X-Men: Apocalypse (2016)

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I’ve only enjoyed 1 out of 4 of the major superhero releases that have hit theaters so far this year. Well, 2 out of 5 if the new Ninja Turtles movie counts (I am silly & weak). Either way, those are not great numbers & I’m starting to wonder if I’m the problem, not the films themselves. X-Men: Apocalypse, Batman v. Superman, and Deadpool all have their rabid defenders (especially that last one, unfortunately), but they each gave me a distinct “What am I even doing here?” anxiety while watching them in the theater, as if I had accidentally stumbled into the wrong prayer service at a funeral home. I was hoping that Apocalypse was going to be a repeat of the Days of Future Past scenario where critical consensus was  little harsh on what was mostly a decent, ambitious-but-messy superhero plot. Instead I found myself scratching my head for the entirety of its massive 147 min runtime, questioning why I left the house in the first place & silently wishing the apocalypse promised in the title would actually end this franchise for good. Of course, producers don’t think that way & Apocalypse wound up functioning as not one, but two franchise reboots for a property that’s already hit the reset button twice in the last five years.

The worst thing about that reset button is that it frames X-Men in a world without consequence. It’s fairly common for a superhero movie to have a seemingly insurmountable Big Bad threaten to End It All for vaguely hateful personal reasons that apparently call for the destruction of all life. Apocalypse‘s titular Big Bad even conforms to the recently omnipresent trope of the supervillain threatening to end humanity in order to “save the world” or whatever. As we saw at the end of Days of Future Past, though, this is a series where the slate can be wiped clean with the mere wave of a hand, so that threat is thoroughly empty. New, hip teens can be brought in to replace the aging X-Men of yesteryear with essentially no notice or pretense. If Apocalypse destroys Xavier’s School for Gifted Youngsters or the entire planet that hosts it, it’s no matter. A couple CGI-aided actors in leather jumpsuits can stand around in an empty field and put it all back together using only their minds & magic fingertips. So many tiny parts are interchangeable in the X-Men series that the big picture never changes at all. A character’s sibling can die in an explosion, leading to single moment of solemn reflection, but then be forgotten forever because nothing truly matters. Another character may have gotten not one, but two origin stories before in the very same franchise, but why not toss out a third for the sake of a violent comedy bit? Who gives a shit? Wipe away a memory, create an alternate universe, regress a character’s age & allegiance until they look like a Hot Topic/Disney’s Descendants knockoff of their former selves: there’s a million ways to erase history for in-the-moment convenience & X-Men: Apocalypse‘s single spark of ambition is the way it’s hellbent on exploiting them all.

Apocalypse frames its story around some Gods of Egypt-type nonsense in its early machinations, but its true gimmick/reason for existing is to make a superhero version of VH1’s I Love the 80s. How do we know it’s the 80s? In case the Cold War communism & Hot Tub Time Machine-style “Look at these goofy clothes!” visual cues aren’t enough, a character helpfully declares, “Welcome to the 80s,” a line that’s so amusingly mishandled that it recalls a moment in Tremors 4: The Legend Begins where a character anachronistically explains, “Well, this is The Old West . . .” 2011’s X-Men: First Class was an actually-refreshing mashing of the reset button, revitalizing an exhausted franchise by giving it some 60s mod spy media swank & a few fresh faces. Days of Future Past brought in some 70s political intrigue & sci-fi wankery that managed to keep the period piece angle fresh. I’m not sure what, if anything, the 80s setting brings to the table in Apocalypse: Cyclops wearing Ray-Bans? A trip to the mall? The film even missed an opportunity to include “Walk Like an Egyptian” on the soundtrack, which seems like a huge oversight considering the its dual timelines. The temporal setting plays like a vague afterthought handled mostly by the costuming department instead of directly influencing the plot or form. I’m interested to see how the 90s nostalgia is handled in the next installment’s natural progression, but Apocalypse‘s That’s So 80s™ stylization leaves little room for a promising future (past) there.

With the plot of Apocalypse not worth much thought or examination (a mean baddie from ancient times fails to destroy the world in the 80s & Wolverine pops in for brief contract-fulfillment), it’s probably best to discuss the film in terms of how it handles its many rebooted, retweaked characters. Honestly, though, there’s not a whole lot going on there either. Jennifer Lawrence looks downright miserable as Mystique, grimly going through the motions in the guise of a disaffected 80s punk. Newcomers Sophie Turner & Tye Sheridan are disappointingly dull in their respective roles as Jean Grey & Cyclops, especially considering the promise of their just-getting-revved-up careers, but at least that’s somewhat faithful to the charisma vacuum established by Famke Janssen & James Marsden in past entries? Wolverine is thankfully relegated to a cameo role here after getting more than his share of screen time in past entries, but since that role once again returns to his Origins it plays disappointingly like a Groundhog Day purgatory of a mutant/actor who can’t escape his past. Quicksilver’s literal show-stopping gag from the last film is repeated here as a special effects centerpiece, but I have a hard time caring about it much either, given the character’s winking-at-the-camera “Ain’t I a stinker?” PG Deadpool humor. The immensely talented Rose Byrne also returns only to be a continual butt of a joke that’s never quite funny. Only Michael Fassbender’s turn as Magneto registers as exceptional in any way, but the emotional severity of his work feels like it’s in an entirely different movie than the grey mush that surrounds him, so when he yells, “Is this what you want from me?! Is this what I am?!” at an indifferent god, it plays as overwrought & entirely out of place.

That leaves the conundrum of Oscar Isaac’s villainous performance as Apocalypse, which, while not necessarily great, stands out as the film’s sole source of entertainment value for me. Guardians of the Galaxy had a weird way of stealing Lee Pace’s sex appeal by turning him blue & covering up his luscious eyebrows. Apocalypse does one better and blues/obscures Oscar Isaac’s entire beautiful face, even accentuating his nose with a phallic cleft that recalls Dan Aykroyd’s prosthetic dick nose in the cinematic abomination Nothing But Trouble. Isaac’s performance is even stranger than his make-up, though. I swear he’s doing a dead-on, goth-bent impersonation of Tony Shalhoub throughout the film as he continually breaks the fourth wall & delivers Anonymous/Redditor-type monologues that would make Ben Kingsley’s Iron Man 3 baddie The Mandarin blush at their inanity. Isaac & Apocalypse are underutilized & more silly than threatening, but they’re easily the most entertaining aspect of a film that’s largely a pleasureless void. This may go down in history in Isaac’s worst performance in a so-far phenomenal career, but I gotta admit it was a lot of fun to watch.

I may have missed a few details here or there while periodically rolling my eyes during X-Men: Apocalypse, but I saw enough of the film’s zany 80s wardrobe, seriously questionable CGI, and wildly out-of-place body horror (don’t worry; there’s no permanent consequences for physical dismemberment here either) to get the gist. The movie sucks. Worse yet, it knows it sucks, as evidenced by Jean Grey’s admission after a screening of Return of the Jedi, “At least we can all agree the third one is always the worst.” Not only is that statement oddly anachronistic (the endless sequel cycle was not quite solid yet in 1983 outside Jaws & Star Wars), it also draws attention to the mess X-Men has made of itself at large. Is this the third entry in the franchise (starting, presumably, with First Class)? Feels more like the ninth for me, considering everything that’s branched off from Bryan Singer’s original adaptation in 2000. In the 16 years that have followed, the series has seen some highs & lows of note (those two Wolverine standalones being especially rough), but I don’t know if it’s ever felt this lifeless or devoid of purpose. What are we still doing here? What’s the point of any of this if it all can be fixed & rebuilt with the light shake of a CG Etch-A-Sketch? Why was the series’s eternally malleable gene mutation theme not put to any metaphorical use here, despite it being the one thing that distinguishes it from the rest of the superhero pack?  Without that metaphorical distinction, what reason does the audience have to show up in the first place? I don’t have the answers & it doesn’t seem that Bryan Singer does either.

At best X-Men: Apocalypse feels like it’s treading water until it can deliver a Totally 90s™ nostalgia trip in its upcoming sequel. And it knows that it’s delivering a mediocre product in the mean time, as evidenced by statements before & after the screening noting that the movie’s production created thousands of jobs for hardworking folks who are just doing their best, as if buying a theater ticket for yet another drab superhero disaster is somehow an act of charity & not a total waste of hard-earned money. I remain dubious to that point.

-Brandon Ledet

Raiders!: The Story of the Greatest Fan Film Ever Made (2016)

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threehalfstar

Raiders!: The Story of the Greatest Fan Film Ever Made is exactly what the title says. In 1982, three boys from Mississippi decided to make Raiders of the Lost Ark. They had only their friends, their mothers’ basements, and their allowances. They spent seven years of their lives doing this. They filmed every bit of it except for the airplane scene. This documentary examines this gargantuan project framed around the ultimate goal of them going back as adults to film the one remaining scene.

It’s hard to watch Raiders! without thinking of other recent movies in this vein: Best Worst Movie and Jodorowsky’s Dune. They all explore the idea of what it means to be a cult film, how cult films spread in strange, strange ways, and the drive and obsession it takes to keep pushing yourself to complete an unconventional project. Of course, Raiders! is different from those other examples, because the film they were trying to make already existed. It’s also different because this is a group of kids who spent a good chunk of their childhood doing this, not professional filmmakers. They weren’t trying to make a movie for mass distribution. It just happened.

At it’s heart, though, this is a movie about childhood and reckless, adolescent ambition rather than filmmaking. They took risks. They almost got themselves maimed or killed multiple times and nearly burned down a house. It’s genuinely hilarious to learn about what these kids thought was a good idea and how they accomplished some of what they did.  They were these imaginative, creative kids who attached themselves to this project and never let go. Even as adults, this project still has this magical hold on them. At some points you feel some secondhand embarrassment as these grown men drag out childhood relics and memories and chase after this strange goal, but for the most part you’re rooting for them.

At the end of Raiders!, I couldn’t decide if what these kids were doing was filmmaking at its best or its worst. And I don’t really care. I’m just glad it exists, and I’m happy that there’s a documentary to show me how.

-Alli Hobbs

Alligator (1980) and 5 Other Must-See, Sharkless Jaws (1975) Knockoffs

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June’s Movie of the Month, the 1980 natural horror Alligator, is fascinating for many reasons, not least of all for being s a sharkless Jaws ripoff that mostly takes place out of the water. The years after Spielberg’s runaway success with that game-changing big budget creature feature saw a slew of cheap knockoffs of many different flavors. Many post-Jaws natural horrors didn’t even bother hiding their mimicry by changing their central monster’s species (Mako: The Jaws of Death, Tintorera: Tiger Shark, Great White aka The Last Shark, Blood Beach, etc., but there were plenty of Jaws imitators that did reapply the film’s mythically-gigantic beast model to non-shark animalia. Alligator‘s ginormous, vengeful monster Ramón was clearly inspired by his Great White predecessor but he was far from alone. We already covered much of what makes Alligator special in our Swampchat discussion of the film, but what of the other sharkless Jaws knockoffs that terrorized the drive-ins & grindhouses of the late 70s & early 80s?

Here are the five best sharkless, non-Alligator Jaws knockoffs I could find lurking in schlock cinema’s murkiest waters.

 

1) Piranha (1978)

Piranha is a special case within the Jaws-knockoff continuum, because it forms a sort of schlock cinema ouroboros. A lot of what films like Jaws & Star Wars did in the late 1970s was elevate the b-movie genre film work folks like Roger Corman had been producing for years to a big budget Hollywood “event film” format. With Piranha, Roger Corman bit back, “borrowing” from (and in some ways openly mocking) a big budget film that had heavily “borrowed” from his own work. Piranha is not only special for creating a cycle of schlocky theft & for turning the water-bound threat of the Jaws format into thousands of tiny monsters instead of one gigantic one, though; it also introduced the world to the violent slapstick magic of director Joe Dante. Dante’s trademark touch of silly & violent parody is already very much alive & fully realized in Piranha, with every goofy murder & biting spoof revealing all-too-definitively that he loves the movies he’s making as well a the ones he’s blatantly ripping off. Bonus points: Perfect angel Paul Bartel stars as a short-shorts wearing camp counselor from Hell.

 

2) Grizzly (1976)

There are many ridiculous things to note about Grizzly, not least of all its Jaws-but-with-a-bear! premise (if there’s any doubt of its Jaws connection, just look to its sequel, which was brazenly titled Claws), but the one that strikes me the most is its PG rating. The film operates largely like a slasher flick, from its campsite setting to its wooden between-kills acting, which is not a genre that leads itself to a PG mentality. Many of the film’s kills are from the bear’s first person POV where you see a claw intruding from off-screen to rip an undeserving (and sometimes undressing) victim to shreds where you’d normally see a machete in Jason Voorhees’s gloved hand. Jaws & Friday the 13th are both properties children probably shouldn’t watch, but often grow up loving, so the idea of combining their two aesthetics and replacing their villains with a 2,000 pound grizzly bear is a PG-rated horror cheapie formula exactly calibrated to terrorize cult film nuts as children & amuse them greatly as adults.

 

3) Razorback (1984)

An Australian horror film about a supernaturally enormous wild boar, Razorback should not be worth much more than its value as an 80s creature feature Jaws knockoff, but there’s something oddly special about it, especially in its visual palette. This film is the most similar to Alligator‘s specimen on this list not only because it’s one of the only examples whose mayhem takes place on land, but also because of its darkly grotesque & vaguely magical tone.The wild boar of Razorback is far from the kind of cinematic swine you’ll find in titles like Babe or Gordy. It’s a disgusting, vile monster of a beast, tearing apart homes & vehicles and snatching up babies & women with wild abandon, his menacing tusks threatening to gore everything in sight. There’s a scene where the hideous bastard prevents a near-rape, almost shining as an unlikely hero like our vengeful gator Ramón, but that sentiment is severely undercut when he immediately devours the would-be victim. He’s allowed to be a natural, wild monster in a way that Ramón sidesteps in his more deliberately vengeful acts of violence (except for that one time the gator ate a child at a pool party for no apparent reason).

 

4) Orca: The Killer Whale (1977)

Instead of attempting to sidestep or obscure its Jaws, um, homage, Orca tackles the issue head-on. Early on in Orca a Great White shark not unlike the supernaturally gigantic one in Spielberg’s film is shown being utterly, effortlessly destroyed by a killer whale. There’s an air of superiority to this opening clash, an attitude of “You think sharks are scary? Ha! Get a load of whales!” It’s only fitting, then, that Orca spends the rest of its runtime openly mimicking some of Jaws‘s most iconic scenes, such as a climactic battle where the whale tips a block of ice to slide its victim towards its mouth, a moment that miraculously doesn’t end with the line “You’re gonna need a bigger iceberg.” There’s a lot that distinguishes Orca as its own achievement, not least of all its incredibly life-like orca models, one of which is spectacularly shown having a post-mortem miscarriage. Mostly, though, the film is notable for being incredibly faithful & blatant in its Jaws mimicry and also strange to watch in a modern context after our minds on orcas have been forever altered by titles like Blackfish & Free Willy.

 

5) Tentacles (1977)

There’s not much to see in the Italian mockbuster Tentacles that you won’t see done better in Jaws, but it’s done with an enraged octopus, which, you know, is its own kind of rare treat. The film is a fairly lifeless retread of the exact tourism-disrupted-by-gigantic-sea-creature plot of its obvious source of inspiration, but the novelty of watching an enraged octopus being air-dropped into Jaws‘s exact structure is amusing in its own way. I mostly included Tentacles on this list because it’s a fitting baseline to see just how blatant & uninspired the Jaws knockoff genre can be. It can also be amusing to see the mismatched stock footage attacks the film employs to save money on actual special effects. In its own charming way it’s a technique that feels lifted directly out of the 1950s creature features Jaws itself was paying homage to, not that it wasn’t outshined by the much more impressive physical models built by nearly every other title on this list.

 

For more on June’s Movie of the Month, the 1980 creature feature Alligator, check out our Swampchat discussion of the film & this look at artist Ramón Santiago’s unlikely influence on its titular monster.

-Brandon Ledet

The Lost World (1925)

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fourstar

King Kong is often thought of as the first major special effects spectacle of early cinema. More specifically, if you ask someone to picture stop motion animated dinosaurs battling in an ancient film it’s highly likely King Kong would be the first image to come to mind. However, the very first movie to employ stop motion models as its main form of special effects outdates Kong by eight years. The Lost World might be a little more artistically muted than the art deco heights reached in King Kong, but the two films are thematically similar & The Lost World beat Kong to the punch in bringing dinosaurs (and humanoid apes, for that matter) to the big screen in what was at the time a majestic display. The same way the blend of CGI & animatronics floored audiences with “realistic” dinos in Jurassic Park‘s 1994 release, the stop motion dinosaurs of 1925’s The Lost World were an unfathomable achievement at its time. When the source material’s author Sir Arthur Conan Doyle screened test footage for the press (at a magician’s conference of all places) The New York Times even excitedly reported “(Conan Doyle’s) monsters of the ancient world, or of the new world which he has discovered in the ether, were extraordinarily life like. If fakes, they were masterpieces.” Imagine writing that “if fakes” qualifier in earnest & how quickly that writer’s head would have exploded if they got a glimpse of Spielberg’s work 70 years later.

At this point in time it’s understandable to be more than a little jaded about the visual accomplishments of The Lost World. Show this film to a young child following a screening of something loud, shiny, and new like Captain America: Civil War & they’re going to struggle caring or paying much attention. It probably doesn’t help that the film takes its audience’s jaw-dropped awe for granted either. Its razor-thin narrative strands a hunter, a professor, a journalist, a beautiful woman, and other assorted crew (including, in true 1920s fashion, a deeply uncomfortable blackface character named Zambo) in a modern prehistoric world hidden away somewhere along the “fifty thousand miles of unexplored waterways”in South America. Among a wealth of living, breathing dinosaurs & missing-link type primates, the in-peril crew alternates from being mystified by the old world wonders laid before them & fighting for their lives due to immediate concerns presented by the terrain. It’s a story that’s been adapted & co-opted countless times since 1925 (even with the added bonus of removing the colonialism-minded racism). Even its way of starting with more “harmless” breeds of dinos like the brontosaurus & working its way up to tn he gigantic T. Rex’s & Allosauruses of the (lost) world is a structure that’s been mimicked to death.

I’ll admit that it takes a certain joy in silent era hokeyness to enjoy this movie’s charms at face value in a modern context. I delight in the fact that the stop motion teradons look exactly like Pterri on Pee-wee’s Playhouse. Simple characterizations like Professor Challenger challenging the public to confirm his discovery amuse me (when they’re not tied to racial caricature, at least). Likes like “What are you thinking of, Paula- in this lost world of ours?” are a pure pleasure for me instead of groan-inducers. I’m also a huge sucker for stop motion animation in general, so the mix of handmade sets & real animal footage (sloths, jaguars, bear cubs, etc.) with claymation dinos is my idea of cinematic heaven. For some people this movie’s artificial dino safari will play as dull as the special effects “spectacle” of the exhaustively soulless Bwana Devil, but this is totally my happy place.

Where that for-fans-only attitude might shift is in the film’s final ten minute stretch, where it makes the same genre leap as King Kong & Spielberg’s unfairly maligned camp delight The Lost World (1997): bringing the dinos to the modern world. A brontosaurus is set loose on the streets of London, feeling like the stop motion beginnings of the kaiju genre & transcending what you might expect from a 1920s fantasy horror about a dino exploration mission. I feel like anyone with a deep affection for stop motion animation should watch this film either way; they’ll find so many handmade treasures big & small in its early special effects landmarks. If that kind of old world pleasure sounds quaint or too outdated for you, however, I urge you to at least watch the film’s concluding minutes of brontosaurus-run-wild mayhem. There’s something anachronistically bizarre & over-the-top in that segment that feels very much inline with the modern blockbuster landscape & I think a lot of people would get a kick out of its movie magic lunacy.

-Brandon Ledet

Great Expectations (2013)

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three star

I have a real soft spot in my heart for modern movie adaptations of classic British literature. In fact, I think I’m one of those terrible people who likes watching these movies more than reading the books. Every time I see one on Netflix, I have to either put it on my list or if I have time, consume it right then and there.

Great Expectations is a book that I haven’t read in its full version. As a child, I had the abridged illustrated version (Great Illustrated Classics). I loved it. I think I must have read it four times. It’s interesting to have an illustrated edition of any book and then watch the movie. You have a very clear idea of the characters and the movie version either smashes that idea or surprises you with something better. I think in this case my childhood ideas were a little smashed but maybe I shouldn’t come into BBC productions with great expectations (whomp whomp).

Great Expectations is about Pip, an orphan boy raised by his cruel sister and her docile blacksmith husband, Joe. Pip meets a wild bunch of characters: Magwitch, an escaped convict; Miss Havisham, a crazed depressed shut-in who sits around in an old wedding dress; and Estella, Miss Havisham’s spoilt brat of an adopted daughter. He goes from being a poor boy apprenticed to a blacksmith, to a real gentleman living in London built on the funds from a kind, anonymous benefactor.

It’s with this cast of characters that I have a problem with. Ralph Fiennes feels awkward in his role of Magwitch. It may be because recently the only roles I’ve seen him in have been effeminate dandies, but I think his performance feels very forced. Helena Bonham Carter as Miss Havisham is very hit or miss. She plays it up with her typical kookiness, but instead of being the haunting, old skeleton bride necessary for the role, she feels like something out of a My Chemical Romance music video. And Jeremy Irvine (of Stonewall infamy) I feel was too much of a pouty-lipped pretty boy for an adult Pip. Although I was glad to see Bebe Cave in it as young Biddy. I liked her so much in Tale of Tales it’s good to see other things she’s done.

Not everything’s wrong with this movie. Obviously if you’re watching movies like this for the right reasons, you’re in it for the sets and the costumes. I loved the way they played up the Gothic themes of the novel, Helena Bonham Carter aside. The inside of the Satis House, Miss Havisham’s spooky abode, is delightfully dilapidated. There are ghastly relatives sitting in chairs in the hallways, dust motes flying around, and a banquet table left to rot. The costumes are equally sombre, full of dark, subdued colors. Maybe a little too subtle for my tastes, but still good.

I may have gone into this movie with my preconceived notions of what the story should look like based off a children’s version of the novel I read 20 years ago, but I still think it was an average, yet faithful adaptation. It definitely satisfied the part of me that loves this sort of thing. Sometimes you just need to mindlessly watch the movie adaptations of great British classics you’ll never get around to reading.

-Alli Hobbs

Heart of a Dog (2015)

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fourhalfstar

Laurie Anderson is one of the world’s greatest living artists, full stop. I’m throwing that accolade out there not only because it’s so very true, but also to admit a bias before I review her latest work, a “documentary” that pushes the boundaries of not-for-everyone cinema to a ludicrous extreme. Those turned off by loose, experimental filmmaking will likely find Heart of a Dog‘s philosophical navel-gazing insufferable. Obsessive cinephiles might also recoil at the film’s cheap, blasé mode of rough visual collage, an aesthetic that combines 80s art school technique with the most disposable of digital photography available. Both sides of that divide might find plenty reasons to groan or roll eyes at Anderson’s verbal meditation & casual poetry. Heart of a Dog is a work that I love & appreciate deeply, but would never be shocked to hear that someone else didn’t feel the same way. It’s the same tone of affection I have for the out-there art of pro wrestlers, John Waters, Death Grips, and Xiu Xiu. You’ll never hear me incredulously ask, “You didn’t like that? Why not?!” I totally get why not. The only difference with Heart of a Dog is that it stimulates a more intellectual, philosophical area of my mind than some of those acts & the type of art I generally seek out typically do.

Heart of a Dog is being billed as a documentary & its distribution was recently picked up by the HBO Docs imprint, but I believe that genre distinction is wildly misleading. The film is more like an act of meditation or hypnosis, playing like a weird lecture from an alternate dimension, a Dianetics DVD for the terminally bizarre. Even though I’m a huge fan of Anderson’s decades of spoken word & experimental pop music work, I’ve been a little weary of watching this film since it was released, because I expected it to be a brave, emotionally bare account of her beloved rat terrier Lola’s death that served as a means to deal with the also-recent death of her husband, Lou Reed. I was selling the artist a little short there. The losses of Lola & Lou inform every frame of Heart of a Dog, but they’re part of a larger tapestry of ideas that cover everything from the modern surveillance state to living in New York during 9/11 to the tenants of Buddhism to the existence of ghosts. Lou Reed’s absence weighs heavily on the proceedings, cropping up in an occasional image or song or dedication, but speaks volumes as Laurie Anderson instead discusses the process of accepting loss in terms of her dog, her dog’s sight, the twin towers, a world before the omnipresence of modern technology, and a mother she feels she never genuinely loved. As with all of Laurie Anderson’s work, Heart of a Dog is a writer’s delight, an intense meditation on the bizarre nature of language, but this film stands as her most fiercely personal work to date. It not only covers the whirlwind of painful change & transition she’s survived in recent years; it also lays out in simple, clear terms how she sees the known world & the unknown one that follows. Nearly every word, sound, and image in the film was created by Anderson herself and by the end credits the film feels like a snapshot of her very soul.

As weighty as that description sounds, Heart of a Dog is just as playful as it is philosophical. When making a “documentary” about death, loss, and the basic structure of the known & unknown universe, it probably helps to keep the mood as light as possible, which Anderson accomplishes by centering the POV on that of a dog. When Lola was alive she was taught to paint, sculpt, and play piano, all on display for the camera. Besides exhibiting these canine works of fine art, Anderson also shifts the camera’s POV to a dog’s-eye-view, playing with shaky, blue-green messes of birds, puddles, trash, and other dogs. You know, dog stuff. There’s also a few wonderfully surreal accounts of Anderson’s dog-themed dreams that toe the line between morbidity & absurdist humor. Anderson knows exactly how ridiculous these moments are, too. As part of Heart of a Dog‘s press tour & post-release growth she’s been screening the film for canine audiences & performing concerts for dogs on talk shows & in art gallery spaces. You always get the sense that she takes the dogs & her performances for the dogs seriously, but there’s also a sly smirk to the whole endeavor that suggests the ridiculousness of the situation (and of life in general) is all part of the act.

If you’re not thrown off by Anderson’s meditative, hypnotic musings on life & the afterlife, you’re just as likely to be resistant to Heart of a Dog‘s oddly cheap & off-putting visual poetry. The film employs a kind of layered visual collage that plays like a shoddy take on the works of Dave McKean, Guy Maddin, and Don Hetrzfeldt in attempt to mimic the scattered, blurred shape of memory & personal perception. Anderson mixes stock footage, digital photography, home movies, and animation to bring her trademark spoken word work to vivid, visual life. Heart of a Dog can sometimes play like a tangled mess of power lines, pyramids, smoke, helicopters, tree branches and, duh, dogs. However, it’s a distinct, deliberate visual style that not only exists to serve Anderson’s intense soundscape & language play, but also taps into the immediacy & intimacy of a private home movie collection.

It’s difficult to say if Heart of a Dog would be a great primer for becoming a fan of Anderson’s work. I didn’t find it to be any more or less accessible than her magnum opus United States I-IV, except maybe that it demands 1/4th of that masterpiece’s run-time. As someone already won over by her particular, peculiar philosophy, language and music, however, I’ll say that I could gladly continue to watch her make these weird little meditative art films forever, though perhaps without the heartache & despair that inspired Heart of Dog in the first place. I wouldn’t want her to have to live through that pain again, but I’d gladly reap the rewards as long as they’re as winning & engaging as this wonderful film.

-Brandon Ledet

Sleeping With Other People (2015)

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fourstar

“Are we in love with each other? What are we going to do about it?”

Sometimes the universe will provide you with the perfect contrast-and-compare examples to show you how a movie formula is done right & how it’s miserably flubbed. Consider the difference between Ryan Coogler’s inspired Rocky sequel Creed & last year’s other boxing world drama, Southpaw. Both films use the structure & tropes of the tried & true boxing picture to tell their respective stories, but Creed was so much more distinct & powerful in comparison that it’s easy to forget that the punishingly mediocre Southpaw was even released that same year. A more recent & much less macho example of that dichotomy would be the pairing of How to Be Single & Sleeping With Other People. How to Be Single is one of the least enjoyable films I’ve seen so far this year (it’s no Gods of Egypt, but it’s not far off) and yet it shares a lot of DNA with the low-key charmer Sleeping With Other People, a brilliant utilization of the traditional romcom format that feels entirely modern without ever working like an arms-length subversion. Sleeping With Other People is a feat in genuine emotion & sincerity in a genre that can often lack both, but it’s also remarkably similar to a recent film that gets it all so very wrong. There’s a lesson to be learned in the difference between how those two titles play onscreen & it’s almost certainly a question of craft.

A will-they-won’t-they romcom with an unfathomably stacked cast of talented actors (Jason Sudeikis, Alison Brie, Jason Mantzoukas, and Natasha Lyonne to name a few), Sleeping With Other People is a story of the star-crossed & emotionally damaged. Two recovering sex/love addicts form a sexless, but deeply romantic bond while carrying on affairs with people they care far less about (hence the title). A lesser film would use this scenario to slyly poke fun at or sarcastically subvert the tropes of the romcom genre it operates in, but the brilliance of Sleeping With Other People is the way it feels sexy, smart, adult and, above all, honest all while operating within its genre boundaries. It commits. The film may admittedly be a little more vulgar than what we’re used to from the genre, though. It’s not likely that you’ll ever hear lines like “In your specific case I think you should fuck that sex addict,” or watch a woman learn how to masturbate as demonstrated on an empty juice bottle in My Big Fat Greek Funeral or Garry Marshall’s Veteran’s Day Eve. However, Sleeping With Other People is still instantly recognizable as a by-the-books romcom that delights in the way it plays by the rules. From its onscreen text message exchanges to its falling-in-love montages to the basic confines of its “We’re not a couple, but we act like one” plot, this is a true blue romcom with little to no pretension of being anything else. It just also happens to be well made, uproariously funny, and brutally truthful, a credit to both its writer/director Leslye Headland (who also helmed the underappreciated dark comedy Bachelorette in 2012) & its two stunningly-talented, sincere leads.

There’s recently been a sort of rejuvenation of the romcom format both on the big screen (Wetlands, Obvious Child) & on television (Love, Master of None) that’s encouraging for a genre that for a while seemed like it was on its last legs. How to Be Single felt like a growing pains process for bringing the low stakes romantic comedy into the modern era, never fully committing to letting go of its old-fashioned values despite what the title suggests. Sleeping With Other People, a film that shares two actors & a sex-addicted chauvinist protagonist with that lesser work, is much more adept at balancing a modern sensibility with that same timeless comedic structure. It’s likely there will be plenty of romcom junkies who enjoy How to Be Single well enough, but Sleeping With Other People has much more universal appeal to it. It’s a great movie first & a romcom second. I’d love to know if anyone else senses even the slightest correlation between the two (there’s always a chance I’m dead wrong about these kinds of arbitrary connections), but for me their differences & similarities are as clear as day. It’s also just as clear to me which one will stand the test of time.

-Brandon Ledet

The Nice Guys (2016)

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For as long as Shane Black has been writing stylistically strong cult classics in Hollywood (three decades), it’s incredible to think that he only has three feature credits to his name as a director. Black penned two childhood favorites of mine, The Monster Squad & Last Action Hero, along with major commercial successes like Iron Man 3 & the entire Lethal Weapon franchise, but he still stands as a kind of Hollywood underdog story, seemingly struggling to get his due as an auteur. The Nice Guys, a Ryan Gosling/Russell Crowe action comedy that’s currently struggling to earn back its relatively slim $50 million budget, may not be the runaway commercial success Black has been searching for as a director, but it does find him operating beautifully & efficiently on an artistic level. All of the hallmarks that make a Shane Black film distinct — witty dialogue, slapstick violence, children involved in activities way above their age range, stale genre tropes made to feel fresh — are on wild, brilliant display in The Nice Guys. This is the pinnacle achievement of a wickedly funny storyteller that sadly serves as yet another just-short-of-success story in a summer that’s been surprisingly lackluster in ticket sales, but immensely rich in hidden gems.

It’s difficult to discuss The Nice Guys‘s merits without comparing it to other works, as if it were a miracle of Frankensteined genre science. Its young girls braving the nasty waters of 1970s sexuality felt like a shoot-em-up action comedy version of The Diary of a Teenage Girl, something I never thought I’d want to see, but was giddy to experience. Its general aesthetic lies somewhere between Lethal Weapon & Boogie Nights, another unlikely genre mashup resulting from its cartoonishly violent detective work set against a 1970s California porn industry backdrop. Its precocious, smart-mouthed kid detective dynamic plays like Veronica Mars, except with an even younger protagonist & an even more adult/dangerous mystery to unravel. The list of similar titles the film might remind you of is virtually unending: Pulp Fiction, Bored to Death, Taxi Driver, The Big Lebowski, etc., etc., etc. And yet Shane Black juggles all of these pre-existing aesthetics without ever feeling rote or derivative. He understands exactly what genre toys he’s playing with, but retools them all to create his own distinct work with an incredibly strong, idiosyncratic comedic voice. This is a movie made by a passionate nerd who loves watching movies and that affection is immediately obvious in every scene. The call is coming from inside the audience.

Due to The Nice Guys‘s mystery plot structure it’s difficult to describe too much of its basic story without spoiling its rewards. At heart it’s a mismatched partners buddy cop flick where neither of the leads are cops, exactly. Russell Crowe plays a mercenary muscle, a hired goon with heart of severely tarnished gold. He teams with Ryan Gosling, a con-artist private detective who doubles as an alcoholic buffoon, to find a missing teen with ties to California’s thriving porn industry. Our team of in-over-their-heads antiheroes is rounded out by the single father private eye’s young daughter, who is never invited on missions, but often proves herself the most competent member of the crew. I would say this crack team of violent fuckups fall down the rabbit hole of the seedy side of 1970s Los Angeles, but since all sides of 1970s Los Angeles were likely seedy, that descriptor is more than a little redundant. Either way, they’re far from prepared for the political conspiracies, mass murders, life-threatening pollution, and hedonistic porn industry parties that complicate what should prove to be a cut & dry missing person’s case, but snowballs into something much larger.

If I had to assign The Nice Guys an exact genre I’d be tempted to classify it as “sleaze noir,” but that would greatly overlook what largely makes the film feel special: slapstick violence. Shane Black has an adept way of portraying violence that both shocks & amuses. There are certain violent displays in the films that had me gasping in their realistic & sudden brutality and others that had me struggling to breathe between laughs. A lot of what makes The Nice Guys funny is the matter-of-fact dialogue of phrases like, “Dad, there’s like whores here & stuff,” but much of the film’s entertainment value is in its violent physical comedy. Alternating between slapstick cruelty & genuinely devastating displays of brutality is a dangerously fun & wicked mode of entertainment that I’m not sure Black has ever topped before. It’s a solid, accessible base that even leaves room for more surreal inclusions like unicorns, mermaids, and gigantic insects. Seriously. The Nice Guys might be dying at the box office but the packed theater I saw it with last weekend was eating it up, wholly engaged with every weirdly cruel & surreally funny place the film decided to take them. Hopefully someone will take notice & help Shane Black bring more works this weirdly pleasing to the big screen. He’s surely earned a few more leaps of faith.

-Brandon Ledet

Popstar: Never Stop Never Stopping (2016)

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Popstar: Never Stop Never Stopping is doing dismal numbers at the box office right now, but so did the cult classic comedy it most closely resembles: Walk Hard – The Dewey Cox Story. The Judd Apatow-penned John C. Reilly comedy Walk Hard applied ZAZ-style spoofery to the musician’s biopic genre and wound up covering the entire history of rock & roll from its blues origins to its Vegas crooner swan song. Popstar picks up exactly where Walk Hard leaves off, mixing ZAZ spoofery with a Spinal Tap documentary format to skewer the modern state of pop music as it has developed since Walk Hard‘s release nearly a decade ago. It’s a shame both of these films failed to make waves financially (Popstar‘s seemingly complete lack of advertising couldn’t have helped there), but they do promise to hold onto a more significant longevity among their respective comedy nerd fandoms. Case in point, just look to the other The Lonely Island film that failed at the box office & found a second life among dedicated fans, Hot Rod. Popstar is just as funny as Hot Rod & just as primed for repetitive viewings, so there’s no doubt in my mind it’ll get the same cult comedy treatment as that militantly goofy title in the long run.

The really interesting thing about that lack of immediate financial success, though, is the way it plays directly into Popstar‘s plot. In the film former SNL player Andy Samberg embodies a versatile stand-in popstar archetype that covers enough ground to resemble any popstar of note you could name from Kanye to Bieber to Skrillex to whoever. Samberg’s titular popstar struggles to repeat past success with a solo record & tour that only do a fraction of the numbers landed on his hit releases. Over the course of the film he learns to put past grudges & current hubris behind him & give the people what they want: a cash-in reunion of the Beastie Boys-esqe pop group that first made him famous. In a lot of ways Popstar itself is Samberg’s way of giving the people what they want. Presuming that Hot Rod didn’t make as much money as it could have because its delightfully moronic daredevil subject matter isn’t exactly what audiences would expect from a The Lonely Island movie, Samberg & company return to their roots here to construct a full-length version of what made their SNL sketches & comedy albums popular decade ago: pop music parody. According to the film’s fantasy version of this well-deserved cash-in, they should be making absurd amounts of money right now, but that’s not exactly how things are working out despite the product being on-point.

Box office numbers & middling reviews aside, Popstar stands as Andy Samberg’s greatest achievement to date. His deeply silly magnum opus lovingly skewers the totality of hedonistic excess & outsized hubris on the modern pop landscape. The film nails the feel of modern pop documentaries in terms of style coopting the on-screen text & social media illustration of titles like Amy along with talking head “interviews” with folks like Nas, Questlove, and Pharrell, the exact kind of contributors you’re likely to see pop up in films like Fresh Dressed. Popstar builds a solid, believable base to hang its gags upon & that in-the-know confidence allows the humor to go as broad or as absurd as it needs to in any particular moment without throwing the audience off track. You’re never entirely shaken by a throwaway gag like a baby playing drums like Neil Peart or an artist responsible for the “brilliance” of catchphrases like “#doinkdedoink” having the self-confidence to declare the Mona Lisa “an overrated piece of shit” because the movie is well-calibrated enough to support those kinds of over-the-top indulgences. The format, the character, his world, and our own pop music terrain all back up each ridiculous gag Samberg throws at the wall,  making the film out to be an efficient little comedy machine in comparison to the sprawling, Apatow-dominated landscape comedic cinema’s been exploring to death in recent years. There’s certainly loose improv afoot in Popstar, but it’s arranged & edited into highly functioning efficiency.

I don’t think I’d call Popstar my favorite comedy of the year so far (it’s got the looming presences of Hail, Caesar!, The Mermaid, Pee-wee’s Big Holiday, The Nice Guys and The Bronze to deal with there), but I do think it outshines its closest comparison point in recent months: Zoolander 2. My main complaint with Zoolander 2, a movie I quite enjoyed, was that it gets “a little exasperating in its never-ending list of cameos & bit roles […] The film is overstuffed with both celebrity cameos & SNL vets dropping in for a dumb joke or two.” Popstar somehow adopts that exact cameo-saturated format & makes it work like gangbusters. It’s impossible to review this film without name dropping some of the musicians (RZA, Usher, A$AP Rocky, Arcade Fire, etc.) & comedians (Sarah Silverman, Eric Andre, Bill Hader, an actually-utilized Tim Meadows, etc.) involved, but their presence is actually necessary for the format to work instead of being distracting & dilutive the way they were in Stiller’s film.

Popstar smartly & lovingly dismantles the entirety of pop music’s current state of ridiculousness from EDM DJ laziness to the devastation of a negative Pitchfork review, to Macklemore’s no-homo “activism” to U2’s invasive album release snafu. Celebrity obsession & absurd acts of cartoonish hubris play right into that surreally vapid world, so Samberg has established a work here where needless cameos &  unhinged silliness are a necessity just as much as they’re an indulgence. Long after the lack of critical or box office buzz are forgotten, Popstar might just stand as Samberg’s greatest to work, the most efficient application of his distinct sense of humor put to record.

-Brandon Ledet

Episode #8 of The Swampflix Podcast: Documentarian Tim Wolff & A Pigeon Sat on a Branch Reflecting on Existence (2015)

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Welcome to Episode #8 of The Swampflix Podcast! For our eighth episode, Brandon interviews local filmmaker Tim Wolff about his gay Mardi Gras culture documentary The Sons of Tennessee Williams (2011). Also, James makes Brandon watch Roy Andersson’s Swedish black comedy A Pigeon Sat on a Branch Reflecting on Existence (2015) for the first time. Enjoy!

Production note: The dreamy guitar musical “bumps” between segments were also provided by James.

-James Cohn & Brandon Ledet