alwayshungryy Reviews

James White (2015)

Engrossing and heartbreaking glimpse into an unfortunate life

[7/10 · 8 October 2015]

James White (Christopher Abbott) is caught in an endless cycle of self-destruction. He has just lost his father and fears losing his ailing mother (Cynthia Nixon) who he has been taking care of for years. He spends his days drinking, sleeping around and lashing out at others, doing anything to avoid confronting his grief and emotions, which he keeps under the surface, bubbling and waiting to burst. Life has been unfair to him, and this behaviour that manifested sabotages any chance of career or personal growth. He might be using his mother's condition as an excuse not to step out of his comfort zone and try harder in life, which is reasonable to some extent, but he can't seem to change. In his prime, he is jobless and taking his mother's couch as a bed.

This narratively loose drama doesn't offer anything particularly new in giving us a glimpse into the struggles, both internal and external, faced by James. There is not much closure or emotional reward to be given. This is summed up perfectly in one of the very few scenes in which we see James surrendering to his emotions, crying while repeatedly yelling "I don't know what to do".

The best aspect of the film is the acting. Nixon gives an authentic, heartbreaking performance that's understated. Abbott, on the other hand, is given a character that requires patience and sensitivity to sympathize with. James internalizes many complex emotions throughout the film and what goes on in his mind is not always clear to the audience. It's a tricky act to balance but Abbott pulls it off. Their mother-son relationship is the only thing that's certain in their lives and is the core of the film.

The film could have very well ended during its most powerful and stirring scene with James and his mother in the toilet. She can't get up, so they sit and talk about what their ideal life would be like and the future they had hope for. They feel at peace as both of them stay in this moment, still and smiling. This is when the bleak reality of the film truly sets in, as we see these people, both kind and full of dreams and desires, trapped in an unfortunate life.

The Corpse of Anna Fritz (2015)

Sufficiently entertaining midnight movie that misses great opportunities

[5/10 · 8 October 2015]

Anna Fritz (Alba Ribas) is not a human being. In the public eye, she's a celebrity, a religion, an object. "The Corpse of Anna Fritz" makes this clear in its opening scene. As we see her lifeless corpse being moved to the morgue, voice-overs of people on the news are heard. They discuss her impressive career, shower her with compliments on her looks, and gush over how perfect a human being she is. This makes what follows all the more interesting.

Three friends end up in the morgue, alone with her corpse. Though there are brief and glossed over moments of ethical struggle before things get down and dirty, the characters are one-dimensional and serve a distinct purpose in the story. There's the moral compass, the antagonist and the spineless coward. While certain moments could have been more tastefully done, the film does raise questions on whether there is a grey area between right and wrong. In the hands of another team, this could have been a film further beyond our comfort zones that delved into its meaty themes of moral conflict, the ethics of necrophilia, the difference (if any) between the ownership of one's body before and after death and the repercussions of celebrity idolisation.

To be fair, the film does do something different in terms of the way the story shifts focus and evolves with its turns. The acting is fine but not entirely convincing, with Ribas being the stand out.

For a second I had thought that the film would end without its final twist, which was preceded by a intense escape sequence that's noteworthy. This would have been a subversive choice but would probably feel out of place given what they were going for: an entertaining, if predictable, midnight movie that's safe and thus more satisfying.

The Walk (II) (2015)

Crowd-pleasing popcorn entertainment with miraculous visual effects

[7/10 · 8 October 2015]

To learn about and understand the life of French high-wire artist Philippe Petit, who illegally performed a high-wire walk between the World Trade Center's Twin Towers in 1974, one might be better off with the 2008 James Marsh-directed documentary "Man on Wire". However, "The Walk" is a worthy experience about a dreamer who risked everything to achieve the impossible, and gave the people something beautiful, pure and hopeful.

The film is interspersed with scenes of Phillippe Petit (Joseph Gordon-Levitt) talking directly to the audience, narrating his life story and the events that led up to his high-wire stunt, or as he calls it – "le coup". This certainly takes away the potential emotional and cinematic impact longer, narration-free scenes would've had on audiences but it served the purpose of moving the story forward swiftly. The first half feels crammed even though it is pretty much by-the-books: we skim through Petit's life leading up to the event without going in-depth. Which is understandable for a reasonable running time as there is a lot of ground to cover.

The unbearably intense second half surely makes up for this. It's taut with thrills and sequences boasting miraculous visual effects. The 30-minute finale is a immersive, transporting and even physical (as evidenced by my sweaty palms) experience that's one-of-a-kind. In fact, I would go so far as to say that there's no point watching the film anywhere else other than at a cinema.

Levitt's passionate performance is commendable and definitely contributes to a sufficiently emotionally satisfying third act. The film also makes it clear that this wasn't a one-man-show by highlighting Petit and his allies' team spirit. With "The Walk", Robert Zemeckis has given us another crowd-pleasing piece of popcorn entertainment.

The Martian (2015)

An optimistic, first class blockbuster with great emotional payoff

[7/10 · 8 October 2015]

"The Martian" is a very optimistic survival movie, so much so that you probably know going in what the answer to the film's big question is. Therefore, the film, which starts off with a intense sequence of Watney (Matt Damon) being left behind by his crew on Mars, becomes more about how they get there.

This is probably the film's best aspect, it is an unabashedly well- meaning celebration of science and kind, intelligent people working together to help one another (even the potentially clichéd PR antagonist is non-existent). The series of events that follow revolve around scientific ideas that are brought forward with the degree of accuracy and amount of exposition balanced just right, compelling the audience effortlessly (kudos to screenwriter Drew Goddard, though the film's humour is mediocre at best). Moreover, the crew's camaraderie is very convincing and thus affecting.

The first half of the film is pretty by-the-numbers: there are obstacles, those obstacles are overcome, then there are setbacks. This is what keeps the film going (apart from the ensemble's winning performances) but it may become repetitive for some. However, the strong second half builds and builds to an incredibly emotional and riveting climax that catches you off guard. Unfortunately the sequence ends abruptly as we fast-forward to the unnecessary "and everyone lives happily ever after" montage.

What could've been a bleak, cynical tale of survival becomes a first class feel-good blockbuster. I would say "welcome back, Sir Ridley Scott" but I actually quite like his recent efforts.

(PS – It's easy to take the visual effects for granted, but it is superb.)

Digging for Fire (2015)

Joe Swanberg's most emotionally mature entry to date

[8/10 · 8 October 2015]

There is a striking moment in "Digging for Fire" when Tim (Jake Johnson) is having pizza on his bed alone, isolated from his friends, while marvelling at a shoe he unearthed from the woods. This scene is subtly moving as we begin to understand what he's trying to look for and why.

This is Joe Swanberg's most emotionally mature and thematically rich entry to date. His films pull off a great feat by being dialogue- driven yet having the dialogue be almost entirely improvised. The premise of this quiet relationship study is simple, Tim and Lee, a couple who have been married for a while and have a kid together start to feel as if they have lost their individual self in this process, a weekend apart unexpectedly helps them regain perspective.

At the beginning of the film, Tim finds a gun and a bone in the woods behind the house. He takes advantage of the weekend alone to have his single, drugged up friends who he can't hold a satisfying conversation with over, yet he is obsessed with his discovery and wants to keep digging. He feels disconnected, he is metaphorically digging his way out of his crisis by investing himself in this emotional escape. He wants to find mystery, excitement, meaning, a situation that's bigger than him. At the end of the day, he just wants to find something. All of this goes away at the end of his search.

Lee (Rosemarie DeWitt), on the other hand, is struggling with the idea that passion is absent in her life and that she has neglected her own desires. She yearns for a night out in town with her old friend but instead finds herself in the company of the dashing Ben (Orlando Bloom), which helps her assess her quest to find this passion she realizes is fleeting and impermanent.

The film feels surreal, it is as if Tim and Lee are in a relationship limbo, hitting pause on their life together while they find answers to their personal issues. Did they change? Have they moved on from who they were? Do they still want the same things as they did before? Are the doubts they have simply just nostalgia? In a lot of ways, what they were both looking for and what they found were the same. Both Johnson & DeWitt deliver natural performances as expected from a Swanberg film.

The film's great feature is its ability to keep the viewer's mind stimulated while figuring out what it has to say about relationships and identity crisis. The only gripe I have with this film is the ending, it would have had a perfect one if it ended a minute earlier, at the film's pivotal and most emotional moment.

Dan Romer's synth-heavy score is effectively minimalistic and director of photography Ben Richardson's work marks a change in style in Swanberg's most and handsomely shot film. Also, honourable mention to Brie Larson, who plays a subversive version of the "other girl" trope.

Nightcrawler (2014)

Dark ambitions...

[9/10 · 28 October 2014]

Dan Gilroy's provocative directorial debut is a psychological thriller set in an unfamiliarly gritty Los Angeles. The film follows Lou Bloom (an emaciated Jake Gyllenhaal), an anti-social and driven man desperate for work who stumbles upon the world of "nightcrawlers" – freelance camera crews who film footages of car accidents, fires, shootings and all sorts of mayhem to sell to the local TV news. The lives of everyone around Lou is put in danger as he falls deeper into this rabbit hole of madness and immorality.

What is captivating about Nightcrawler is that it does not judge its characters. The film tells a story that delves into the seedy and unnerving realms of the human psyche and it us up to the audience to ponder and reflect on what unfolds before them. Gilroy skilfully balances the dark comedy, thriller and satirical elements in the film, giving us a thematically-rich and suspenseful dive into the abyss that will surely stay with you long after the credits have rolled.

There is an abundance of unsympathetic characters in the film, from Rene Russo's twisted TV producer to the fellow nightcrawlers Lou crosses paths with who will stop at nothing to exploit tragedy in hopes of making ends meet and surviving in a cutthroat society. The moral compass of the film is Riz Ahmed's Rick, a young man Lou recruits as an assistant who is unwillingly made an accomplice as a determined Lou commits one illegal act after another, trying to make his way up the top of the game. It's not just about being the first to reach the scene of the crime, it's about creating a story so shocking it would be impossible for people to turn away from.

Jake Gyllenhaal gives a mesmerizing and disturbing career-best performance as one of the most memorable characters of the year. He is physically and mentally committed in embodying an eccentric and fascinating human unlike anything we've seen before. From his distinct mannerisms to his impeccable monologue deliveries, Gyllenhaal makes sure the audiences can't look away no matter how uncomfortable the situations become (a particular scene involving a broken mirror will surely be an image that will be seared into your memory). What's even more unsettling is that we see bits and pieces of ourselves in Lou. From the first frame, the film is given an eerie and ominous atmosphere, thanks to cinematographer Robert Elswit (Paul Thomas Anderson's frequent collaborator) and James Newton Howard's minimalistic but effective score.

Part satirical view of media sensationalism, part success story, Nightcrawler is one of those rare films that is not only superbly entertaining, but sophisticated and thought-provoking in equal measure.

Nobody's Daughter Haewon (2013)

Poignant and sophisticated film about a young woman and her thoughts.

[10/10 · 21 October 2014]

From the opening titles of Nobody's Daughter Haewon, it's very clear that this is a Hong Sang-soo film and you know you're in for plenty of drinking, awkward social interactions and whimsical humor.

It's very hard to put into words the experience of watching this film because it is unlike anything I've ever seen. It is very much a dialogue-driven film, there are only a few settings, scenes are quite long, the camera is often still and there are zero close-ups. All of these elements made it one of the most engrossing and emotionally involving films I've seen.

The performances in this film are brilliant. Jung Eun-chae plays Haewon, a young woman whose mother recently left for Canada and is coping with being alone and becoming an adult. She's a character you may think you have all figured out at first but ends up being mysterious and fascinating. There are many layers to her and this film very much feels like a peep inside her complicated mind. Professor Lee (played by the charming Lee Sun-kyun) is an unhappily married man who falls in love with Haewon. Jung & Lee have fantastic chemistry, their scenes together are easily the highlights of the film. These scenes not only make you care deeply about the duo, but are also rich in subtext. Are they truly in love? Do they know what they're looking for?

The dialogue comes off as improvised because of how natural the interactions are but is actually very intricate. The film is not only about Haewon's relationship with Professor Lee, it is about Haewon figuring out who she is as an individual and what she wants in life. Her interactions with various characters may seem insignificant but adds a lot to the film and her character.

The film has a dream vs reality aspect. It blurs the lines between the two. Bizarre events that happen are hinted at as being Haewon's dreams, while others could be interpreted as memories or actual events that are happening. But in the end, does it matter?

I honestly did not expect the film to be so emotionally affecting and genuinely heartwarming. The film takes viewers through a range of emotions and the incredible ending is deeply moving and bittersweet. It is without a doubt one of the best South Korean films I have seen and will continue to stay with me.

A Hard Day (2014)

South Korean cinema in "fun mode".

[10/10 · 16 October 2014]

Director Kim Seong-hoon's sophomore film A Hard Day arrives 8 years after his directorial debut, How The Lack Of Love Affects Two Men was released back in 2006.

Now, this film is a nerve racking roller-coaster ride, so the less you know going in the better. I shall attempt to introduce this film in one sentence: A comedy-action-thriller about the chaos that ensues after a detective is involved in a hit and run.

The film smoothly and skillfully balances the dark comedy, action and thriller elements, giving us ingenious set pieces (a particularly memorable one involving a toy soldier...) and also well-paced and effective suspense. The film does not waste a shot, let alone a scene to make audiences laugh, squirm and be intrigued through it's twists and turns. It's tightly-wound from beginning to end and will surely be one of the best times you'll have in the cinema (or in your home) this year.

Lee Seon-gyun (who you may recognize from Hong Sang-soo's films such as Nobody's Daughter Haewon) plays the lead role of detective Ko, a divorced father of a little girl who may not be the most ethical of cops. Lee carries the film, delivering a charismatic and humorous performance that makes us root for his character when he is faced with tough situations and pitted against Cho Jin-Woong's formidable protagonist. Kudos to Cho for interestingly pulling off a role that could have easily been bland.

This film was also filmed beautifully. It's gorgeous to look at, thanks to cinematographer Kim Tae-Sung, who gives us dynamic and impressive shots (one that immediately comes to mind is an overhead shot during a chase).

It's refreshing to see a South Korean film that's playful and never stops being fun, after the recent slew of superb but disturbing, dark thrillers such as I Saw The Devil, New World and The Man From Nowhere. Don't be fooled, this film has its dark moments. Most importantly, it holds one of the quintessential elements of movies: taking audiences on a ride that endlessly intrigues and keep them wanting more, having no clue where the next moment will take them.