Green Room: when they witness a murder in a remote neo-nazi music venue crusty-punk band “The Ain’t Rights” have to fight their way out. It’s the sort of weird blurb that you’d expect from a shitty B-Movie, but this one is anything but that. The setup is a great portrayal of the Punk/DIY scene and touring life in general; whereas the main chunk of the film switches to a tense, claustrophobic cat-and-mouse thriller as the band are trapped, and the balance of power inside/outside the room shifts back and forth. The final act changes gears yet again into more of a generic hillbilly survival horror story; yet keeps up with the breath-holding, seat-grabbing set pieces. The film is littered with moments of ultra-violent ultra-gore; limbs being slashed, people being gutted, graphic gunshot wounds… which are offset with some wonderfully wicked black/morbid comedy moments; like fighting off a dog with a mic stand and getting ridiculous feedback from the PA system. Visually, the film is very slick and the director skillfully keeps the majority of the runtime confined to a the small, grotty, bar: unsurprisingly, all of the green colours have been popped out, giving it a vibrant – almost neon – wash. The entire cast is solid; it’s a great turn by Yelchin in one of his final roles, and it’s fantastic to see someone straight like Patrick Stewart play a proper ruthless peesashit baddie. Green Room exceeds all expectations for a film with its niche plot, and is handled exceptionally by the cast and director, creating a solid and effective thriller.
List of bands mentioned / referenced: I’m sure there’s more!
Fugazi, Dead Kennedys, Dillinger Escape Plan, Misfits, Black Sabbath, Simon and Garfunkel, Prince, Madonna, Slayer, Iggy Pop, Minor Threat, Distillers, Dare to Defy,
Rudderless: after his son dies in a school shooting a grieving father finds his musical demos; learns them, plays them live and inadvertently ends up in a band that’s becoming successful. It’s all about the music, kind of like that film Once, but doesn’t suck hairy Irish balls. The musical aspect of this is solid; with believable songs and a good portrayal of gigging, jamming, the minutia of band life etc. The plotline is also an interesting take on taboo/sensitive material, and runs along nicely – if a little slowly – until the last act where it becomes more of a paint-by numbers affair, as the loose ends get tied up. Performances are top drawer too; Crudup is strong, and pulls you right in to his situation – it helps that he can play guitar and sang. Fishbourne steals all his scenes, and it’s clever casting Selena Gomez in despite being in 2 just scenes. Some would probably point out that the characters are thin, but it feels deliberate, in order to force the audience’s interest – enough subtle hints are laid out in the script for you to piece things together, and only key elements are eventually explicitly mentioned in the dialogue. The only major thing that bugged me was the continuous non diegetic music trying to manipulate you in to feeling what William H Macy wants as each scene plays out. As far as directorial debuts are concerned, WHM couldn’t have done much better; an interesting and compelling story, well acted, shot and edited – but was just a little too low-key / indie / shoe-gazing to fully enthrall.
New York, I Love You: a collection of short stories all about New York and New Yoykers – loosely labelled under the umbrella ‘romance’. The vignette setup just doesn’t do it for me, far too many characters, and differing themes / tones / styles / storylines – all mashed together, tediously linked through the location. The second problem is the quality control, or lack of – a few of the shorts were really good; prom night, pickpockets, old couple – but the rest were all varyingly pretentious and dull stories featuring varyingly pretentious and dull artisan characters – some of whom are beyond absurd – Ethan Hawke, I’m talking to you. Despite being all about NY, and the ‘love of the city’ there’s not that much iconic scenery; it’s mostly grimy side streets, greasy spoons, apartments, bars, yellow cabs, ect, which doesn’t really capture the vibes of the big apple – although someone could probably argue that this captures ‘THE REAL NEW YORK, BRO’. Given the massive list of A-list actors (and them some) New York, I Love You is massively disappointing – parts are good, but overall it’s collectively dull. Give City Island a bash instead!
Charlie Bartlet: Misunderstood and peculiar rich kid gets expelled from private school and has to fit in at a public school; 0 points for originality. Then come the cast, and eclectic cross-section of pupils: suicidal goth, slutty cheerleader, bonehead bully… again 0 points for originality. Bartlett himself is quite corny, his love interest (Kat Dennings) is appears to be incapable of conveying any emotion but Downy Jr is good to watch and unexpectedly calm – until he gets the typical ‘crazy man’ scene. My biggest problem was that this tried to cover too many themes: depression, rebellion, love, parents, popularity, growing up and all the rest but instead of being neatly wound together they were separated and covered 5 minutes at a time. It’s also got one of the most gratuitous boob-shots in history. Nowhere near the same league as the School/Teen movies: Napoleon Dynamite, American Pie, Ferris Bueller, Fast Times, Mean Girls, Superbad, Rushmore… Reasonably forgettable MTV movie-type affair.