Cut Bank (2014)
This was a strange attempt to emulate the magic of Fargo, one of my favourite movies of all time.
The story begins when the central character, played by Liam Hemsworth, accidentally films a supposed murder in the corn fields of the titular small town while training his girlfriend (fellow Aussie Teresa Palmer) for a beauty pageant. But nothing is as it first seems, and soon Billy Bob Thornton and John Malkovich are on the case. Bruce Dern plays an old nutjob and mailman, while Michael Stuhlbarg plays a psychotic killer. Oliver Platt rounds out the star-studded cast.
Just like Fargo, Cut Bank is brutally violent and has plenty of unexpected events where the shit keeps hitting the fan and the mess keeps getting murkier and out of control. It even has a big Native American dude playing a tough guy. But it’s nowhere near as darkly comedic, and I wouldn’t be surprised if some viewers fail to get the humour amid all the carnage and mayhem. It’s also not as intelligent or original. Watchable? Yes. Good? Not quite.
One of the biggest problems with the movie is Liam Hemsworth, who hasn’t really done anything that deserves praise thus far in his career. Yeah sure, he’s in The Hunger Games, but in that he’s a distant third fiddle who is more of a minor character than a major one. The charisma of his elder brother just isn’t there.
There are some decent moments, most involving Bruce Dern, and also when Teresa Palmer performs for the pageant, but for those most part Cut Bank doesn’t deserve anything more than a straight-to-DVD fate.
2.5 stars out of 5
Time Lapse (2014)
This low-budget time travel thriller went completely under my radar. It’s better than the most recent time travel film I watched before it, Project Almanac, and the superb storytelling is good enough to make up for most of its flaws.
The premise of Time Lapse is simple. A guy, his girlfriend and best friend, all living under the same roof, discover a camera machine in a neighbour’s house that takes periodic photos through their apartment window. The photos reveal the scene in the apartment exactly 24 hours into the future.
Writer and debut director Bradley D King does a solid job of getting the most out of this interesting idea, taking advantage of the notion that the protagonists can use the device to send messages to their past selves but also requiring them to act out what they see in the photo 24 hours later to avoid a time travel paradox. It raises questions of free will, fate and whether we can really change the future.
I liked how the movie utilises a limited form of time travel that doesn’t require special effects, and how it focuses on the relationship dynamics of the three central characters. The ending is also quite clever and requires a bit of thought for everything to fall into place.
The performances of the central trio — Danielle Panabaker, Matt O’Leary and George Finn — are also strong, taking attention away from the aspects that don’t necessarily make a whole lot of sense, or reactions that stretch credulity. I thought it was pretty silly, for instance, for them to try to get rich through betting with dodgy bookies. A lotto ticket would have been so much easier and less dangerous.
Flaws aside, it’s still a solid piece of sci-fi entertainment, with enough intrigue and character development to deliver a thought-provoking experience.
3.5 stars out of 5
The Skeleton Twins (2014)
Don’t think you’re in for a comedy just because you see Kristen Wiig and Bill Hader on the cover. The Skeleton Twins is one of the saddest and most depressing films I’ve seen in a while.
The comedic duo play fraternal twins Maggie and Milo. I don’t want to spoil too much, so let’s just say both are going through a lot in their lives and are likely suffering from depression. Milo’s problems are a lot more overt because he’s gay (and obviously so) and has a dark past, while Maggie’s are more hidden under the surface because she appears to have a wonderful marriage to a lovely, gregarious husband (played by Luke Wilson).
Deep down, however, both are broken, and the film is about how they deal with life’s disappointments and messy situations. There are scenes of genuine heartbreak that really resonated with me, in particular some of the one-on-one conversations involving Milo, and much of the credit has to go to both Wiig and Hader for turning in such fantastic dramatic performances. Hader, in particular, is so convincing as a gay man that I had to check his Wikipedia page just to make sure he’s not gay in real life.
The pair are funny when they want to be, though it’s usually a one-liner here or a mildly humorous situation there; the overall melancholic tone never goes away in this film, a brutally honest look at life without rose-tinted lenses, full of difficult stretches and little moments of joy and laughter.
It’s undoubtedly well-made and driven by superb performances, which also include Modern Family‘s Ty Burrell and Boyd Holbrook, whose Aussie accent barely gets over the line for me (it’s just a hard accent for Americans to do, I guess). That said, I don’t usually like such dark, depressing films because they put such a downer on my mood. I suppose I’ll have to make an exception for The Skeleton Twins, as it has enough sweetness and poignancy to justify a hearty recommendation.
3.5 stars out of 5
Am I crazy, or is the universally panned remake of Annie actually not that bad? I had basically put off watching the film (I’m not that interested in musicals anyway) because of all the bad reviews, so I entered this without any expectations. I came out of it pleasantly surprised. Yes it’s cliched and saccharine and Cameron Diaz overacts even more that usual, but I still thought Annie got the job done with some nice homages to the original 1982 film, a modern makeover, some clever jokes, and a couple of catchy — albeit super autotuned — tunes.
Quvenzhané Wallis (who rose to stardom after earning an Oscar nomination for Beasts of the Southern Wild) plays the titular character, Annie Bennett, an orphan who longs to one day meet her real parents. She’s stuck with the nasty and single Miss Hannigan (Diaz) in foster care, I suppose for the government funding, until one day a stroke of luck makes her cross paths with mobile phone mogul and germaphobe William Stacks (Foxx). Sensing an opportunity, Stacks’ mayoral race campaign manager (Bobby Cannavale) gets Stacks to temporarily take Annie into his care to boost his popularity. And you know the rest.
The singing is OK — it’s at least better than Mamma Mia (Pierce Brosnan still gives me nightmares). Cameron Diaz isn’t great, and Rose Byrne is decent, but Jamie Foxx has a nice set of chords. I’m sure there’s a lot of autotune, but that’s what you’re expected to get these days when you cast a musical for star power as opposed to singing. The songs are relatively catchy, better than a lot of other musicals in recent years, and songs only pop up when they need to, unlike say Les Miserables where just about every line comes with a melody.
Look, it’s not great, but the tone is light and lively, and Jamie Foxx and Rose Byrne are funny enough to carry this well-intentioned remake through to the end, hitting a fair share of right notes along the way. I don’t get why people had such an acidic reaction to it.
3 stars out of 5