tag:blogger.com,1999:blog-55901261081273591612024-03-12T22:45:44.063-07:00The Drew ReviewsDrew Dietschhttp://www.blogger.com/profile/01937225282924970563noreply@blogger.comBlogger174125tag:blogger.com,1999:blog-5590126108127359161.post-67998794949094930002015-08-27T08:00:00.000-07:002018-09-02T13:29:31.539-07:00Movin' On Up: Why I Haven't Been (and Won't Be) Updating This BlogUPDATE: All my stuff -- including the podcast -- is now at <a href="http://genrevision.com/" target="">GenreVision</a>. Go there for all the fun!<br />
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I started this blog for one reason: I have an insatiable urge to write about movies. In a perfect world, I'd be able to sustain myself by doing just that. The world isn't perfect, but it has gotten a little easier to tolerate over the past year.<br />
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Since last September, I've become a regular contributor over at <a href="http://www.chud.com/" target="_blank">CHUD.com</a>, and that has been a dream come true. It's a movie site that I've been reading for over ten years, and now I've become a significant member of its crew. I've been doing my best to make the site the kind of place I'd want to read regarding movie news, editorials, op-eds, and columns. We now have a sizable team of writers over at CHUD, and we're in the process of doing some really special stuff that will be coming over the horizon shortly.<br />
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I'll also be starting my first freelance review gig for my local paper <a href="http://www.news-press.com/life/" target="_blank">The News-Press</a> doing play reviews. That gig will start in about a month, and I'm unbelievably excited about it.<br />
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And, as you few readers may know, I do a weekly podcast called The Drew Reviews Podcast. While there have been new episodes, I haven't had the time or the memory to post them here due to my other duties.<br />
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Add to all this a regular job that I work at for 40 hours a week and you can see how crazy my life can be.<br />
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So, as of now, I won't be updating this blog. All the stuff I would be writing on here (movie reviews, op-eds, columns) will be at CHUD, so follow that link above to check that stuff out as well as other great writings from other talented contributors. As far as the podcast goes, the best way to stay updated with it is to subscribe to it. You can do that via <a href="https://soundcloud.com/thedrewreviews" target="_blank">SoundCloud</a> or <a href="https://itunes.apple.com/us/podcast/the-drew-reviews-podcast/id942371098?mt=2" target="_blank">iTunes</a>, and also by following us on Twitter <a href="https://twitter.com/thedrewreviews" target="_blank">@thedrewreviews</a>.<br />
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For anyone who has read this blog, I want to thank you immensely. It's helped me get one step closer to actually fulfilling what I want out of life, and that's all one can really hope for in this less than perfect world.Drew Dietschhttp://www.blogger.com/profile/01937225282924970563noreply@blogger.com0tag:blogger.com,1999:blog-5590126108127359161.post-25537176802766713652015-07-26T13:12:00.000-07:002015-07-26T13:12:30.690-07:00The Drew Reviews Podcast - Episode 44: Cuckoo For Criterion - THE NIGHT OF THE HUNTERDrew and Nick lean on the everlasting arm of one of America's greatest films, THE NIGHT OF THE HUNTER.<br />
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Currently Consuming topics: 7 DAYS IN HELL and the Batman: Arkham games.<br />
<iframe frameborder="no" height="166" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/216453887&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false" width="100%"></iframe>Drew Dietschhttp://www.blogger.com/profile/01937225282924970563noreply@blogger.com0tag:blogger.com,1999:blog-5590126108127359161.post-16184960549213937152015-07-24T13:55:00.000-07:002015-07-24T13:55:13.588-07:00MOVIE REVIEW: PIXELS Could Be Good, But It's Not<div style="color: #333333; font-size: 16px; line-height: 16px;">
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<span style="font-family: inherit;">I was expecting nothing but the worst from <em><strong>Pixels</strong></em>. Having stayed away from any Adam Sandler movie since <em><strong>Funny People</strong></em> (you can read about my feelings towards that movie and Sandler's career <a data-mce-href="http://www.chud.com/165860/drews-views-im-not-mad-at-adam-sandler-im-disappointed/" href="http://www.chud.com/165860/drews-views-im-not-mad-at-adam-sandler-im-disappointed/" target="_blank">here</a>), I braced myself for what had to be one of the worst movie-going experiences in recent memory. Imagine my surprise when <em><strong>Pixels</strong></em> didn't turn out to be a cinematic abomination, but rather a run-of-the-mill slice of big budget boredom. It's always nice when a film exceeds your expectations.</span></div>
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<span style="font-family: inherit;">To be fair, there's actually tiny bits of goodness cowering underneath the shadow of this nostalgia baiting beast of a movie. The cartoonish style that brings the alien video game characters to life isn't awful. In fact, when the final attack takes place, there's a simple joy to be had in seeing the utter chaos these characters unleash. With a better script, this is an idea that could have possibly worked.</span></div>
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<span style="font-family: inherit;">Some minor amount of praise needs to be lobbed at Josh Gad and Peter Dinklage. Though they never had a chance at elevating the film due to the material they were given, their personalities and comic sensibilities manage to wrangle a handful of chuckles out of their characters.</span></div>
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<span style="font-family: inherit;">That's about all I can give <em><strong>Pixels</strong></em> as the majority of the film is filled with the Sandler-isms that people have come to abhor (annoying product placement (I've never been more ashamed to be a Yoo-hoo drinker than I was when I watched <em><strong>Pixels</strong></em>), terrible needle drops on the soundtrack, unbelievable and undercooked romances, mean-spirited jabs that are unjustified due to them being unfunny, and a sleepwalking performance from Sandler), but they seem tamer than usual, probably due to <em><strong>Pixels</strong></em> needing to work as the broadest possible entertainment. And though all of those elements do allow for copious amounts of criticism, the biggest fault that befalls <em><strong>Pixels</strong></em> is that the script seems to care more about being an Adam Sandler movie than it does a genre-blending comedy a la <em><strong>Ghostbusters</strong></em>. The big battles and ridiculous premise seem secondary to the weak attempts at generating laughs and focusing on the unforgivably uninteresting characters.</span></div>
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<span style="font-family: inherit;">And boy, are these characters uninteresting. Besides Sandler's nerd-turned-hero (who he plays with his all too familiar style of auto-pilot acting), the worst offenders are Kevin James (fun fact: this is the first thing I've ever watched Kevin James in, proving that you <em>can</em> judge a book by its cover sometimes) and Michelle Monaghan. James makes Jai Courtney look like Daniel Day-Lewis, bringing nothing but blandness and unsuccessful buffoonery to his portrayal of a heavily disliked President of the United States. But, I expect nothing more from Paul Blart. It's Michelle Monaghan and her character that threaten to push <em><strong>Pixels</strong></em> into the territory of the despicable. Having to watch the <em><strong>True Detective</strong></em> alumni absorb cruel jokes from Sandler and then go googly-eyed for him is disheartening. Their entire relationship is incredibly one-sided and demeaning, further sunk by Monaghan's uncaring performance. I can only hope that her paycheck for this gig was a sizable one, and that's why her performance is so distracted.</span></div>
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<span style="font-family: inherit;">And it's impossible to ignore the fact that the entire movie is propelled by cheaply preying on the nostalgia of parents who brought their brood along to the theater. Besides the video game characters, the aliens also send televised messages to Earth in the form of manipulated footage of 80s celebrities. It's the laziest way to incite a reaction in the audience, and is easily as unsubstantial as any <em><strong>Family Guy</strong></em> non-sequitur.</span></div>
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<span style="font-family: inherit;">I thought <em><strong>Pixels</strong></em> was going to make me temporarily hate video games, but instead it just left me numb and uninvolved. It's not the travesty people seem to be making it out to be. It's simply subpar on its way to being terrible. It's a shame that other films that smartly embrace the aesthetics or sentiments of video games (<em><strong>Scott Pilgrim vs. the World</strong></em>, <em><strong>Edge of Tomorrow</strong></em>, <em><strong>Crank</strong></em>, <em><strong>Speed Racer</strong></em>) probably won't equal the box office success of <em><strong>Pixels</strong></em>. On the plus side, I can now say I've seen a Kevin James movie so that I never have to see another one again. Silver linings, folks. Look for'em.</span></div>
Drew Dietschhttp://www.blogger.com/profile/01937225282924970563noreply@blogger.com0tag:blogger.com,1999:blog-5590126108127359161.post-4991603730807208512015-07-19T08:32:00.002-07:002015-07-19T08:32:33.434-07:00The Drew Reviews Podcast - Episode 43: Cuckoo For Criterion - THE WAGES OF FEARDrew and Nick accept a dangerous mission to traverse the 1953 suspense classic, THE WAGES OF FEAR.<br />
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Currently Consuming topics: MARRIED and the SUICIDE SQUAD trailer<br />
<iframe frameborder="no" height="166" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/215397933&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false" width="100%"></iframe>Drew Dietschhttp://www.blogger.com/profile/01937225282924970563noreply@blogger.com0tag:blogger.com,1999:blog-5590126108127359161.post-78199777696680763412015-07-17T12:18:00.006-07:002015-07-17T12:18:59.516-07:00MOVIE REVIEW: ANT-MAN is Small but Servicable<div class="separator" style="clear: both; text-align: center;">
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A lot of people are going to remark on the scaled back nature of <b><i>Ant-Man</i></b>. The movie feels small and is aware of that. It's purposefully reducing its stakes and scope in order to accommodate its shrinking protagonist, and that mostly works. What hinders <b><i>Ant-Man</i></b> isn't its sense of smallness, but that it feels slight in its construction. For such a wacky concept, the movie feels incredibly by-the-numbers and lacking any real distinct flavor in regards to its presentation.</div>
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There's hints of a more bizarre movie oozing through the cracks of the film, but they are all mostly downplayed by director Peyton Reed. The climactic journey to a subatomic microverse feels like it should reach new levels of comic book weirdness on film, but it amounts to nothing more than some fractal imagery and a short and uneventful stay in what is essentially another dimension. The majority of the shrinking segments, though expertly rendered by thankless CG artists, feel almost too grounded in an attempt to avoid alienating audiences. It doesn't feel like the filmmakers took full advantage of their superhero's ability (until the end, which I'll get to).</div>
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It doesn't help that the movie's pacing is both slow-going and boringly familiar. Though this does help a lot with the characters, it makes the movie feel like it's skittish about itself. Thankfully, the characters in this movie make up for its sluggishness Paul Rudd is a natural leading man and his charm and softness work wonders for Scott Lang. Though Michael Douglas is mostly relegated to exposition, techno-babble, and basic mentoring, the times that he gets to give Hank Pym some depth work really well. Evangeline Lilly is underutilized as Pym's daughter, Hope, but she her time is spent showing she can be as tough as any Avenger. And Corey Stoll very nearly steals the show as Darren Cross/Yellowjacket. Stoll is going full-on eeeevil in this and it's a hoot. Between him and Ultron, it looks like Marvel might be starting to figure out how to handle their villains.</div>
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What surprised me the most about <b><i>Ant-Ma</i></b>n was the comedy element of the film. Not that I was surprised that it was a comedy, but how light and unremarkable most of the comedy was. <b><i>Ant-Man</i></b> certainly isn't lacking in laughs, but there wasn't a single joke or bit in the film that was worth an enormous response. Considering that Paul Rudd and Adam McKay have screenwriting credits, I was shocked that the movie wasn't the funniest Marvel movie yet.</div>
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However, one arena where <b><i>Ant-Man</i></b> delivers is in the final act. For all of its faults, the showdown between Ant-Man and Yellowjacket is a blast. This is where the movie really takes advantage of its concept well, using shrinking (and enlarging) to both comedic and engaging effect. If the heist portion of the film was infused with the same energy and inventiveness, <b><i>Ant-Man</i></b> would have been a knockout.</div>
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It sounds like I really disliked <b><i>Ant-Man</i></b>, but I didn't. It's an ever-dreaded "okay." There's nothing offensively bad or poorly executed about the film. but it feels like its been sanitized in order to broaden its appeal. The idea of shrinking is a wildly fantastic one, and <b><i>Ant-Man</i></b> doesn't embrace that goofiness as emphatically as it should.</div>
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<b><i>Ant-Man</i></b> is a minor Marvel movie (I'd be shocked if it gets a sequel) that does its job but leaves you wanting a lot more. It makes me anxious about Marvel dipping into its more out there characters like <b><i>Doctor Strange</i></b>. One of the reasons <b><i>Guardians of the Galaxy </i></b>worked was because the person at the helm, James Gunn, was able to balance his workman abilities with his innate craziness. If Marvel wants to play with riskier characters and worlds, they need to be willing to let some riskier visions into their cinematic universe. <b><i>Ant-Man</i></b> is proof of that.</div>
<br />Drew Dietschhttp://www.blogger.com/profile/01937225282924970563noreply@blogger.com0tag:blogger.com,1999:blog-5590126108127359161.post-72020830331258886832015-07-12T09:27:00.002-07:002015-07-12T09:27:47.548-07:00The Drew Reviews Podcast - Episode 42: Cuckoo For Criterion - LE SAMOURAIDrew and Nick accept a contract to watch one of the best hitman movies ever, LE SAMOURAI.<br />
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Currently Consuming topics: INVASION OFTHE BODY SNATCHERS and BLOW OUT.<br />
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<iframe frameborder="no" height="166" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/214393750&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false" width="100%"></iframe>Drew Dietschhttp://www.blogger.com/profile/01937225282924970563noreply@blogger.com0tag:blogger.com,1999:blog-5590126108127359161.post-31313810715129081412015-07-05T09:54:00.000-07:002015-07-05T09:54:22.359-07:00The Drew Reviews Podcast - Episode 41: Cuckoo for Criterion - THE BANK DICKDrew and Nick get soused this week with the W.C. Fields comedy classic, THE BANK DICK.
Currently Consuming topics: DOPE and TERMINATOR GENISYS<br />
<iframe frameborder="no" height="166" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/213361972&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false" width="100%"></iframe>Drew Dietschhttp://www.blogger.com/profile/01937225282924970563noreply@blogger.com0tag:blogger.com,1999:blog-5590126108127359161.post-27771376479942597132015-06-28T08:15:00.001-07:002015-06-28T08:15:37.724-07:00The Drew Reviews Podcast - Episode 40: Cuckoo For Criterion - MAN BITES DOGDrew makes Nick watch this brutal comedy about a charming serial killer and the documentary film crew that follows him around. Not an all ages movie by any means.<br />
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<iframe frameborder="no" height="166" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/212349150&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false" width="100%"></iframe>Drew Dietschhttp://www.blogger.com/profile/01937225282924970563noreply@blogger.com0tag:blogger.com,1999:blog-5590126108127359161.post-87054854383450665692015-06-21T15:37:00.000-07:002015-06-21T15:37:08.390-07:00The Drew Reviews Podcast - Episode 39: Cuckoo for Criterion - CRAZED FRUITDrew and Nick are takin' it easy and showing off their cinematic chops at the same by digging into the Criterion Collection. The first entry: 1956's Crazed Fruit.<br />
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<iframe frameborder="no" height="166" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/211376817&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false" width="100%"></iframe>Drew Dietschhttp://www.blogger.com/profile/01937225282924970563noreply@blogger.com0tag:blogger.com,1999:blog-5590126108127359161.post-61163660456419227862015-06-19T13:33:00.001-07:002015-06-19T13:33:05.890-07:00MOVIE REVIEW: INSIDE OUT is the Best Thing Pixar Has Ever Made<div class="separator" style="clear: both; text-align: center;">
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Pixar very rarely shies away from heavier concepts and emotions in their films. Although they make movies intended for a young audience, they don’t often allow that restriction to hinder their stories and characters. While they’ve dealt with somber stories before, Inside Out does something bolder than those films ever attempted: explore why those feelings are important.<br />
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And it works fantastically. Taking place inside the head of eleven year-old Riley (Kaitlyn Dias), we get to know the five emotions that control Riley’s state of mind: Joy (Amy Poehler), Sadness (Phyllis Smith), Fear (Bill Hader), Anger (Lewis Black), and Disgust (Mindy Kaling). Due to an accident, Joy and Sadness are separated from Headquaters and must find their way back by navigating through Riley’s mindscape.<br />
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For what amounts to a simple setup in terms of the driving plot, the actual story becomes a deep and thoughtful examination into the purposes of our memories and emotions. Joy and Sadness are the first two feelings that manifest inside of baby Riley’s head, and Joy is as dismissive as she can be of Sadness from the outset. It’s this subtle conflict that becomes the core of the movie and creates what is easily Pixar’s most nuanced and mature look at the human experience. The film is basically an hour and a half thesis on the necessity of sadness and how it isn’t always the negative emotion it’s made out to be.<br />
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Though this all sounds like it might be overwhelmingly depressing, the movie supports its weightier center with pillars of hilarity. Inside Out is unbelievably funny, with a cast that never feels like they’re slumming it. Everyone is doing great work, especially Phyllis Smith. While Joy is the obvious figurehead of the film, it’s Sadness that I hope breaks out in a big way. Her Eeyore-esque deliveries are delightful, and when she’s asked to be sincere and moving, she delivers in spades.<br />
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Something I found surprising in the best of ways is that Inside Out is a wonderful science fiction film. Some would argue it’s more of a fantasy, but when you see that Pixar consulted with doctors who specialize in how our brains create and manage emotional responses, you start to see that this isn’t a simple flight of fancy. There’s a technological way to how Riley’s head operates, and although it’s draped in colorful and kid-friendly designs, it’s as valid an exploration about experiencing existence and what it means to be human as something like Blade Runner or The Matrix. Considering that Disney also gave us the mediocre Tomorrowland this year, I’m pleasantly shocked to find Inside Out to be one of the better sci-fi films I’ve seen in a while.<br />
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Another element that powers the film is a genuine sense of peril. It’s common to believe that tense moments in kid films are empty because you know everything has to turn out okay. Inside Out doesn’t pull these punches, and there are sequences of tangible loss that hit home in a big way. The fact that all of these moments are taking place within the mind of one person doesn’t diminish their impact. If anything, it strengthens them. By honing in on one character for the entire running time, Inside Out crafts a fully developed character who doesn’t need any stereotypical villains or outward forces to make the audience invested in her personal stakes. It’s a lesson that a lot of the emptier blockbuster films of this era could learn from.<br />
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I’m still riding high on this, but I’m close to declaring Inside Out Pixar’s best film. It tackles difficult concepts in a way that is both adult and exciting (Up will be most peoples’ defense to this, but I found Up‘s plot and world unexciting), it creates an entire universe that is uniquely imaginative and gorgeously realized (this film has the biggest scope of any Pixar movie, and it all takes place in a character’s head!), and its characters are immensely endearing. Add on top of that a story that ends up being about how all of our emotions are valid, even the “bad” ones, and you have the textbook example of what a movie for kids should be: accessible but never at the cost of treating its audience like children.Drew Dietschhttp://www.blogger.com/profile/01937225282924970563noreply@blogger.com0tag:blogger.com,1999:blog-5590126108127359161.post-56042288617285789952015-06-14T02:57:00.000-07:002015-06-14T02:57:25.017-07:00The Drew Reviews Podcast - Episode 38: JURASSIC WORLDThe park is open, and Drew and Nick spare no expense touring the place. Is this new attraction worth the price of admission?<br />
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<iframe frameborder="no" height="166" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/210253700&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false" width="100%"></iframe>Drew Dietschhttp://www.blogger.com/profile/01937225282924970563noreply@blogger.com0tag:blogger.com,1999:blog-5590126108127359161.post-39733059477830623512015-06-12T20:05:00.000-07:002015-06-12T20:05:22.625-07:00TAG TEAM REVIEW: JURASSIC WORLDFor my review of <i style="font-weight: bold;">Jurassic World, </i>follow the link below for my tag team review with the inimitable Travis Newton:<div>
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http://www.chud.com/164842/tag-team-review-jurassic-world/</div>
Drew Dietschhttp://www.blogger.com/profile/01937225282924970563noreply@blogger.com0tag:blogger.com,1999:blog-5590126108127359161.post-43831933290443413372015-06-07T01:33:00.001-07:002015-06-07T01:33:30.078-07:00The Drew Reviews Podcast - Episode 37: JURASSIC PARK IIIIs the third time the charm? Drew and Nick talk to velociraptors this week in JURASSIC PARK III.<br />
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<iframe frameborder="no" height="166" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/209185292&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false" width="100%"></iframe>Drew Dietschhttp://www.blogger.com/profile/01937225282924970563noreply@blogger.com0tag:blogger.com,1999:blog-5590126108127359161.post-30681713683763632842015-06-05T12:13:00.000-07:002015-06-05T12:13:00.911-07:00MOVIE REVIEW - INSIDIOUS: CHAPTER 3<div class="separator" style="clear: both; text-align: center;">
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I really dig Insidious. It felt like the perfect salve to spread on the rash of found footage movies that had plagued the genre after Paranormal Activity crushed the box office in 2007. Insidious felt classic and timeless, drawing more on atmosphere and mood than easy scares. While I respected the direct continuation that Insidious: Chapter 2 (even their sequel naming convention is classy) attempted to pull off, it also did some things that undermined the unknown factors of the original. With the knowledge that Insidious: Chapter 3 was a prequel, I was worried that the same issue was going to be exacerbated.
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<a name='more'></a>That’s actually not the case at all. In fact, aside from a few clunky introductions (such as how The Further was named) and one egregious callback at the end, Insidious: Chapter 3 doesn’t really suffer from too many symptoms of prequelitis. It’s amazingly standalone in its story, and although you’ll get more out of knowing who some of these characters are and the world they’ve inhabited for three movies, you could feasibly see this on its own. That should be the goal of any prequel and on that front, Insidious: Chapter 3 works.<br />
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What also works is Lin Shaye. I’ll get into some of the film’s protagonist issues in a bit, but for now I want to praise Lin Shaye up, down and sideways. Insidious: Chapter 3 is her show. Shaye’s psychic character Elise feels the most vibrant in this installment, even getting a couple moments of honest badassery. I’ve always had a soft spot for the actress (thanks heavily in part to her calling out my hometown in Critters), but she really does showcase why she’s become the central human figure of this franchise.<br />
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Of course, the real iconic figures of Insidious have been its monsters, and Insidious: Chapter 3‘s addition to that roster is a mixed bag. The Man Who Can’t Breathe isn’t particularly memorable when it comes to his physical design, but his lack of speech, labored wheezing, and blackened footprints add up to some effective bits. The greatest thing is that we never learn who he is/was. We’re only told that he was a tenant who lived in the apartment above teenage protagonist Quinn (Stefanie Scott) at some point, but we never know anything else about him. It’s this vagueness that typified the spectral shenanigans of the first film and helped make that entry so effective, and doing so with this film’s antagonist helps so much.<br />
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Where the film begins to tear itself in two is in its approach to a lot of its horror. Like I said, the unknown qualities of the first film’s menace were what strengthened its malicious aura. That unknown quality led to a lot of instances of simple creepy imagery. Insidious: Chapter 3 doesn’t have as much of that as it should, and instead is a little too full of jump scares. That’s a shame because its moments of silent, unobtrusive spookiness are pretty effective. The first few times we see The Man Who Can’t Breathe involve him being off in the distance waving at Quinn. These are genuinely chilling images, and it’s a bummer when the film sacrifices them in favor of easy startles.<br />
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It’s also very apparent that Leigh Whannell is not James Wan (who has a brief cameo). Wan brought a chilly eye to the previous two films that Whannell doesn’t attempt to replicate, making this film seem visually out of step with the other entries. It’s by no means poorly directed (there are good sequences, my favorite being Elise’s first transition into The Further), but it feels too off not to notice.<br />
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The film’s biggest issue is in its attempt to tell two different stories. This is set up at the beginning fairly well (Quinn seeks out Elise in order to contact her deceased mother), but as the movie wears on, Quinn’s part in the story is diminished and Elise is revealed to be the film’s real protagonist. In fact, Quinn is crippled near the beginning of the film and spends the majority of the movie in bed, giving her nothing to do except be terrorized. It doesn’t help that all the other direct characters in her part of the story are pretty useless. Her father (a serviceable Dermot Mulroney) is almost a non-entity, her next door neighbor that has a crush on her disappears about halfway through the movie, and her little brother exists solely to act as a conduit to get Specs and Tucker (Elise’s assistants from the previous movies) into the story. In contrast, Elise’s story is more impacting and interesting (we learn that she had a husband who died and how that led to her investigating the darker side of the spirit world), but the film’s pacing makes her feel secondary to Quinn.<br />
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There’s also a real deus ex machina in the film’s climax that is so poorly set up that it feels like it comes from nowhere. It doesn’t ruin the film, but it is necessary to mention it.<br />
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As far as sequels go, Insidious: Chapter 3 is mostly inoffensive. It doesn’t do anything that spoils what came before, but it also does very little to justify its existence (aside from Lin Shaye killing it). It does feel like a very final entry, unless the series abandons its characters and sticks solely with its concept. I don’t think anyone wants that, and if Insidious: Chapter 3 is destined to be a series’ sendoff, I’m okay with that. It could have been better, but it’s not bad.Drew Dietschhttp://www.blogger.com/profile/01937225282924970563noreply@blogger.com0tag:blogger.com,1999:blog-5590126108127359161.post-4697306757348350692015-05-31T04:44:00.000-07:002015-05-31T04:44:30.319-07:00The Drew Reviews Podcast - Episode 36: THE LOST WORLD: JURASSIC PARKSomething has survived, but will Drew and Nick survive The Lost World: Jurassic Park?<br />
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Currently Consuming topics: Kingdom Hearts and Kingsman: The Secret Service<br />
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<iframe frameborder="no" height="166" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/208090244&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false" width="100%"></iframe>Drew Dietschhttp://www.blogger.com/profile/01937225282924970563noreply@blogger.com0tag:blogger.com,1999:blog-5590126108127359161.post-32006821583021532812015-05-24T23:35:00.000-07:002015-05-24T23:35:54.048-07:00MOVIE REVIEW: TOMORROWLAND is More Sermon than Cinema<div class="separator" style="clear: both; text-align: center;">
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I've been known to tell people that movies are my church. The powerful feelings that some people get from going to a place of worship are the best way I can equate what happens to me when I see a really great film. I may have to amend this description because people might misconstrue that sentiment as, "Oh, you must enjoy when a movie is like a sermon!" That's what Tomorrowland felt like: a preachy bit of prepackaged optimism from the Mouse House.<br />
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<a name='more'></a>To be fair, the topic that it's preaching about is impossible to argue against. Empowering people to look for the best in themselves and use their talents and visions to shape the world into a better place is all fine, but when it's presented the way it is in Tomorrowland, it doesn't make for a very compelling adventure. It comes off as cheesy and even a little disingenuous thanks to the film acting as a giant advertisement for a theme park.<br />
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That message might be better received if the film had any characters that you could latch onto. Tomorrowland has a serious protagonist problem thanks to it setting up one lead (George Clooney's Frank) and then shifting gears to another (Britt Robertson's Casey). The movie ultimately ends up being Frank's story, but it also wants Casey to be the audience's proxy. This creates a narrative divide as the movie heads into the third act that robs the finale of almost any weight. This is doubly depressing because both Clooney and Robertson are really good in their roles, and it's a shame to see them swallowed up by a really boring plot.<br />
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There are elements of the film that work in the moment, even if they don't have any real staying power. Damon Lindelof's tendency to tease his audience is utilized surprisingly well as the mystery of what happened to Tomorrowland is pretty intriguing, but as is often the case with the former Lost co-creator, the payoff is disappointing. There are two fun action scenes early in the film involving evil androids (the raid on Frank's house is easily the highlight of the film), but they left me puzzled as to why they couldn't capture the same inventive spirit for the film's finale.<br />
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I assume that's because Brad Bird was more focused on making sure the film made its points so abundantly clear that no one could walk out of the theater and question what the movie was about. I know this is ostensibly a film aimed at kids, but does that mean doing away with subtext entirely in order to hammer the message home? Having Hugh Laurie's villainous Governor Nix monologue on about how humanity has accepted the eventual apocalypse is one of the most eye-rolling moments yet in 2015 (and there are a couple eye-rolling lines in this movie, including a horribly clunky use of the "whichever wolf you feed" parable). For a movie that is all about thinking forward, it doesn't seem interested in doing so with its script.<br />
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Tomorrowland is more sermon than cinema, and that's a shame because where the movie is coming from is a place I'd love to see more movies embrace. If the filmmakers could have wrapped those philosophies into a story worth sitting through, we might have had something really special. Instead, we're left with a movie that looks nice and has a few bright spots thanks to the performers or some light action sequences, but is otherwise extremely forgettable.Drew Dietschhttp://www.blogger.com/profile/01937225282924970563noreply@blogger.com0tag:blogger.com,1999:blog-5590126108127359161.post-90174565550320151122015-05-21T20:45:00.000-07:002015-05-21T20:45:00.236-07:00MOVIE REVIEW: POLTERGEIST is a Textbook Example of How Not to Remake a Movie<div class="separator" style="clear: both; text-align: center;">
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Remakes aren't inherently a bad thing. When a story or an idea is good, it can always be told from a different perspective or with a new twist. A remake should utilize its source material as a foundation and then build something unique on top of that.<br />
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<b><i>Poltergeist</i></b> is not that remake.<br />
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<a name='more'></a>In fact, it's one of the most shameless copy-and-paste jobs I can think of in recent years. The film is a beat for beat retread of the 1982 original, making the most minor of changes in order to pass itself off as a new take. This is extra disheartening when director Gil Kenan attempts to add little flourishes of originality throughout the film. These are all strictly visual gags, and although they aren't groundbreaking, they seem positively radiant next to the dim bulb that is the rest of <b><i>Poltergeist</i></b>.<br />
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There are piecemeal elements of the film that work. The two youngest children actually give solid performances (shame about their older sister though) and Rosemarie DeWitt is fine as their mother. Sam Rockwell is probably going to be a draw for some people, but his performance fluctuates between earnestness and boredom so much that it never solidifies into anything worth investing in. Jared Harris does what he can with his Zelda Rubinstein stand-in Carrigan Burke, but it's nothing worth remembering.<br />
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That's probably the worst crime <b><i>Poltergeist</i></b> commits: it is thoroughly unmemorable. Again, that has a lot to do with it cloning itself directly from Tobe Hooper's *cough*Spielberg's*cough* film. The few detours it does take get drowned in a sea of "been there, done that." For example, where the original film offered up commentaries about the dark side of suburbia and the risks of unobtrusive parenting, this new version looks like it wants to talk about ecological concerns (the development the family lives in is stationed next to a bunch of power lines) and the struggle of maintaining a family during economic hardship. These are interesting and different themes that the movie could explore. Nope! The film is more focused on checking off a list of things it needs to do in order to be a <b><i>Poltergeist</i></b> movie.<br />
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I'll give the film this much: it's nice to see young kids in genuine peril. Although you know things will turn out alright, the movie does have moments where the children are put into tangible terror. This is very clearly a horror film aimed at younger viewers, and on that level it works. I only wish there was more surrounding these instances that felt as inspired.<br />
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To be fair, there are those visual gags I mentioned earlier. There's some really fun stuff involving light and shadows that felt fresh, and the one standout moment of the movie is when we get to see what the other side looks like. It's not terribly exhilarating in terms of its design (lots and lots of bodies all writhing together) but it's at least <i>something</i>.<br />
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<b><i>Poltergeist</i></b> is a movie I can only recommend to undiscerning youngsters who can't vibe with the dated original. They'll get a kick out of the film, but otherwise this is a textbook example of how not to remake a movie. The lavish devotion to the original robs this version of any chance at being memorable, and if you're someone who really loves the original, you'll probably groan at a lot of the ways the film appropriates classic lines and scenes. Be forewarned, "This house is clean," is now a hashtag. I think that sums up the movie pretty well.Drew Dietschhttp://www.blogger.com/profile/01937225282924970563noreply@blogger.com0tag:blogger.com,1999:blog-5590126108127359161.post-29071611300481968902015-05-17T21:28:00.001-07:002015-05-17T21:28:11.843-07:00The Drew Reviews Podcast - Episode 34: MAD MAX: FURY ROAD (w/ Travis Newton)This journey through the Wasteland comes to a close, but we picked up another road warrior along the way. Travis Newton joins us for our final episode on the Mad Max series, MAD MAX: FURY ROAD.<br />
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Currently Consuming topics include: Ex Machina, Fallout 3, Don Hertzfeldt's World of Tomorrow, The Strokes, The Pixies, and Stephen King's Rage.<br />
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<iframe frameborder="no" height="166" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/205984203&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false" width="100%"></iframe>Drew Dietschhttp://www.blogger.com/profile/01937225282924970563noreply@blogger.com0tag:blogger.com,1999:blog-5590126108127359161.post-2747117729943507252015-05-10T15:31:00.001-07:002015-05-10T15:31:35.325-07:00The Drew Reviews Podcast - Episode 33: MAD MAX BEYOND THUNDERDOMEWe don't need another Mad Max movie, but we've got one anyways. This week, we does the tell with MAD MAX BEYOND THUNDERDOME.<br />
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Currently Consuming topics: The Beatles' HELP and GRAVITY FALLS<br />
<iframe frameborder="no" height="166" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/204750211&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false" width="100%"></iframe>Drew Dietschhttp://www.blogger.com/profile/01937225282924970563noreply@blogger.com0tag:blogger.com,1999:blog-5590126108127359161.post-49733790128301409442015-05-03T12:16:00.000-07:002015-05-03T12:16:42.008-07:00The Drew Reviews Podcast - Episode 32: Mad Max 2: The Road WarriorThe journey through the wasteland continues with the post-apocalyptic classic, THE ROAD WARRIOR.<br />
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Currently Consuming topics this week: Mario Kart 8 and AVENGERS: AGE OF ULTRON<br />
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<iframe frameborder="no" height="166" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/203747463&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false" width="100%"></iframe>Drew Dietschhttp://www.blogger.com/profile/01937225282924970563noreply@blogger.com0tag:blogger.com,1999:blog-5590126108127359161.post-60672134020712397132015-04-30T23:17:00.001-07:002015-04-30T23:19:12.765-07:00MOVIE REVIEW - AVENGERS: AGE OF ULTRON is an Enjoyable Sophomore SlumpWhen The Avengers came out, it was almost miraculous. Marvel’s serialized cinematic experiment succeeded, and the pure novelty of a superhero team-up movie was more than enough to make the film work like gangbusters. Now, with the novelty worn off, does Avengers: Age of Ultron stand on its own, propel the collective narrative forward in exciting ways, and prove that these films are greater than the sum of their parts?<br />
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<a name='more'></a>Somewhat.<br />
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The charm and likability of these characters and the people portraying them are still strong, and this sequel does have that breathing room feeling to it; we know these people very well and can now revel in their quirks and personalities. Most of the enjoyable scenes involving the heroes aren’t about how cool they look while taking out bad guys, but are instead just them standing around and being themselves. As is mandated in Marvel movies, this leads to plenty of quips and humorous asides, but it also provides a few moments of introspection and self-examination. For a chaotic action film, it’s telling (and maybe even slightly damaging) that the most affecting parts are the ones that are the most kinetically static.<br />
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It’s also telling that the most intriguing and engaging characters are the artificial ones. The titular Ultron is unquestionably Marvel’s best villain. While there is a peppering of Heath Ledger’s Joker in Ultron’s affectations and tone of voice at times, James Spader brings something fresher and more interesting to the table when it comes to Ultron’s characterization: teenage petulance. His know-it-all demeanor makes him disturbingly relatable at times, dredging up memories of when you were in high school and hated the whole stupid world. This childish superiority makes Ultron infinitely watchable, and Spader should be commended for making a genocidal maniac so wickedly lovable.<br />
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The other breakout star is Paul Bettany’s Vision. Where Ultron is vicious and knowledgeable, Vision is soft and wise. You can tell that Joss Whedon really dug writing for these two characters, showcasing both sides of the artificial intelligence coin. I can also guarantee that Vision’s first scene and its climax will be the most talked about moment from this film.<br />
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But, this is where a symptomatic issue with the film comes into play. Both Ultron and Vision are held back, and not in a good way. This isn’t a situation where these characters are so great that you would love to see more of them. They simply aren’t given enough time. They feel restrained, and that is a criticism I have to lob at the entire film.<br />
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It’s not a matter of “the film needs X more minutes,” but rather that the film needed to unchain itself more inside of its running time. And that’s not just in regards to specific characters. Thematically, Avengers: Age of Ultron has an aura of compromise around it. There’s a darkness creeping underneath the film’s surface, and it’s the same shadow that has been creeping underneath many of the other Phase Two efforts. Where Iron Man Three and Captain America: The Winter Soldier plunged headfirst into murkier waters, Avengers: Age of Ultron seems compelled to only dip its toes into the pool.<br />
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When it comes to the action sequences, the film’s attitude is much more unhinged. There are plenty of crowd-pleasing moments, but there’s also a frenetic overload in many scenes. This isn’t helped by having most of the enemies be endless swarms of assembly line robots. A lot of individual sequences within the big setpieces blur together, and if not for the more stylish bits of choreography sprinkled throughout, they’d almost be forgettable.<br />
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There’s also a self-awareness present in Avengers: Age of Ultron that acts as a double-edged sword at times when it comes to collateral damage. This has always been the stickiest dilemma of superhero stories, and it became an unavoidable aspect thanks to the backlash created by Man of Steel‘s finale. The end battle involves evacuating a city, and in this instance, you feel the heroism such an act is meant to evoke. But, when Iron Man and Hulk are duking it out and Iron Man locates an empty building he can slam the Hulk into, you start to question the humongous damage the destruction of that uninhabited building is doing to the surrounding area. I’m sure that future Marvel films (Captain America: Civil War) are going to tackle this issue, but as it stands, Avengers: Age of Ultron feels like it’s trying a little too hard at times.<br />
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I think the most startling quality of Avengers: Age of Ultron is how little of a shakeup it feels like. Sure, things are different by the film’s end, but in comparison to how radical a shift the majority of the Phase Two films underwent, this movie feels more like a concentrated restructuring than an all-out surprise. Avengers: Age of Ultron is the Marvel Cinematic Universe depressurizing and decompressing, which isn’t inherently a bad thing. It just means that this outing feels somewhat slight.<br />
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Is Avengers: Age of Ultron bad? No, it’s just lesser than what it should be. With Marvel about to branch out into corners of its universe that are more niche and untapped in the popular consciousness, Avengers: Age of Ultron needed to be an unfettered celebration of characters we may not be seeing for some time. Instead, it’s the most transitory entry since Iron Man 2, taking away from its own needs in order to service what’s coming up ahead. That’s a shame when such provocative characters like Ultron and Vision become casualties of a larger story.<br />
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The honeymoon with Marvel has ended with Avengers: Age of Ultron, but the marriage looks like it can make it.Drew Dietschhttp://www.blogger.com/profile/01937225282924970563noreply@blogger.com0tag:blogger.com,1999:blog-5590126108127359161.post-5846512420097670382015-04-26T11:12:00.000-07:002015-04-26T11:12:50.544-07:00The Drew Reviews Podcast - Episode 31: MAD MAXDrew and Nick are on the fast track into the wasteland for the next four weeks, starting with the movie that kicked off Mel Gibson's career, MAD MAX.<br />
<iframe frameborder="no" height="166" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/202660359&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false" width="100%"></iframe>Drew Dietschhttp://www.blogger.com/profile/01937225282924970563noreply@blogger.com0tag:blogger.com,1999:blog-5590126108127359161.post-10770135193494309472015-04-25T09:29:00.002-07:002015-04-25T09:31:19.623-07:00MOVIE REVIEW: EX MACHINA Is the BLACK MIRROR Version of Spike Jonze's HER<div class="separator" style="clear: both; text-align: center;">
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Science fiction has had it rough at the multiplex. Due to changing trends and ever-increasing ticket prices, the genre has had to lean towards more action elements in order to entice audiences. While this can lead to the occasional great flick (Looper and Edge of Tomorrow are two stellar examples), it means that smaller and more meditative stories don’t often find their way to a wide release. So, when something like Ex Machina comes along and proves that quiet sci-fi movies can be just as impacting as blockbuster behemoths, it deserves notice and appreciation. It certainly helps when Ex Machina is such a great example of what these kinds of films can be.<br />
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The story of meek programmer Caleb (Domhnall Gleeson) winning a contest to spend a week at a research facility with reclusive tech mogul Nathan (Oscar Isaac) is about as geographically limited as you can get. The film almost never leaves the facility, but the reason for Caleb’s stay is where the mind of the movie proves to be boundless. Nathan has created the first fully functioning, artificially intelligent human being, named Ava (Alicia Vikander), and wants Caleb to converse with her to see if she passes for a real person. It’s classic science fiction stuff, but when the film market has been diluted with explosion porn and textbook Campbellian hero’s journeys touting themselves as sci-fi, such a simple story is refreshing.<br />
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That simplicity permeates throughout the entire picture, from the sleek design of Nathan’s home/lab to the streamlined cast. Writer/director Alex Garland has proven that he’s capable of shelving the more bombastic qualities his scripts are known for in favor of a laser focus on characters and ideas. While this does mean the movie is nearly actionless, it’s not interested in spectacle. Ex Machina silently lures you into its philosophical web with a tale of mystery and deception, provided by a cast of characters that are all equally compelling.<br />
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The three principle characters form an intricate triangle, each one balancing on their own while supporting each other. Caleb’s initial awkwardness at being around Nathan soon gives way to distrust and unease, while Caleb’s relationship with Ava becomes more intimate and revealing. At the same time, Nathan’s outward attitude is very inviting and even fun, but the more we learn about how he treats Ava makes him a complicated villain. All of this is bolstered by incredibly naturalistic performances from all of the actors. Nothing is showy or stagey. These all feel like real people, even when one of them is artificial.<br />
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Mood is often one of the most polarizing aspects of films. I feel that Ex Machina‘s restrained sensibilities could be misconstrued as boring or slow paced. The pace of the film is actually very brisk, kicking off the story immediately and continually building upon our curiosity. With such a clinical look and demeanor, Ex Machina tricks you by making the construction of the film feel robotic while the actual story itself is exploring the very meaning of humanity. It’s a similar problem that viewers of Blade Runner can fall victim to if they are expecting something more propulsive. I don’t think Ex Machina would be described as a slow burn as much as it is a constant simmer.<br />
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Ex Machina feels like the Black Mirror version of Her: an examination about our relationship to technology at an individual level, but instead of crafting a treatise on romantic entanglement like Spike Jonze did, Alex Garland is much more interested in examining the darker qualities of the human animal. This has led to a film that is haunting, unnerving, and deeply entrenched in the kind of introspective science fiction we can always use more of at the movies.Drew Dietschhttp://www.blogger.com/profile/01937225282924970563noreply@blogger.com0tag:blogger.com,1999:blog-5590126108127359161.post-62322835518896153032015-04-19T10:43:00.003-07:002015-04-19T10:43:56.322-07:00The Drew Reviews Podcast - Episode 30: THE MATRIX REVOLUTIONSEverything that has a beginning has an end. Drew and Nick conclude their series on The Matrix trilogy with its controversial conclusion, THE MATRIX REVOLUTIONS.<br />
<iframe frameborder="no" height="166" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/201557300&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false" width="100%"></iframe>Drew Dietschhttp://www.blogger.com/profile/01937225282924970563noreply@blogger.com0tag:blogger.com,1999:blog-5590126108127359161.post-32371995533975235872015-04-18T15:26:00.002-07:002015-04-18T15:31:38.251-07:00Drew's Views: Let's Talk About Trailers, BabyGo read my new editorial piece about our modern movie trailer culture over at CHUD.com by clicking this link: <a href="http://www.chud.com/163029/i-wanna-talk-about-that-leaked-batman-v-superman-trailer/">http://www.chud.com/163029/i-wanna-talk-about-that-leaked-batman-v-superman-trailer/</a>Drew Dietschhttp://www.blogger.com/profile/01937225282924970563noreply@blogger.com0