David Fincher became master of his craft by honing technical skills first, using the newest technology on dozens of music videos and his first slate of films: Se7en, Fight Club, and Panic Room to name a few. A technically gifted film from him now is expected, and it's allowed him to play around with storytelling rules. Gone Girl, Fincher's latest, is more akin to The Girl With the Dragon Tattoo than his earlier works, the only constant in his career being an ability to create damn good art. Gone Girl is just that, a cynical thriller bordering on dark comedy too often to be unintentional and another success from a master filmmaker.
To live. To fly. To be free. Why is it that the people who live on the edge seem to be the most inspiring? Because they are thrill-seekers, they are the ones who know that the best life is one lived without worry, without fear, without the concerns that society forces upon us. They live with an open mind, a big heart, an appreciation for this planet. They know that genuine thrills make the heart beat faster; thrills remind us that we are still alive, we're still breathing, and that we should make the most of it. I love films that capture this feeling in ways that can't be easily described. Marah Strauch's Sunshine Superman is one of those films that is exciting, moving, heartfelt, but above all it's inspiring to watch. Because it's about inspiring people.
The evil genius returns. David Fincher has thrown the doors to the bedroom of modern society wide open, showing us how deceptive and twisted some people in this world can be - the "ugly truth" has been revealed. His latest film is Gone Girl, an adaptation of Gillian Flynn's bestselling novel about a married couple: Nick and Amy Dunne. Closer to Zodiac or Fight Club in tone and style rather than The Girl with the Dragon Tattoo or The Curious Case of Benjamin Button, Fincher's Gone Girl starts out as a mystery, evolves into a dark comedy, and twists itself around a self-reflective look at the follies and fallacies of the American dream.
An oblivious, big-city lawyer gets in over his head in No Man's Land, a neo-western thriller directed by Ning Hao. The film, shot in 2009, sat on a shelf of censorship as the Chinese government deemed it too "nihilistic." To this, the Fantastic Fest crowd, who got their first look at No Man's Land, said, "Yeah, what's the big deal?" What ends up being the big deal is that the film is as smart as it is cool, a deliberately paced trek into the Gobi Desert with a handful of badass trimmings and a nice, rustic fringe. It's the kind of quirky actioner with even quirkier characters that's getting comparisons to the Coen Brothers, and for good reason.
No one expected writer/director David Robert Mitchell to follow his beloved, indie hit The Myth of the American Sleepover with a horror film. Even fewer expected it to be one of the most terrifying cautionary tales to come down the horror mountain in a long, long while. Regardless that's what we get with It Follows, because that's precisely what it is, a spine-chilling yet simple story that knows exactly how to get under the viewer's skin. Mitchell knocks the slew of horror tropes he could have easily fed us to the side, and It Follows ends up being a unique film that just may do more for young-adult abstinence than a sex ed class.
Adam Wingard and Simon Barrett are Fantastic Fest staples thanks to their surprise smash You're Next in 2011. The movie matched a cool, riotous attitude with a home invasion sub-genre that had been poking its head at horror audiences for years. Now they've again brought a cool, riotous attitude in droves. The Guest is more action than horror, but the edge is still there. Aided by Wingard's enormous talent for mood, an '80s vibe that isn't just pink neon and a synthesized score, and a rousing performance from Dan Stevens, The Guest delivers a sharp, swift punch to the chest of bland action and banal thrillers. Read on!
Unassuming, blindsiding, and masterful in how subtly it shakes you to your core, Resolution, the debut feature from co-director Justin Benson & Aaron Moorehead, snuck onto the radar last year. Its exquisitely crafted screenplay made all the difference in helping it stand out from the crowd of recent horror. Now, with their follow-up, Spring, the duo pull off the unthinkable once again in giving us a horror film for the new age, one that isn't satisfied with jarring jump scares or found-footage cliches. Spring, like Resolution, twists the knife slowly, and the cerebral as well as emotional payoff is one of the best all year.
John Wick is awesome. That statement is direct, to the point, but it could not be more appropriate for the film it's describing. Keanu Reeves latest action vehicle is a simple movie with simple ideas, but that isn't keeping it from being one of the most exhilarating, balls-to-the-wall action movies to come down the pipeline in a long while. It's the kind of movie that leaves you both exhausted by the whirlwind of epic action it offers and completely amped for more ass-kickery. Action junkies have been waiting a long time for a movie like John Wick, and no one will end up going home dissatisfied with all that it delivers. Read on!
"Tokyo Tribe, never ever die!" Oh my goodness, this movie is totally insane, wacky, absurd and terrible in every way, but so so so awesome. Do you remember those kind of crazy cult films you'd find in the back of a video store, only one copy on VHS, that you'd lose your shit over discovering and would have to tell your friends about and the next thing you'd know the entire high school would be into this crazy film. Sion Sono's Tokyo Tribe is one of those films, the kind that is really bad in every way, but also insanely awesome in every way. Love it, hate it, it's a can't-believe-this-is-real experience that feels a bit like The Warriors meets You Got Served, even though it's really unlike anything else. Holy sh*t I love this movie, even as bad as it is.
When it comes to action movies, the good ones seems to be few and far between nowadays. Not only do they lack interesting characters and coherent stories, but the action just sucks, it's never good, it's shot poorly. Thus I must admit that it is completely refreshing to come across an awesome action movie that delivers, yet doesn't try to over deliver. John Wick starring Keanu Reeves as John Wick is the latest movie to join the pantheon of great modern action movies (in the last 10 years), including The Raid 2, Kick-Ass, Crank, Shoot 'Em Up, Wanted (just a few that came to mind while watching this). It's nearly perfect, and is the kind of pure action I've missed. Just a man, his guns, endless henchman, and tons and tons of headshots. Oh yes.
We may have a winner for this year's foreign-language, horror film that's allowed to push the envelope in all the right ways. Cub (or Welp in its native country of Belgium) comes to us from first-time feature director Jonas Govaerts, who has crafted a canny yet unsettling slasher film for a whole new wave of horror fans. Disturbing from the outset, Cub delves deep into the human psyche, satisfactorily delivering violent and sexual tropes you might expect. It all gets splashed with a fresh coat of paint courtesy of some extremely atmospheric tone and a no-nonsense attitude in its vividness. Put succinctly, it's not for the casual camper.
There's not a lot more you can do with the Nazi zombie premise, right? Fortunately, that's not a question Tommy Wirkola bothered to ask. The Norwegian writer/director blazed into the genre scene with his 2009 insta-cult hit, Dead Snow, a film whose basis cries out to be loved by horror fans "in the know." Its black-humor attitude and ultra-gore paving the way for it to be crowned the new Evil Dead. If Dead Snow is Wirkola's Evil Dead, Dead Snow 2 is definitely his Army of Darkness. A wild, often hilarious romp that casually tip-toes between genres, it takes its own mythos and expands them into something truly awesome.
The ups and downs of filmmaker Kevin Smith's career would certainly not discount the strangeness of his latest film, Tusk, a body sci-fi/horror/comedy. The weird premise he and SModcast co-host Scott Mosier developed on the fly seems in Smith's stoner wheelhouse. It comes off, however, like a half-baked comedy, a flatly crafted horror feature, and a dully-paced, sometimes amateurish film that never lives up to the high points of what the writer/director has given us in the past. Nothing about Tusk gels well, all the more shameful when taken into consideration how much potential there is in its marijuana-induced design.
What do we do? How do we get out? Sometimes I love going into a film without knowing anything about it, without knowing about or having read the book, without knowing the plot aside from whatever glimpses have appeared in trailers. Usually, if the film is compelling, and everything is laid out in a coherent way that builds properly, this can lead to an incredible experience involving suspense wrapped around mystery. The Maze Runner is an awesome, suspenseful movie that shows how easily a director can step up and compare to other "big" adaptations by focusing on telling a good story. I must admit that I haven't read the book and went into this fresh, but it was still a fully entertaining and engaging experience. Wes Ball is the real deal.