Archive

Tag Archives: Stephen Root

Get Out 2017 Tear Daniel Kaluuya, Allison Williams, Catherine Keener, Bradley Whitford, Caleb Landry Jones, Stephen Root, Lakeith Stanfield, Lil Rel Howery, Erika Alexander, Richard Herd, Jordan Peele

GET OUT [Spoilers]: when a girl takes her new boyfriend home to meet her family, he gets way more than he bargained for. As a white metropolitan elite male, and part of the liberal media (a blog counts, right?) the moments of sleight racism, underhand stereotypes, and low-key comments about ‘form’, ‘structure’, ‘genetics’, etc were the hardest bits to watch. The strongest aspect about this film is that it skillfully uses the ‘language’ of horror cinema (jumps, isolation, string score) to emphasize the uneasy and odd parts of the plot. Even white people talking normally about Tiger Woods, Jessie Owens, and Obama sounds creepier through the ‘horror’ lens. The final 10 minutes see a major tone shift into exploitation & schlocky B-movie cheese, with some crowd pleasing gore – although it does feel like it’s been heaped on for good measure – a highlight being a ‘reverse American History X headstomp’ homage. There’s a few other missteps like the ‘gentrified’ help coming over more “robotic” than ‘transplanted’, and the TSA agent friend is purely in there for some cheap comic relief. The best thing about Get Out is that everything mentioned in the first half fits together perfectly for the reveal and finale; however, the flip side of that is that there’s no subtlety, and you get pushed down a particular path, which the film sticks religiously to; which feels too straightforward in a time where you expect more from top-drawer horror.

Score: 7/10

Get Out 2017 Chair Daniel Kaluuya, Allison Williams, Catherine Keener, Bradley Whitford, Caleb Landry Jones, Stephen Root, Lakeith Stanfield, Lil Rel Howery, Erika Alexander, Richard Herd, Jordan Peele

Get Out 2017 Dream Daniel Kaluuya, Allison Williams, Catherine Keener, Bradley Whitford, Caleb Landry Jones, Stephen Root, Lakeith Stanfield, Lil Rel Howery, Erika Alexander, Richard Herd, Jordan Peele

Cedar Rapids Ed Helms, John C. Reilly, Anne Heche, Isiah Whitlock Jr., Stephen Root, Kurtwood Smith,Alia Shawkat, Rob Corddry, Mike O'Malley, Sigourney Weaver, Thomas Lennon, Welker White, Steve Blackwood

Cedar Rapids: when ‘Brown Star’ (the best joke in the film) Insurance’s top sales guy dies they have to send a sheltered nerd to the regional insurance conference to win the prestigious “two-diamond” industry recognition. It’s billed as a ‘hilarious’ comedy, but let me break this down for you; John C Reilly is funny, Anne Heche is semi-funny, nobody else is funny at all. On paper, this is a great idea: a bunch of insurance nerds ripping it up at a corporate weekend – but it’s just not done correctly. A character from The Wire makes several references to The Wire, for no real reason – and the way everyone talks to each other is ridiculous, as if a child wrote parts of the script. Worst of all, not a whole lot of the jokes are funny – it’s definitely humor, not humour! The direction, look and feel are all classic American Indie – in the vein of Win Win, Away We Go, The Informant! – but it’s nowhere near that level. It feels like a studio said to a director “we’ve got this film that needs to be made, get all your friends on it”. As far as “Fish out of water” stories go, this could have been amazing, but the execution just isn’t there.

Score: 2.5/10

Unthinkable 2010 Samuel L. Jackson, Carrie-Anne Moss, Michael Sheen, Stephen Root, Lora Kojovic, Martin Donovan, Gil Bellows, Vincent Laresca, Brandon Routh, Joshua Harto, Holmes Osborne, Michael Rose

Unthinkable: a converted muslim, posing a nuclear threat to America is captured – how far will the government go to get the information they need against the clock? Having heard nothing about this before finding it on LoveFilm I was surprised at how topical, dramatic, fast-paced, controversial yet very believable the film was. It’s also very well directed, featuring massive issues like human rights, torture, the ‘greater good’, constitutional rights, threat to America – yet yet it never gets preachy, as all sides to each argument are explored, and you ultimately have to make up your own mind as to what’s the ‘right’ thing. There’s also some pretty graphic and genuinely unbelievable scenes inside the torture chamber – especially when the specialist interrigator (Sam L Jackson) gets going. The acting is great all-round – but with a cast this strong it’s a shame that the SFX are so terrible (explosion LOL). This film ultimately plays far more successfully on the fears, realities and situations of contemporary America than two series of Homeland have, and this is just over the length of two episodes. Unthinkable is an unbelievably smart, neat, tight little film that – for whatever reason – seemed to be a total flop: it’s clever film-making serves up an enjoyable, thrilling, thought-provoking picture. What more could you ask for?

Score: 8/10

Justified: after killing a mobster in Miami, old-fashioned US marshal Raylan Givens is re-assigned back to his home turf, Harlan County, Kentucky – where his past comes back to bite him. At the heart of the show are scores of larger-than-life characters, all of whom are well-developed over the season(s) and who’s intricate, interlacing, backgrounds are slowly revealed as the show rolls forward. When Raylan (Olyphant) and Boyd Crowder (Goggins) are in the same scene, it’s TV Dynamite – not to mention other great leads in Arlo, Art, Mags, Dickie, Doyle, and supporting cast members like Gutterson, Johnny, Duffy, Bo, Helen, Ava, Loretta, Dewey… and although the show hangs mostly on Givens, there are very few characters that you’d want to write out. It stands out against most TV shows by channeling an old-fashioned western, redneck, lawless, gun-slinging vibe. It’s also focused more on entertainment, over just drama: sure, the story can be a tad on the ridiculous-and-conventient side (how many criminals are there in this district? How many men can one man kill? etc, etc) but the writers seem to understand that this is what makes the show so watchable. The script and story-writing is solid, and there’s a lot of comedy one-liners that you could easily miss. Season one went for the ‘one case per episode’ format with bits of backstory mixed in, whereas season two gambled with the larger, holistic end-to-end story arc and a few one-off cases thrown in – and when coupled with better production, writing, and a bigger budget, it really improved the show. There aren’t too many shows that blend drama, tension, action, wit and succeed in keeping it entertaining. Justified is a gem.

Season 1: 7/10
Season 2: 8/10

Red State: a kidnapping, turns into a hostage situation, which goes south pretty quickly from there. Be warned: this is nothing like anything Kev Smith previously done. For me, Smith films are defined by his ridiculously snappy / witty / unrealistic dialogue – none of those traits were overly abundant, but conversations are still not quite natural. There’s a mumble jumble of social commentary, gunfighting, politics, government handling of situations and blood-splattering gore; none of which were pushed to the front of the film, giving it a bouncy tone and a premise that constantly changes. In saying that, it’s all quite enjoyable and entertaining at the time, but ultimately the cinema equivalent of junk food – it fills a 90 minute void -isn’t too memorable! Cast-wise, Goodman steals every scene, but is closely followed by Park’s ultra-extreme rambling hate Baptist. It reminded me a lot of Burn after Reading in a ‘govt f-up’ way, especially the abrupt wrap-up, although it’s not quite in the same league.

Score: 5.5/10