron Clements and Ted Elliott & Terry Rossio
directed by John Musker & Ron Clements

Portions of this review, including the first four paragraphs, were originally published on October 5, 2004.

by Bill Chambers Jeffrey Katzenberg may have revived the American animated feature while he was at Disney, but only one of the hits his reign yielded is worth a second viewing. Where 1989’s The Little Mermaid and especially 1991’s nauseating Beauty and the Beast tried to pass themselves off as Golden Age Disney (1937 (Snow White and the Seven Dwarfs)-1950 (Cinderella), for argument’s sake), before a certain stateliness loosened its grip on the house style, 1992’s Aladdin took its cue from Uncle Walt’s twilight years, the Sixties, when he was interested in telling–as he geared up to pass the torch, perhaps–mentor stories (The Sword in the Stone and The Jungle Book) and pop culture had finally caught up with his incongruous predilections for psychedelia and bohemianism. It’s a risk to emulate the period considered the birth of the studio’s Dark Ages, and Aladdin is the least spurious movie of Disney’s renaissance because of it.

Ghoulies (1985)/Ghoulies II (1988) [Double Feature] – Blu-ray Disc

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GHOULIES
**½/**** Image A Sound B+ Extras B-
starring Peter Liapis, Lisa Pelikan, Michael Des Barres, Jack Nance
screenplay by Luca Bercovici and Jefery Levy
directed by Luca Bercovici

GHOULIES II
***/**** Image A Sound B+ Extras B-
starring Damon Martin, Royal Dano, Phil Fondacaro, J. Downing
screenplay by Charlie Dolan and Dennis Paoli
directed by Albert Band

by Jefferson Robbins Not rip-off, not homage, but something in the water. Luca Bercovici’s 1985 Ghoulies, from the lo-fi film factory of Charles Band, felt on release like a ploy to frack cash out of Joe Dante’s Gremlins from the year before. In fact, it had a parallel development, launching pre-production in 1983 under the working title Beasties and formally premiering in Britain in November of 1984. It also boasts a far weirder strain of presentation than Dante’s peak, something Lynchian that goes beyond the mere presence of Jack Nance. It has its passel of ’80s “teen” types harassed by horrors, sure: the stoner(s), the ladykiller, the nerd–not to mention their attendant ladies, none of whom are given much personality, resulting in a deeply uninteresting film debut for young Mariska Hargitay. But their mannerisms, in large part, are so outré and alienating that it’s at times like watching an underfinanced dinner-theatre preview of 1986’s Blue Velvet. And then the dead warlock bursts out of the ground to be attended by a clutch of grody puppets.

A Brilliant Young Mind (2015)

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X+Y
½*/****

starring Asa Butterfield, Rafe Spall, Sally Hawkins, Eddie Marsan
screenplay by James Graham
directed by Morgan Matthews

by Walter Chaw Reminding most of Camp in that it's ultimately more of a zoo for curiosities than an invitation for empathy, here's A Brilliant Young Mind, which posits, among all the Rain Man things it posits about autism, that the Chinese, besides being good at backflips, are very good at math. For the Chinese, you see, math is like art. It says so in this book that was written over the course of a thousand years. For the type of audience that gets off on those Olympics puff pieces where the Chinese are portrayed as opportunistic monsters who sell their children to the national team, it's a special sort of Eurocentric auto-flattery. The implication, see, is that although you're about to lose to the Chinese, they're still morally inferior to you. The Chinese, you understand, don't love their children. And they're good at math. Also, they're sexually naive, you know, because it's not like Asia is horrifically over-populated or anything. Later, a British guy quotes Keats in relation to how if truth is beauty and beauty is truth, then math must be the most beautiful thing of all. It's that kind of movie. The kind of movie with a score of industrious violin pulls and ambitious, then sad, keyboards. It has a moment where the evil dragon uncle of the Chinese mathlympians shouts, in perfect Mandarin, "What are you two doing?" and the film translates it as, "Are you in a relationship?" It's that kind of movie. You'll like it if you're that kind of person.

Fantastic Fest ’15: Yakuza Apocalypse

**½/****directed by Takashi Miike by Walter Chaw Takashi Miike makes one, sometimes two, sometimes three movies a year, which is not so remarkable as the fact that they're often exceptional. He's as fecund as a Fassbender and hasn't shown signs of the same catastrophic burnout. Even his middling projects have moments in them to recommend--no less so his latest, Yakuza Apocalypse, a return to the Yakuza genre that gave him mainstream credibility (such as it was) and the supernatural horror genre that gave him cult immortality. This one isn't about anything that I could ken, really, but it is technically…

Sleeping with Other People (2015)

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ZERO STARS/****
starring Jason Sudeikis, Alison Brie, Adam Scott, Amanda Peet
written and directed by Leslye Headland

by Walter Chaw Massively over-written, smug, baselessly self-assured, and world-weary in the way that people who watch a lot of "Sex and the City" and "Girls" are world-weary, Leslye Headlund's rank, unwatchable Sleeping with Other People is like that date that Death goes on "Family Guy" with the girl who tells Him you can't hug your kids with nuclear arms. To say it's awful is unfair; better to say it's tedious as shit. It's a chronicle of insufferable, half-wit narcissists and, given the success of stuff like Obvious Child, hell, it's worth a try, right? Honestly, though…and no one's asking, but…wouldn't it be better to not have a career than be tied to great white albatrosses like this? Sleeping with Other People is like Diablo Cody on steroids, complete with an entire album's worth of soft-alt rock and Lilith Fair covers on the soundtrack. And much like Cody's script for Juno that has references to Soupy Sales flying from the mouths of babes, this gem has a college girl in 2002 warning a prospective beau not to reference The Graduate on learning that her name is "Elaine" when, you know, "Seinfeld". Jesus, c'mon.

Fantastic Fest ’15: Gridlocked

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ZERO STARS/****
starring Dominic Purcell, Stephen Lang, Trish Stratus, Danny Glover
screenplay by Rob Robol & Allan Ungar
directed by Allan Ungar

by Walter Chaw Danny Glover's been too old for this shit for over thirty years now, making it all the more tragic to find him in Allan Ungar's dipshit remake of The Hard Way that nobody wanted, Gridlocked, which magnifies its crimes by also being the second remake of Assault on Precinct 13 that nobody wanted. A desk jockey checking IDs at the police station, Glover's Sully advises about 45 minutes in that he is, yes, too old for this shit. The only thing missing is a wry saxophone riff when he says it. At least Gridlocked, as it's pissing on the corpse of the literally dozens of better movies it's ripping off, had the decency to let Michael Kamen rest in peace, if nobody else. It's uniquely awful.

TIFF ’15: The Family Fang

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**½/****
directed by Jason Bateman

by Bill Chambers David Lindsay-Abaire is the poor man's Tom Stoppard and Jason Bateman smothered whatever vulgar charms his directorial debut Bad Words may have possessed in an incongruous autumnal burnish, but they have a neutralizing effect on each other: Together, the strained seriousness of the former and the preposterous seriousness of the latter (Bateman shoots this one like The Godfather) create a curiously palatable harmony. The Family Fang is every inch The Skeleton Twins or some other brother-sister Sundance yarn but with a wonderfully specific source for the siblings' dysfunction: raised by performance artists, they were from a young age incorporated into their parents' notorious act, which tended to prey upon the sympathies of innocent bystanders. (In a very funny early flashback, for example, they stage a mock bank robbery that ends in the alleged shooting death of matriarch Camille Fang (Kathryn Hahn here, Maryann Plunkett in present day).) As adults, Buster (Bateman) and Annie (Nicole Kidman, looking supernaturally restored to her Peacemaker days) have distanced themselves from their past and channelled any lingering impulses towards exhibitionism into the more legitimate avenues of writing and acting, respectively. When Buster is shot in the head with a potato (don't ask), he is summoned home and drags Annie with him to serve as a buffer. Back in the family nest, father Caleb (Christopher Walken) immediately tries to rope them into a "piece," but not only have they moved on–so has society at large, now too insular to be a viable canvas for the Fangs' art. Walken's fury as he quits a prank involving counterfeit coupons is poignant; one senses a touch of the actor's own frustration with the world no longer appreciating his unique genius.

TIFF ’15: Mr. Right

½*/****directed by Paco Cabezas by Bill Chambers Max Landis follows up his American Ultra script with another action comedy about slick killing machines but abandons the Manchurian Candidate backstory in a grotesquely cynical fashion: When Sam Rockwell throws knives at new girlfriend Anna Kendrick to prove she can catch them, his conviction is based on nothing more substantial than her being the star of this particular show. Over and over, Mr. Right acknowledges that it's a cartoon, and not in an enjoyably meta, Duck Amuck sort of way--more in a "you don't care, so why should we?" sort of way.…

Telluride ’15: Rams

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Hrútar
***½/****
starring Sigurður Sigurjónsson, Theodór Júlíusson, Charlotte Bøving, Gunnar Jónsson
written and directed by Grímur Hákonarson

by Walter Chaw There's a little of Zacharias Kunuk's Atanarjuat in Grimur Hákonarson's Rams. Something of the formal beauty of La cinquième saison and the deadpan absurdity of Aki Kaurismaki's films as well. It is a story of brothers in conflict. More-functional recluse Gummi (Sigurður Sigurjónsson) and less-functional recluse Kiddi (Theodór Júlíusson) are both hidden away in remote cabins in Iceland, tending to herds of sheep bred from a legendary stag whose lovingly-taxidermied head decorates Gummi's hovel's entryway. The picture opens in tension at a sheepherder's competition, where the prize stock is prodded and judged. And it ends in tension, as the two brothers, who haven't spoken in 40 years, must deal with the loss of everything while, just outside, an allegorical–but literal–storm obliterates the petty concerns of mortal men.

Telluride ’15: Anomalisa

Tell15anomalisa

****/****
screenplay by Charlie Kaufman
directed by Duke Johnson & Charlie Kaufman

by Walter Chaw Writing about a Charlie Kaufman film, if you do it honestly, is writing about yourself. I’ve said before, and it helps me to repeat it, that I don’t really understand Kaufman’s films, but that they do understand me. Kaufman is the most important, innovative voice in American cinema since Orson Welles, and though he has enjoyed more autonomy in expressing that voice than Welles, I would argue that the seven years separating his directorial debut, Synecdoche, New York, and this follow-up, a stop-motion collaboration with Duke Johnson called Anomalisa, suggest that it’s not as easy as it should be. Certainly the journey that Anomalisa has taken is far from conventional, from Kaufman play written under the pseudonym “Francis Fregosi,” through a Kickstarter campaign, through the general challenge of making an adult-themed animation in a country that sees animation as a genre not a medium, to now this tour of festivals, looking for distribution. The play was introduced as part of a Carter Burwell project titled “Theater of the New Ear”. It was a late replacement on a Kaufman/Coen Bros. double-bill when the Coens “dropped out” at the eleventh hour, and this unknown Fregosi’s piece took its place.

American Ultra (2015)

Americanultra

*½/****
starring Jesse Eisenberg, Kristen Stewart, Topher Grace, Connie Britton
written by Max Landis
directed by Nima Nourizadeh

by Walter Chaw A lot of thoughts crossed my mind during the Max Landis-scripted, Nima Nourizadeh-directed American Ultra, most of them having something to do with trying to figure out in which movie I'd seen something before. I also spent some time thinking that if this thing were made in the early-'90s, like it seems like it could have been or at least wants to have been, that it would have starred Drew Barrymore and James LeGros. Because I'm 42 and grew up in an era loving movies that were not very good but were very violent and had the sort of appeal that would make me want a poster for Guncrazy twenty-five years later, I'm still working through whether or not that's a recommendation.

The Diary of a Teenage Girl (2015)

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***/****
starring Bel Powley, Alexander Skarsgård, Christopher Meloni, Kristen Wiig
screenplay by Marielle Heller, based on the book by Phoebe Gloeckner
directed by Marielle Heller

by Angelo Muredda “Everything looks totally different to me now,” announces brand-new, card-carrying adult Minnie (Bel Powley) towards the end of Marielle Heller’s The Diary of a Teenage Girl, based on Phoebe Gloeckner’s semi-autobiographical graphic novel about her coming-of-age in 1970s San Francisco. It’s an old sentiment, practically a requirement of the bildungsroman, but credit ought to go to both Heller and Powley (in their respective feature debuts) for making it seem relatively new in the context of Minnie’s story. Deservedly lauded at Sundance for its frankness and non-judgemental approach to female and young-adult sexuality, the film impresses on its own terms as a solidly constructed character study of a mercurial, still-forming artist, told with a straight face despite the period eccentricities.

Sleepaway Camp II: Unhappy Campers (1988) [Collector’s Edition] + Sleepaway Camp III: Teenage Wasteland (1989) [Collector’s Edition] – Blu-ray + DVD Combo Packs

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SLEEPAWAY CAMP II: UNHAPPY CAMPERS
*½/**** Image B+ Sound B Extras B+
starring Pamela Springsteen, Renée Estevez, Brian Patrick Clarke, Walter Gotell
written by Fritz Gordon
directed by Michael A. Simpson

SLEEPAWAY CAMP III: TEENAGE WASTELAND
½*/**** Image B+ Sound B Extras B+
starring Pamela Springsteen, Tracy Griffith, Michael J. Pollard
written by Fritz Gordon
directed by Michael A. Simpson

by Bryant Frazer Say what you will about the original Sleepaway Camp–you can’t accuse it of lacking ambition. All writer-director Robert Hiltzik had to do to sell a movie with that title in that era was cast a bunch of teenagers in a wan Friday the 13th knock-off and splash some Karo blood around in the woods. Yet he made something dark and unique, with queer undertones: the first gender-identity horror film. The story goes that Hiltzik’s script for a follow-up was rejected by producer Jerry Silva, who thought it was too dark. Instead, he forged ahead with plans to shoot two overtly-comic sequels back-to-back in Georgia under the direction of local talent Michael A. Simpson. A 24-year-old writer named Fritz Gordon got the gig on a recommendation from U.S. distributor Nelson Entertainment.

The Fisher King (1991) [The Criterion Collection] – Blu-ray Disc

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****/**** Image A- Sound A Extras A-
starring Jeff Bridges, Robin Williams, Amanda Plummer, Mercedes Ruehl
written by Richard LaGravenese
directed by Terry Gilliam

by Bryant Frazer New York City is cast against type in The Fisher King, where it plays an urban fantasy realm complete with castles, towers, villages, and wilderness. Kings and queens look down from their lofty aeries on the dirty streets below, where peasants defend their hard-won territory against barbarian hordes. Imposing forests of skyscrapers jut up from the concrete, cave dwellings yawn open at the base of the Manhattan Bridge, and the city’s homeless specialize in ad hoc musical theatre. The Holy Grail may be hidden in a fortress on the Upper East Side. And there are no dragons in New York, but the Red Knight is a motherfucker.

Tangerine (2015)

Tangerine

***/****
starring Kitana Kiki Rodriguez, Mya Taylor, Karen Karagulian, James Ransone
written by Sean Baker & Chris Bergoch
directed by Sean Baker

by Walter Chaw Tangerine acts like, sometimes even looks like, a Fassbinder film. It's a relational melodrama, a social allegory, an outsider text presented with seriousness and formalism that distinguishes itself with its energy and a willingness to address taboo unadorned. It's not a masterpiece, but it is a rarity: one of those glimpses into another culture obsessed with ordinariness, mendacity, and universality. Tangerine has the urgency of another generation's independent cinema. It doesn't play like a calling card, although there are moments, most of them coming in the final third of the film, arranged with a careful, painterly intentionality. The picture plays for all its narrative looseness (and then conveniences) like an opinion urgently held, urgently shared, but repeated so often that sometimes details are neglected in the retelling. It reminded me a lot of Nir Bergman's little-seen gem Broken Wings, which takes place in a very particular time and place (Haifa during the height of suicide bombings) yet is really just about a family. Broken Wings is not a masterpiece and neither is Tangerine, but both are important in the same way.

Get Hard (2015) [Unrated] – Blu-ray + DVD + Digital Copy

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½*/**** Image A Sound A Extras Oy
starring Will Ferrell, Kevin Hart, Alison Brie, Craig T. Nelson
screenplay by Jay Martel & Ian Roberts and Etan Cohen
directed by Etan Cohen

by Walter Chaw The title pretty much says it all, as screenwriter Etan Cohen’s gay-panic directorial debut Get Hard works as the exact antidote to his own work on the smart, occasionally vital Tropic Thunder. It’s puerile and indelicate–that much to be expected, I suppose, but it’s laboured, too, and flat as a pancake. If Get Hard were a middle-aged man, you’d be calling an ambulance for all the wheezing. Two scenes: in the first, Wall Street wolf James King (Will Ferrell) does a patented Will Ferrell freak-out, mistaking attendant Darnell (Kevin Hart) for a carjacker, ending with Darnell saying, “I didn’t mean to freak you out, man;” in the second, two scary-looking Boyz N the Hood-era gangbangers say, “Wall Street is where the real criminals at!” The former demonstrates how poorly matched are the improvisational styles of the leads, with Ferrell needing a deadpan straight world to his shenanigans; one wonders at the wisdom of casting two alpha-comedians in a film–with no one setting up the jokes, there’s never anything to pay off. (It’s why Jeff Daniels is Jim Carrey’s counterpart in the Dumb and Dumber movies and not Robin Williams.) The latter demonstrates how desperate the film is in trying to be smart and relevant. What could be more sophisticated and racially sensitive, after all, than a screenplay written by a bunch of identical-looking white guys imagining a Los Angeles street gang called the Crenshaw Kings transitioning their drive-by and street-smart jive business into day-trading?

Miami Blues (1990) – Blu-ray Disc

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***/**** Image B+ Sound A Extras B
starring Fred Ward, Alec Baldwin, Jennifer Jason Leigh, Nora Dunn
screenplay by George Armitage, based on the novel by Charles Willeford
directed by George Armitage

by Jefferson Robbins Remember when handheld camera was a technique deployed to signal disorientation, estrangement, and vulnerability and not simply “the way we shoot movies now”? In George Armitage’s Miami Blues, the otherwise-steady camera first comes unhinged when ex-con Frederick “Junior” Frenger Jr. (Alec Baldwin) orders newly-requisitioned hooker Pepper (Jennifer Jason Leigh) to roll over on her belly, presumably so he can employ her the way male prisoners employ each other sexually. He can’t, though, because there’s something different there, and an afternoon’s purchased pleasure becomes an affair. Armitage’s use of the camera is a punctuation, a chapter break in Junior’s story, reassuring us that while Junior is malevolent and unpredictable, Pepper won’t immediately meet the same fate as the Hare Krishna that Junior (kind of accidentally) murdered an hour before. Still, you should probably worry for her.