Today I saw Silent House, starring Elizabeth Olsen and Eric Sheffer Stevens.
I've decided that from now on I'll see anything starring Elizabeth Olsen. She's just that good.
Sarah (Olsen) and her father John (Adam Trese) are getting ready to sell the family lake house. They have returned to the apparent small town to pack up their things and fix the place up.
Sophia (Julia Taylor Ross) is Sarah's long-forgotten childhood friend, ecstatic to learn she's back in town. Uncle Peter (Stevens) is also around, and you get the sense there's a bit of sibling rivalry between him and John.
Everything here happens in real time, and the film is shot in such a way that you feel like an uninvited voyeur. That's not a bad thing considering the tension it subconsciously builds.
There doesn't seem to be any electricity in the home, so everyone carries camping lamps to light the rooms as they pack. The pair is supposed to have been there for a few days when we join them, but some of the rooms look as if they haven't been touched in years.
At night, Sarah grows scared of noises she hears upstairs so she sends her dad to investigate. When he doesn't come back, and a large crash is heard, Sarah knows she's in trouble.
For another hour, we're holding our breath right along with her as she hides from, escapes, follows and runs into what/who is terrorizing her. In classic horror storytelling fashion, we feel a sense of false peace more than once when we think she's overcome the evil, but there's always another surprise or twist around the corner.
I really liked this film, and more importantly loved the amazing performance by Olsen.
Seeing her for the first time in last year's Martha Marcy May Marlene, I knew she could shine in a drama; now I know she's also mastered all of the emotions necessary for a convincing horror piece.
Go see this—but do better than me, and take someone to hold onto.
~~~
Showing posts with label America. Show all posts
Showing posts with label America. Show all posts
Saturday, March 17, 2012
Sunday, May 25, 2008
Recount
Tonight I watched Recount, starring Kevin Spacey.
It was exactly as I thought it would be—definitely painting a somewhat silly (if not deserving) picture of the republican party and the lawmakers in the election-challenged state of Florida.
Recalling the crises that was the 2000 presidential election, the film shows how both sides handled, maneuvered, fought, schemed, prayed and cried their way through the count, recount and all of the lawsuits in between.
It showed how our system was (is) clearly flawed and that politics were (are) well...ugly.
In other words, it didn't really tell us anything about the incident or about the country that we didn't already know, it just revived the stomach ache some of us still have from that fateful decision eight years ago (and when I say fateful, I do mean it—how many lives wouldn't have been lost if Bush never made it to office?).
And since we're in an election year now, it only makes those of us who are somewhat involved in the campaign all the more determined to see our part through, as well as reminding us that if we want our votes as Americans to truly count, we should stay out of Florida.
It was exactly as I thought it would be—definitely painting a somewhat silly (if not deserving) picture of the republican party and the lawmakers in the election-challenged state of Florida.
Recalling the crises that was the 2000 presidential election, the film shows how both sides handled, maneuvered, fought, schemed, prayed and cried their way through the count, recount and all of the lawsuits in between.
It showed how our system was (is) clearly flawed and that politics were (are) well...ugly.
In other words, it didn't really tell us anything about the incident or about the country that we didn't already know, it just revived the stomach ache some of us still have from that fateful decision eight years ago (and when I say fateful, I do mean it—how many lives wouldn't have been lost if Bush never made it to office?).
And since we're in an election year now, it only makes those of us who are somewhat involved in the campaign all the more determined to see our part through, as well as reminding us that if we want our votes as Americans to truly count, we should stay out of Florida.
Saturday, February 24, 2007
Ghosts of Abu Ghraib
The evening of February 22, I saw Ghosts of Abu Ghraib, a documentary about the atrocities committed in the Iraqi prison.
The film was created by my favorite documentarian, Rory Kennedy and includes interviews with former prisoners, guards and military personnel who were there at the time.
What did I learn? Something I already knew: America should be ashamed of itself. There's really no other way to say it. As this war began, the Geneva Convention was thrown out the window and our soldiers were instructed to torture their captives using the most humiliating and extreme techniques. The photos in the documentary (many of which were seen through various media channels when the scandal was exposed) are still nauseating; the excuses still unacceptable.
What I found to be the most frightening part of the documentary was the nonchalance of the females interviewed, who were all but justifying their smiling photographs demonstrating these horrors. I didn't get any sense of remorse from the women, although all of the men displayed regret and guilt for their actions.
This film should be required viewing in every boot camp training course in every branch of the military.
But that will never happen.
The film was created by my favorite documentarian, Rory Kennedy and includes interviews with former prisoners, guards and military personnel who were there at the time.
What did I learn? Something I already knew: America should be ashamed of itself. There's really no other way to say it. As this war began, the Geneva Convention was thrown out the window and our soldiers were instructed to torture their captives using the most humiliating and extreme techniques. The photos in the documentary (many of which were seen through various media channels when the scandal was exposed) are still nauseating; the excuses still unacceptable.
What I found to be the most frightening part of the documentary was the nonchalance of the females interviewed, who were all but justifying their smiling photographs demonstrating these horrors. I didn't get any sense of remorse from the women, although all of the men displayed regret and guilt for their actions.
This film should be required viewing in every boot camp training course in every branch of the military.
But that will never happen.
Monday, February 19, 2007
God Grew Tired of Us
This morning I saw God Grew Tired of Us, a documentary about the Lost Boys of Sudan.
The story follows Sudanese refugees from their Kenyan camp to their new homes sprinkled throughout America. The most interesting parts of the film are watching the 'boys' adapt to their new surroundings.
They don't understand that the butter cubes on the airplane aren't for eating alone ("Tastes like soap!"), that the door should be kept closed when using a public bathroom, and that Americans don't always speak to one another if they're strangers.
What they do understand is how to earn a living, work hard for a better life and value their friends and family.
Although the movie is focused on showing what these Africans can learn in America and benefit from its opportunities, it really shows us how much we benefit from helping decent, honest people make a life for themselves.
The postcscript shares their successes including college degrees, positions of leadership and evidence of 'giving back' to the communities they came from.
As a country, we should do more of this. Helping people help themselves.
It's the right thing to do.
The story follows Sudanese refugees from their Kenyan camp to their new homes sprinkled throughout America. The most interesting parts of the film are watching the 'boys' adapt to their new surroundings.
They don't understand that the butter cubes on the airplane aren't for eating alone ("Tastes like soap!"), that the door should be kept closed when using a public bathroom, and that Americans don't always speak to one another if they're strangers.
What they do understand is how to earn a living, work hard for a better life and value their friends and family.
Although the movie is focused on showing what these Africans can learn in America and benefit from its opportunities, it really shows us how much we benefit from helping decent, honest people make a life for themselves.
The postcscript shares their successes including college degrees, positions of leadership and evidence of 'giving back' to the communities they came from.
As a country, we should do more of this. Helping people help themselves.
It's the right thing to do.
Wednesday, February 14, 2007
Letters From Iwo Jima
Tonight I saw Letters From Iwo Jima, starring Ken Wantanabe and Kazunari Ninomiya.
This story of the Imperial Japanese fighting the Americans in the Battle of Iwo Jima is a sincere attempt to convey the horrors of war on both sides of the fence. However, it should've been an hour shorter.
The acting performances are superb and the battle scenes are an appropriately dizzy, harrowing ride, but the sentiment for me fell short—despite the fact the movie is well over two hours long. After witnessing the atrocities committed by both teams of soldiers, I was just anxious for the film to end because I didn't feel especially compassionate for either side.
Some would say that because the movie is based on a real battle and we know how it truly ended, that some of the suspense will inevitably be lost no matter how good the film is. I might have agreed with this had I not seen United 93, but now that I know it can be done, I no longer see that as a valid excuse.
This movie is nominated for the Best Picture Oscar® because of its beloved director Clint Eastwood, not because of its worth.
Eastwood's companion piece to this film, Flags of Our Fathers, better kept my attention—not just because I'm an American, but because it was a stronger story. What may have brought me into Iwo Jima more is if Clint had shown some familiar faces from his first movie and really tied things together. How compelling would it have been to see one of our beloved soldiers die from the opposite perspective?
More compelling than the result of this film, which left me bored and tired.
This story of the Imperial Japanese fighting the Americans in the Battle of Iwo Jima is a sincere attempt to convey the horrors of war on both sides of the fence. However, it should've been an hour shorter.
The acting performances are superb and the battle scenes are an appropriately dizzy, harrowing ride, but the sentiment for me fell short—despite the fact the movie is well over two hours long. After witnessing the atrocities committed by both teams of soldiers, I was just anxious for the film to end because I didn't feel especially compassionate for either side.
Some would say that because the movie is based on a real battle and we know how it truly ended, that some of the suspense will inevitably be lost no matter how good the film is. I might have agreed with this had I not seen United 93, but now that I know it can be done, I no longer see that as a valid excuse.
This movie is nominated for the Best Picture Oscar® because of its beloved director Clint Eastwood, not because of its worth.
Eastwood's companion piece to this film, Flags of Our Fathers, better kept my attention—not just because I'm an American, but because it was a stronger story. What may have brought me into Iwo Jima more is if Clint had shown some familiar faces from his first movie and really tied things together. How compelling would it have been to see one of our beloved soldiers die from the opposite perspective?
More compelling than the result of this film, which left me bored and tired.
Saturday, November 18, 2006
Little Children
Last night I saw Little Children starring Kate Winslet and Patrick Wilson.
It was the most complex, realistic and human movie I've seen all year.
The setting—American suburbia—is perfectly executed in the catty behavior of the soccer moms and the weekly football games the men play as an escape.
At first the movie is funny, complete with voiceovers that actually work and a steamy romance that you root for. Then, the movie turns dark as you find yourself alternately sympathizing with and being disgusted by the town pedophile, portrayed brilliantly by Jackie Earle Hayley.
It all comes to a climactic end when the characters each discover their individual destiny and take action to live them out. It makes you think, it makes you laugh and it makes you cry. The problem that I had with it was that the entire movie seemed to be illustrating why some things are just meant to be, yet the ending doesn't pay that theory off.
Nonetheless, it's another fantastic journey from Todd Field that carries us through the American experience with fierce authenticity.
To hear me and Michaelvox discuss this in Cinebanter 14, click here.
It was the most complex, realistic and human movie I've seen all year.
The setting—American suburbia—is perfectly executed in the catty behavior of the soccer moms and the weekly football games the men play as an escape.
At first the movie is funny, complete with voiceovers that actually work and a steamy romance that you root for. Then, the movie turns dark as you find yourself alternately sympathizing with and being disgusted by the town pedophile, portrayed brilliantly by Jackie Earle Hayley.
It all comes to a climactic end when the characters each discover their individual destiny and take action to live them out. It makes you think, it makes you laugh and it makes you cry. The problem that I had with it was that the entire movie seemed to be illustrating why some things are just meant to be, yet the ending doesn't pay that theory off.
Nonetheless, it's another fantastic journey from Todd Field that carries us through the American experience with fierce authenticity.
To hear me and Michaelvox discuss this in Cinebanter 14, click here.
Tuesday, October 10, 2006
Flags of Our Fathers
Tonight I saw Flags of Our Fathers starring Ryan Phillipe and Adam Beach.
The story tells of the soldiers who did (and didn't) raise the flag at The Battle of Iwo Jima—the scene captured in the iconic 1945 photo taken by Joe Rosenthal.
Everything about America is in this movie: blood, pride, racism, mercy, politics, compassion, deception and redemption. I would expect nothing less from Director Clint Eastwood.
I liked all of the performances—Phillipe, Beach, and even the still-creepy-from-Heavenly Creatures Melanie Lynskey who has a small, but memorable role.
The only weaknesses were the pace (slow) and the fight scenes (especially gruesome, when less really could've been more). The characters were well-developed and Iceland made a fine stand-in for the real war-torn soil (the actual present-day Iwo Jima is shown in the credits).
But I'll have to admit, I only teared up at the very end and was able to compose myself rather quickly. It wasn't the sobbing-followed-by-headache pain of Schindler's List or the sobbing-followed-by-vomiting pain of Full Metal Jacket or the sobbing-followed-by-days-of-more-sobbing heartache of Glory.
Maybe I'm just immune to the genre.
Regardless, I'm intrigued by the project Clint is completing now, which actor Barry Pepper told us about during a Q&A following the film. It's a companion piece to Flags of Our Fathers told from the Japanese perspective. It's called Letters from Iwo Jima and is currently in post-production.
Perhaps the theaters will market this cleverly and show the two stories back-to-back.
The story tells of the soldiers who did (and didn't) raise the flag at The Battle of Iwo Jima—the scene captured in the iconic 1945 photo taken by Joe Rosenthal.
Everything about America is in this movie: blood, pride, racism, mercy, politics, compassion, deception and redemption. I would expect nothing less from Director Clint Eastwood.
I liked all of the performances—Phillipe, Beach, and even the still-creepy-from-Heavenly Creatures Melanie Lynskey who has a small, but memorable role.
The only weaknesses were the pace (slow) and the fight scenes (especially gruesome, when less really could've been more). The characters were well-developed and Iceland made a fine stand-in for the real war-torn soil (the actual present-day Iwo Jima is shown in the credits).
But I'll have to admit, I only teared up at the very end and was able to compose myself rather quickly. It wasn't the sobbing-followed-by-headache pain of Schindler's List or the sobbing-followed-by-vomiting pain of Full Metal Jacket or the sobbing-followed-by-days-of-more-sobbing heartache of Glory.
Maybe I'm just immune to the genre.
Regardless, I'm intrigued by the project Clint is completing now, which actor Barry Pepper told us about during a Q&A following the film. It's a companion piece to Flags of Our Fathers told from the Japanese perspective. It's called Letters from Iwo Jima and is currently in post-production.
Perhaps the theaters will market this cleverly and show the two stories back-to-back.
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