Movies like “Attack of the Killer Tomatoes” are virtually bullet proof from criticism. You either go in the movie prepared for the silly, or you can’t quite match the film’s frequency. “Attack of the Killer tomatoes” is one of the earliest known satires of “The Birds” where it’s about the inexplicable sentience and attack of deadly fruit on a small town rather than pecking deadly birds from the sky. And that’s about where it ends there. You figure with the preamble about “The Birds” and how this movie is basically the same thing but with tomatoes, we’d have a full fledged spoof of the Hitchcock movie.
Microhabitat (So-gong-nyeo) (2017) [Fantasia 2018]
A young woman living paycheck to paycheck on a very tight budget finds herself in a hard place when she has to decide what to cut from her budget when her rent goes up by quite a bit. As she tries to find a way, she decides to abandon the tiny apartment and go couch surfing for a while. As things advance, her situation becomes more and more precarious.
Knuckleball (2018) [Fantasia 2018]
Following a death in his father’s family, a young boy is dropped off at his maternal grandfather so that his parents can go to the funeral. Once there, grandpa puts him to work and shows him a few things about baseball. As this happens, the odd neighbor comes and goes on the property. As things advance, young Henry has to go get this neighbor for assistance and things go from bad to worse, forcing him to fend for himself and fight for his life.
Knuckleball (2018) [Fantasia 2018]
It’s disheartening when you’re watching a very good movie from a group of people you love, and then as the film reaches its home stretch you can see the wheels slowly coming off. That’s what “Knuckleball” was like. It’s a great idea, and a twisted premise with some great performances, but by the final twenty minutes it gets unnecessarily weird with a twist that feels tacked on and absolutely out of left field. Which is not to say “Knuckleball” is a bad movie, since right up until the final twenty minutes, I’d highly recommend it as a wrenching of the “Home Alone” formula that also kind of feels like a spiritual companion piece to M. Night Shyamalan’s “The Visit.”
The First Purge (2018)
I’ve come around on “The Purge” movies in 2018. What I once thought of as goofy exploitation movies, are now goofy exploitation movies with a point. They’re exploitation we need right now, they’re kind of angry diatribes about society that I’ve come to respect. Stuff about the white privileged banking off of the purge, the purge becoming an industry on to itself, “The Purge” posing as an alternate universe tale where the female candidate for president reigned supreme, and now where “The First Purge” begins as an “experiment.”
Female Filmmaker Friday: Tremble All You Want (Katte ni furuetero) (2017) [Fantasia 2018]
A young woman who has never dated lives in her imagination and in memories of the one boy who made her teenage heart flutter. As she tries to reconnect with him, another option opens right in front of her. What will she go for and how will it affect her life?
Directed by Akiko Ohku who also wrote the screenplay based on the novel by Risa Wataya, Tremble All You Want is a sweet story about holding onto the past, looking for what one wants, having standards, and learning to let go. The way to film is built and written is sweet but not overly so, the lead of Yoshika has an active imagination and it adds a big chunk of whimsy to the story and makes it about more than just a girl chasing a boy who may or may not give her a second thought. Some of the scenes have a bit of a feel similar to that of Amelie while not having a similar color palette and shooting style, something that is definitely good in establishing mood but also in establishing the director as doing her own thing here.
Female Filmmaker Friday: Marie Antoinette (2006)
A look at life, loves, and losses of Marie Antoinette, a young girl sent to marry the future king of France at 15, who began her reign at 19, and lost her way in luxury and decadence soon after.
Written and directed by Sofia Coppola, the film makes a case for the viewer to see Marie Antoinette in a better light than what they have learned in history class. Here she’s painted as a teenage girl sent to marry a man she’s never met, pushed to produce heirs to the throne, while given a lavish and decadent lifestyle which led to her life feeling unfulfilled and thus making her do all she could to make her life as interesting as she could with what was offered to her. Here the take on Marie Antoinette is almost friendly, showing her as a complex person who was raised in luxury, married into more luxury, and thus completely disconnected from the French populace that ultimately took her and her husband down. The film approaches this without judgment and an interest in humanizing without glorifying a woman who’s often only known for a single quote.