DinosaurAct86 Reviews

The Boy and the Heron (2023)

Multifaceted dream worlds

[10/10 · 10 December 2023]

The Boy and the Heron is worth your time. As a matter of fact, it is worth at least one more viewing if not more. If you enjoy multifaceted dream worlds from which the viewer gets the sense there's more "behind the curtain," then this is your movie.

Yes, the animation is astounding. It brings a tear of joy to my eye to think Ghibli can still do hand-drawn animation at this point in film history and have a hit film. I also know Miyazaki would have it no other way. However, let us not ignore the beautiful score of this film. Joe Hisaishi is an already established master film composer, but I think the score here elevates the film because it is doing what I think the film is doing-that is, it's built around simple ideas that are actually not that simple at all because there are other layers at work behind the scenes. I cannot say more or I'll spoil the film.

Finally, I do not believe it is a "jumbled mess of ideas" as I saw one reviewer say. This film is a slow-burn experience, and it can be overwhelming, but I was never under the impression that it was thrown together. I felt I was being led by masterful hands.

See it, get moved, get confused, get lost in it, and then see it again and start to understand it. Don't miss real artistic brilliance when it appears.

The Green Fog (2017)

Like an opium dream version of the original

[7/10 · 5 November 2022]

I mean that title in a good way. If you view this more for the overall impression rather than the specifics, you will get the impression that you watched a weird remake of Vertigo. But it's not even really a remake; Guy Maddin made something surreal here, but it took a mountain of patience and work.

And you know what? It's also hilarious in parts. An *NSYNC video pops up at one point. Yep. I'm not kidding. And you never know what footage will crop up here or there, whether it's a TV movie or from Don't Look Now.

My recommendation is to have a drink or two and just let it play. You won't come away with a sense of awe, but you might giggle a bit and at least appreciate how much this man was able to invoke a classic film using splices of others. Don't smoke opium, though.

John and the Hole (2021)

Lesser than its parts

[5/10 · 20 February 2022]

This film is a disappointing example of an intriguing premise, good acting, good cinematography, and strong sound design and score not adding up to anything worthwhile. The sum is much lesser than its parts.

I am also disappointed in the writing, as Giacabone penned both Birdman and Biutiful, two astoundingly original film concepts. I suppose the difference here is that, instead of a master like Innaritu at the helm, we have first-timer Pascual Sisto who is more interested in mood and pastiche than creating a cohesive experience. Haneke or Lanthimos this ain't, and it's heavy borrowing from each winds up getting in the way of what could have been a more interesting film.

I am sure that on second viewing, one might peel back another layer or two, but I don't feel the desire. I may check out Sisto's next project, but this one was kind of a bust for all of its technical achievement.

I'm Thinking of Ending Things (2020)

A confused man's sorrowful tale (my brief interpretation)

[10/10 · 6 September 2020]

I understand why people dislike this movie. Most people don't like to be an active participant in what we've been trained to think of as a passive medium-and that's okay, but don't judge an "active" movie as poorly made just because you prefer "passive" ones.

If you are willing to actively watch and interpret what's going on with openness, you may reach the same conclusions as I have. I think this movie does make sense once you realize whose story it is.

Jake is the janitor. Jake has either dementia or Alzheimer's, which can be genetic and was perhaps passed down from his father. This entire film is the attempted reconstruction of the past by someone with a confused mind, one that misremembers names, timelines, and details, but distinctly remembers movie monologues and musical numbers. The final scene, of course, never happens: it's a word-for-word (and nearly shot-for-shot remake) of the final scene of A Beautiful Mind followed by a musical number from Oklahoma. This is the ending he wanted. But that's not what really happened to him.

What really happened, then? Jake cleaned the school during the blizzard, ate his lunch and watched a sappy comedy, then went off the mental deep end in his truck, where he sadly froze to death, only to be (presumably) found by the oncoming snow plow we hear in the end credits. During all of this, he's remembering a girl he met briefly at a bar, one who he's loved all his life but never spent it with. He never even learned her name. There were other women, like Lucy and Yvonne, but none of them matched how he felt about this unnamed girl. She's the one he hopes he could bring home to Mom and Dad, but he ends up piecing together experiences with other women to inform his vision of this girl with his family.

Once I put all of this together, I realized just how devastating this movie is. It really got to me. Kauffman is a genius. It's okay if you didn't like it, but know that real thought and heart went into this.

Lovecraft Country (2020)

High hopes fell with a thud

[4/10 · 24 August 2020]

I had high hopes for this series, but after two episodes, I am very unimpressed. This show is an example of an excellent premise executed poorly. It's almost as if it was made for the CW or something. Some of the actors are amateurish. The creature VFX is pretty laughable.

I am a Jordan Peele fan when it comes to Get Out and Us. Those are well-written, well-acted, and tense films with high rewatchability. He did not direct this. He's a creator, sure, but did not have a hand in the directorial side of things, so reviewers should stop saying he directed episodes of this show.

It took all of my strength to force my way through two episodes of Lovecraft Country. I won't be watching a third. Too bad. It could have been great.

Downsizing (2017)

The message is the medium

[4/10 · 10 August 2020]

I am longtime Alexander Payne fan. He has never let me down... until now. The movie starts out with an interesting-enough premise, but even in the beginning, it sags a bit in dialogue. I love Payne's milquetoast dialogue that reveals his characters' distaste for their daily lives. There is none of it here. The dialogue and execution just get worse over time. The cinematography is good, at least.

Matt Damon does a pretty good job, but anybody could have been in this role. It wasn't unique. Same with Udo Kier and Christoph Waltz. Waste of talent.

By the end, the film becomes a vehicle for ecological warnings instead of an interesting character study. It was flat, predictable, and too long. I can't believe this is the same guy who made Election, About Schmidt, Sideways, Descendants, and Nebraska. Just... why? I am a pretty eco-conscious person, but I felt the shovel in my throat by hour one.

Don't bother. Save yourself the 2 hours and 16 minutes.

The Call of the Wild (2020)

The Call of the Wild-lite

[6/10 · 28 April 2020]

While this film version is indeed a visually-pleasing family adventure epic, it is better suited for those who are not looking for any of Jack London's naturalistic tone. It is what I would deem The Call of the Wild-lite, meaning it does provide the gist of the original story without all of the violence and death.

In the original novel, violence and death are a part of daily existence in Buck's tumultuous experience, from watching a dog get ripped into literal shreds to committing acts of wild violence himself-at one point, he takes down a bull moose on his own. The latter is proof of his wolfish qualities rising to the surface. None of this is in the film.

Yet it is understandable to leave that level of violence out of what was intended to be a PG film from its inception, so I can forgive that much. What I cannot forgive is cutting scenes that were significant but had no gore or death-the sled pull competition or Buck saving Thornton from river rapids as two examples. Strange that Sanders created new storylines to fill the holes of what would have been exciting sequences. Oh well.

It's a fun watch, and definitely heartwarming. At least the ending is pretty faithful, and thank goodness it is the story of Buck and not Thornton for once (mostly).

Annihilation (I) (2018)

Sci-Fi Landmark

[9/10 · 23 July 2019]

Annihilation is truly a science fiction landmark of a film. It entertains and frightens while simultaneously prompting the viewer to question his or her place in the vast universe, all while never once leaving the setting of earth.

Alex Garland showed off his directing chops with Ex Machina, but it is with Annihilation that he succeeds on a larger scale. Natalie Portman and Jennifer Jason Leigh have excellent chemistry as they investigate further and further into the mysterious Shimmer.

This film rewards patience and multiple viewings, but can be enjoyed as a mind-bending sci-fi/horror film in its own right.

Midsommar (2019)

Shock and Awe

[10/10 · 3 July 2019]

Perhaps one of the best films A24 has ever produced and surely one of the best horror-thrillers ever made, Midsommar is a slow-working poison that eventually takes you whole. There are moments of stomach-churning shock that leave you breathless while at the same time leaving you in absolute awe of the sheen of the film's construction. The cast is perfect, and Ari Aster is destined to make great films, horror or not.

However, this film is not for the impatient or the faint of heart. There is unsettling violence and imagery throughout juxtaposed with stellar beauty. I will be rewatching this as soon as I am able.

Life Itself (2014)

A Film Bursting with Life

[10/10 · 7 April 2015]

I went into this film with a profound appreciation for Roger Ebert, both for his words and his philosophies about film, but left it with a sense of reaffirmation.

Roger was, of course, a vibrant, opinionated, passionate, and empathetic person, someone who knew when to fight something and when to let something wash over him like a wave. His love for Chaz (and vice versa) and for his family went unmatched, and the film made that love palpable--as it did his love for motion pictures. This is a film that Roger Ebert would have appreciated, were he living now. I also get a sneaking suspicion that although Steve James is at the film's helm, somehow Roger was also there, behind the curtain, editing and rewriting all of the crappy dialogue.

But this film is not really about Roger Ebert.

Instead, Steve James has gifted us with an honest, untainted look at a human being. We see his faults and strengths, his cruelties and kindnesses, and in the end are left with an incredibly wonderful painting of what it is to be human in the first place. We see what it means to actually love others, to deal with pressures, stresses, and old age. We see what it takes to appreciate life, and then what it takes to leave it. In essence, it is a film bursting with life.

Ebert loved the last few paragraphs of The Great Gatsby, in which Fitzgerald talks about the green light, the very essence that fueled Gatsby's grand, yet tragic fate. Ebert knew his light and followed it to the very end; it came from a projector.

The Taking of Deborah Logan (2014)

Genuinely terrifying, but flawed

[6/10 · 14 December 2014]

The Taking of Deborah Morgan, as you must have gathered by now, is a faux-documentary that begins as a sort of record of deterioration. I can think of no better word than "deterioration", since Deborah Morgan falls apart both mentally and physically over the course of the film. You'll find yourself unnerved and saddened by Deborah's confused states and struggles as she loses her memories to what appears to be Alzheimer's Disease. Of course, things take a sinister turn as the crew cataloging the disease's progression begin to see and hear unexplainable phenomena.

The first half of the film is genuinely terrifying, and had me in suspense.It is the film's second half, which I will not divulge here, that was a bit of a letdown. I really wanted to give the film a higher score, but I couldn't come up with more than a 6. All I will say is this: A horror film with a unique premise and a lot of promise gradually works its way back into the clichés of jump-scare Hollywood.

However, I would be remiss if I did not commend the film for its portrayal of three major female characters (who really carry the film)--a Ph. D. student, a troubled daughter, and Deborah herself-- each one fairly layered and driven by palpable human motivations. The whole "freaked-out, over-sexed bimbo" schtick gets old.

Russian Ark (2002)

Vacant as a Vase

[5/10 · 23 May 2014]

While Russian Ark is, without dispute, an utterly beautiful, albeit non-linear romp through two centuries of Russian history, I would hardly call it rapturous or even moving. It narrows its lens entirely on the "majesty" of the bourgeoisie. Both of the 'spectators' (European and Russian) are endlessly fixated on nobility. At some points they speak of revolution, but fail to highlight the revolutionaries themselves. We see tiny glimpses of the minor, wondrous moments in life, but the film fails to truly underscore these as its focus and instead plays out like a love letter to Russian monarchy. How can Sokurov, who made Mother and Son (a truly moving film) sink to such a level? I found myself both aching for and disappointed by the film's ending by the time it rolled around (which was completely spoiled in the trailer, by the way).

Had the film not been made with such tact, I doubt it would have received much critical acclaim. The choreography alone is a major feat. The film's continuous shot is also impressive and cleverly designed to be relatively unnoticed--no cuts in a 90-minute film is a true landmark indeed, even if done in lesser hands--but as the Russian spectator's final monologue fades out across the gray, misty sea, so does any chance of the film having any resonance.

I say all of this with sadness, since I wanted desperately for it to be something more than it was. Anything more would have been preferable. I highly doubt Russian Ark will be a journey worth revisiting, should I ever bother to do so. It is as visually pleasing as the many vases on display at the Russian Hermitage--and just as vacant.

This Must Be the Place (2011)

Sweetly weird meditation on love and death

[9/10 · 21 December 2013]

Set in both Ireland and the continental United States, This Must Be the Place is a sweetly weird meditation on love and death. The protagonist, Cheyenne (in a standout performance by Sean Penn), is equal parts glam-and-gloom rocker and modern-day mystic, offering, through dialogue, insights into the human condition without overstepping into the territory of pretension. Sorrentino's direction is exquisite here, as is his timing. The humor balances out the despair at just the right moments; the pacing of the film feels balanced, as well. In addition, Byrne's score is both eerie and warming (and adding Will Oldham always brings positive results).

This is a film that poses the question, "How do we make right the wrongs from the past?" and genuinely attempts to answer it with a unique perspective that doesn't rely on conventions or expectations. It's one of those cases where the correct mixture of people got together and made a memorable piece of art that reminds us how to feel.

Top of the Lake (2013–2017)

Terrific and Haunting

[9/10 · 10 July 2013]

Top of the Lake follows you around long after you've finished an episode (or the entire series, for that matter). It operates with a sophisticated sense of naturalism, which probably initially alienated many viewers begging to be bashed over the head with plot details. This is not simply a subtle noir, but a meditation on identity, which provides the necessary ammunition for some powerful performances from Elisabeth Moss, David Wenham, Peter Mullan and Holly Hunter, as well as others.

This is an atmospheric detective story, not an action-packed whodunnit. You will find yourself both disgusted with and moved by humanity as the finale's credits roll.

Red Hook Summer (2012)

Worth Seeing

[6/10 · 25 January 2013]

Red Hook Summer definitely fits within Spike Lee's oeuvre, recalling the child's POV-style of storytelling used in Crooklyn and the vivid color palette employed (albeit more effectively) in Do the Right Thing. As other reviewers have no doubt already pointed out, Clarke Peters gives a superb performance, though nobody has yet mentioned Thomas Jefferson Byrd's performance, which I thought was at least on-par with his previous work if not surpassing it. Byrd's drunken prophecies shine transparent with hypocrisy, which is a major theme explored on a deeper level once the film's exterior is peeled back in the final act.

Speaking of which, the final act is undoubtedly the highlight. I can't go into too much detail or I will spoil the story's impact. This sequence carries a lot of the film's weight, but viewers won't know it until it comes. The sermons are also powerful, both on the pulpit and off. It's just all too unfortunate that the lackluster acting of the two primary child stars takes away from an otherwise engaging story. And although I am a fan of much of Lee's work, I will never understand his music choices---oftentimes cheesy songs interfere with what would have been phenomenal left to natural sound... think the father-son reconciliation in the woods in Get on the Bus or some of the moments in Clockers. This is probably a matter of taste, but I can't get over it. I guess I just like the other elements of his style so much that I wish he could do better with the soundtrack (NOT the score---his scores are usually good).

I guess my main point is that Red Hook Summer is worth seeing, despite the extremely low ratings I've seen in various online locales. It's just not Lee's best by any means, but not a failure either. It's just kind of... muddied.

The Woman in Black (2012)

One of my favorite horror theater experiences

[9/10 · 3 February 2012]

I am vividly aware, as are most avid moviegoers, of the horror movie machine. It churns out Final Destinations, exorcism films, and at an even higher frequency, ghost films. At first glance, The Woman in Black appears to be yet another of these "ghost films," where cheap scares, predictable plot "twists," and horrible acting drag the viewer down into an hour-and-a-half maelstrom of mediocrity that can only end at the appearance of "Directed by..."

According to most of the reviewers thus far, The Woman in Black was a letdown. So perhaps it is because I went into the film with no expectations that I came out of it impressed and very, very shaken. I do not plan to explain the plot to you (many have done this already and there is a synopsis which does a far better job than I could), but I will argue in favor of how successfully scary this film was. Yes, it contains ghost film elements we have all seen before, but they are cleverly and patiently arranged so that the viewer becomes totally enveloped in atmospheric dread. Sure, there are "jump" scares, but these are also complimented by many shots which unfold slowly and effectively. It sometimes reminded me of the 1961 film, The Innocents, if that gives you a better idea. Radcliffe is also a worthy focal point of the film, keeping most of the fear and anticipation unspoken throughout.

I would not nominate this film for any kind of award, but it achieves what I believe should be the ultimate goal of all "horror" movies: to draw us in so close that when our fear manifests itself on-screen, it is already too late to turn away. It rates high as one of my favorite horror theater experiences, alongside The Descent and The Strangers.