"Hush. The Devil Will Hear You."

DEADFALL (2012)

Keep up your everything, good sir.

The more I get into film--and I mean, really into film, dissecting films, writing films, reviewing films--the harder it gets to sit back and just enjoy a movie. It's Einstein's Law of Lovability, you take apart the things you love too much, and eventually you leave every theatre going, "It was great! But...[enter itemized minor nit-picky complaints for the next thirty minutes]." So it's rare a movie can draw me in, really draw me in, to the point where I stop critiquing and remember why I love movies so much in the first place.

Because they're just a hell of a lot of fun. 

Deadfall is just that. It's not a particularly perfect movie by any means. You're not going to finish it with a great philosophical weight lifted off your chest. But it's a fun, shameless movie about two quasi-incestual (aw, who are we kidding, they got all up in the incest) felons (Eric Bana and Olivia Wilde) who are on the fun from the cops. It's also about a cop (Kate Mara) with feminine issues (and it has nothing to do with her tampon) and a recently-released prisoner (Charlie Hunnam) who's dead set on avoiding his father for Thanksgiving. Basically, everyone's got a chip on their shoulder and, spoiler alert, everyone will have to very directly confront their shit in the third act. So maybe it gets a little heavy-handed by the end, and maybe some characters were redeemed that shouldn't have been, and maybe the CGI snow fell a little too awkwardly...

Whoops, there I go, critiquing again. The point is, while watching this movie, it's very easy to get sucked into the internal drama and--let's say it like it is--general fucked-upness of all the characters. Really, the main draw of the film is one Eric Bana, who plays the wild-card brother who will kill, threaten, and generally do what he has to in order to protect him and his sister (y'know, as long as no little kids are involved). He's a great, well-written character who keeps you engaged in his own internal demons throughout the entire movie; plus, I just really enjoy watching Eric Bana be a resourceful and mildly-sadistic fuck. The movie's honestly not that long (a clean 95 minutes) and it's on Netflix, so there's really no good reason not to watch it. Just sit back, turn off your brain, and enjoy a little good, solid, murderous fun. 

P.S.: This should also be known as the one time Olivia Wilde's face did not annoy me. And by "face," I mean "legs."

"My Q-Bertese Is A Little Rusty."

WRECK-IT RALPH (2012)

It's been a while since I've laughed this much in a movie theatre. And not just the "haha, everyone around me is laughing so I guess I'll snicker" laugh. A genuine, unflattering bark of a laugh. In a place a least expected it: a child's animated movie. To be fair, something tells me Wreck-It Ralph isn't exactly targeting kids. It's a movie about video-games for video-game lovers, a nostalgic parody of those old school games we once loved. The plot runs like this: Wreck-It Ralph, a video game villain, wants more out of life and starts jumping games to try to win a medal and come back a hero. 

And if you didn't spent the better half of your childhood with a gameboy in hand, don't sweat it--neither did I. Yet I still managed to get most of the references and understood the humor. At the end of the day, it's just a well written, solid script, which seems to be a rarity these days. The characters were great, lovable; the writing was interesting and didn't talk down to its audience; and it was just straight-up fun. Of course, I have to namedrop: we've got a lot of great voice actors in this one. John C. Reilly is Wreck-It Ralph, Sarah Siliverman is the not-so-sweet Vanellope, Jack McBrayer is hilarious as Felix, Jane Lynch is flawless as Calhoun, and Alan Tudyk--yes, Alan Tudyk--makes an appearance as King Candy, though it's near impossible to recognize his voice. In short, I know it's easy to chalk this one up as a "maybe I'll see it, maybe not," but I'm here to tell you the answer is yes. You want to check this one out, if only for nostalgic value. 

"He Doesn't Want Us To Cut Through Our Chains."

SAW (2004)

So here's the thing. I actually avoided this one when it came out. I couldn't tell you why. Probably because it was around the time when the theaters were infested with plotless gore and I was over it. I was getting sick and tired of the same "rotting" green filter and the same heavy breathing in the microphone. So I skipped this one. For much too long. Finally, I sat down to see it. And I'll be the first to say it: I was wrong. 

The brilliance of Saw is that it's just a straight-up good movie. There's a good deal of gore, sure, but that's nothing compared to the mindfuck that this movie puts you through every time Jigsaw gets another victim under his grasp. We have our killer, our hero, we even have the obsessive cop with a chip on his shoulder. It's all the makings of a good, physiological thriller. The acting is, for the most part, pretty solid, and it helps that Ben makes an appearance. It puts a lot of twists on what you expect from a horror film and constantly ups the ante. Case in point: tired of the one man fumbling through his dark apartment to avoid a hidden assailant? Try a photographer fumbling through his apartment, constantly flashing pictures to give himself some makeshift light. Brilliant. The music is epic, the pacing is great, I really have no complaints with the movie as it is. 

Of course, one of my favorite things about Saw is how simple it is. The majority of the movie just focuses on two guys in a filthy room. It was created by two film students straight out of school who wanted to make something low-budget and brilliant. Honestly, it doesn't get better than that. What can I say, I'm a sucker for a Cinderella story that ends in a jaw-splitting torture helmet. 

I'm probably the last person on earth to see this movie, so I highly doubt I have to recommend this one to anyone. Onto the rest of the series! 

"The Profile Doesn't Fit The Profile."

MURDER BY NUMBERS (2002)

I just rewatched this movie after having put it down since...well...probably sometime around 2002. And, damn. I forgot what a good movie it was. It's a good, solid movie. Period. It's not just the good actors. Or the insane characters. Or the wild plot. It's the ambiance of the film. The little details. It's the docked boat our heroine sleeps in, the decrepit house the two students work out of, the battle scars under a turtleneck. It has the plot of a Law & Order episode with the undercurrent of an old murder mystery novel. In short, it's everything I enjoy. The main plot runs as such: two bored and morbid students kill a woman just because they can. A detective with a dark and violent past becomes invested in the case when the details start to feel a little too personal. So far so good, right? 

The interesting thing about this movie is it doesn't take the easy way out. It's not a standard whodunit. We know right off the bat who the murderers are. Case closed. The real meat of the movie is in watching the various characters battle with their own demons. The guilty conscience, the paranoid reflex, the itch of things buried right under the skin. And maybe I'm giving Murder By Numbers a little more credit than its due for pure nostalgia reasons. Sure, the ending's a little over the top, it has its campy moments. But there's very little I love more in the world that dissecting the psyche of truly fucked-in-the-head people. Kids who murder because they can...now that's an uncomfortable subject. It's something that makes you squirm the entire movie. Murder without rhyme or reason is just something that doesn't sit well with anyone, and this movie doesn't ever let you off that hook.

As for the actors, this is a throwback. All your favorites of the 2010s before they really hit the jackpot. Ryan Gosling, looking like a baby. All you Notebook fans, check this one out. You will sleep with one eye open. Then we have Michael Pitt, who has always been around by somehow just recently seems to have come into the public eye with Boardwalk Empire. Also looking like a baby. Finally, we've got Sandra Bullock. I know what you're thinking--gag reflex. But I'm one of those people who was actually rooting for her in her earlier years. Let's face it, she had that tomboy with an attitude and a quick tongue down pat. So long as she was playing the rough and tumble characters, I was there with her. Lately, yes. I've avoided her like the plague. But Cassie Mayweather is a hardass on a mission, and there is little I want more in a female detective role. Plus, watching her tumble around with her partner in crime because she has some inner demons to burn is brilliant. She's just a straight up fully fleshed character, and Sandra Bullock pulls her off brilliantly. Lastly, I have to give a shout out to Chris Penn. Because he's in this movie, even if it's only for a couple minutes, and that makes me happy beyond happy. You go, Nice Guy. 

"Still whining, Louis?"

INTERVIEW WITH THE VAMPIRE (1994)

A confession. I'm a big Anne Rice fan. And when I say "I'm a big Anne Rice fan", I mean "I'm a big fan of her early work, before she rediscovered religion and subsequently fell off her rocker". Not to say there's anything bad about rediscovering faith...it's just that Anne Rice manages to put a psycho crazy spin on everything she does. That aside, Interview with the Vampire is a genuinely good book. It's got a truly creepy gothic tone, it deals with complicated moral issues, and the vampires don't sparkle. If you want a good gothic novel--Dracula style--I'd highly recommend picking Interview up. As for the rest of the series, well, it's enjoyable, but it's also a fascinating peak into the steady decline of Anne Rice's sanity. All that said, I was reluctant to see the movie. Especially with Tom Cruise's name tagged along in it. The skeptic in me told me to stay away, but the curious cat in me had to check it out. And let me tell you: worth it. Ten times over. 

The real master in this movie is Neil Jordan. Hands down. He collaborated with the author to get a good script, and then he delivered. Lord of the Rings aside, Interview with the Vampire has to be the best book-to-movie translation I've ever seen. Forget the fact that he alters a couple scenes--that's expected in these kind of deals. What is really impressive is the fact that Neil Jordan manages to translate the tone of the book. The rich, gothic, New Orleans atmosphere. He nails it. Completely. I've seen movies that have managed to do relatively good successful translations of book-to-movie by simply keeping in as much of the book as they can. And sure, I can respect that. But to capture the actual ambience of the book? The heart and soul of the narration? That's a heavy rabbit to pull of the hat, and Neil Jordan makes it look easy. 

Lastly, of course, I have to give props to the actors. I don't know what it is--maybe it's Neil Jordan being awesome again, maybe it's the 90s, maybe it's just the material--but every one of these actors literally disappears inside their roles. Brad Pitt. Huge name, right? You'd recognize him anywhere. Well, maybe not playing the brooding Louis, with his hopeless, passive attitude towards life and his mournful green eyes. Even Antonio Banderas, despite his accent that always sticks out like a sore thumb, blends in completely with the velvet drapes and haunting candelabras. But, amidst all that talent, there are two actors that really steal the show. Tom Cruise and Kristen Dunst. The last two names you would expect on that list, right? Well, let me put it this way: Kristen Dunst was about 10 at the time, and I still think it was the best role of her career. She's one frightening and manipulative little girl. And Tom Cruise as Lestat? Homeboy nails it. Does it help that the character is narcissistic, arrogant, and controlling? Probably. But it's more than that. Tom Cruise plays the colorful and vibrant exterior of the character...as well as the damaged and insecure interior. The chemistry between Cruise and Dunst is killer. Literally. To wrap this bad boy up: if you're looking for a vampire movie with a little less sparkle and a little more awesome, check this one out. 

Move Aside, Chris Hansen.

HARD CANDY (2005)

You know the lecture. We've all heard it at one point in our lives since the invention of the world wide web. "There's nothing but perverts and pedophiles out there. Beware." And so parents do their best to monitors their children and sleep easy to the sounds of Chris Hansen on Dateline. Everyone's out to kill our children. If it's not the internet, it's the strangers we talk to and the man on the side of the road sticking his thumb out. I don't know about you, but I've always thought the only person more frightening than the hitchhiker with a hockey mask is the driver who's willing to pick up a hitchhiker with a hockey mask. Hard Candy falls somewhere along those lines. It follows the journey of a 14 year old girl (Ellen Page) who decides to finally meet face-to-face the 32 year old photographer (Patrick Wilson) who has been chatting her up on the internet. To say any more than that is really to spoil the brilliance of the movie. What I will say is that what plays out is an intense cat-and-mouse game that would probably put Patrick Bateman to shame. 

The real brilliance of this movie is in the acting. The concept itself is fantastic, but it's the actors who really turn it around. Ellen Page is not the soft little thing you remember from Juno. She's got a multitude of sides to her, and she plays them all with a chilling deadpan brilliance. As for Patrick Wilson, I can't help but like the guy. Between Watchmen and The A-Team, I'm sold. Sandra Oh makes a brief appearance, but for the most part the entirety of the movie focuses completely on the two leads. They not only play off each other fantastically, but are also excellent in their own right. One of the great things this movie has going for it is good, old fashioned suspense. It's the monster behind the curtains that never really shows its face. It's the very visceral feeling of dread as you watch the characters spiral further and further out of control. If you've got a taste for tension and it's been an hour since your last meal, I'd definitely suggest checking this one out.

Greatest Social Climber Since Cinderella.

EVITA (1996)

One thing you probably don't know about me: I have a very large soft spot for musicals. Blame it on New York and the proximity to Broadway, but there you have it. Another thing you're going to need to know is that I practically grew up on Evita, so like many movies we see and idolize as young kids, this one has a place in my heart. But how could it not? Madonna. Jonathan Pryce. Antonio Banderas (and this is the 90s, so you know he was good). And the music! Even daydreaming about it and I know it'll be stuck in my head for the rest of the week. Oh, right, the plot. That. Here's the thing--I don't know anything about Evita Duarte. Or Argentina in the 1940s. So for all I know, this could be political mashed potatoes. However, Evita still makes a damn good movies about a strong female protagonist with less than savory means of getting exactly what she wants. Love her or hate her, Evita is a compelling character, and Madonna holds her own playing the manipulative leader. Which is impressive, considering the fact that on the other end of the boxing ring stands Antonio Banderas, playing none other than Che Guevara. It's a cast of powerful characters and powerful actors, neither of which are bound to leave your memory any time soon. 

The thing about Evita is that it's an old-school musical/movie. Which means this: they don't pepper in a couple songs here and there when it seems like a good time to sing. The music to dialogue ratio in this film is like putting an elephant up against a mouse--it's just not a fair fight. Some might like that, other might find it out of place--I personally am a sucker for musical movies that don't stop singing. Lastly, I have to give a shout out to Jonathan Pryce. From Brazil (1985) to Carrington and somehow he still lands roles like "the old, boring dad in Pirates Of The Caribbean." He's an extraordinarily talented and underrated actor, and definitely holds his own in Evita. Not to mention, he's got a gorgeous voice. So, if you're looking for a little music in your life and want to learn some history while you're at it, I highly recommend checking this one out. Just don't put it on me if you wake up rolling your rs. 

"Armed With A Stick."

CARNAGE (2011)

Roman Polanski. Christoph Waltz. Jodie Foster. Kate Winslet. John C. Reilly. Sounds great, right? And then you see the plot. Two sets of parents meet to discuss their two sons who have gotten into a fight. Question mark? It's an eighty minute parent conference. It shouldn't be as much fun as it is. But between the great writing and the stellar acting, it's hard not to look away from what, in any other situation, would be a snooze-fest. 

To be honest, since I do love Roman Polanski, I had hoped the script would be a little better than it was. Which isn't to say that it was bad. It was a well done script. But there were bits and pieces--mainly, the fact that it relied too much occasionally on the men vs. women dynamic and a little-too-hard-to-watch vomit scene (there's cringy-but-epic hard to watch, then there's I-need-to-go-home-and-splash-holy-water-on-my-eyes hard to watch. This was the latter). But to be fair, Polanski had a hard act to follow with the likes of similar small-group-of-people-stuck-together movies like Who's Afraid Of Virginia Woolf? (1966), and it's been a while since anyone's been bold enough to take something like that on. 

Still, the main draw of this movie was the acting. Hands down. I've always been a big Christoph Waltz fan, and he definitely delivers as the aloof business man who can't get off his cellphone. His wife is played by Kate Winslet and with her quiet intensity, they make a fantastic power couple. Jodie Foster also gives a brilliant, emotional, hysterical performance, and if I have any complaint about her it's that she didn't get enough time playing off Christoph Waltz as they were both the strongest players in the film. John C. Reilly, ever underrated, appears to be something of the "odd man out" at first glance, but he holds his own and gives a solid performance. All in all, it's a great movie simply to watch fantastic actors play off each other, and it's an easy 80 minutes so it never overstays its welcome. 

A Lesson In (B)romance.

Y TU MAMA TAMBIEN (2001)

It's a story you've heard before: two teenage boys with raging hormones persistently try their luck with a woman far out of their league. It's been done before, it will be done again. What will never be repeated, however, is the brilliant subtlety that this movie really rides on. I could count on my fingers the amount of times narration in movies has been done right, and this one would certainly hit high up on that list. The real meat of this movie is in the depth of its characters and the richness Mexico, which may as well be a character in itself.  Diego Luna gives a solid performance as the rich and spoiled Tenoch, while Gael Garcia Bernal matches his performance with his less fortunate best friend, Julio. The dynamic between these boys is so rich and believable that it came as no surprise to me when I found out that the two actors actually had been childhood best friends. But what is really brilliant here is how the politics of Mexico play out between these two boys. While they initially never address the differences in their social class, we do know (via the narrator) that Julio "lighted matched to mask the smell when he used the bathroom as Tenoch's house", while Tenoch "used his foot to lift up the toilet seat at Julio's house." It's a small detail which, in any other movie, might seem like too much information, but here clearly adds a tense layer of economic discrepancy between the two best friends. 

The object of their teenage desires is Luisa Cortes, played by the talented Maribel Verdú. While Luisa is an interesting character in her own right and a good motivating force, it's clear that the movie really belongs to the two boys and their intense friendship. I would call it a bromance, but anyone who has seen the movie will know that even that is being polite. Y Tu Mamá También is more than just a good movie, it's a lesson in the art of subtle screenwriting, proper narration, and natural, genuine character development. 

We're Not Bad People.

SHAME (2011)

Here's a challenge: how do you make sex with two beautiful actors look repulsive and ugly on screen? The repetition. The uncomfortable expressions on the actors faces. All the quiet little details that give the scene the edge of unease it needs to make the audience squirm in their seats...and not in a good way. Shame follows the life of Brandon Sullivan (Michael Fassbender)--the man all the girls want and all the guys want to be. He's a successful business man and attractive bachelor with no emotional commitments to weigh him down. He's also a sex addict of the ADD generation whose inner demons rear their ugly heads when his down-and-out sister (Carey Mulligan) moves in with him and upsets the delicate balance of his sanity.

One of the real accomplishments of Shame is that director Steve McQueen manages to take the very temptations that Hollywood so often uses to draw people to the box office--sex, beautiful women, attractive actors--and twists in it on its head. The magic of this subtle yet brilliant little trick is the fact that instead of buying into a "time is money" feel, McQueen lingers in every scene. We have long, fleshed out gazes into Brandon's life instead of brief snippets and highlights. At one point, Brandon goes on a date, and we get the first ten minutes of the date in a single shot, getting everything from what food they order to the way they awkwardly stumble from topic to topic with nervous first date smiles. By dragging the scene out without any snappy cuts and breaks, we've ceased to become movie-watchers and instead become voyeurs, hooked on watching these characters bear themselves bit by bit.

McQueen doesn't bother with trying to explain why Brandon is the way he is or what led him and his sister to lead such self-destructive lives with distracting flashbacks and forced exposition; instead, he holds us in every second of the painful present and doesn't let go. As Michael Fassbender said, "There is no place to hide in this whole script." Between the fearless acting, the solid script, and the unflinching eye of Steve McQueen, Shame is, if nothing else, the most courageous film of the year. The characters bare themselves (literally and figuratively) again and again, yet, like Brandon, when the film tempts us with "Want to play?", we find ourselves unable to look away.