Movie Review The Post

The Post (2017) 

Directed by Steven Spielberg

Written by Josh Singer, Liz Hannah

Starring Meryl Streep, Tom Hanks, Bob Odenkirk, Sarah Paulson, Tracy Letts, Bradley Whitford

Release Date December 22nd, 2017 

The Post is an of-the-moment history lesson about the important role of the media in America. Steven Spielberg has made arguably the most relevant movie of our political moment, given the way that President Trump has made attacking the media a staple of his public discourse. Casting two of America’s most beloved and respected actors in the lead roles only deepens the importance of The Post.

The title The Post refers to the Washington Post, which in 1971 battled the Nixon White House over the so-called Pentagon Papers. The Pentagon Papers refers to a study commissioned by then Secretary of State MacNamara, who tasked members of the Pentagon, including young genius, Daniel Ellsburg (Matthew Rhys), to study the state of the Vietnam War.

After not getting the positive returns that they had hoped to get, MacNamara lied to the media and tried to bury the report. Ellsburg then stole a copy of the report from Pentagon partners, The Rand Corporation, and made copies which he leaked to the New York Times. The Times began publishing the report in early 1971 in pieces before the Nixon White House took the Times to court to stop them.

This is where the Washington Post comes in. Spielberg picks up the story with a desperate Ben Bradlee (Tom Hanks) hammering his reporters to find out where the New York Times is getting their information. He wants a copy of the report so that the Post can publish them as well. While his reporters are scouring their sources, Bradlee’s boss, Katherine Graham (Meryl Streep) is battling with the board of directors over her position as owner of the company.

Find my full length review in the Geeks Community on Vocal 

Movie Review Cabin in the Woods (With guest Reviewer Faith Rogers)

Cabin in the Woods (2012) 

Directed by Drew Goddard 

Written by Joss Whedon, Drew Goddard 

Starring Chris Hemsworth, Kristen Connolly, Anna Hutchinson, Jesse Williams, Sigourney Weaver, Richard Jenkins, Bradley Whitford 

Release Date April 13th, 2012 

Published April 20th, 2012 

Sean: This week, in the very first installment of Faith Hates Critics we watched director Drew Goddard’s comic horror deconstruction “Cabin in the Woods,” one of my favorite movies of 2012 and one, Faith, I assumed you would love. As an admitted fan of horror movies you have likely seen the plot of ‘Cabin’ a few dozen times. Four college aged supermodels and their stoner buddy make their way to a secluded cabin, are warned away by a creepy gas station owner and proceed to die horribly accept for the virgin required for the sequel. It’s practically a song that gets covered and cracks the top 10 repeatedly.

“Cabin in the Woods” takes this plot for a spin and deconstructs it wonderfully by introducing a pair of controllers played by Bradley Whitford and Richard Jenkins who act as comic relief and as jaded, cynical, stand ins for the dozens of horror movie directors who’ve run through this same premise over and over for years. The humor of “Cabin in the Woods” is savagely meta-textual and unrelenting as one horror trope is trotted out, poked fun at and dispatched with enough surprise and gore to satisfy the horror audience, and people like myself who can’t stand the same-ness of most modern horror movies. For me, “Cabin in the Woods” is a refreshing, “Scream-esque” rebuke of the bad horror films that came before it.

Faith: I do love a horror movie they are possible my favorite genre of film.  However, I found “Cabin int the Woods” absolutely ridiculous.  It started off intriguing enough with four kids heading off into the woods, a great set up for your average gore-fest.  Throw in the “controllers” and that was an interesting enough twist.  But Sigourney Weaver where in the F*** did she come from.

My real disappointment comes from the cluster that is “Cabin” if you are going to have a scary movie with a plot then get to it at the beginning of the movie.  Don’t throw it in bits and pieces as the movie goes along and then hit you with what is really going on in the last 10 minutes of the film.  Otherwise, make is what it is frightening, bloody, mindless entertainment.

Sean: Admittedly, Sigourney Weaver was a bit random and unnecessary but she’s such a fun choice that I didn’t mind it. For me, by the end, as Dana, the ‘Virgin,’ and Marty, the stoner, were making their way toward Sigourney Weaver things had grown so outlandish and over the top that I didn’t mind the complete goofball choice to have the whole thing be predicated on monstrous Gods of the old Earth who will rise if they don’t get exactly the kind of sacrifice they desire. If there is puzzlement for me in “Cabin in the Woods” why do they have to build such an elaborate premise just to kill four college kids? Why not just kidnap them and put a bullet in them? That’s a big plot hole; one that’s briefly explained away by the controllers as an attempt to make the sacrifice more entertaining for some unknown audience, but I would have liked the movie more if they had further implied, via the Japan sub-plot, that many modern horror movies are actually real life sacrifices to these Gods and are made as movies as a way of covering up the murders and paying the bills for keeping the Gods fed. That might have made the movie even better for me, even as I love the movie as it is.

Faith: Sigourney Weaver just shows up out of nowhere and there is no explanation for her character.  Who is she?  Where did she come from?  Why show up in the last 10 minutes?  Oh right, so she could explain the plot and beg the virgin and stoner to die…no bueno!  For a horror movie just on its own it wasn’t very good.  There weren’t any memorable moments that made me jump or made my chest tight.  The blood bath at the end with the “gods” was just ridiculous but not in the least bit frightening.  If I am going to sit through two hours of any movie I want to be entertained and if it’s scary I want to be scared.  This movie just didn’t do any of that for me.  I have to ask though would you watch two hours of a movie about 4 kids getting kidnapped and having a bullet put in them?  That seems even less exciting than “Cabin” turned out to be.

Sean: Of course not, that movie likely would not last two hours. Your right about the final battle being ridiculous but, for me, that was part of the film’s charm. Once the movie lets loose with an ocean of blood and guts the movie completely spins out of control. The craziness just keeps ramping up from zombies to a mer-man to a murderous unicorn, it’s all so gloriously goofy. This is needed to get to the big reveal at the end of the hand of one of the Gods reaching out from beneath the surface of the Earth and crushing the cabin, thus beginning the implied end of all humanity. This is such an outlandish and unexpected ending that, for me, it seemed the only possible ending for a movie this out of control. I loved that CGI hand because it was bad CGI, it was played for laughs like the entire movie was played for laughs. After the film has exhausted all other ways out of this scenario, it turns to the kind of bad CGI that the SyFy channel has made famous to end it; hammering home the final cliché of the kind of horror movie ‘Cabin’ was made to destroy.

Faith: Maybe we have blurred the lines a little bit here.  When we sat down to watch a horror movie that’s what I thought we were watching.  Not a silly little movie that was less than scary and absurd.  Maybe my problem is not so much with the silliness of the movie and how over the top it was but with the marketing of the movie.  If you imply you are a horror movie then you need to scare me otherwise, you are not and you misrepresented the entire movie.  Maybe if I had gone into it with a clear perspective I wouldn’t have been so disappointed.  Let me know the movie is on par with “Army of Darkness” and I am glad to watch it that way.  Make me believe the movie is going to scare me then I am going to be disappointed when it turns out silly and awkward. Which I think are the two best words to sum up “Cabin in the Woods” silly and awkward.

Sean: That’s a fair point. The creators of “Cabin in the Woods” were quite cagey about the marketing of the film because they didn’t want the secret to get out. They allowed the film to be marketed as a horror movie so that no one would reveal the movie’s secrets. That likely led a lot of people, like you, to feel misled about the kind of movie they were seeing. I had read enough of the pre-release hype that I was a little more prepared for the kind of movie “Cabin in the Woods” turned out to be. I’m also a big fan of Joss Whedon who co-wrote the script and produced the film. His reputation was built on “Buffy the Vampire Slayer” and the deft deconstruction of both horror cliches and the cliches of modern teen culture and the teen soap opera genre. With Whedon involved I knew to expect far more than just a slasher movie. You make a very fair point however; as there is no question that many people were given the impression of a straight horror movie and wound up in an absurdist send-up of a straight horror movie.

Faith: I very much enjoyed “Buffy” and the fun behind that series.  However, regardless of who had a hand in “Cabin” I would never watch it again and I would never recommend it.  I don’t want to be sold a lie when I see a film trailer and as that is the case with “Cabin” I really can’t get behind it as a good or even average movie.

Sean: And so we begin with a respectful disagreement. I love “Cabin in the Woods” for what it is and you, quite fairly, dislike it for what it pretended to be. In the future, I will expect far more vitriol Faith but for a first outing, Thanks for not punching me.

Movie Review: Destroyer

Destroyer (2018) 

Directed by Karyn Kusama 

Written by Phil Hay, Matt Manfredi 

Starring Nicole Kidman, Sebastian Stan, Toby Kebbell, Tatiana Maslany, Bradley Whitford 

Release Date December 25th, 2018 

Published December 22nd, 2018

Destroyer stars Nicole Kidman as Erin Bell, a former undercover cop turned burned out homicide detective. We get two sides of Erin Bell, her life when she was promoted from a Sheriff’s Deputy to being an undercover operative embedded in a bank robbery gang, to today when Erin looks as if life has her thoroughly defeated. Oftentimes simply being de-glammed is enough to make us take notice of a performance but Kidman brings a genuine edge that goes beyond her looks and manner in Destroyer.  

We meet Detective Bell when she arrives in bad shape at a crime scene. At the scene, a body is laid out and Bell indicates she recognizes the corpse. Other detectives give us a strong sense of how Detective Bell is viewed by the rest of her department, they want her to leave the crime scene and let them handle it. That's likely because she looks as if she hasn’t slept in days and is in no shape to work. They have no idea how right they are. 

Destroyer was directed by the ingenious Karyn Kusama who is best known for her debut feature, Girlfight, about a female boxer. That film was notable in a similar way to Destroyer in that Michelle Rodriguez took a traditionally male character and invested it with a uniquely feminine toughness. Kusama is also known for the horror movie Jennifer’s Body which in recent months has been getting another look from critics who’ve taken note of the strong feminist themes that run throughout Kusama’s work.

This is notable in Destroyer in how Kidman is playing the kind of hard bitten, cynical character usually reserved for male protagonists. Detective Bell has faults that we’ve seen before in male characters but that get flipped around with it coming from a female perspective and it does freshen up the cliche a great deal. Kidman doesn’t play up any mannish qualities, it’s just that the specific traits of this character are usually assigned to men. 

It’s a fascinating performance and while I have focused too much on Kidman’s looks, I am doing so because her looks, the features, the worn, lived in, well-earned wrinkles and generally dishevelled look is an important part of this character. She's unvarnished for a reason, she’s given up on the basic comforts of life. Something so traumatic has happened that she’s turned most of her life over to either her job or to the hard drinking that helps to cope with the job and her memories, fears and shame. 

She’s also neglected her daughter, Shelby (Jade Pettyjohn) who appears to be headed down a wrong path, one all too similar to Erin’s. The relationship between Erin and her daughter has always been strained; Erin found out she was pregnant on the same day that Shelby’s father was killed in a gun battle. I won’t spoil the role that this played in Erin’s undercover work or the dark secret she’s hiding throughout the film but all of it coalesces into Erin’s dark story in devastating fashion. 

Toby Kebbell plays the main antagonist in Destroyer, a figure from Erin’s past whose return triggers a series of violent outbursts and leads to several bodies piling up. It’s a battle of wills with greed and revenge at the heart. Kebbell is a rather minimal presence physically in the film but his legend and his crimes hang over the entire story to the point where his appearances come to feel as if he is literally haunting Erin. 

It’s an exceptional and unique way to tell a revenge story. Destroyer is minimalist in story presentation with dialogue building Kebbell’s villain into a monster and Kidman delivering on making Bell desperate and feral like a cornered animal as she pursues him. The way the story plays out is a shocker and a real clever one. Pay close attention or you might miss a couple key details that play into the ending. I can tell you, it’s both satisfying and bleak. 

Destroyer is not a fun movie, it’s not an easy sit. The film is combative and pushy but Kidman’s performance makes it highly compelling. Kidman is Oscar-worthy not for her deglamorized look but for the grit that she brings to this character which combines vulnerability and street toughness into one of the most unique and yet familiar characters I’ve ever seen. It’s not just the novelty of a woman getting to portray characteristics typically assigned to male characters, Kidman makes Bell a uniquely fascinating figure, and for that, I recommend Destroyer. 

Movie Review: Darkest Minds

Darkest Minds (2018) 

Directed by Jennifer Yuh Nelson

Written by Chad Hodge

Starring Amandla Stenberg, Harris Dickinson, Mandy Moore, Bradley Whitford 

Release Date August 3rd, 2018

Published August 3rd, 2018

I had really hoped that the phase of young adult dystopian drama had passed after the series of Hunger Games knock-offs tried and failed at the box office. I had a deep and abiding hope that after Maze Runner: The Death Cure, still among the worst things I have seen at the movies in 2018, had flopped into theaters I would not have to suffer another overwrought, portentous piece of young adult post-apocalyptic nonsense for a few years.  

Sadly, it’s only been a few months since the pain of the most recent Maze Runner sequel began to subside and already this pathetic sub-genre is back on the big screen. Darkest Minds is the latest young adult flotsam to try and cash in on The Hunger Games in hopes of striking box office gold. Here’s hoping it fails as miserably as the rest as Darkest Minds doesn’t deserve success, it deserves to be buried in a cold wet grave. 

Darkest Minds wastes the talents of young Amandla Stenberg, Rue from The Hunger Games, as Ruby, a teenager with a dark secret, the power to manipulate people’s minds. As we are told via generic news footage, teenagers across the country woke up one morning with remarkable super-powers and their parents didn’t know what to do about them. The only thing anyone could think of was to round up the kids and put them in camps to be studied or killed.  

Some kids are super-smart, others have telekinesis powers and still others have the horrific power to make fire shoot from their eyes and mouths like a kid whose had too many Smoking Hot Cheetos. Ruby belongs to a dangerous group of kids given the distinction or Orange for their ability to manipulate the minds of anyone they come in contact with. Ruby can Jedi mind trick people into doing her bidding, if she can learn to control her gift. 

After escaping an internment camp where she was set to be eliminated after they discover the breadth of her powers, Ruby briefly goes on the run with a freedom fighter named Kate (Mandie Moore) but when she appears to have a partner who Ruby envisions as a bad guy, Ruby runs away and finds herself in a van with a group of fellow teens with super-powers. Liam (Harris Dickman) is the leader, he has telekinesis. Chubs (Skylan Brooks) has super-intelligence and Zu (Miya Cech) can turn electricity into a weapon. 

Together they will seek out a utopia headed up by a legend named the Slip Kid, nicknamed for his ability to get in and out of the camps after being repeatedly captured. Naturally, the utopia will not be all it’s cracked up to be and it will be up to our heroes to point the way toward real freedom. Or, at least, I assume what the plot of Darkest Minds is supposed to be; the film is far more clumsy in execution.

Director Jennifer Yuh Nelson makes the jump from animated features to live action with Darkest Minds and you can sense the dutiful approach to making this as if she were assigned a task and not given a creative opportunity. There is a quality of let’s just get this over with to every scene in the movie and the rushed sensibility comes through in the look of the movie and in the performances that stem from a director picking up a paycheck. 

Amandla Stenberg is giving the role of Ruby her full attention but you can sense here also a dutiful if not deeply committed approach. Everyone in Darkest Minds seems to just want to get through this so they can get on with their careers in more interesting movies that aren’t mandated by the whims of a studio marketing department. You can almost hear the gleeful cry of the marketing team as they chant “Hunger Games Meets The X-Men” over and over and over as they frenzy themselves toward believing they have a hit concept on their hands. 

Darkest Minds is little more than an elevator pitch brought to life and colored in with derivative characters and expository dialogue. It’s unlikely that anyone who made this movie cared about it beyond making sure it wasn’t a full-on, career killing embarrassment. That modest goal is achieved, everyone here can rest assured that what they’ve made isn’t a complete embarrassment, it’s competent and forgettable in the way that will help as these talented people move on and forget that they ever took part in this throwaway nonsense. 

Movie Review Kate and Leopold

Kate & Leopold 

Directed by James Mangold 

Written by James Mangold, Steven Rogers

Starring Hugh Jackman, Meg Ryan, Liev Schreiber, Breckin Meyer, Natasha Lyonne, Bradley Whitford

Release Date December 25th, 2001 

Published January 24th, 2002 

There has been talk that romantic comedy is a dying genre. The plots and conventions of the genre have become too familiar and many filmgoers are growing more pessimistic about on-screen romance. Kate & Leopold may not be the film to breathe new life into this struggling genre but for what it is, a light little cookie of a film, it's not bad.

You know your watching a romantic comedy when Meg Ryan comes on screen wrinkling her cute button nose that screams, “Love me.” In this film she is the titular Kate, who is more concerned about getting ahead at her job in advertising than finding a meaningful relationship. Her last relationship was with a quirky scientist played by Liev Schreiber. Schreiber is trying to solve the puzzle of time travel so that he can travel through time to meet his great-great uncle Leopold (Hugh Jackman), an inventor who may hold the key to Liev's scientific writer’s block.

After accomplishing time travel he accidentally brings Leopold back to the future with him. From there Kate meets Leopold who she assumes is some method actor. Leopold is immediately drawn to Kate but she at first just thinks he's weird. There is something odd about him, he's chivalrous and well mannered and well spoken. Very unusual for the modern male, but then as we already know he's not modern at all.

The love story develops well and director James Mangold doesn't let the film’s gimmicky premise get in the way of Ryan and Jackman's wonderful chemistry. All great romantic comedies are based on the chemistry of the lead actors, as Ryan has shown with Tom Hanks and Billy Crystal previously.

In Kate & Leopold, Jackman shows himself a worthy replacement for Hanks. Jackman's best work is in his willingness to humiliate himself while holding on to his Victorian era dignity. Jackman becomes a star right in front of our eyes, breaking out of the action genre and proving he can do just about anything as an actor, as he would later demonstrate in a brilliant hosting gig on SNL.

Ryan is her natural cute self in Kate & Leopold, which isn't a bad thing. But there are moments where you can see she is beginning to tire of this kind of role. More than a couple times she looks outright bored by material that she has done more than a few times. Jackman and the very surprising comic turn by Schreiber save the film. He steals every scene he's in with a goofy energy we haven't seen from him before.

Kate & Leopold isn't anything you haven't seen before but as a Friday night rental to relax and watch with your girlfriend, it’s an enjoyable rent that will leave you smiling.

Movie Review Get Out

Get Out (2017) 

Directed by Jordan Peele 

Written by Jordan Peele 

Starring Daniel Kaluuya, Allison Williams, Bradley Whitford, Catherine Keener, Stephen Root, Lil Rel 

Release Date February 24th, 2017

Published February 23rd, 2017 

There isn’t much to write about “Get Out,” the new horror-thriller from writer-director Jordan Peele. Not that “Get Out” isn’t brilliant, it is and I am happy to write that. No, I just don’t want to spoil the myriad pleasures of “Get Out” by telling you too much about it. The film’s trailer gives away too much already, a full-scale review would likely only take away from what should be a surprising, shocking, funny, and edgy ride that Jordan Peele has concocted.

“Get Out” stars newcomer Daniel Kaluuya as Chris, a TSA employee and budding photographer who is nervous about the upcoming weekend. Chris is headed to Connecticut to meet his girlfriend’s parents for the first time. This would-be nerve wracking for anyone but Chris has the extra edge of being a young black man who is dating a young white woman, Rose (“Girls” star Allison Williams), who hasn’t told her parents who is coming to dinner.

While Rose assures Chris that her parents won’t care about his ethnicity, Chris’s best friend Rod (Lil Rel Howery, stealing the whole movie) instructs his friend not to go. Putting aside Rod’s seemingly comical warning, Chris loves Rose and figures one weekend in Connecticut won’t kill him. Upon arriving at the Armitage estate, Chris meets the parents, Dean (Bradley Whitford) and Missy (Catherine Keener), each extra awkward in their overly ingratiating, white liberal manner; Dean assures Chris he would have voted for Obama a third time minutes after meeting him. 

Things quickly get weird however when Chris is introduced to the help, Georgina (Betty Gabriel) and Walter (Marcus Henderson). While Chris assumes that fellow black people will make him feel more comfortable, Georgina and Walter are anything but welcoming. In fact, there is something quite menacing in their manner. The pair act and speak like aliens inhabiting the bodies of black people with nothing familiar about them.

I will stop with the plot description there as to avoid any potential spoilers. I can say however that the portrayals of Georgina and Walter are some of the most biting and universal satire we’ve seen in some time. Walter and Georgina implicate all of us from Chris to each member of the audience in the way we expect people to be one way. We expect Georgina and Walter to have familiar, stereotypical traits. We may not know what those traits are specifically but each of us has a model for Georgina and Walter to live into and it is disturbing when they don’t live into it, for us and for Chris.

White liberal guilt is in for quite a workout in “Get Out” as the film takes a few sharps stabs at the ways in which those who don’t consider themselves racist pat ourselves on the backs for the ways we aren’t racist. Newsflash, you are not supposed to be a racist. You don’t get a cookie simply for being better than those who would commit hate crimes. “Get Out” is a perfect jab right to the consciousness of the complacent masses who believe simply having elected a black President has made this a post-racial society.

Don’t be mistaken however, the politics are much subtler and implied in “Get Out” than in the outward example I am giving you here. “Get Out” is first and foremost a horror thriller that uses race as a catalyst. Jordan Peele has said in interviews that he simply wanted to make a movie he’d never seen before and he’s certainly created something original. “Get Out” has horror beats and even a touch of science fiction, often the best genres for subtle satire, but it’s also brilliantly funny, channeling the incredibly sharp wit of its creator.

Again, I don’t want to give anything away about “Get Out.” With that said, I would be remiss if I didn’t tell you that Lil Rel Howery steals this whole movie. Howery, a stand-up comedian by trade, is put in place as comic relief but just wait, Peele fills out this character in ways that the Coen Brothers might appreciate. Watching Howery I was reminded, in a rather obscure way, of John Goodman’s Walter in “The Big Lebowski.” You will need to see the movie to understand why I say that and probably need to be a huge Coen Brothers fan as well, nevertheless, Howery deserves the praise of the comparison.

“Get Out” ranks next to “Split” as one of the best movies I have seen in the last 12 months. That each has arrived so early in 2017 is a wonder, we usually aren’t this well spoiled so early in the year. Usually, the first two months of any year Hollywood clears the shelves of the dreck they are contractually obligated to release. Does this mean 2017 will be better than any other year? No, but at the very least we have two early masterworks to enjoy for the rest of the year.