Turbo Kid Will Put A Bloody Smile On Your Face.


A post apocalyptic future deprived of water and automobiles is the setting for Turbo Kid, which may be playing at an independent/ art house cinema near you. A young male scavenger who goes by the name of The Kid, spends his days trading artifacts and tools for questionable water and his favorite comic books. It’s not lost on the rough looking locals on how the Kid is able to survive in these times, as he doesn’t have the frame nor the temperament to do much much beyond hole up in his dwelling and munch on ancient candy.

While rummaging about, the Kid meets up with an enthusiastic young lady named Apple, who’s just looking for friendship. Although this wasteland is somewhat portrayed as tongue and cheek, true friendship may be as hard to come by as clean water. On the opposite end of the spectrum, is the maniacal water baron, played by veteran bad guy Michael Ironside, complete with an eye patch and menacing duster.

In this version of a junior league Mad Max, bicycles are substituted for burly vehicles, and although that doesn’t lead to as many bike related stunts as one might hope, you’re not likely to complain about the end result. Turbo Kid is a fun, poppy, and surprising gory event to take in. It’s unusual innocence at times in comparison to the harsh background that the story takes place in, provides for a rich and touching piece of entertainment.

Judging by the trailer alone, Turbo Kid is far too fun and weird to miss out on


Smile The Pain Away


In Joe, Nicholas Cage plays a blue collar head woodsman of a small crew of laborers in the south. A cigarette is never far away from his mouth, and a tug off a bottle of hooch is how he caps his workday. Gary is the 15 year old pseudo leader of his drifting family who approaches Joe for day labor. At 15, Gary has a lot of life ahead of him, however the circumstances of his life now are being dragged down by a mean drunk of a father who will literally do anything to stay loaded. The players in and around Joe’s life give some back story to his brooding character, he’s been “up in it” as they say, and they will vouch for Joe as “good people” without hesitation.

This 2013 drama is directed by David Gordon Greene, who had a sloppy hit with Pineapple Express. His first film, All The Real Girls was not only Zoey Deschanel’s first notable work, it also features some cinematic originality that isn’t readily available in today’s age of the remake and the comic book movie. One of the ways Greene is able to make this story stand out despite it’s overtones of the Hollywood classic, Shane, is the casting of non actors in significant roles. The voice and mannerisms of the characters allow the story to tell itself at times, and provide background and legitimacy for Cage’s Joe.

Playing the role of Gary’s father Wade, is an actual factual bum by the name of Gary Poutler.


Wade has the slur of a longtime alcoholic, and displays both a playful and volatile spirit throughout the film.

Joe’s right hand man on the woods crew, Junior, is played by another non actor, Brian Mays. Weather Junior is teaching Gary the ways of work, holding court during a laugh filled break with this co-workers, or arguing with Gary’s father Wade, Mr. Mays is able to convey a presence to the audience as if he’s been there before.

While you may not understand every word out of their mouths, you’re certainly able to get their intentions. It is amazing that this flea market cast were able to hit their marks and come off as professional and entertaining. Having these guys as compliments to Cages’s character of Joe really makes this balanced piece of storytelling. Joe likes his work, his drink, his smokes, his dog, and his womens. It seems that these interests are a big part of what detaches Joe from liking himself, and it never seems like he’s too far away from doing something to his life that wont be able to repair.

As far as Cage’s performance goes, it is legitimately one of his best. It’s fair to question by what right does Cage have to dangle this kind of talent in front of us and then go off and play an Irish Samurai. The scene in which Cage briefly washes his face with hard alcohol before setting someone straight is quick, subtle, and tells you so much about Joe in less than a second. His back and forth with 15 year old Gary, teaching him to smile through the pain, comes off as exceptionally relatable. Joe’s struggle with those that are testing him, paint both an immediate picture of who this man is, and a much broader sense of what he’s done in the past.

Director Green’s camera work and editing really help here, as this movie doesn’t have the arty feel of All The Real Girls, nor the glossy Hollywood sheen of Pineapple Express. Although Joe has been pegged as dark and gloomy, the style of direction here is subdued and leans more towards neutral. There’s a whole lot about Joe that’s worth watching, and at no point does it talk down to the audience,  the story at hand just allowed to sort of unfold.

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The Babadook


Amelia is a struggling single mom coping with the death of her husband, and with the fact that her son’s grasp on reality and behavior towards others is becoming questionable. One quiet night Amelia reads a strange book to her son as a bedtime story, only to discover that what resides in the pages isn’t exactly the material either of them thought it would be.

This book brings on a slow developing living nightmare experience for the both of them.

The Babadook is a tight Australian horror film that leans towards psychological horror for the most part, however when it needs to step up it’s game and provide the goods that horror fans are used to seeing, that game is legit. What make this movie work so well is the fact that a certain rythym of storytelling is established early on, making for a unique overall viewing experience. With that in tow, the movie could have been plenty watchable had the story taken place in any other genre.

The Babadook features exceptional acting, and gets playful enough with the narrative that you second guess what’s happening as the story unfolds. It’s creepy and disturbing atmosphere will linger about in your consciousness well after the initial viewing.

The Beautiful Retribution of Blue Ruin

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Dwight, while biding his time eating discarded leftovers and dwelling inside a rotting little blue car, has let himself become a dirty, hairy, wandering loner. When confronted with an update of past events that clearly haunt him in the present, Dwight intends to carry out a very bad piece of business.

Blue Ruin is a revenge film with at least half a brain and a substantial amount of artistic integrity. The dialogue is sparse, using Macom Blair’s screen presence as Dwight to do most of the heavy lifting. The intense quietness of Dwight is explained to a degree in one scene, where he remorsefully explains that he is not used to this much conversation. You’re almost able to feel the morose tragedy that Dwight has been through by way of Macom Blair exceptionable body language.

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The fact that Dwight is far from an unstoppable assassin brings the story into a real world setting, and given the reactions of family and friends that have not seen him for a while, you will be completely intrigued as to how it all plays out.

This film is also carried by the sharp cinematography of writer/director  Jeremy Saulnier. He’s able to make that little car look like the perfect piece of garbage, he’s able to make a forest look like a brand new experience, and when the violence strikes, it sticks.

A trailer is likely to do nothing for you other than spoil the movie outright, and thus it is recommended to go into this one as blind as you can.

Director Sauliner and actor Blair have teemed up previously for 2007’s Murder Party, which just might be worth checking out. While both of their bodies of work are in the early going, they just might be a duo to keep your eye on going forward.


Small Apartments Has Itself a Certain Charm


In 2002, director Jonas Akerlund took a ride on the indie film hype train for his meth scene movie featuring an ensemble cast, Spun. While Spun was chalk full of quirky characters and generally fun to watch, the movie itself didn’t quite amount to much. The stakes were never that high for it’s plot or story, and as professional of a director Ackerlund become, mostly due to his extensive work in the music video genre, his film directing career has seem to suffer from a lack of arc.

To be honest with you here, his latest film, 2012’s Small Apartments, isn’t really something that one would refer to as good. Ackerlund has again put together an ensemble cast playing quirky characters, with an offbeat overall flow to the movie.

Franklin Franklin is a clumsy, shut in, ne-er-do-well residing, sans pants, in a small apartment among other extreme oddballs. Neighbor number one is heavy metal pothead Johnny Balls, played by Johnny Knoxville, and neighbor number two is cantankerous curmudgeon Mr. Allspice, played by James Caan. James Caan plays the type of neighbor that is very easy to hate, and, he does so in way that is way less James Caany than any of his recent performances.

A series of strange events bring these characters together and intertwine the lives of a self help guru, played by Dolph Lundgren, and an arson investigator with marital problems played by Billy Crystal.

This movie isn’t so much smart as it playful, and the directing hand of Jonas Ackerlund seems a bit more seasoned this time around. Although not without it’s storytelling gimmicks, the ones that are present don’t feel forced and genuinely help to paint a picture. The thing that stands out the most is the fact that most, if not all of the characters experience some sort of growth along the way, and that is something rarely seen even in the best of movies these days.

While initially you may not want to spend too much time with the gang from Small Apartments, as Johnny Balls could really use a bath, and Franklin Franklin is in need of passable social skills, in the end you just might consider the time used to view their journey as adequately spent.

Grand Budapest Hotel is a Quagmire of Nonsense

Fiennes GRAND BUDAPEST HOTEL recounts the adventures of Gustave H, a legendary concierge at a famous European hotel between the wars, and Zero Moustafa, the lobby boy who becomes his most trusted friend. The Grand Budpest Hotel is Wes Anderson’s most West Anderson film ever. Early into Budapest, there is a punch out involving the main characters of Gustave, Zero, and another antagonist, that seems to set the bar for a different level of story telling for Wes Anderson. Unfortunately, the story devolves at a record pace from there on out, and becomes a series of cute little vignettes that prance about here and prance about there. Ralph Fiennes effectively plays Gustave as pompous and as swishy  as you were lead to believe in the trailer. His character lacks the complete ability to root for, or, against his antics, and the movie as a whole will lead you to wonder just what everyone is doing here. Edward Norton looks great as a perturbed lawman, oh he really pulls off perturbed let me tell you, and,well, that’s about it. All the usual Wes Anderson players show up here, Bill Murray, Jeff Goldblum, etc, except this time around, somehow, someway, their contributions equal up to being less than the sum of their parts. The flow of characterization is all too brief here, the cinematic moments are not really allowed to breath. Too many times the story just settles for goofball crap instead of an expansion of the overall story at hand. To really expand upon what a drag Budapest is, is to also touch upon Wes Anderson caliber as a filmmaker, his body of work, and what make those films what they are. Bottle Rocket- IMDB will tell you that Anderson’s 1996 feature debut, is about a trio of friends and their elaborate plan to pull off a simple robbery and go on the run. Except that the fun part is that tier plan is pretty much the exact opposite of elaborate, and along the way the get hung up on ideas and people that just plain inept. Bottle Rocket is relatable because the trio’s standards are low, and along the way they are able find both pleasure and angst in the small things. Rushmore – Anderson’s 1998 feature Rushmore, is about the extracurricular king of Rushmore preparatory school, Max Fisher, who is also terrible at the fundamentals of basic schoolwork. Max is able to interact with adults on a level that is nearly inappropriate, and leads to quite a few laughs when it reaches a point where the situations they all arrive in are completely unmanageable. Seeing the characters react so harshly when they are out of there element provides timeless laughs, and here Anderson is on point in every aspect of storytelling, from characterization, to dialogue, to shot selection, to costumes, to setting, and soundtrack. It’s basically the Pinkerton of his career. The Royal Tenenbaums- This 2001 feature by Anderson plays as sort of double concept album with some radio friendly hits. “Three grown prodigies, all with a unique genius of some kind, and their mother are staying at the family household. Their father, Royal had left them long ago, and comes back to make things right with his family.” Tenebaum is hysterical in how unrelatable and dysfunctional the adults have become. Wes pulls out all the stops here to craft a film that is as engaging as it is pretty. The Life Aquatic with Steve Zissou – The 2004  feature is as out there of a concept as anyone who is a fan of Anderson could possibly hope for. “When his partner is killed by the mysterious and possibly nonexistent Jaguar Shark, Steve Zissou and his Team Zissou crew set off for an expedition to hunt down the creature. Along with his estranged wife, a beautiful journalist and a co-pilot who could possibly be Zissou’s son, the crew set off for one wild expedition.” If you loved The Royal Tenebaums, the The Life Aquatic with Steve Zissou is as perfect of a follow up as one could ask for. The overall scope of the movie is not to be taken too seriously, and part of the fun in watching it is seeing how seriously the characters are taking themselves. When Jeff Goldblum strolls around in a bathrobe while holding an over sized shotgun, I believe that his character, Alistair Hennesey, thinks that highly of himself. Another visually beautiful film by Anderson with a great cast and concept. While the tone can seem a bit cold at times, it works for the story being told, and it also makes the CGI and props really jump out at you. The Darjeeling Limited- In this 2007 feature, three brothers, each suffering depression after the death of their father, meet up for a train trip across India. While The Darjeeling Limited is not great, it’s also not bad. It doesn’t have that excitable punch to it that other Anderson films have. Although there is a sort of odd, soothing overall tone to it, almost as if this entire thing were conducted to replicate that feeling of peak stonage, where nothing can touch you. Can’t say that this is a recomendable one, however it is a comendable effort and not without it’s charming moments. Fantastic Mr. Fox, 2009, stop motion animated. This looks like some work to sit through, let me get back to you on that one. Moonrise Kingdom. 2012. “Set on an island off the coast of New England in the 1960s, as a young boy and girl fall in love they are moved to run away together. Various factions of the town mobilize to search for them and the town is turned upside down”, turned upside down by a rag tag group of adults who are as professional as they are incompetent. The lack of situational awareness of everyone’s part drives the story and the humor. There is a decent amount of heart on display in Moonrise Kingdom. The characters, both adult and juvenile, are “so smart they’re stupid”, as the gold ol boys like to say. There are a lot of good performances, great settings, gorgeous cinematography, and, well, there is a lot of everything in Moonrise Kingdom. The film does lack a little punch in the screenplay department, and I wouldn’t necessarily argue with anyone who wants to say it’s a little too contrived. Overall though, it’s a fun and harmless one to watch, it’s not hurting anything, and if any Wes Anderson movie is going to win a bunch of awards, it ought to be this one. Now, what Budapest has going for it, is the fact that it’s very metropolitan, and the academy crowd will rub them drippings all over their gross bodies like some sort of youth elixir. It’s so sad how easily forgettable this mess is, and it’s aggravating how each scene tries so hard to remind us that this is a Wes Anderson movie. At no point did I have any faith this story took place in the real word, and what worked in previous Anderson films, is that no matter how far up their ass any one given character was, the real world would always kind of nudge here and there to create a counterbalance and help drive the story. Budapest comes off as just plain cacamamie, due to poor execution, and a poor overall concept of what the story could have been.

The Manic Energy of Snowpiercer


Snowpiercer is set in a future where a failed climate change experiment has frozen the world and forced the last few hundred remaining survivors of the planet onto a life sustaining, globe traveling train, for the past 17 years.

While the bio and trailer aren’t exactly the most enticing, particularly in this day and age of the comic book spectacle movie, Snowpiercer effectivley zigs where others movies would zag and delivers some gripping surprises along the way.

Zach Evans plays Curtis, the somewhat reluctant and haunted leader of the lower class, back of the train dwelling citizens. After repeated brutish behavior in the name of social class, the back of the train citizens are determined to get to the front of the train and change their way of life.


John Hurt plays Gilliam, a mentor to Curtis, and the leader of a previous citizen revolt. John Hurt has the ability to chew a scene like no other, and recently his appearances have began to touch upon self parody. Here we are treated to a noticeably restrained performance, and he just delivers what is necessary for the scene without taking it over. He does a good job of building up the character of Curtis while retaining plenty of elder statesman refinement.


The initial antagonist of the picture of played by Tilda Swinton, and she displays a devious amount of enthusiasm in putting the poor, wretched, lower class citizens in their place.


Each scene of this movie is crafted well enough to both capture the moment at hand and leave an image or two along the way that you will want to take in a little further. It is great to see a movie where this end of the product has so much attention paid to it without the air of over direction that some auteurs can leave. There is a manic energy and weirdness to Snowpiercer that makes it a fun romp that isn’t easy to discard as something you have seen before.

Snowpiercer is directed by Bong Joon Ho, you may have seen his 2006 horror pic The Host. The cinematography here is on point by Kyung-pyo Hongm, the framing is really tight, the color and the angles are played to their strengths to bring you into the world of each scene.

Snowpiercer is one of the more satisfying recent films to see, as it delivers more than what you may have been expecting. Overall, it has got to be one of Chris Evans best life choices, and could be the start of an exciting American career for Joon-ho Bong.

Wrong Cops Is Bluntly Bohemian


The psychotically lovable cops from the movie Wrong are the star of Quentin Dupieux’s dopey comedic  2013 release, Wrong Cops. Where as the movie Wrong has a sort of serene and steady weirdness to it, the comedic scope of Wrong Cops ranges from dry avant-garde, to a vivid surrealness that has it’s own rhythm.

Mark Burham puts in some over time in playing the grubby, skeevy, spits while he’s talking, Officer Duke. Steven Little, who last time out played a very effective and persistent dog shit detective, is Officer Sunshine. The officers have developed a taste for low end corruptivity and harassment, and they really ought to do something or other about that fella who’s bleeding to death in the back of their patrol car. Although these actors aren’t the most experienced out there resume’ wise, they do an excellent job carrying the load here. There is sort of a fierce naivety to there performances, as if they both watched Training Day, and said ” Yeah I can do that”.

Quentin Dupieux effectively uses his bag of tricks with the linear narrative and tone of this movie, more so than in the previous installment of the characters in this movie universe, because this one is mostly playing for laughs. Veteran help is liberally employed  throughout the cast of actors, with most notably, Marilyn Manson playing the funniest sex crime victim you’ve ever likely to see.

Wrong Cops is worth the time a day more so than it’s predecessor in the sense that it’s not only a lot more intriguing to watch where these louts end up, it also just might leave you grinning from ear to ear in the end.



Quentin Dupieux wrote and directed a movie we praised some time ago called Rubber, featuring a killer tire as it’s lead. This time around, his 2012 film Wrong has a cast that is human in name only, because their actions and character are clearly something out of a dream world.

Wrong is the story of Dolph Springer, his lost dog, his new found guru Master Chang,( a cringe worthy William Fichtner) and, of course, a dogshit detective. As Quentin Duplex is quite possibly the only director with ability to make a killer tire entertaining, and this time around he painted a very sublime picture of determined oddballs in impossible situations,

It would sell the humor short to lump it into any one category. Throughout the film the presentation of absurdity shifts from dry, to broad, to over the top, and there will be an occasion or two where you’ll question if the joke is on you for watching it. The main surprise of this story is the fact that anything could happen, and it’s presented in such a matter of fact way, as if we’ve all been there and done that. That is just the sort of charm you don’t stumble upon to every day.

With as much as this film has going for it idea wise, there is an overall feeling of a missing ingredient. Perhaps a more consistent tone could have been achieved, as there aren’t many laugh out loud moments, this one is more of the ‘my goodness this is some kind of weird’ variety. Wrong would never be confused with Anchorman’s style of humor, as the biggest laugh are sure to come when the movie is over and you’re attempting to tot tell your friends just what you’ve watched.

Give Wrong a try,  and at the very least, you wont find it boring.

Interstellar is a Great Movie if You’ve Never Seen a Movie Before


It would have to be a constant dull pain to exist as Christopher Nolan. To have a large scale, smart idea, and a unique enough film making skill set to pull it off, only to see a major studio smear little dabs of it’s own shit here and there, just enough to take the edge right off.

Interstellar isn’t a bad movie in the vein of the clodhopping Prometheus, there are moments of awe, of spectacle, and there are some sincere things to appreciate about it. Among it’s flaws, the beginning doesn’t really draw you in like it should. The first fifth of the story is choppy, disjointed, and just downright uncinematic. A different set of gears are explored once the story moves to space, as there is a pace and rhythm to the film that picks up significantly. While there are elements of spectacle and awe to take in along the way, none of it constitutes of enough substance to take in upon repeated viewing or even make mention of as a recommendation. Now sure, you can say that you’ve seen Interstellar so that you are able to air on the right side of cool, however you’ll soon be searching your memory banks for something positive and exciting to leave your partner in conversation with.

“Yeah, there was, a lot of space in that movie”

The main flaw of Interstellar is that it replaces the dynamic thrill riding,mind bending aspect of sci-fi with a story of relationships that we may or may not care about. Those very relationships make Interstellar a marketable, relateable film for the studio to back, it’s just that no one was ever clamoring for a sweet, caring, sci-fi date movie. We live in an comic book movie world, like it or not, and if you’re going to make this movie and tell this story, you’re either going to have to make if fun and poppy like the Avengers,or dreary, serious, and thoughtful like Children of Men, to pull it off right.

Praise goes out to Matthew McConaughey for his restrained, almost subtle performance. Taking into consideration how over the top some of his body of work is at times, he could have been very cartoon like in a space thriller, and fortunately he chose another route. Director Christopher Nolan puts together some moments of true cinema here and there, he jabs and jabs without really dazzling us in the way you think he might be capable of. Another thing working against him is an overwrought, bombastic soundtrack by Hans Zimmer. A little bit of witchy sounding organ music would have played well, however, Hans pumps the volume of the organ up to eleven, and clobbers us with strings upon strings upon strings. If he were conducting forty five cellos, it certainly sounded like forty six.

Although Interstellar isn’t as smart, or as dynamic as the previews would have you believe, its is everything a major studio could possibly promise, and that’s a palpable bit of escapism.