noahsdad-31-285608 Reviews

Deadrise (2011)

Interesting setting and characters, multi-layered dream-scape

[8/10 · 23 March 2012]

Full disclosure: The producer/director of Deadrise film is a friend.

My wife and I saw the premiere of this film (then titled "Fitful") at the State Theater in Traverse City, Michigan. The cut at that time was much longer, with the puppy scene still intact, and a very different ending than the DVD version. It's my understanding the DVD release has a much stronger resolution.

At the premiere, we left the theater impressed with the acting and cinematography, but somewhat confused by the story. The multiple layers of dreams left us wondering which scenes were actual experiences, and which were the result of spicy food. Some were obvious, others less so. The lack of visual or other clues to create a dream-state distinction make sorting it all out a bit challenging.

Larry Joe Campbell's role as the creepy caretaker of a retired Car Ferry is exemplary. Who knew that such a comic genius could pull off a lovable but darkly mad character like Vigs? At one point, Larry asks a question about Renee's daughter which literally caused the entire theater to simultaneously gasp. Renee O'Connor's tip-toeing and peering around corners gets a bit repetitive, but her emotional expression is near flawless.

The real star of the show is the ship itself, which is not a Hollywood set piece. It's an actual old steam ship that resides at a dock on the Great Lakes. The contrast of the ship's cavernous spaces, varnished wood paneled cabins, spooky companionways filled with shapeless shadows, and cramped mechanical compartments slick with oil and other dark liquids, combine to create a rich feeling of imprisonment and isolation.

If you're seeking out the next big indie masterpiece, you probably should look elsewhere. If you simply want a clever story, beautifully filmed and sure to inspire conversation after the credits, give Deadrise a shot.

Drive (I) (2011)

The Title Should Be "Drivel."

[2/10 · 2 October 2011]

If you're the type person who can go to a gallery, stare at a canvas of random blotches, and cluck about metaphorical struggles of man vs himself, you can probably find some value in this film. Otherwise, don't waste your money.

Look down your snooty noses if you must, but the only people who admire this film are art house elitists who find value in anything that resembles avant garde. Face it, you are sheep just like the rest of us. This movie was overtly packaged and marketed to lovers of action and car chase genre. It does not deliver.

First, what is good. The cinematography is lovely. The opening five minutes are a tense, superbly crafted anti-chase chase scene. The settings are stark, but curiously beautiful.

From there, the story falls completely apart. Gosling spends most of his screen time staring at people or off into space. His character strains mightily to appear tough and sympathetic, a Bronson-esque righteous vengeance type, but ultimately transforms into a cold and psychotic machine. He is surrounded by equally misguided, wooden characters who are so utterly forgettable, the audience cannot care about them enough to hate them.

The plot is ridiculously improbable, full of holes, and descends quickly into a seminar on creative and grisly murder techniques. A complete waste of time and popcorn.

Ryan Gosling is, without a doubt, one of the new generation of brilliant young actors. He will delight us in ever greater roles. This isn't one of them.

Super 8 (2011)

So many good elements, so little story

[3/10 · 20 June 2011]

From the day I first saw the trailer for Super 8, I longed to see this film. Having grown up on Spielberg, from Duel to Jaws to Close Encounters to Schindlers List, his genius is without equal. As a fan of JJ Abrams, especially Lost and Cloverfield, I went to the theater tonight expecting to walk out in slack jawed awe.

I walked out slack jawed, but only feeling disappointment. This film is essentially E.T. without the charm. A weak story line with more holes than a Swiss cheese factory, some truly insipid dialog, and character structure extracted straight from a night school screen writing class.

There are bright spots. The kids were superb actors, every one. The sets were gorgeous. The CGI impressive. Some hearty chuckles, especially the Sheriff's warning that Sony Walkmans were the start of a "slippery slope." I even enjoyed seeing an AMC Pacer get rear-ended by a Buick.

Beyond that, I felt like I was watching a highlight reel of Spielberg's trademarks: Richard Dreyfuss' noisy family scene from Close Encounters is replicated in shameless detail. People being pulled away screaming by an unseen beast, low camera angles with yawning skies, and 12 year olds far smarter than the adults.

It may be worth 3 bucks for a rental. It's not worth 20 at the theater.

Flashpoint (1984)

Not genius, but a decent mystery

[7/10 · 18 April 2011]

I remember well watching Flashpoint on HBO in the summer 1984. It was a really good movie then, and remains one of my favorites today. This was one of the earliest filmmaking partnerships the fledgling cable movie network attempted. The success of Flashpoint, and a handful of others, eventually evolved into one of the most innovative film production companies in modern cinema.

While Flashpoint played in a handful of theaters in a few major markets, it was always intended for the small screen (that's what we called TV when a 27-inch CRT was considered big). I'm quite sure a 16:9 version does not even exist.

Based on the modestly successful novel by George LaFountaine, the film strays from the original story in many respects. As one might expect, the book is significantly longer, with a vastly more complicated plot. The characters of Logan and Wiatt are reversed in terms of their backgrounds and personalities. Desert Rat "Amarillo" and Sheriff Wells factor more thickly into the tale, and the Feds are even more ruthless - but the twist and payoff are the same.

Overall, director William Tannen's treatment is well done. It is clearly a modest budget film, I suspect the lion's share was spent on the drug bust scene and Kristofferson's contract. In case you didn't know, Kris was a hot property in the 80s, and commanded steep appearance fees. Treat Williams was a virtual unknown, as was Kurtwood Smith (later to gain fame as the father in "That 70s Show"). Rip Torn and Roberts Blossom are their usual brilliant, crusty, lovable selves. Tess Harper and Jean Smart both have limited roles, but provide a love interest for our protagonists, and additional visual appeal beyond the stunning panorama of the West Texas border country.

What really keeps this film rolling is the outstanding score by Tangerine Dream. It is alternately compelling and ominous in all the right places. The music is clearly 80s instrumentation, but has a timeless quality that keeps it fresh, even today. The curious choice of a poorly written and awkwardly performed Kristofferson ballad over the closing titles is the only flaw in the soundtrack; but again, that most likely resulted from over excitement at landing such a hot star for such a modest film.

If you're looking for a cinematic masterpiece, this isn't it. But if you enjoy a well-crafted mystery that brushes lightly against one of the pivotal points of the 20th century, Flashpoint is 90 minutes well spent.