Tricks Not Treats In The Non-Scary SINISTER

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SINISTER (Dir. Scott Derrickson, 2012)

Halloween is right around the corner, so how about an Ethan Hawke horror movie?

In Scott Derrickson’s SINISTER, which is being billed as “from the producer of PARANORMAL ACTIVITY and INSIDIOUS,” Hawke plays one of my favorite film character archetypes: the writer whose first book was a smash, but a decade or so later is struggling with the follow-up.

Here, Hawke’s genre is true crime, and he’s just moved with his wife (Juliet Rylance) and kids (Michael Hall D’Addario and Clare Foley) into a house where a family of four was found hanged from a tree in the backyard. Hawke’s plan is to re-ignite his fame by writing a book about the previous occupants’ murders, and solve the mystery of a missing fifth family member, a young girl named Stephanie.

“Sinister” opens with grainy Super 8 footage of the hanging, and Hawke finds that very film in a box of home movies in the attic, in a canister labeled “family hanging out.” Late at night, drinking whiskey, in his office covered with photos, maps, and newspaper clippings, Hawke watches the movies (other reels contain footage of the killings of other families) over and over looking for clues. His writing process mainly consists of jotting down questions on Post-it notes like “Where is Stephanie?” and “Who took the film?”

Strange, possibly supernatural, things start happening, some which are explained - the 12 year old D’Addario has night terrors and will scream for no reason, a big menacing neighborhood dog in the yard; some which are undoubtedly from a dark realm - ghosts of kids appearing here and there, images of an evil Pagan deity lurking in both Super 8 frames and around Hawke’s house.

Christopher Young’s none-too-subtle score tells us well ahead of time when the next scare is scheduled. With its constant swelling up to each attempted in-your-face jolt, it calls attention to some of the most forced instances of creepiness I’ve ever seen in a horror movie.

One ridiculous sequence has Hawke, wielding a baseball bat while scoping out his dark house, because his projector keeps coming on showing the same film of the family being hanged. Man, I got so sick of seeing that sick footage. Anyway, Hawke’s worried eyes work over time as he searches the shadows, but he misses the apparitions of dead kids that keep appearing around him, but disappear the second he turns around - you know, like in a cartoon.

A couple more clichés are present in the two local cops that show up to Hawke’s property. Fred Thompson (long-time character actor and former U.S. Senator) plays the gruff Sheriff, who’s not a fan of Hawke’s work, and James Ransone as the bumbling Deputy, who turns out to be smarter than expected. At least, there’s a welcome un-credited cameo by Vincent D'Onofrio as a professor of the occult, or some such, even if he only appears on a computer screen.

Hawke does his best to carry this macabre mess, and pulls off a few great hysterical moments, but the vain douchey nature of the character he’s embodying doesn’t cut it as one we should care about. The movie itself isn’t visually interesting - it’s too dark and dreary aesthetically, and there’s not much imagination in shot set-ups.

Derrickson’s (best known for THE EXORCISM OF EMILY ROSE I guess) film fails to frighten so much that when its’ supposed-to-be shocking ending arrives, it pathetically falls flat.

It may be slim pickings for quality horror movies this Halloween, what with a fourth PARANORMAL ACTIVITY, and something called SILENT HILL: REVELATION 3D coming out, but that doesn’t mean one should settle for the embarrassingly non-scary SINISTER.

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SEVEN PSYCHOPATHS Gets Meta Right

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SEVEN PSYCHOPATHS (Dir. Martin McDonagh, 2012)

It’s not often that a film lives up to the potential of its cast and premise, but SEVEN PSYCHOPATHS does both, and it does something even rarer - it does the “meta” thing right.

Martin McDonagh’s first full length feature, 2008’s IN BRUGES, leaned a little towards meta with lines like “This is the Shootout” and it’s finale taking place on a film set, but here, in his bloody brilliant second film, the Irish writer/director really goes for the gusto in narrative deconstruction.

Colin Farrell, who also starred in IN BRUGES, plays an alcoholic Los Angeles-based writer living working on a screenplay called, you guessed it, “Seven Psychopaths.” Farrell happens to have a few questionable friends including the not-playing-with-a-full-deck Sam Rockwell who’s in the dognapping business with the eccentric ascot-wearing Christopher Walken.

Rockwell, whose fearlessly unhinged and hilarious performance steals the movie, makes the mistake of kidnapping the beloved shih tzu belonging to a ruthless gangster (Woody Harrelson), and this sets off a series of murders, conversations, and stories told through flashbacks – all of which Farrell is considering to add to his script.

If you find yourself thinking that the females in the cast (Abbie Cornish, Olga Kurylenko, and Gabourey Sidibe) are given short shrift, don’t worry, the folks in the film agree as we witness them discuss how Farrell’s female characters are weak.

The finale in the desert (at Joshua Tree National Park) may seem equally as obvious (someone even calls it “the perfect place for a shootout”), but the playful tone doesn’t feel forced and the winks at the audience didn’t make me cringe like in, say, Shane Black’s lesser equally meta-minded KISS KISS BANG BANG (2005).

In the best way possible, there are shades of Tarantino in the hitman banter and comic use of violence, and the Coen Brothers in the increasing absurdity of the situations as they pile on top of each other.

Great grizzled appearances by Harry Dean Stanton and Tom Waits, mostly appearing in the moody recollections that are intertwined with the film’s ongoing scenarios, give “Seven Psychopaths” a bit of gravitas that elevates the material above what usually passes for edgy comedy at the multiplexes these days.

Sometimes it seems as if SEVEN PSYCHOPATHS may be too much in its own comfort zone, but when it’s as cozily clever, and enjoyably in the know as it often is, McDonagh’s movie plays to its strengths more than it reveals its limitations. Or maybe, I was laughing too much to notice them.

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The Epically Entertaining But Empty CLOUD ATLAS

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CLOUD ATLAS
(Dirs. Andy Wachowski, Lana Wachowski, & Tom Tykwer, 2012)

Early on in this fantastical blend of seven scenarios, Tom Hanks, in probably the most ridiculous-looking get-up of all the characters he portrays here, plays a cockney gangster turned author who throws a snooty literary critic over a high-rise balcony to his death at a book release party because of a bad review.

It’s a funny gutsy scene, even though it’s so transparently saying ‘screw you haters! This is a big ass powerhouse of a cinematic experience that will throw you off a ledge whether you want to go with it or not!’
To its credit, especially with its bloated almost 3 hour running time, I did largely go with the flow. The Wachowskis, best known as the masterminds behind THE MATRIX trilogy, and Tykwer, best known for RUN LOLA RUN, have taken David Mitchell’s best-selling award-winning 2004 novel, and made it into a mega-movie for all genres.
It cuts back and forth through the various story-lines, sometimes with imagery morphing from likewise aesthetics in one shot into the other. With a cast including Hanks, Halle Berry, Jim Broadbent, Ben Whishaw, Jim Sturgess, Hugh Grant, Hugo Weaving, and Doona Bae playing multiple roles in cut-up centuries-spanning sequences, the film takes a gaggle of genres - i.e. dystopian sci-fi, post-apocalyptic drama, ‘70s conspiracy thrillers, British comedy, historical mystery, etc. - and puts them into a grinder, and they all come together to form epic entertainment.
Some storylines work better than others, and often the big cosmic gist of it all, you know, that everything ever is connected and that little acts of kindness can ripple through time and affect the future, didn’t really gel like I believe they were intending, but the pure visual splendor, along with the larger-than-life personalities present, still worked wonders.
Possibly Broadbent’s bits were the most likable. Whether as a fuzzy codger of a composer conniving to take credit for a supposedly brilliant piece of music called “The Cloud Atlas Sextet,” actually written by a suicidal gay musician (Whishaw, no stranger to mixed-up mashes of movies as he was one of the Dylans in Todd Haynes’ I’M NOT THERE), or as a present day heavily-in-debt publisher who gets wrongly committed to a nursing home by his brother (Grant), Broadbent’s energy and comic timing made a bigger impression on me than anyone else.
That’s not to say that there are some fine stand-out performances, as Hanks pulls off all his parts with ace acting, Berry puts in her best work since MONSTER'S BALL, and newcomer Bae has an emotional glow to her that fits right into the film’s absorbingly colorful palette.
Often in CLOUD ATLAS, the actors and actresses are unrecognizable because of intense makeup transformations that their change races, genders, and ages. Mostly the effect works, but there are instances that may provoke unintentional laughs when, say, first seeing a heavily freckled Susan Sarandon as an aging Southern Belle, or a Berry as a Blonde German woman. There were a lot of gasps at the screening I saw at the end credits montage that revealed who played what character. One thing is for certain: this film will undoubtedly get an Oscar nomination for Best Makeup.
As much as I was awed by what the Wachowskis and Tykwer put up on the screen, there was a bit of emptiness to the lavish proceedings that was hard to escape. Like in a conversation where you realize that somebody is only pretending to say something deep and meaningful when they really don’t have any new insight to share. Still, the ‘it’s all a show’ mentality makes for some spectacular movies, even if they are the equivalent of big junk food feasts.
Like many of those unhealthy feasts, CLOUD ATLAS is crammed full of empty calories, but that’s probably what makes it so undeniably delicious.
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FLIGHT: The Film Babble Blog Review

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FLIGHT (Dir. Robert Zemeckis, 2012)

With its disaster movie tension and tone, Robert Zemeckis’ first live action film since 2000’s CAST AWAY (and first R-rated movie since 1980’s USED CARS) comes on at first like it could be a reboot of the ‘70s AIRPORT series. Albeit a more edgy version, as we witness pilot Denzel Washington snort a few lines of cocaine before take-off, and drink vodka while in flight.

Despite the drinking and the drugging, when the airplane’s machinery malfunctions Washington is still able to successfully make an emergency landing, after the stunning maneuver of flying the jet upside down to halt the dive. Washington’s skills saves 96 of the 102 lives (or “souls” as he says it), and he’s initially hailed as a hero, but his hospital toxicology report could get him lifetime imprisonment for manslaughter.

As he’s recuperating, Washington tries to quit drinking and throws out all his liquor and beer. This can’t help but be comical as the supply of booze at his family’s farmhouse in the countryside of Georgia, where he’s hiding from the media, is so huge that he keeps finding more to dispose of.

Washington’s sobriety doesn’t last long; he drops off the wagon right after a morning meeting with Bruce Greenwood as a airline union rep, and Don Cheadle as a Michael Clayton-esque fixer-lawyer who is a little concerned about a certain blood-alcohol-level report. Although Cheadle is confident that he can suppress it, Washington relapses big-time.

Again, the scenes with Washington dealing with his alcoholism can’t help but be comical as we see him guzzle from a big bottle of liquor in the parking lot of a liquor store, and driving around Atlanta with a can of Budweiser in his hand. It seems like Washington spends most of the movie trying to out-drink Nicholas Cage in LEAVING LAS VEGAS.

Washington falls in with Kelly Reilly, who he met at the hospital, as a recovering heroin addict/hooker, but it’s obvious that she’s on a better path to getting her life back together than he is by getting a new job and going to AA meetings. Reilly tries to get Washington to attend a meeting with her, but he walks out half-way through. Our disgraced hero’s behavior gets even worse when he pays a drunken visit to his ex-wife (Garcelle Beauvais) after Reilly leaves him.

While Zemeckis, actually a longtime pilot himself, is a former Steven Spielberg protégé his use of music here has a Martin Scorsese-style specificity. This is most on display in the cameo by the always hilarious John Goodman, who should cameo in every movie, as Washington’s drug dealer who struts through hallways to the Rolling Stones’ “Sympathy For The Devil.” Washington gets Joe Cocker’s “Feelin’ Alright” as his strutting song when all he’s coked-up yet still smooth, and Reilly gets the Cowboy Junkies’ cover of the Velvet Underground’s “Sweet Jane” to serenade her when she shoots up in an early scene. 

I dug how gutsy FLIGHT was for most of its lengthy running time (2 hours and 18 min), and was highly amused by Washington’s cocky manner of talking around people (“Don’t tell me how to lie about drinking, I’ve been lying about drinking my whole life!”), but the film hugely falters in its concluding scenes that contrive to give this appealingly un-redemptive character redemption.

Sorry if this is a Spoiler!, but in the climatic hearing, in which Washington gets questioned by Melissa Leo as an understanding federal inquisitor, I was rooting for the guy to get away with it all, like folks often do in this cruel world. Is that what screenwriter John Gatin (REAL STEEL - that’s right) wanted folks to feel? Like, yeah we know Denzel has substance abuse issues, but, da-ham! Look how good he looks even after a rough night, and he did save the majority of passengers on that doomed flight, so why not let him off the hook?

In the end, the well made FLIGHT enjoys partying with Washington so much, that its punishment of him doesn’t really fly.

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A Worthwhile Retro Romp In WRECK-IT RALPH

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WRECK-IT RALPH (Dir. Rich Moore, 2012)
          
It’s not the first time that the great John C. Reilly has been animated - Jake Kasdan’s WALK HARD featured Reilly’s Dewey Cox character dabbling in pscychedelics with the Beatles bringing on a YELLOW SUBMARINE-style hallucinatory sequence (“I like being a trippy cartoon!”), and Reilly was the sole comic relief as a scared stitch-punk in Shane Acker’s dreary 2009 sci-fi CGI-concoction 9 - but in WRECK-IT RALPH, it’s the first time he’s been properly animated with such purpose.

Reilly lends his voice to the title character, an oafish villain in a Donkey Kong-ish video game called “Fix-It Felix Jr.,” who decides during his game’s thirtieth anniversary that he doesn’t want to be the bad guy anymore. 30 Rock’s Jack McBrayer, also appropriately animated, voices the games’ hero, who is constantly celebrated by the tenants of the apartment building for fixing what Ralph, uh, wrecks.
The game is located in the fictional Litwak's Arcade, alongside other parody/homages to classic ‘80s video games, such as the violent war game “Hero’s Duty,” and the seemingly set in Candyland go-cart game “Sugar Rush.” There are also many amusing cameos from real game characters, including Frogger, Q*Bert, Sonic the Hedgehog, and Clyde, the orange ghost from Pac-Man.
Told that he’d have to win a medal to be accepted by the residents of his game, Ralph leaves through the wires of “Fix-It Felix Jr.” to the arcade’s master power strip called Central Game Station, where all the various video game characters interact with one another after the establishment closes, in a TOY STORY style (not to mention the similarities to the world where cartoon characters live among us in WHO FRAMED ROGER RABBIT?).
There’s also a bit of PURPLE ROSE OF CAIRO happening like when its noticed that Ralph is missing from his game and the arcade manager (voiced by Ed O'Neill) puts up an out of order sign. Since this means that the videogame is broken and will be unplugged, Felix goes after Ralph.
In one of the funniest scenes, Ralph tries to get a medal in “Hero’s Duty,” ruled by the stern Sergeant Tamora Jean Calhoun (Jane Lynch), and succeeds despite how chaotically over the top the game is. Ralph exclaims: “When did video games become so violent and scary?!!?”
In the next game Ralph hits, “Sugar Rush,” his medal is stolen by Vanellope von Schweetz, voiced by comedienne Sarah Silverman, who's plagued with a programming code glitch which makes her as ostracized in her video game world as Ralph was in his.
Silverman's Vanellope has a persona tailored to her patented cute snarkiness, and her penchant for crude bathroom humor - her riffing on the name of the game “Hero’s Duty” (sounds like ‘doody,’ right?) gets some good mileage (“Why did the hero flush the toilet?' ‘Cuz it was his DUTY!”), and she and Reilly exude likable chemistry bouncing off each other in their exchanges, with both comical and emotional impact.

In several smaller parts that stand out, Mindy Kalling has a few choice moments as a racing rival of Silverman's, as does Alan Tudyk as King Candy (the film's real bad guy), and is that Skrillex putting in a cameo as the DJ at Fix-It Felix's 30th anniversary party? Why yes, it is.
The sprightly, inventive, and neatly nostalgic WRECK-IT RALPH is one of the few recent animated kid’s films that uses pop culture referencing to its advantage, with genuine affection towards its inspirations. When Reilly's Ralph realizes, and says touchingly, that ‘retro’ doesn’t necessarily mean outdated and unnecessary, it can mean that something’s “old but cool,” it’s obvious that director Moore (who helmed many classic Simpsons episodes), and screenwriters Phil Johnston (CEDAR RAPIDS), and Jennifer Lee honestly feel the same way.
Whether they grew up in the age of 8-bit, or have been weaned on the high resolution graphics that dominate the game world now, folks of all ages should take to the worthwhile romp that is WRECK-IT RALPH. 

It looks like Disney, whose 52nd feature-length animated film this is, has taken more than a few cues from Pixar (including having a charming animated short play before the movie - John Kahrs’ “Paperman”), and made, via a mixture of hand drawn and CGI, a much sharper and hipper film than their last few features (I barely remember TANGLED or THE PRINCESS AND THE FROG).
It’s good news indeed that the Magic Kingdom’s movie makers can still mazimize on a promising premise, get so many laughs and thrills out of it, all the while poignantly pulling the heartstrings. It goes a long way to make up for the kind of crap that too often passes for family entertainment these days.
*Cough* “Hotel Transylvania” *Cough*.
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Letter to the editor in support of Ray Lodato's First District Congressional Bid

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posted by chicago pop
We have been asked to post this letter to the editor, rejected by the Hyde Park Herald and the Chicago Tribune, from Mr. Alex Gomez. Mr. Gomez is Campaign Manager for Ray Lodato's bid for the First District Congressional seat currently held by Bobby Rush.

To the Editor,

Democratic Congressional candidate Raymond Lodato has promised to "get the First District back to work." We share his concern with bringing jobs to the district, and are additionally concerned about Congressman Rush's dismal voting record, which was recently explored by The Chicago Tribune newspaper. Rush's claim to 'seniority' is absolutely hollow. He is not the ranking minority member on any committee. Five Democratic representatives who arrived in Washington the same year he did are, as are another four who arrived after him. But ranking minority members, like committee chairs, are chosen by their fellow representatives based on the respect they command. Rush commands little respect from his colleagues, so his constituents don't benefit from his many years in Congress. He has longevity, not seniority. Fortunately, we have an alternative in Raymond Lodato, who will be a forceful, independent and effective Representative for the District.

                                                                              Respectfully,

                                                                              Rebecca Janowitz
                                                                              Joan Merlin Palmer
                                                                              Linda Swift
                                                                              Duel Richardson
                                                                              Judy Jakush
                                                                              Edward "Ted" Fetters

Shoesmith and Murray Add Reformers to LSC's

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-posted by chicago pop
The results of yesterday's local school council (LSC) elections are in for the two most hotly contested races. At both Murray and Shoesmith, reformers were successful in gaining seats on both councils on the back of extraordinary voter turnout at both locations. This is a strong sign that Hyde Park and Kenwood residents are against two things: backsliding (Murray) and the status quo (Shoesmith). It is an equally strong sign that they are for maintaining and improving the public school options available to residents of Hyde Park and Kenwood - and are willing to put in the time to make it happen.
This could be the local impact of an overall spike in CPS (and Catholic school) enrollment, due in part to a continued sluggish economy that is sending more and more families into the public school system - as opposed to private schools or suburban districts. It could also be the buds of a distinctly local parent activism, akin to similar movements that have taken shape on the North Side, as a core of local parents commit to improving public education options in the neighborhood
At Murray, the reformist Parents for Murray group saw its top four "Slate for Change" parent candidates pull in the most votes, together with a community member endorsed by the group. Together this represents a significant contingent of new voices to agitate for change at HP-K's beloved magnet school:
Parents
Josephine Njoku-Sanders: 240
Thomas Hoffer: 230
Michael Ewing: 227
Julie Hammond: 198
Community Members:
Michael Scott: 81

A similar story at Shoesmith. Here is a school in the heart of the neighborhood that has just signed a new principal. She is open to new ideas and is testing the waters for ways to improve the school's performance and make it an option for more neighborhood children. Unprecedented voter turnout for an LSC election landed two community members on the council who are both education professionals: Lina Fritz and Tom McDougal.

Community Members:
Lina Fritz - 96 votes
Tom McDougal - 78 votes
Camille Hamilton-Doyle - 73 votes
Roxanne Brown - 36 votes

 Both of them not only know the data on urban education inside and out, but can collaborate with the administration and demand accountability, to make sure what's being done is what works, and that Shoesmith reaches out to the neighborhood.

Worth noting in both cases were the high numbers of community member (non-parent) voters: out of 153 eligible votes cast in the Shoesmsith LSC election, 81 were cast by community members, 72 by parents. I don't have a similar breakdown for the votes at Murray, but the word is that community turnout there was also very strong. Undoubtedly some of those community votes were parents of children attending other schools.

The message is pretty clear: wherever your students come from, you're in Hyde Park. We all have an interest in how well you do.